1 00:00:03,080 --> 00:00:05,960 Speaker 1: Welcome to stuff to Blow Your Mind from how Stuff 2 00:00:06,000 --> 00:00:13,680 Speaker 1: Works dot com. Hey, welcome to Stuff to Blow your Mind. 3 00:00:13,680 --> 00:00:16,720 Speaker 1: My name is Robert Lamb. One moment, please, your call 4 00:00:16,840 --> 00:00:21,480 Speaker 1: is important to us. A representative will be with you shortly. Again, 5 00:00:22,400 --> 00:00:25,000 Speaker 1: one moment, please, your call is important to us. A 6 00:00:25,160 --> 00:00:32,200 Speaker 1: representative will be with you shortly. Oh hey, oh thank god, 7 00:00:32,400 --> 00:00:35,960 Speaker 1: it's me Julie, Julie Tuglas. Sorry, I was stuck in 8 00:00:36,000 --> 00:00:39,760 Speaker 1: the call void the Yeah, I thought we had we 9 00:00:39,880 --> 00:00:42,800 Speaker 1: taken care of that ages ago. But I mean, there's 10 00:00:42,840 --> 00:00:45,159 Speaker 1: nothing more frustrating, really when you're trying to do a 11 00:00:45,200 --> 00:00:49,040 Speaker 1: podcast and your your podcast partner is just it's just 12 00:00:49,080 --> 00:00:52,479 Speaker 1: stuck in that call waiting limbo. Well, if how Stuff 13 00:00:52,479 --> 00:00:56,480 Speaker 1: Works would just shut off that portal into the call 14 00:00:56,560 --> 00:01:01,160 Speaker 1: waiting void, that wouldn't happen, right. I didn't saying we 15 00:01:01,200 --> 00:01:03,040 Speaker 1: need to break that thing up for for years, but 16 00:01:03,240 --> 00:01:05,200 Speaker 1: no one ever does it, so I know, and you 17 00:01:05,200 --> 00:01:07,160 Speaker 1: would think that when we moved into a new space 18 00:01:07,280 --> 00:01:10,160 Speaker 1: they would do that, but apparently not so important. And 19 00:01:10,200 --> 00:01:13,200 Speaker 1: apparently they don't realize that the average Americans spend about 20 00:01:13,240 --> 00:01:18,440 Speaker 1: forty three days of their lives on hold. That's over 21 00:01:18,480 --> 00:01:21,039 Speaker 1: the course of a lifetime, Right, Yeah, it's still depressing. 22 00:01:21,080 --> 00:01:23,920 Speaker 1: It's just very depressing to think of that, because because 23 00:01:24,000 --> 00:01:26,679 Speaker 1: when you're when you're stuck waiting on a call, I mean, 24 00:01:26,720 --> 00:01:31,080 Speaker 1: even if you can sort of um do something semi 25 00:01:31,160 --> 00:01:34,280 Speaker 1: interesting or productive while you're waiting, it's still such a 26 00:01:34,319 --> 00:01:36,400 Speaker 1: wasted time because you're it's not like you're gonna be 27 00:01:36,400 --> 00:01:39,400 Speaker 1: able to do anything well outside of waiting on that call. Right, 28 00:01:39,440 --> 00:01:43,760 Speaker 1: You're still mentally tethered to that call. And I don't know, 29 00:01:43,959 --> 00:01:46,319 Speaker 1: do you think it makes it worse or better when 30 00:01:46,600 --> 00:01:51,600 Speaker 1: call hold music is played? Well, you know, I guess 31 00:01:52,960 --> 00:01:55,800 Speaker 1: prior to this research, I would say that I tended 32 00:01:55,840 --> 00:01:59,120 Speaker 1: to prefer it. You have, only because it allows me 33 00:01:59,200 --> 00:02:02,400 Speaker 1: to They put the phone on speaker phone, set it down, 34 00:02:02,760 --> 00:02:06,680 Speaker 1: and there's that like constant tinkling of of boring waiting 35 00:02:06,760 --> 00:02:08,919 Speaker 1: music in the background, and I know that as long 36 00:02:08,919 --> 00:02:11,880 Speaker 1: as I'm registering that music, I can sort of drift 37 00:02:11,880 --> 00:02:13,920 Speaker 1: away from the phone. I'm not gonna I don't have 38 00:02:13,960 --> 00:02:15,880 Speaker 1: to worry about there's suddenly being a person, because if 39 00:02:15,880 --> 00:02:17,640 Speaker 1: there's suddenly a person on the other line, there's gonna 40 00:02:17,639 --> 00:02:20,320 Speaker 1: be a stark fall off in that music, and then 41 00:02:20,360 --> 00:02:24,240 Speaker 1: there'll be some somebody from some of the country saying hello, Hello, 42 00:02:24,720 --> 00:02:26,320 Speaker 1: I'm here to talk to you. Yeah. And it's true 43 00:02:26,320 --> 00:02:27,480 Speaker 1: because you do kind of feel like you're in the 44 00:02:27,560 --> 00:02:29,680 Speaker 1: void in the first place on the call. So if 45 00:02:29,680 --> 00:02:32,440 Speaker 1: you have some sort of auditory queue that you're still 46 00:02:32,480 --> 00:02:35,600 Speaker 1: there that I haven't to them, yeah, then it makes 47 00:02:35,600 --> 00:02:38,519 Speaker 1: you feel a little bit better. But as we will 48 00:02:38,520 --> 00:02:42,640 Speaker 1: discuss in this episode, the quality of the music, the 49 00:02:42,680 --> 00:02:46,000 Speaker 1: pacing of that could affect how you're actually perceiving the 50 00:02:46,040 --> 00:02:49,760 Speaker 1: passing of time. Yeah. And this is uh, this, this 51 00:02:49,800 --> 00:02:52,200 Speaker 1: is a fascinating topic because at first it may might 52 00:02:52,240 --> 00:02:54,640 Speaker 1: seem just normal on every day, I mean, call music. 53 00:02:54,800 --> 00:02:57,000 Speaker 1: What could be more boring? What could be I mean 54 00:02:57,240 --> 00:02:59,360 Speaker 1: a few things are more boring than call music. But 55 00:02:59,600 --> 00:03:01,920 Speaker 1: when you start looking at you you get into the 56 00:03:02,000 --> 00:03:06,959 Speaker 1: perception of time, altered perceptions. It's it's really a deep 57 00:03:07,000 --> 00:03:10,359 Speaker 1: and fascinating topic. Yeah. And at the bottom of all 58 00:03:10,400 --> 00:03:12,960 Speaker 1: of this, the sort of base stock of this soup 59 00:03:13,160 --> 00:03:15,480 Speaker 1: is memory, and we'll talk more about that. But before 60 00:03:15,480 --> 00:03:19,000 Speaker 1: we go into music and memory, let's just briefly talk 61 00:03:19,040 --> 00:03:21,120 Speaker 1: about the types of time. There are the ways in 62 00:03:21,120 --> 00:03:23,760 Speaker 1: which we try to parse it and deliver it to 63 00:03:23,919 --> 00:03:26,440 Speaker 1: one another. Yeah, we've talked about this in the past. 64 00:03:26,440 --> 00:03:29,519 Speaker 1: We did a whole episode or more on the nature 65 00:03:29,560 --> 00:03:31,320 Speaker 1: of time and the way we perceived time. Believe that 66 00:03:31,320 --> 00:03:35,560 Speaker 1: episode was called Clocking clocking in, uh, and then colon 67 00:03:35,640 --> 00:03:38,440 Speaker 1: in some of it a little bit on there, but 68 00:03:38,440 --> 00:03:41,920 Speaker 1: but yeah, time is is very tricky to nail down, 69 00:03:42,240 --> 00:03:43,600 Speaker 1: and it you kind of have to look at it 70 00:03:43,600 --> 00:03:47,040 Speaker 1: from different to perspectives, sort of like the blind men 71 00:03:47,400 --> 00:03:49,800 Speaker 1: pawing at the elephant to try and figure out exactly 72 00:03:50,040 --> 00:03:53,640 Speaker 1: what this thing is. Because certainly we've talked about cyclical 73 00:03:53,680 --> 00:03:57,720 Speaker 1: time before, the idea that everything is a circle in 74 00:03:57,760 --> 00:04:01,080 Speaker 1: the same way that that the season their cyclical, the 75 00:04:01,160 --> 00:04:04,440 Speaker 1: day and night is cyclical. Uh, that our life is 76 00:04:04,840 --> 00:04:07,480 Speaker 1: rather cyclical. Every morning we get up, we do things, 77 00:04:07,720 --> 00:04:10,840 Speaker 1: we eat, we defecate, we grow older, and then we 78 00:04:10,880 --> 00:04:14,000 Speaker 1: go to sleep. Everything is in a is in a cycle. 79 00:04:14,080 --> 00:04:17,680 Speaker 1: And if you look back at older civilizations, older cultures, 80 00:04:17,720 --> 00:04:20,640 Speaker 1: like that was the way you viewed the universe. Everything 81 00:04:20,680 --> 00:04:22,520 Speaker 1: was in a cycle, our lives were in a cycle, 82 00:04:22,680 --> 00:04:25,080 Speaker 1: and any individual point in our life was only important 83 00:04:25,320 --> 00:04:31,560 Speaker 1: insofar as it carried out a role in that existing circle. Yeah, 84 00:04:31,640 --> 00:04:34,520 Speaker 1: I mean, in that sense, there really is no beginning 85 00:04:34,560 --> 00:04:37,520 Speaker 1: or end to time, right, everything is just sort of 86 00:04:38,160 --> 00:04:41,840 Speaker 1: melding into one another. Now. Linear time, on the other hand, 87 00:04:42,000 --> 00:04:46,760 Speaker 1: is predicated on organized cultural systems like Christian doctrine. For instance. 88 00:04:46,880 --> 00:04:49,640 Speaker 1: In the beginning, right, there's the beginning, there's there's a 89 00:04:49,640 --> 00:04:52,760 Speaker 1: time in which the universe was born. Um, and then 90 00:04:53,040 --> 00:04:54,800 Speaker 1: you know that the end of the world is near 91 00:04:55,160 --> 00:04:57,800 Speaker 1: exactly depending on I guess which version you have, I 92 00:04:57,800 --> 00:05:01,760 Speaker 1: don't know, um. But that is this attempt to try to, 93 00:05:02,680 --> 00:05:06,520 Speaker 1: you know, take these cultural systems and make sense of time. 94 00:05:07,040 --> 00:05:09,440 Speaker 1: And then you have clock time, which pretty much all 95 00:05:09,480 --> 00:05:12,680 Speaker 1: of us are on now. Yeah, And we talked about 96 00:05:12,720 --> 00:05:14,520 Speaker 1: that at length in the episode because clock time is 97 00:05:14,560 --> 00:05:17,640 Speaker 1: weird too, because there was a time when when clock 98 00:05:17,680 --> 00:05:20,320 Speaker 1: time was not in any way universal. And as you try, 99 00:05:20,600 --> 00:05:22,600 Speaker 1: the more we try and make clock time universals, just 100 00:05:22,640 --> 00:05:24,400 Speaker 1: the more complicated it gets, because of course we have 101 00:05:24,440 --> 00:05:27,640 Speaker 1: to have different time zones. Sometimes there are an hour off, sometimes, 102 00:05:27,640 --> 00:05:31,479 Speaker 1: like in Newfoundland, Canada, they're a half hour off, and uh, 103 00:05:31,520 --> 00:05:34,240 Speaker 1: and and how do you attempt to get everything coordinated 104 00:05:34,240 --> 00:05:36,640 Speaker 1: and that when it's a different day on one part 105 00:05:36,680 --> 00:05:38,479 Speaker 1: of the earth in a different day on the other, 106 00:05:38,480 --> 00:05:41,120 Speaker 1: when really everything is existing at the same time. And 107 00:05:41,120 --> 00:05:43,279 Speaker 1: and then if you start looking out that other planets 108 00:05:43,320 --> 00:05:45,120 Speaker 1: and the you know, the idea that will eventually be 109 00:05:45,200 --> 00:05:47,760 Speaker 1: on two planets at once, then how do you start, 110 00:05:48,320 --> 00:05:50,919 Speaker 1: uh keeping time in a way that makes sense for 111 00:05:51,000 --> 00:05:53,800 Speaker 1: that scenario. Oh, yeah, because there's time dilation, which we'll 112 00:05:53,800 --> 00:05:55,760 Speaker 1: get into at a moment that space time. But yeah, 113 00:05:55,839 --> 00:05:59,400 Speaker 1: doesn't matter that there are eighties six thousand, four hundred 114 00:05:59,440 --> 00:06:02,120 Speaker 1: seconds and a day. You know, does that knowledge change 115 00:06:02,120 --> 00:06:04,880 Speaker 1: the way that time passes? Yeah, it kind of just 116 00:06:04,960 --> 00:06:09,119 Speaker 1: creates this weird ruler outside of our experience of time. 117 00:06:09,240 --> 00:06:12,840 Speaker 1: So we we all every day have those have those moments, 118 00:06:12,960 --> 00:06:15,640 Speaker 1: or more than moments, we have great stretches at times 119 00:06:15,839 --> 00:06:18,960 Speaker 1: where our experience of time does not match up at 120 00:06:18,960 --> 00:06:22,440 Speaker 1: all with with with the passage of it, like like 121 00:06:22,520 --> 00:06:25,400 Speaker 1: go with uh being a new father, with with my 122 00:06:25,520 --> 00:06:27,840 Speaker 1: with my son. I've gotten where I can sort of 123 00:06:27,880 --> 00:06:32,160 Speaker 1: gauge how much time has passed by by'll see. It's 124 00:06:32,160 --> 00:06:33,960 Speaker 1: it's a little different now. But for while I was thinking, 125 00:06:33,960 --> 00:06:36,479 Speaker 1: if I if I think fifteen minutes has passed, I 126 00:06:36,520 --> 00:06:38,840 Speaker 1: need to subtract like half of that, or if I 127 00:06:38,839 --> 00:06:41,120 Speaker 1: think it's a half hour's pass they need subtract half 128 00:06:41,120 --> 00:06:44,400 Speaker 1: of that. Um. It's it's a little different now, but 129 00:06:44,400 --> 00:06:47,440 Speaker 1: but yeah, you get into these weird situations where where 130 00:06:47,560 --> 00:06:51,600 Speaker 1: your experience of time and clock time are are are 131 00:06:51,640 --> 00:06:55,000 Speaker 1: often way off. Yeah, your experience and your documented um 132 00:06:55,160 --> 00:06:57,880 Speaker 1: columns really and then but we can't help but to 133 00:06:57,960 --> 00:07:02,120 Speaker 1: put these tents around time and try to describe some 134 00:07:02,200 --> 00:07:05,359 Speaker 1: sort of meaning or system to it. And then just 135 00:07:05,480 --> 00:07:08,159 Speaker 1: to confuse things a little bit more a little bit, 136 00:07:09,360 --> 00:07:12,000 Speaker 1: you have space time, which we've the notion that space 137 00:07:12,000 --> 00:07:14,840 Speaker 1: and time are not separate. This is Einstein. Of course 138 00:07:14,880 --> 00:07:17,200 Speaker 1: they act on each other. You have to consider both 139 00:07:17,240 --> 00:07:19,320 Speaker 1: time and space because your time and my time are 140 00:07:19,320 --> 00:07:22,760 Speaker 1: different depending on how we're moving through it. So just 141 00:07:22,840 --> 00:07:25,640 Speaker 1: like matter can be changed and manipulated, so can space 142 00:07:25,720 --> 00:07:29,200 Speaker 1: and time. And that's where you have time dilation and 143 00:07:29,240 --> 00:07:32,400 Speaker 1: the warping of time because the closer you can travel 144 00:07:32,440 --> 00:07:35,280 Speaker 1: at the speed of light, the more time slows down. Yeah, 145 00:07:35,280 --> 00:07:37,200 Speaker 1: and then you get into this crazy idea that is 146 00:07:37,440 --> 00:07:39,840 Speaker 1: that as in time and space are one, and then 147 00:07:39,880 --> 00:07:42,200 Speaker 1: it's like time and space is one big lump of 148 00:07:42,400 --> 00:07:46,440 Speaker 1: Plato where everything that has occurred and will occur it 149 00:07:46,560 --> 00:07:49,600 Speaker 1: is all existing at once in this big solid, just 150 00:07:50,240 --> 00:07:54,000 Speaker 1: unimaginable mass. It's true. So you get this idea that 151 00:07:54,040 --> 00:07:57,000 Speaker 1: this passage of time, it's just not a concrete aspect 152 00:07:57,080 --> 00:08:00,560 Speaker 1: of our existence at all. It is largely received by 153 00:08:00,720 --> 00:08:05,360 Speaker 1: environmental cues, uh not to mention psychological states as dictated 154 00:08:05,440 --> 00:08:10,240 Speaker 1: sometimes by their larger systems in our culture. So then 155 00:08:10,320 --> 00:08:13,679 Speaker 1: you have something like music which brings up this idea. 156 00:08:13,760 --> 00:08:17,120 Speaker 1: Could you have music time m hmm, Well, of course 157 00:08:17,160 --> 00:08:19,320 Speaker 1: time is a is a huge part of music, keeping 158 00:08:19,560 --> 00:08:22,320 Speaker 1: the like we need into tempo and the structure of 159 00:08:22,360 --> 00:08:26,400 Speaker 1: any kind of musical piece. Obviously, it's so mathematical. Music 160 00:08:26,440 --> 00:08:29,280 Speaker 1: has a beginning in an end. And though I would 161 00:08:29,280 --> 00:08:31,600 Speaker 1: do wonder someone out there can tell me this. Has 162 00:08:31,600 --> 00:08:34,760 Speaker 1: there ever been a piece of music specifically composed to 163 00:08:35,280 --> 00:08:38,319 Speaker 1: loop on itself forever? Yeah? Actually, there's something called the 164 00:08:38,320 --> 00:08:42,200 Speaker 1: Buddha Machine, Yeah, and that that uses a set of 165 00:08:42,240 --> 00:08:46,120 Speaker 1: algorithms to create a loop of music over and over again, 166 00:08:46,160 --> 00:08:48,920 Speaker 1: although it's in a different arrangement, so every single time 167 00:08:48,920 --> 00:08:51,960 Speaker 1: that it's played. I used to have one um it 168 00:08:52,080 --> 00:08:55,760 Speaker 1: creates a new arrangement and it creates as it's based 169 00:08:55,800 --> 00:09:01,280 Speaker 1: actually on meditative music that monks play in China. I believe. 170 00:09:01,440 --> 00:09:04,760 Speaker 1: I hope I have all this right, and um, it's 171 00:09:04,760 --> 00:09:07,200 Speaker 1: supposed to be soothing, but I think it's super creepy. 172 00:09:07,200 --> 00:09:09,760 Speaker 1: In fact, I used to play it. I put it 173 00:09:09,760 --> 00:09:12,240 Speaker 1: in someone's office here at house stuff works and just 174 00:09:12,320 --> 00:09:13,720 Speaker 1: keep it on so that when they came in they 175 00:09:13,760 --> 00:09:17,840 Speaker 1: would hear this eerie music. But I'm surprised nobody, especially 176 00:09:17,880 --> 00:09:19,720 Speaker 1: back in like the nineties, when everybody was sort of 177 00:09:19,800 --> 00:09:22,160 Speaker 1: exploring different tricks you could do with the CD format, 178 00:09:22,200 --> 00:09:26,080 Speaker 1: you know, hidden tracks and and you know, having tracks 179 00:09:26,080 --> 00:09:28,240 Speaker 1: on an album and that kind of thing. No one 180 00:09:28,320 --> 00:09:30,760 Speaker 1: to my knowledge ever had an album where at the 181 00:09:30,960 --> 00:09:32,800 Speaker 1: at the very end it kind of reached the same 182 00:09:32,840 --> 00:09:35,079 Speaker 1: point at the beginning. Wherever you have the album on loop, 183 00:09:35,760 --> 00:09:37,920 Speaker 1: uh and on repeat, we just sort of come back 184 00:09:37,960 --> 00:09:41,520 Speaker 1: around at the same place forever. I think that's your thing. 185 00:09:41,800 --> 00:09:43,880 Speaker 1: I think that we are about to get the Robert 186 00:09:44,000 --> 00:09:46,959 Speaker 1: Lamb experience. That's gonna be the name of your first album. Well, 187 00:09:47,040 --> 00:09:48,800 Speaker 1: some people might say that I do just loop back 188 00:09:48,840 --> 00:09:53,200 Speaker 1: on myself, you know, continually, and always come back around 189 00:09:53,200 --> 00:09:55,839 Speaker 1: to the same anecdotes and the same you know. We 190 00:09:55,920 --> 00:09:58,200 Speaker 1: all yeah, I mean time is a circle, right, but 191 00:09:58,280 --> 00:10:02,000 Speaker 1: we're all in our little portable cages of circular time here. 192 00:10:02,440 --> 00:10:05,960 Speaker 1: All right, So let's talk about this idea of music 193 00:10:06,040 --> 00:10:10,880 Speaker 1: and time dilation, or even music and time shrinkage, because 194 00:10:10,880 --> 00:10:14,720 Speaker 1: when you think about it, time is essentially a substrate 195 00:10:15,000 --> 00:10:18,200 Speaker 1: of memory. So we estimate how much time is passing 196 00:10:18,200 --> 00:10:22,760 Speaker 1: based on past experience as well as environmental cues. And 197 00:10:23,040 --> 00:10:27,720 Speaker 1: underlying all of this are neural connections that will react accordingly. 198 00:10:28,160 --> 00:10:32,000 Speaker 1: And these neural connections can be hacked by music. Now, yeah, 199 00:10:32,040 --> 00:10:34,200 Speaker 1: this makes perfect sense because there's so many things that 200 00:10:34,320 --> 00:10:38,320 Speaker 1: affect our perception of time, so many experiences, so many situations. 201 00:10:38,800 --> 00:10:40,920 Speaker 1: I always think of going to a yoga class where 202 00:10:40,920 --> 00:10:43,440 Speaker 1: the first five minutes seemed to take forever because I'm 203 00:10:43,480 --> 00:10:45,440 Speaker 1: anty for it to get started and I'm kind of 204 00:10:45,480 --> 00:10:48,800 Speaker 1: having second thoughts about being there, and then the last portion, 205 00:10:48,840 --> 00:10:52,080 Speaker 1: the last you know, fifteen minutes of yoga, uh, seemed 206 00:10:52,120 --> 00:10:55,560 Speaker 1: to seem to just be a different type of time entirely. 207 00:10:55,920 --> 00:10:59,319 Speaker 1: And music is an experience. It's a sonic experience, it's 208 00:10:59,320 --> 00:11:02,280 Speaker 1: a sonic journe me and UH, and that journey varies 209 00:11:02,440 --> 00:11:04,800 Speaker 1: greatly depending on the on the music, and so our 210 00:11:04,840 --> 00:11:08,559 Speaker 1: mind is engaging in that experience. So for a variety 211 00:11:08,559 --> 00:11:10,840 Speaker 1: of reasons we're going to discuss here. It's going to 212 00:11:10,880 --> 00:11:14,959 Speaker 1: affect the way you perceive time. Yeah, especially when you 213 00:11:15,000 --> 00:11:20,040 Speaker 1: think about your brain being this pattern seeking machine and 214 00:11:20,640 --> 00:11:25,160 Speaker 1: music essentially messing with anticipation what your brain is thinking 215 00:11:25,280 --> 00:11:27,080 Speaker 1: is going to come next, Especially when you think about 216 00:11:27,080 --> 00:11:31,400 Speaker 1: mathematics and music and UM you look at these songs. 217 00:11:31,400 --> 00:11:34,280 Speaker 1: It's just having you know certain arrangements that your brain 218 00:11:34,360 --> 00:11:36,840 Speaker 1: is going, Oh yes, I know. Even if you're not musical, 219 00:11:36,880 --> 00:11:39,960 Speaker 1: you don't know the notes. You are gonna anticipate what 220 00:11:40,080 --> 00:11:42,640 Speaker 1: that next note is going to be because there's only 221 00:11:42,679 --> 00:11:46,959 Speaker 1: so many UM chord progressions that exist out there, so 222 00:11:47,000 --> 00:11:49,400 Speaker 1: we probably have heard all of them by now, and 223 00:11:49,440 --> 00:11:52,559 Speaker 1: you have some sort of memory of what that potential 224 00:11:52,840 --> 00:11:55,600 Speaker 1: chord could be. Yeah. I often think about this when 225 00:11:55,640 --> 00:11:57,960 Speaker 1: I'm listening to music, because you wonder at what point 226 00:11:57,960 --> 00:12:01,120 Speaker 1: do we run out of songs? You know, mathematics UM 227 00:12:01,240 --> 00:12:03,240 Speaker 1: has the pristance. I haven't been listening to the new 228 00:12:03,280 --> 00:12:07,080 Speaker 1: Tycho album. I love Tycho, wonderful musician. Some of the 229 00:12:07,080 --> 00:12:09,280 Speaker 1: new songs on the new album are wonderful, but I 230 00:12:09,320 --> 00:12:11,240 Speaker 1: was kind of like thinking, it kind of sounds like 231 00:12:11,240 --> 00:12:14,400 Speaker 1: he's playing all the notes between the notes on a 232 00:12:14,440 --> 00:12:17,040 Speaker 1: previous song. You know, like we're just sort of gradually 233 00:12:17,080 --> 00:12:21,839 Speaker 1: filling in um like a rectangle of space, until we 234 00:12:22,000 --> 00:12:26,000 Speaker 1: we have we have creatively filled every possibility. But but 235 00:12:26,000 --> 00:12:27,439 Speaker 1: but in a way that ends up playing on your 236 00:12:27,440 --> 00:12:31,760 Speaker 1: experience of the music because you are you're anticipating the differences. 237 00:12:31,880 --> 00:12:34,240 Speaker 1: You know, well, you know what's interesting about that is 238 00:12:34,600 --> 00:12:37,760 Speaker 1: you talk about the space between the notes, that's the time, right, 239 00:12:37,760 --> 00:12:42,000 Speaker 1: that's that time dilation. And if you look at classic beatles, 240 00:12:42,160 --> 00:12:45,080 Speaker 1: if you look at Miles Davis, who created modal jazz, 241 00:12:45,200 --> 00:12:49,959 Speaker 1: created an entirely different way to experience the jazz notes, 242 00:12:50,000 --> 00:12:54,000 Speaker 1: blues chords, UM, you will see that those artists are 243 00:12:54,160 --> 00:12:59,400 Speaker 1: messing with time constructs and music and that maybe why 244 00:12:59,120 --> 00:13:04,760 Speaker 1: they they um continue to to really intrigue us and 245 00:13:04,920 --> 00:13:08,679 Speaker 1: persist in music history. Now, I think everyone has had 246 00:13:08,679 --> 00:13:12,880 Speaker 1: this experience. You you hear a new song and it's fantastic. 247 00:13:13,080 --> 00:13:15,280 Speaker 1: You you just love it, so you just start listening 248 00:13:15,280 --> 00:13:17,640 Speaker 1: to it over and over again, even though there's a 249 00:13:17,760 --> 00:13:20,000 Speaker 1: there's there's this voice in the back of your head 250 00:13:20,040 --> 00:13:22,640 Speaker 1: telling you don't do it, don't keep If you keep 251 00:13:22,679 --> 00:13:25,280 Speaker 1: listening to this song, you're gonna if you're not gonna 252 00:13:25,280 --> 00:13:27,080 Speaker 1: get it's not you might get sick of it, but 253 00:13:27,120 --> 00:13:30,720 Speaker 1: you also just might completely dull your appreciation of it. 254 00:13:30,720 --> 00:13:34,120 Speaker 1: It will become so familiar that will have no power 255 00:13:34,160 --> 00:13:37,360 Speaker 1: on you whatsoever. You could even become dull um. There's 256 00:13:37,360 --> 00:13:39,960 Speaker 1: a possibility of that. But if you really like that 257 00:13:40,000 --> 00:13:43,720 Speaker 1: piece of music, if it really has created this neural pathway, 258 00:13:43,880 --> 00:13:47,079 Speaker 1: you might come back to it. But for music, maybe 259 00:13:47,080 --> 00:13:49,960 Speaker 1: that doesn't grab your attention that much and you hear 260 00:13:50,080 --> 00:13:52,280 Speaker 1: over and over again. Or if there's just sort of 261 00:13:52,360 --> 00:13:57,200 Speaker 1: like these trite um constructions of music that you don't appreciate, 262 00:13:57,240 --> 00:13:59,520 Speaker 1: and again, all this is so subject. Try to get 263 00:13:59,559 --> 00:14:02,080 Speaker 1: an exam for you, though, of something that's sort of trite, 264 00:14:02,240 --> 00:14:04,280 Speaker 1: like dull music from the beginning, not something you lost 265 00:14:04,320 --> 00:14:06,480 Speaker 1: interest in, but just something the first time you heard 266 00:14:06,480 --> 00:14:09,199 Speaker 1: it you bored you to tears. I guess in a way, 267 00:14:09,240 --> 00:14:11,640 Speaker 1: it's it's almost hard to note these songs because they're 268 00:14:12,200 --> 00:14:16,400 Speaker 1: they're so outside of our our appreciation that they they're 269 00:14:16,400 --> 00:14:21,000 Speaker 1: almost invisible. That's hard to say, because um uh, by 270 00:14:21,000 --> 00:14:23,280 Speaker 1: and large, I choose songs that I listened to that 271 00:14:23,360 --> 00:14:25,720 Speaker 1: I really like. So everything that I listened to every 272 00:14:25,800 --> 00:14:28,320 Speaker 1: day is usually pretty much hand picked because I put 273 00:14:28,360 --> 00:14:31,600 Speaker 1: together all these playlists based on moods and days and 274 00:14:31,640 --> 00:14:33,760 Speaker 1: all that kind of stuff. Okay, how about something that's 275 00:14:33,800 --> 00:14:36,360 Speaker 1: thrust upon us, like say Silent Night. It's silent night 276 00:14:36,400 --> 00:14:38,960 Speaker 1: of boring song. I would tend to argue, it's kind 277 00:14:38,960 --> 00:14:42,440 Speaker 1: of boring beautiful. See, that's where I get subjective and 278 00:14:42,480 --> 00:14:44,760 Speaker 1: well and now, and this is where memory comes into play, 279 00:14:44,840 --> 00:14:47,320 Speaker 1: because that's a song that I used to sing in 280 00:14:47,360 --> 00:14:50,280 Speaker 1: Spanish in school and it was like this great moment 281 00:14:50,320 --> 00:14:52,000 Speaker 1: that I used to get up with my class and 282 00:14:52,080 --> 00:14:54,040 Speaker 1: sing it and it felt really beautiful, and maybe just 283 00:14:54,080 --> 00:14:57,600 Speaker 1: singing in Spanish it's more beautiful than in English. What 284 00:14:57,680 --> 00:15:00,960 Speaker 1: about you lay it on adults song? Well, I think 285 00:15:01,080 --> 00:15:04,320 Speaker 1: definitely Silent Night comes to mind. And there are various 286 00:15:04,800 --> 00:15:07,480 Speaker 1: hymns that I remember growing up with. I feel like, Okay. 287 00:15:07,560 --> 00:15:09,960 Speaker 1: John Wesley is the founder of Methodism, and he had 288 00:15:09,960 --> 00:15:13,280 Speaker 1: a brother who wrote a whole bunch of church hymns, 289 00:15:13,600 --> 00:15:16,800 Speaker 1: and I swear my memory is that he wrote some 290 00:15:16,840 --> 00:15:21,480 Speaker 1: of the dravest, dullest hymns ever composed. Like stuff is 291 00:15:21,560 --> 00:15:25,440 Speaker 1: just just just complete, uh, Like it's it's the the 292 00:15:25,560 --> 00:15:29,320 Speaker 1: musical equivalent of like raw tofu, you know, and you 293 00:15:29,400 --> 00:15:31,480 Speaker 1: just you just said there singing and you're like, why 294 00:15:31,480 --> 00:15:33,920 Speaker 1: did you why was this written? What? Why? Why would 295 00:15:33,920 --> 00:15:37,360 Speaker 1: you worship a god that this music is about? You know, 296 00:15:37,600 --> 00:15:40,520 Speaker 1: you felt like it didn't actually even reflect the beauty 297 00:15:40,520 --> 00:15:42,640 Speaker 1: of the human experience because I mean, I I grew 298 00:15:42,720 --> 00:15:44,720 Speaker 1: up with church hym so some church hymns, I mean 299 00:15:44,880 --> 00:15:46,680 Speaker 1: I think, are you know, have a have something really 300 00:15:46,680 --> 00:15:48,320 Speaker 1: going for him? You know, they really jibe with you, 301 00:15:48,360 --> 00:15:50,880 Speaker 1: and they have spirit and energy to them, and when 302 00:15:50,880 --> 00:15:53,560 Speaker 1: everyone sings them together, you have this communal experience with 303 00:15:53,600 --> 00:15:56,440 Speaker 1: the music. But some of that Wesley stuff just really 304 00:15:56,760 --> 00:15:59,720 Speaker 1: was draft. So your neurons weren't firing, you weren't sinking 305 00:15:59,800 --> 00:16:01,800 Speaker 1: up there with the rest of your community and getting 306 00:16:01,800 --> 00:16:05,720 Speaker 1: really into exactly yeah. Um. So one of the things 307 00:16:05,800 --> 00:16:08,160 Speaker 1: that stands out to me in terms of that is 308 00:16:08,480 --> 00:16:11,760 Speaker 1: something that could be a repetitive piece of music. And 309 00:16:11,800 --> 00:16:15,280 Speaker 1: I think about Paul McCartney simply having a wonderful Christmas time, 310 00:16:16,320 --> 00:16:19,200 Speaker 1: which I hate, sorry to say, and I think because 311 00:16:19,240 --> 00:16:22,800 Speaker 1: it's so repetitive, and cognitive scientists Daniel Levitton points out 312 00:16:22,840 --> 00:16:26,240 Speaker 1: that too much confirmation when something happens exactly as it 313 00:16:26,280 --> 00:16:29,600 Speaker 1: did before, causes us to get bored and tune out. 314 00:16:29,920 --> 00:16:32,640 Speaker 1: And he says little variations keep us alert as well 315 00:16:32,680 --> 00:16:34,920 Speaker 1: as serving to draw attention to musical moments that are 316 00:16:34,920 --> 00:16:38,560 Speaker 1: critical to the narrative. And remember we talked about storytelling 317 00:16:38,600 --> 00:16:42,400 Speaker 1: beings such a huge part of the human experience and 318 00:16:42,560 --> 00:16:46,840 Speaker 1: narrative and song being just an extension of that. Okay, 319 00:16:47,160 --> 00:16:50,040 Speaker 1: So it's like American Pie for instance. They're like a 320 00:16:50,080 --> 00:16:52,840 Speaker 1: million verses to American Pie. And if you were to 321 00:16:53,120 --> 00:16:55,520 Speaker 1: if Don mc lean were to sing each verse the 322 00:16:55,600 --> 00:17:00,360 Speaker 1: same same speed, with no no, no, no modulation, no changes, Yeah, 323 00:17:00,480 --> 00:17:03,400 Speaker 1: it would get really boring really quickly. But and then 324 00:17:03,480 --> 00:17:06,480 Speaker 1: you could argue again subjectively, that American Pie does get 325 00:17:06,480 --> 00:17:10,560 Speaker 1: really boring real quickly, but Don McClane does sing each 326 00:17:11,000 --> 00:17:13,359 Speaker 1: each verse kind of has a different energy to it 327 00:17:13,400 --> 00:17:17,640 Speaker 1: and and and stresses different parts of the of the lyrics. Yeah, 328 00:17:17,640 --> 00:17:19,520 Speaker 1: I mean, in a way your brain has to be 329 00:17:19,640 --> 00:17:23,280 Speaker 1: violated in order to be interested. Yeah, at least the 330 00:17:23,320 --> 00:17:25,600 Speaker 1: first time, the first time you kind of get hooked 331 00:17:25,600 --> 00:17:29,960 Speaker 1: into a song. And Leviton says that that this is 332 00:17:30,640 --> 00:17:33,600 Speaker 1: seen in a song like the Beatles I Want You 333 00:17:33,640 --> 00:17:35,840 Speaker 1: and She's So Heavy, He says that that's sort of 334 00:17:35,840 --> 00:17:38,600 Speaker 1: a typical rock song at some point where you sort 335 00:17:38,640 --> 00:17:41,520 Speaker 1: of think, okay, it's repetitive, it slows down, and then 336 00:17:41,560 --> 00:17:43,960 Speaker 1: it gets fast again, and you think it's going to 337 00:17:44,200 --> 00:17:46,560 Speaker 1: end by fading out in a classical way, but no 338 00:17:46,720 --> 00:17:49,480 Speaker 1: gradual fade, right. Yeah, they think your brain is thinking that, 339 00:17:49,520 --> 00:17:51,440 Speaker 1: but no, it just stops in the middle of a 340 00:17:51,560 --> 00:17:54,879 Speaker 1: chord and your brain kind of goes, WHOA. I like that. 341 00:17:54,920 --> 00:17:59,200 Speaker 1: I wasn't anticipating that, and I had been up Yeah 342 00:17:59,240 --> 00:18:01,320 Speaker 1: it does if and actually listened to it again this 343 00:18:01,359 --> 00:18:04,200 Speaker 1: morning just to make sure that that was my memory 344 00:18:04,240 --> 00:18:06,480 Speaker 1: of it as well, and it does have a very 345 00:18:06,520 --> 00:18:11,520 Speaker 1: sort of lulling, repetitive motion to it. But but then 346 00:18:11,560 --> 00:18:14,000 Speaker 1: it just sort of jammed you at the end. It 347 00:18:14,000 --> 00:18:16,960 Speaker 1: makes you sit up and take notice. Huh. Now is 348 00:18:16,960 --> 00:18:19,160 Speaker 1: it the type of stop? I think I mentioned this before. 349 00:18:19,320 --> 00:18:23,560 Speaker 1: If I'm listening to music on my iPhone and and 350 00:18:23,800 --> 00:18:27,639 Speaker 1: there's that distinctive abrupt kind of almost not it's not 351 00:18:27,680 --> 00:18:30,640 Speaker 1: an abrupt stop, but kind of a quick dive when 352 00:18:30,680 --> 00:18:32,720 Speaker 1: a call comes in and you're trying and you're listening 353 00:18:32,720 --> 00:18:35,719 Speaker 1: to a song, and that always like gives me this 354 00:18:36,160 --> 00:18:38,240 Speaker 1: lump of anxiety because I'm like, who's calling me? What 355 00:18:38,320 --> 00:18:39,800 Speaker 1: kind of what am I being called about? Is it's 356 00:18:39,840 --> 00:18:42,440 Speaker 1: something bad? We'll talk about this more later, But that's 357 00:18:42,480 --> 00:18:45,240 Speaker 1: because probably because you're your prefrontal cortex and all this, 358 00:18:45,840 --> 00:18:47,479 Speaker 1: there are eleven different parts of your brain that are 359 00:18:47,800 --> 00:18:51,240 Speaker 1: they're absorbing and responding to music, by the way, but 360 00:18:51,320 --> 00:18:54,160 Speaker 1: that's just one of them that is probably jarred out 361 00:18:54,200 --> 00:18:57,399 Speaker 1: of this sort of again being lulled into this certain state. 362 00:18:58,000 --> 00:19:01,000 Speaker 1: And by the way, when you listen to a song 363 00:19:01,200 --> 00:19:05,199 Speaker 1: that you find particularly pleasurable or it's is a novel 364 00:19:05,280 --> 00:19:07,919 Speaker 1: song and intrigues you in a different way, you're going 365 00:19:08,000 --> 00:19:11,160 Speaker 1: to get a release of dopamine. And here's the crazy thing. 366 00:19:12,000 --> 00:19:14,840 Speaker 1: If you like that song and the next time you're 367 00:19:14,840 --> 00:19:16,919 Speaker 1: just thinking about that song or just a couple of 368 00:19:16,960 --> 00:19:20,040 Speaker 1: the notes begin to play, your memory is going to 369 00:19:20,160 --> 00:19:22,680 Speaker 1: resurrect that feeling of pleasure and dopamine is going to 370 00:19:22,720 --> 00:19:26,200 Speaker 1: start flowing again. So again you can start to see 371 00:19:26,240 --> 00:19:29,280 Speaker 1: where these neural pathways are starting to make u their 372 00:19:29,320 --> 00:19:33,439 Speaker 1: self known to your brain and memory is kind of 373 00:19:33,480 --> 00:19:36,159 Speaker 1: hooking up with it. And to just retouch on the 374 00:19:36,160 --> 00:19:38,359 Speaker 1: whole mind body connection thing, you kind of have to 375 00:19:38,359 --> 00:19:40,760 Speaker 1: think about this. When you're talking about dopamine being released 376 00:19:40,760 --> 00:19:43,359 Speaker 1: and all this again, it's not you're not even just 377 00:19:43,440 --> 00:19:45,080 Speaker 1: listening to music with your ears. You're not even just 378 00:19:45,119 --> 00:19:48,200 Speaker 1: listening to music with your brain. Your body listens to music. 379 00:19:48,520 --> 00:19:50,600 Speaker 1: Oh yeah, yeah, and we know that your heart rate 380 00:19:50,640 --> 00:19:53,480 Speaker 1: will sync up to the music, um that you'll begin 381 00:19:53,520 --> 00:19:56,560 Speaker 1: to respond to a full body experience. All right, let's 382 00:19:56,560 --> 00:19:58,200 Speaker 1: take a quick break, and when we get back, we're 383 00:19:58,200 --> 00:20:03,040 Speaker 1: gonna talk about how music can actually be gamed for 384 00:20:03,160 --> 00:20:06,200 Speaker 1: the retail experience. And we all have heard music over 385 00:20:06,200 --> 00:20:08,600 Speaker 1: the loudspeaker and when you're at grocery store elsewhere, So 386 00:20:08,680 --> 00:20:10,360 Speaker 1: let's find out what's going on when we get back. 387 00:20:19,880 --> 00:20:23,600 Speaker 1: All right, we're back, we're grocery shopping. We're thinking about 388 00:20:23,680 --> 00:20:26,119 Speaker 1: the study called the effects of music and in a 389 00:20:26,280 --> 00:20:29,760 Speaker 1: retail setting on real and perceived shopping times. And we 390 00:20:29,840 --> 00:20:35,400 Speaker 1: find out that subjects report that when they are shopping 391 00:20:36,080 --> 00:20:39,520 Speaker 1: and they're listening to music that seems familiar to them, 392 00:20:39,560 --> 00:20:44,160 Speaker 1: that they think that they have been lingering longer then 393 00:20:44,200 --> 00:20:47,359 Speaker 1: they actually have been. In fact, it's the music that's 394 00:20:47,480 --> 00:20:52,080 Speaker 1: unfamiliar to them that causes them to linger longer. That 395 00:20:52,240 --> 00:20:57,200 Speaker 1: is seems kind of complicated. Well it seems you know, counterintuitive, right. Yeah, 396 00:20:57,320 --> 00:20:59,000 Speaker 1: So like if I go into a store and they're 397 00:20:59,000 --> 00:21:02,760 Speaker 1: playing my favorite song, how does that affect my perception 398 00:21:02,800 --> 00:21:06,240 Speaker 1: of my time in that store? Okay, so you could 399 00:21:06,240 --> 00:21:09,440 Speaker 1: say that your prefrontal cortex again, that's trying to anticipate things. 400 00:21:10,040 --> 00:21:14,600 Speaker 1: It's encountering something familiar and it knows what's going on next. 401 00:21:14,640 --> 00:21:18,639 Speaker 1: Then time begins to dilate. It seems longer, right because 402 00:21:18,680 --> 00:21:22,119 Speaker 1: you already know what's going on in the background. But 403 00:21:22,560 --> 00:21:24,160 Speaker 1: if you have a new piece of music, then you're preferm. 404 00:21:24,200 --> 00:21:27,439 Speaker 1: The cortex cannot anticipate what's about to happen next, and 405 00:21:27,520 --> 00:21:30,560 Speaker 1: it kind of throws a little you know, Mike, you'rerench 406 00:21:30,600 --> 00:21:34,280 Speaker 1: into the whole thing, and your brain gets distracted and 407 00:21:34,320 --> 00:21:36,800 Speaker 1: you're not keeping time in the way that you normally would. 408 00:21:36,800 --> 00:21:39,760 Speaker 1: You can't anticipate things. It kind of comes back to 409 00:21:39,800 --> 00:21:41,720 Speaker 1: I've thrown this out before, the old myth of the 410 00:21:42,040 --> 00:21:45,399 Speaker 1: vampire and some variations of it. You leave like a 411 00:21:45,600 --> 00:21:48,239 Speaker 1: some sort of intricate knot out or some sort of 412 00:21:48,280 --> 00:21:50,240 Speaker 1: like a piece of woven fabric out of the vampire, 413 00:21:50,240 --> 00:21:53,080 Speaker 1: and the vampire will pick this up and the vampire 414 00:21:53,119 --> 00:21:55,679 Speaker 1: is so obsessed with it, untying the nod or figuring 415 00:21:55,720 --> 00:21:58,040 Speaker 1: out the pattern, that he or she will forget that 416 00:21:58,080 --> 00:21:59,480 Speaker 1: the sun is going to come up and then will 417 00:21:59,520 --> 00:22:03,080 Speaker 1: burn up when when when Donn arrives. And our minds 418 00:22:03,080 --> 00:22:04,800 Speaker 1: are kind of like that. We've talked about this before. 419 00:22:04,840 --> 00:22:08,880 Speaker 1: You throw us an incomplete conversation. You throw us any 420 00:22:08,960 --> 00:22:12,720 Speaker 1: kind of riddle, something where there is a pattern to perceive, 421 00:22:13,520 --> 00:22:16,560 Speaker 1: and and it will capture us. And and and if 422 00:22:16,600 --> 00:22:19,520 Speaker 1: you're in a store and the music is composing a 423 00:22:19,600 --> 00:22:22,880 Speaker 1: riddle to you, your mind even in the background, can help. 424 00:22:23,119 --> 00:22:25,680 Speaker 1: But go after that riddle. Go after try and understand it, 425 00:22:25,720 --> 00:22:28,280 Speaker 1: try to anticipate it and figure out its patterns. Yeah, 426 00:22:28,280 --> 00:22:30,840 Speaker 1: I mean, unless you're a zen master, you're probably not 427 00:22:31,000 --> 00:22:34,119 Speaker 1: paying attention to all the different auditory cues and the 428 00:22:34,200 --> 00:22:36,160 Speaker 1: visual cues in front of you. So you gotta let 429 00:22:36,160 --> 00:22:38,680 Speaker 1: this stuff play in the background and let your unconscious 430 00:22:38,720 --> 00:22:41,560 Speaker 1: deal with it. But what happens is that you are, 431 00:22:41,600 --> 00:22:45,000 Speaker 1: you know, changing your choices, changing your behavior as a result, 432 00:22:45,080 --> 00:22:48,760 Speaker 1: not radically, but nonetheless you're changing your behavior. And one 433 00:22:48,800 --> 00:22:54,800 Speaker 1: example of this is music and alcohol consumption. Oh, you're 434 00:22:54,800 --> 00:22:57,520 Speaker 1: of course talking about that. Nice quiet music that they 435 00:22:57,560 --> 00:23:01,119 Speaker 1: play in bars, right, I don't know, I don't even 436 00:23:01,160 --> 00:23:03,480 Speaker 1: think they play that anymore. No, it's but but but no, 437 00:23:03,600 --> 00:23:06,720 Speaker 1: it's it's always loud. You go into a bar and 438 00:23:06,720 --> 00:23:08,960 Speaker 1: and it's been a while since i've I've I've gone 439 00:23:09,000 --> 00:23:11,960 Speaker 1: to a bar, But it's always this really loud environment 440 00:23:11,960 --> 00:23:13,479 Speaker 1: and you're having to shout at the top of your 441 00:23:13,520 --> 00:23:15,080 Speaker 1: lungs to talk to the person right next to you. 442 00:23:16,000 --> 00:23:19,159 Speaker 1: And it's it's frustrating. Yeah, it's but and and at 443 00:23:19,200 --> 00:23:21,239 Speaker 1: times I'm thinking this place is broken. Why don't they 444 00:23:21,240 --> 00:23:23,159 Speaker 1: turn the music down so we can all have a 445 00:23:23,200 --> 00:23:26,560 Speaker 1: conversation here. But they know that's not going to sell drinks. Yeah, 446 00:23:26,600 --> 00:23:31,280 Speaker 1: they know that for every decibel above deciples, they're going 447 00:23:31,359 --> 00:23:35,720 Speaker 1: to get you to buy more drinks, possibly even more food. 448 00:23:36,440 --> 00:23:40,800 Speaker 1: Turns out that above deciples can actually reduce your mental 449 00:23:40,840 --> 00:23:45,720 Speaker 1: and physical reaction times by and once you get up 450 00:23:45,720 --> 00:23:49,440 Speaker 1: around twenty decibles, you find that the sales go up 451 00:23:50,000 --> 00:23:52,240 Speaker 1: of alcohol. Now, there are a couple of different reasons 452 00:23:52,240 --> 00:23:54,000 Speaker 1: that we'll get into in a moment, but I also 453 00:23:54,080 --> 00:23:58,200 Speaker 1: wanted to talk again back into this whole idea about 454 00:23:58,280 --> 00:24:00,960 Speaker 1: in store music and how it affects us. There was 455 00:24:01,080 --> 00:24:03,879 Speaker 1: an interesting study by the Journal of Applied Psychology in 456 00:24:03,920 --> 00:24:08,560 Speaker 1: which researchers played an alternate days stereotypical French or German 457 00:24:08,680 --> 00:24:12,320 Speaker 1: music in a UK store selling wines. And what did 458 00:24:12,320 --> 00:24:15,720 Speaker 1: they find. They found that the German music days more 459 00:24:15,840 --> 00:24:21,040 Speaker 1: German wine was sold. The French music days more French 460 00:24:21,640 --> 00:24:25,439 Speaker 1: wine was sold. So again, here's this music playing on 461 00:24:25,480 --> 00:24:28,480 Speaker 1: your unconscious and playing on your decisions. And it's kind 462 00:24:28,480 --> 00:24:29,920 Speaker 1: of like if you when you go into a place 463 00:24:29,920 --> 00:24:33,639 Speaker 1: that sells fancy things and they're playing classical music or 464 00:24:33,680 --> 00:24:36,119 Speaker 1: some sort of cultured music, and you're you're there and 465 00:24:36,119 --> 00:24:38,560 Speaker 1: you're thinking, I am about to purchase things that are 466 00:24:38,960 --> 00:24:42,720 Speaker 1: classy or or or or ritzy, or you go into uh, 467 00:24:43,000 --> 00:24:45,080 Speaker 1: some sort of you know, hip clothing, so are obviously 468 00:24:45,080 --> 00:24:48,400 Speaker 1: they're gonna play hip young music, and therefore our brain 469 00:24:48,440 --> 00:24:50,800 Speaker 1: can help me make that association. Well, you know in 470 00:24:50,880 --> 00:24:52,600 Speaker 1: terms of the classical thing. I mean, you just hit 471 00:24:52,800 --> 00:24:54,600 Speaker 1: right on it. Because there's just a study that looks 472 00:24:54,640 --> 00:24:58,720 Speaker 1: at restaurants that play classical music. These are upscale restaurants, 473 00:24:58,760 --> 00:25:02,760 Speaker 1: and they found that people are playing into that narrative 474 00:25:02,880 --> 00:25:07,960 Speaker 1: I'm at a classy place with music that's beautiful and 475 00:25:07,960 --> 00:25:12,159 Speaker 1: and uh and I'm my highest human self with tons 476 00:25:12,200 --> 00:25:15,040 Speaker 1: of money. Sure, one more dessert? Why not? I mean 477 00:25:15,119 --> 00:25:17,439 Speaker 1: they found that people actually spent more money when they 478 00:25:17,440 --> 00:25:20,600 Speaker 1: listened to that classical music in those restaurants. So at heart, 479 00:25:20,920 --> 00:25:23,479 Speaker 1: if you're somewhere where someone is trying to sell you 480 00:25:23,560 --> 00:25:28,679 Speaker 1: something and there is music playing, that music is is 481 00:25:28,680 --> 00:25:31,520 Speaker 1: like a dagger stabbing you right in your willpower, right 482 00:25:31,600 --> 00:25:35,680 Speaker 1: in your your ability to control your consumption, to allow 483 00:25:35,840 --> 00:25:40,199 Speaker 1: common sense to enter into your purchasing decision. Yeah, and 484 00:25:40,440 --> 00:25:44,160 Speaker 1: it's it is interesting how people, really retailers, really pay 485 00:25:44,200 --> 00:25:47,400 Speaker 1: attention to music and how it affects you. I don't 486 00:25:47,400 --> 00:25:50,080 Speaker 1: think all of them are that successful in it. No, 487 00:25:50,240 --> 00:25:53,240 Speaker 1: And then I'm sure there are some people, especially independent retails, 488 00:25:53,240 --> 00:25:54,760 Speaker 1: who were just like, oh, we got have some music playing, 489 00:25:54,800 --> 00:25:56,800 Speaker 1: let's just put something on. And and there may be 490 00:25:57,000 --> 00:26:00,439 Speaker 1: getting into the whole willpower stabbing thing by accident, but 491 00:26:00,680 --> 00:26:04,560 Speaker 1: that's the reality exactly. Now. Nicholas go again. He is 492 00:26:04,600 --> 00:26:07,600 Speaker 1: a professor of behavioral sciences. He conducted a studying on 493 00:26:07,720 --> 00:26:11,000 Speaker 1: music and alcohol consumption. He said that there are two 494 00:26:11,080 --> 00:26:13,960 Speaker 1: hypotheses for that behavior at the bar where there is 495 00:26:14,000 --> 00:26:17,919 Speaker 1: a hundred twenty decibels or more of music pounding your ears. 496 00:26:18,040 --> 00:26:22,080 Speaker 1: He says that the first hypothesis is that, in agreement 497 00:26:22,119 --> 00:26:24,800 Speaker 1: with previous research on music, food, and drink, high sound 498 00:26:24,840 --> 00:26:28,200 Speaker 1: levels may cause higher arousal. So if you think about 499 00:26:28,200 --> 00:26:30,760 Speaker 1: it this way, the subjects are drinking faster and ordering 500 00:26:31,600 --> 00:26:36,359 Speaker 1: more drinks because their motor cortex, uh in their visual 501 00:26:36,400 --> 00:26:39,320 Speaker 1: cortex could be over stimulated. So we've talked about this 502 00:26:39,359 --> 00:26:42,639 Speaker 1: in terms of sinking up our our movements, um, and 503 00:26:42,720 --> 00:26:47,520 Speaker 1: how music sometimes feels like it's actually compelling us to move. Yeah. 504 00:26:47,560 --> 00:26:49,439 Speaker 1: I mean you have like a really hopping bar, and 505 00:26:49,440 --> 00:26:52,080 Speaker 1: you're gonna have what loud, upbeat music. You're gonna have 506 00:26:52,720 --> 00:26:56,280 Speaker 1: lower light levels, but also light sometimes kind of interesting lights. 507 00:26:56,280 --> 00:26:58,880 Speaker 1: Maybe it's even like Christmas lights or just the light, uh, 508 00:26:58,960 --> 00:27:00,840 Speaker 1: you know, glistening on all the bottles. You're gonna have 509 00:27:00,920 --> 00:27:03,320 Speaker 1: people moving around, so yeah, you're gonna have this heightened 510 00:27:03,320 --> 00:27:06,280 Speaker 1: state of arousal. And so that it makes sense that 511 00:27:06,280 --> 00:27:10,280 Speaker 1: that would that would factor into increased consumption of beverages 512 00:27:10,680 --> 00:27:13,680 Speaker 1: and or cheesy fries. Yeah, because everything feels like faster, right, 513 00:27:13,680 --> 00:27:15,400 Speaker 1: Like I gotta get this cheesy fries on my throat 514 00:27:15,480 --> 00:27:18,159 Speaker 1: now because the music is telling me to Um. This 515 00:27:18,359 --> 00:27:23,280 Speaker 1: second hypothesis is that it may have a negative social 516 00:27:23,400 --> 00:27:26,400 Speaker 1: effect on your social interaction, right, because you can't hear 517 00:27:26,440 --> 00:27:29,520 Speaker 1: each other. So the social surrogate is just to drink 518 00:27:29,560 --> 00:27:32,440 Speaker 1: more because I mean, there's just a lack of space 519 00:27:32,480 --> 00:27:35,920 Speaker 1: between conversations, right, so you fill that with more drinking. Yeah, 520 00:27:35,960 --> 00:27:38,879 Speaker 1: I mean, I definitely remember that from from college. But 521 00:27:38,960 --> 00:27:40,520 Speaker 1: part of that was I couldn't get aybody to talk 522 00:27:40,520 --> 00:27:44,160 Speaker 1: to me anyway, um, because I don't believe it. No, well, 523 00:27:44,320 --> 00:27:46,520 Speaker 1: I was. I'm not saying I if I had gone 524 00:27:46,560 --> 00:27:48,440 Speaker 1: to the right place, I'm sure people would have talked 525 00:27:48,480 --> 00:27:50,439 Speaker 1: to me. For some reason, I had this crazy idea 526 00:27:50,480 --> 00:27:53,280 Speaker 1: that I needed to go to this like horrible college 527 00:27:53,320 --> 00:27:55,520 Speaker 1: bar on the strip and try to meet people. And 528 00:27:55,560 --> 00:27:57,840 Speaker 1: it was a terrible idea. You got to get the 529 00:27:57,920 --> 00:28:00,560 Speaker 1: biker bars, man, that would have been a great idea. 530 00:28:00,600 --> 00:28:03,200 Speaker 1: I would have told you that back then, that I 531 00:28:03,200 --> 00:28:04,920 Speaker 1: should have got got to do a coffee shop or something. 532 00:28:04,920 --> 00:28:07,719 Speaker 1: But anyway, that's that's the heart of it. Though I 533 00:28:07,760 --> 00:28:11,639 Speaker 1: do remember there being a comfort and walking around with 534 00:28:11,680 --> 00:28:15,320 Speaker 1: a drink because if I suddenly feel awkward for not 535 00:28:15,560 --> 00:28:18,440 Speaker 1: talking with anyone, for being on my own. Well, then 536 00:28:18,680 --> 00:28:20,320 Speaker 1: this is the drink, this is what I'm doing. I 537 00:28:20,320 --> 00:28:23,840 Speaker 1: can simply drink this. And I've heard people who who 538 00:28:24,080 --> 00:28:26,560 Speaker 1: currently or having the past smoke cigarettes say the same 539 00:28:26,600 --> 00:28:29,240 Speaker 1: thing about that, that if there's a you know, this 540 00:28:29,320 --> 00:28:31,199 Speaker 1: sort of social anxiety of what am I doing here? 541 00:28:31,240 --> 00:28:35,679 Speaker 1: What should I be doing? The cigarette is an instant task, 542 00:28:36,560 --> 00:28:38,720 Speaker 1: not only in something you can do with your hands 543 00:28:38,720 --> 00:28:40,840 Speaker 1: as well in your mouth. And it's like, of course 544 00:28:40,840 --> 00:28:42,800 Speaker 1: I'm not talking to somebody, I'm drinking this drink, I'm 545 00:28:42,800 --> 00:28:45,120 Speaker 1: smoking this cigarette, etcetera. Isn't it funny that we have 546 00:28:45,160 --> 00:28:48,120 Speaker 1: to come up with these little stories and we're not 547 00:28:48,160 --> 00:28:50,520 Speaker 1: even communicating them verbally to someone. We just have to 548 00:28:50,520 --> 00:28:53,080 Speaker 1: take out a cigarette and and try to say in 549 00:28:53,120 --> 00:28:56,760 Speaker 1: a way I'm doing something really, yeah, you're you're you know, 550 00:28:56,840 --> 00:29:00,840 Speaker 1: filling out that scene in the the the linear experience 551 00:29:00,840 --> 00:29:03,760 Speaker 1: of time in that book, that is your life. Indeed, 552 00:29:04,320 --> 00:29:08,160 Speaker 1: so this idea of losing ourselves in music, the zen 553 00:29:08,480 --> 00:29:12,320 Speaker 1: of the prefrontal cortex, that's that's really the story here, 554 00:29:13,000 --> 00:29:17,959 Speaker 1: because if you look at these periods of intense perceptual engagement, 555 00:29:18,840 --> 00:29:23,080 Speaker 1: like being enraptured by music activity in the prefrontal cortex, 556 00:29:23,320 --> 00:29:27,720 Speaker 1: which generally focuses on introspection, will shut down. And this 557 00:29:27,800 --> 00:29:31,440 Speaker 1: was seen in research by Raphael Maloch and Ellen Goldberg 558 00:29:31,560 --> 00:29:34,800 Speaker 1: of the Wiseman Institute of Science. They designed this experiment 559 00:29:34,880 --> 00:29:37,920 Speaker 1: that have participants looking at images and listening to music 560 00:29:37,960 --> 00:29:40,760 Speaker 1: while undergoing f m R I and they found the 561 00:29:40,840 --> 00:29:45,640 Speaker 1: activity in the self related prefrontal cortex with silence during 562 00:29:45,680 --> 00:29:49,480 Speaker 1: intense sensory process. So in a cent you're shutting down 563 00:29:49,760 --> 00:29:54,800 Speaker 1: the default mode network with some very calming music. Yeah, 564 00:29:54,840 --> 00:29:58,640 Speaker 1: and this works for both familiar music and unfamiliar music, right, 565 00:29:58,720 --> 00:30:02,400 Speaker 1: because in the case of familiary music, you your prefrontal 566 00:30:02,440 --> 00:30:05,920 Speaker 1: cortex really needs to rely more on the other parts 567 00:30:05,920 --> 00:30:08,960 Speaker 1: of the brain for perception, for sensory perception, to try 568 00:30:08,960 --> 00:30:11,280 Speaker 1: to figure out what it is. So your prefrontal cortex, 569 00:30:11,600 --> 00:30:14,960 Speaker 1: the eye, the me, the the seat of judgment kind 570 00:30:14,960 --> 00:30:18,720 Speaker 1: of gets quiet. And if you are listening to familiar 571 00:30:18,760 --> 00:30:21,560 Speaker 1: music that's pleasurable to you, well, then you're just getting 572 00:30:21,560 --> 00:30:25,000 Speaker 1: caught up in that that sort of zen like moment 573 00:30:25,240 --> 00:30:29,320 Speaker 1: of anticipating what's coming next in a pleasurable way. You 574 00:30:29,360 --> 00:30:33,320 Speaker 1: are dipping into that stream of memory, and memory I 575 00:30:33,360 --> 00:30:36,280 Speaker 1: think is just at the at the end of the day, 576 00:30:36,320 --> 00:30:40,040 Speaker 1: it's something that's hypnotizing. Yeah. So we've talked about the 577 00:30:40,320 --> 00:30:43,280 Speaker 1: power of music that we know, music that has not 578 00:30:43,480 --> 00:30:46,280 Speaker 1: become dull and uh and ordinary for us, but but 579 00:30:46,440 --> 00:30:49,080 Speaker 1: is a is a journey that we can anticipate all 580 00:30:49,120 --> 00:30:51,760 Speaker 1: the little curves in the road. We've talked about how 581 00:30:51,880 --> 00:30:54,520 Speaker 1: new music is super engaging. So I can't help but 582 00:30:54,560 --> 00:30:58,800 Speaker 1: think about the power of both remixes and covers, as 583 00:30:58,840 --> 00:31:02,520 Speaker 1: well as the use of known songs in a well 584 00:31:02,600 --> 00:31:06,560 Speaker 1: crafted DJ mix, because then you get that that interesting 585 00:31:06,600 --> 00:31:10,240 Speaker 1: blend of of the familiar with with these new changes, 586 00:31:10,440 --> 00:31:12,360 Speaker 1: like what part of the song are they going to use, 587 00:31:12,480 --> 00:31:15,120 Speaker 1: how are they going to adjust the tempo, what new 588 00:31:15,160 --> 00:31:17,720 Speaker 1: spin are they putting on this particular cover of the song? 589 00:31:18,320 --> 00:31:21,760 Speaker 1: You know? Yeah, Actually, Um, there's a tribute album to 590 00:31:21,840 --> 00:31:24,240 Speaker 1: Nick Drake that I was listening to and I can't 591 00:31:24,240 --> 00:31:27,680 Speaker 1: remember that ortis who recorded Pink Moon, but it's beautiful 592 00:31:27,720 --> 00:31:30,360 Speaker 1: And I never thought that I would ever say, like, oh, 593 00:31:30,440 --> 00:31:33,720 Speaker 1: the Nick Drake original, it's can't be outdone, but it 594 00:31:33,800 --> 00:31:36,120 Speaker 1: may have been. And yet those centers of pleasure because 595 00:31:36,120 --> 00:31:40,400 Speaker 1: they're drawing on memory. Yeah, um, also memory that's connected 596 00:31:40,480 --> 00:31:43,240 Speaker 1: to whatever happened the first time I, you know, listen 597 00:31:43,320 --> 00:31:46,320 Speaker 1: to that song. They're all engaged, and then you get 598 00:31:46,320 --> 00:31:48,320 Speaker 1: the like, oh, I wonder how this phrasing is going 599 00:31:48,360 --> 00:31:51,480 Speaker 1: to work out. It's not how I anticipated. Yeah, we 600 00:31:51,480 --> 00:31:55,200 Speaker 1: were talking talking about the way that music alters our 601 00:31:55,240 --> 00:31:57,440 Speaker 1: perception of time. It is crazy when you listen to 602 00:31:57,480 --> 00:31:59,360 Speaker 1: a song that you haven't listened to in a very 603 00:31:59,400 --> 00:32:02,480 Speaker 1: long time, and there really is this sense of time 604 00:32:02,480 --> 00:32:06,840 Speaker 1: travel into the past because suddenly you're you're almost physically 605 00:32:06,880 --> 00:32:11,040 Speaker 1: there again. Um. I think of a few different songs. 606 00:32:11,280 --> 00:32:13,720 Speaker 1: I think they were tory Amos songs that I listened 607 00:32:13,720 --> 00:32:15,760 Speaker 1: to a lot in college and then I just kind 608 00:32:15,760 --> 00:32:18,320 Speaker 1: of like really overdated on listening to tor Amos for 609 00:32:18,400 --> 00:32:22,600 Speaker 1: long and then just stopped forever. But occasionally I'll hear 610 00:32:22,640 --> 00:32:24,560 Speaker 1: one of those songs again, and it's kind of this 611 00:32:24,640 --> 00:32:27,440 Speaker 1: uncanny feeling because suddenly I'm I'm kind of in my 612 00:32:27,520 --> 00:32:30,360 Speaker 1: old skin again and this old and like the ghost 613 00:32:30,400 --> 00:32:33,120 Speaker 1: of an old mindset, and it's, uh, it's it's almost 614 00:32:33,120 --> 00:32:35,280 Speaker 1: it's it's really kind of haunting, right. And then if 615 00:32:35,320 --> 00:32:37,640 Speaker 1: you think about your brain actually, like you know, the 616 00:32:37,720 --> 00:32:40,000 Speaker 1: chemical changes in your brain that are occurring, right then 617 00:32:40,320 --> 00:32:42,880 Speaker 1: if that song is changing that moment for you in 618 00:32:42,920 --> 00:32:46,240 Speaker 1: your perception of time. Yeah. So, given everything that we've 619 00:32:46,240 --> 00:32:48,320 Speaker 1: talked about here, the way that songs can alter our 620 00:32:48,320 --> 00:32:51,120 Speaker 1: perception of time, that they can make us travel into 621 00:32:51,160 --> 00:32:55,520 Speaker 1: past experiences. Uh. Is there any music that is dangerous 622 00:32:55,560 --> 00:33:00,520 Speaker 1: to listen to? Yes? According to the Royal A Mobile 623 00:33:00,680 --> 00:33:03,840 Speaker 1: Club Foundation for Motoring in two thousand and four, they 624 00:33:03,960 --> 00:33:07,280 Speaker 1: deemed Wagner's A Ride of the Valkyrie also known as 625 00:33:07,320 --> 00:33:11,480 Speaker 1: Snoopy in My House Snoopy song, Um, that being the 626 00:33:11,520 --> 00:33:15,000 Speaker 1: most dangerous music to listen to while driving. I can 627 00:33:15,040 --> 00:33:17,800 Speaker 1: see that, yeah, because it's got a very driving feel 628 00:33:17,880 --> 00:33:19,800 Speaker 1: to it. I hear it, I instantly think of the 629 00:33:19,840 --> 00:33:25,800 Speaker 1: helicopters swooping in an apocalypse. Now do do do that one? Right? 630 00:33:26,440 --> 00:33:28,440 Speaker 1: But this is the thing they say that it's not 631 00:33:28,520 --> 00:33:31,520 Speaker 1: so much the distraction of the song, but the substitution 632 00:33:31,640 --> 00:33:35,800 Speaker 1: of the frenzied tempo of the music that challenges driver's 633 00:33:35,840 --> 00:33:38,960 Speaker 1: normal sense of speed and the objective que of the 634 00:33:39,000 --> 00:33:43,120 Speaker 1: spedometer and causes them to speed, which makes me think, 635 00:33:43,720 --> 00:33:45,840 Speaker 1: you know, maybe there are a couple of songs that 636 00:33:45,920 --> 00:33:47,960 Speaker 1: I drive too fast. In fact, I know that I 637 00:33:48,000 --> 00:33:49,880 Speaker 1: don't well what are they? Because I have a couple 638 00:33:49,920 --> 00:33:51,360 Speaker 1: as well. I don't know if I really want to 639 00:33:51,360 --> 00:33:56,680 Speaker 1: admit it, but um, I kind of pops I love it, okay, yeah, 640 00:33:57,080 --> 00:34:00,360 Speaker 1: and you're familiar with that. I don't think I am. 641 00:34:00,400 --> 00:34:03,080 Speaker 1: I kind of pop is the name of the group, 642 00:34:03,120 --> 00:34:05,760 Speaker 1: I guess, and the songs. I love it. It's just 643 00:34:05,800 --> 00:34:10,080 Speaker 1: a really like techno rockets kind of You can play 644 00:34:10,080 --> 00:34:12,560 Speaker 1: it really loud and just feel like you're speeding through 645 00:34:13,080 --> 00:34:14,719 Speaker 1: time and space. In fact, I listened to it a 646 00:34:14,760 --> 00:34:18,880 Speaker 1: lot when I'm working out, Um, what do you drive like? 647 00:34:18,920 --> 00:34:21,960 Speaker 1: A HELLI in too Well. I don't listen to these 648 00:34:22,239 --> 00:34:24,360 Speaker 1: either these tracks much in the car anymore, but I 649 00:34:24,400 --> 00:34:28,960 Speaker 1: do specifically remember driving too Fast because I was listening 650 00:34:29,000 --> 00:34:33,399 Speaker 1: to either the theme song from Conan the Barbarian, which 651 00:34:33,440 --> 00:34:35,680 Speaker 1: has a you know, bump bump bum bum bum bum bump, 652 00:34:35,840 --> 00:34:39,000 Speaker 1: very driving kind of theme to it, and then also 653 00:34:39,400 --> 00:34:42,560 Speaker 1: Led Zeppelin's Immigrant Song, which definitely has a very driving 654 00:34:42,840 --> 00:34:46,880 Speaker 1: uh you know kind of oh yeah it does, and 655 00:34:47,000 --> 00:34:49,640 Speaker 1: sense of mention just makes my would make my my 656 00:34:49,640 --> 00:34:51,759 Speaker 1: my foot just go down on the gas right. Because 657 00:34:51,800 --> 00:34:54,920 Speaker 1: again visual and more motor cortex are all getting into this, 658 00:34:55,000 --> 00:34:58,000 Speaker 1: and you do get this sense of movement. And another 659 00:34:58,040 --> 00:35:00,960 Speaker 1: one is White Stripes seven Nation. You got to be 660 00:35:00,960 --> 00:35:03,279 Speaker 1: careful with that one. I can imagine that that's that's 661 00:35:03,280 --> 00:35:08,319 Speaker 1: a great track and definitely has that driving feel to it. So, yes, 662 00:35:08,320 --> 00:35:11,640 Speaker 1: there can be dangerous music in a sense, because again, 663 00:35:11,719 --> 00:35:14,600 Speaker 1: music is a is a full body experience, so in 664 00:35:14,640 --> 00:35:16,520 Speaker 1: a sense, it's it's kind of like a drug, and 665 00:35:16,560 --> 00:35:19,480 Speaker 1: you've got to be careful how you mix a drug 666 00:35:19,800 --> 00:35:23,000 Speaker 1: and your experience of the physical world. You know, this 667 00:35:23,200 --> 00:35:25,279 Speaker 1: just reminds me to you of this little factoid that 668 00:35:25,719 --> 00:35:30,520 Speaker 1: during the Korean War, Um, they would the Americans would 669 00:35:30,520 --> 00:35:35,680 Speaker 1: take out speakers and blast doors day music because apparently 670 00:35:35,800 --> 00:35:40,839 Speaker 1: that was so jarring because it's so um it's so 671 00:35:40,960 --> 00:35:45,640 Speaker 1: like anti you know, munitions coming at you, kind of 672 00:35:45,760 --> 00:35:49,640 Speaker 1: music like fly Me to the Moon, so odd and 673 00:35:49,719 --> 00:35:55,520 Speaker 1: so out of place that it would actually calm enemy fire. Interesting. 674 00:35:55,520 --> 00:35:58,239 Speaker 1: I never you can thought about the possibility of weaponized 675 00:35:58,280 --> 00:36:00,759 Speaker 1: doors day tracks, right, I know we've the opposite, We've 676 00:36:00,760 --> 00:36:05,040 Speaker 1: heard of things that would Yeah, but there you go. 677 00:36:05,160 --> 00:36:07,920 Speaker 1: There's non dangerous music as well. Um. I would love 678 00:36:08,000 --> 00:36:10,520 Speaker 1: to hear from you guys out there what your dangerous 679 00:36:10,560 --> 00:36:13,640 Speaker 1: song is. Yeah, what's your dangerous song, what's your most 680 00:36:13,680 --> 00:36:17,279 Speaker 1: calming song? What song bores you to death? Anything we 681 00:36:17,360 --> 00:36:21,040 Speaker 1: touched on here, we'd love to hear your personal feedback 682 00:36:21,120 --> 00:36:23,640 Speaker 1: on it. Where can you find? As well as always, 683 00:36:23,640 --> 00:36:25,560 Speaker 1: you can go stuff to blow your Mind dot com. 684 00:36:25,560 --> 00:36:28,280 Speaker 1: That's the mothership. That's where you will find our blog post, 685 00:36:28,680 --> 00:36:32,080 Speaker 1: every podcast episode we've ever done, video projects that we're 686 00:36:32,120 --> 00:36:33,640 Speaker 1: up to, as well as links out to our various 687 00:36:33,640 --> 00:36:36,800 Speaker 1: social media accounts like our Facebook, our Twitter, are Tumbler, 688 00:36:36,800 --> 00:36:38,799 Speaker 1: our Google Plus. You can find a link to our 689 00:36:38,800 --> 00:36:42,040 Speaker 1: SoundCloud page. Is that's your preferred method of streaming your audio. 690 00:36:42,280 --> 00:36:45,239 Speaker 1: You can find links to our YouTube page. That's mind 691 00:36:45,280 --> 00:36:47,520 Speaker 1: Stuff Show. If you want to continue to support our 692 00:36:47,600 --> 00:36:51,920 Speaker 1: video products, be sure to follow us there um every follower, 693 00:36:52,040 --> 00:36:55,520 Speaker 1: every of you helps and uh of course there is 694 00:36:55,560 --> 00:36:58,000 Speaker 1: a more old fashioned way if you want to interact 695 00:36:58,000 --> 00:36:59,880 Speaker 1: with us. I like to think of as an intimate 696 00:37:00,040 --> 00:37:04,280 Speaker 1: away to collect your thoughts and then put them together. 697 00:37:04,320 --> 00:37:07,520 Speaker 1: However you'd like haiku, just normal senses, whatever, you can 698 00:37:07,560 --> 00:37:14,640 Speaker 1: send them to blow the mind at discovery dot com 699 00:37:14,680 --> 00:37:17,120 Speaker 1: For more on this and thousands of other topics. Because 700 00:37:17,160 --> 00:37:23,960 Speaker 1: it how stuff works dot com