Speaker 1: Thing, get thing, get thing, thing getting thinet thinkt thing
Speaker 1: think think think thing thing thinking think think thing thing. Okay,
Speaker 1: my mom's side of the family has this little song
Speaker 1: and we sing to kids. And I remember when my
Speaker 1: youngest cousin, Jesse, was tiny, like maybe nine months old.
Speaker 1: Somebody sat around a blanket and did the thinking think song,
Speaker 1: and this wet mouthed, grinning kid starts dancing, like really dancing,
Speaker 1: and all the women are freaking out because look at
Speaker 1: this tiny thing breaking it down. I was a teenager then,
Speaker 1: but I was legitimately taken aback, Like, how does this
Speaker 1: brand new, soft little person know how to do that? Already?
Speaker 1: She doesn't know any words yet, she can't walk. She's
Speaker 1: like a cheese curd with arms and legs. So where
Speaker 1: does she learn how to dance? And why does she
Speaker 1: do it when we sing the Tinka think song? Why
Speaker 1: indeed does music animate you or me? Why do we
Speaker 1: toe tap or chair dance or just not along while typing,
Speaker 1: I'm Dessa, You're listening to deeply human and in less
Speaker 1: than half an hour you're going to have a basic
Speaker 1: understanding of why people dance. So get ready to impress
Speaker 1: everyone at the next raid with your shouted explanations. Oh God,
Speaker 1: when you hear music that you like, there's a chill
Speaker 1: that starts from your head and goes all the way
Speaker 1: down to your feet and then it comes back up
Speaker 1: the other side. And so that chill, that feeling, you
Speaker 1: just take it and ride that right into the movement. Okay,
Speaker 1: But then, if you are fortunate, you will experience that
Speaker 1: point where you just completely leave your body. Everything gets blurry.
Speaker 1: I'll see like um, kind of like an orange light.
Speaker 1: Sometimes it's silver, and then it's like I'm at another
Speaker 1: location in the room, and then I'm watching myself dance.
Speaker 1: And that's the feeling that every dancer wants, you know,
Speaker 1: like you want that feel. It doesn't happen all the time,
Speaker 1: but when it does, it's the best thing that's happened
Speaker 1: all year. Darien Parker is a dancer and instructor with
Speaker 1: Comb Bay Center for African Diaspora Dance in New York,
Speaker 1: and he is dancing like a cent of the time. Yeah,
Speaker 1: even if I'm not teaching or performing, I'm always dancing
Speaker 1: in my room or in my head. I'm always making
Speaker 1: up choreography or imagining myself doing something or yeah, wait,
Speaker 1: are you saying that, like in the way that I
Speaker 1: might have a song stuck in my head, you might
Speaker 1: have a dance stuck in your head? Oh yeah, all
Speaker 1: the time. Darien may pose a particularly intense example, but
Speaker 1: there's neuroscientific evidence that all human brains are inclined to
Speaker 1: move when we listen to music. When people are simply
Speaker 1: listening to music and yeah, not's moving their body. That's
Speaker 1: still in their brain, we see that that there's motor
Speaker 1: activation when they listen to music. Our motor cortex becomes activated.
Speaker 1: So that's the part of the brain that is responsible
Speaker 1: for the planning, control and execution of voluntary movements. So
Speaker 1: even if we do not move, we are inclined to move.
Speaker 1: Our brain wants to move. That's Edith van Dyke. She
Speaker 1: studies the way that people interact with music at Ghent
Speaker 1: University in Belgium, and her account of our brains dancing
Speaker 1: in our heads reminds me of like an office space
Speaker 1: when a good song comes on and everybody's dancing in
Speaker 1: their chairs. It's just this automatic urge to move. Edith
Speaker 1: says that our ability to process music might be built
Speaker 1: in just like languages. So there's something in our brain,
Speaker 1: that is their naturally that makes us respond to music,
Speaker 1: but so also in the bodily way also moving to music,
Speaker 1: there's evidence of the music acquisition module in our brains.
Speaker 1: Research indicates that infants, as for the example of baby Jesse,
Speaker 1: moved to beats well before they're a year old, which
Speaker 1: seems to suggest it's innate, were predisposed to move to music.
Speaker 1: On a personal time scale, you probably made your first
Speaker 1: dance move before you can remember it. And on an
Speaker 1: anthropological time scale, Edith says the dancing most likely started
Speaker 1: with our species Homo sapiens, as opposed with other earlier hominids,
Speaker 1: and dancing has likely been instrumental in binding us to
Speaker 1: one another on the long term. Actually, something that has
Speaker 1: been in dance at all times in our history is
Speaker 1: the social aspect. So moving together can be regarded as
Speaker 1: a sort of social glue you increase your social bonding.
Speaker 1: Take for example, a rain dance. Probably there were a
Speaker 1: lot of people in the communities who believed that when
Speaker 1: times were hearts and there wasn't a lot of rain
Speaker 1: and crops were going to fill, that's when you are
Speaker 1: dancing to the gods, that it would start to rape
Speaker 1: some people might have believed that, but it's initially started
Speaker 1: from keeping the group together because in hard times, when
Speaker 1: there's not enough foods, there might be starvation, which can
Speaker 1: leads to fights, to wars and so on. So it
Speaker 1: is key to keep the group together to bear all
Speaker 1: of this together, social cohesion, motor cortex activation. I admit
Speaker 1: that I sort of thought an evolutionary explanation of dance
Speaker 1: was going to be mostly about sex, like you know
Speaker 1: that whole thing. Dance is a vertical expression of a
Speaker 1: horizontal desire that stuff, of course. Yeah, well, okay, when
Speaker 1: you dance, it's a sexual display of fitness. You show
Speaker 1: that you're physically fits, but also that you have a
Speaker 1: good working brain because you can conceptualize about things. You
Speaker 1: understand the music when you have good feeling of rhythm.
Speaker 1: You could see it like that, moving in sync and
Speaker 1: with style. Maybe the mark of a good mate. Okay,
Speaker 1: no anyone who implied. But now let's turn back to
Speaker 1: our dancer, Darien. His focus is on West African traditions
Speaker 1: where specific dances are integral to the culture. So when
Speaker 1: you talk about dance West African dances, it's done in
Speaker 1: West Africa. You're talking about things that pretty much mark
Speaker 1: every aspect of life, you know, So if someone passes away,
Speaker 1: if there's a wedding, if there's a birth of a child,
Speaker 1: if there's an initiation ceremony for a young girl or
Speaker 1: for a young boy, pretty much all aspects of life.
Speaker 1: The dance is very much an articulation of the philosophical system,
Speaker 1: you know, of the people. Can you explain that what
Speaker 1: does that mean? A dance that I'm teaching now is
Speaker 1: a traditional dance for the Malnqua people, and this is
Speaker 1: a dance in which young girls mark their right of
Speaker 1: passage into womanhood. So there's one movement done, for instance,
Speaker 1: in which you reach to the sky, you come into
Speaker 1: your body, and then you put your arms behind you,
Speaker 1: and you keep doing that and repetitions the sky, come
Speaker 1: into your body with your arms behind. So essentially what
Speaker 1: you're communicating is I take blessings from God, I bring
Speaker 1: them into my body, and then I scattered them throughout
Speaker 1: the earth. And then I take what I scattered throughout
Speaker 1: the earth, I bring them into my body and then
Speaker 1: I give it back as an offering unto God. And
Speaker 1: the ma Linqua people believe in that kind of constant
Speaker 1: flow between k of the ethereal, the personal, and then
Speaker 1: the rest of society. So yeah, that one movement you
Speaker 1: kind of expressed that aspect of ma Linque philosophy behind
Speaker 1: Sky come Into and West African traditions. The body's movement
Speaker 1: is also the adduct of a really tight relationship between
Speaker 1: the dancers and the musicians who play with them. Like
Speaker 1: I've heard drummers bragging did you see the way I
Speaker 1: made him rip his own shirt? Okay, that does not
Speaker 1: refer to a dancer who like tears his shirt down
Speaker 1: the middle like some cheesy adonis. It's essentially about dancing
Speaker 1: a shirt into pieces. So if a drummer notices that
Speaker 1: a particular move seems to strain a dancer's garment, the
Speaker 1: drummer will get the dancer to do it again and
Speaker 1: again and with more and more intensity until the fabric
Speaker 1: just can't hold. Drummers are very very observant, skilled people,
Speaker 1: and they're like magicians. And I remember one time I
Speaker 1: was dancing to Mama die Kata, who is known as
Speaker 1: like the pre eminent master drummer of Guinea and dancing
Speaker 1: God Rest his soul. But I had the privilege of
Speaker 1: dancing in a class where he was playing the lead
Speaker 1: and he had had two drums strapped together and he
Speaker 1: was playing them at the same time. And I will
Speaker 1: never forget this, the way his eyes were in tuned
Speaker 1: to what my body was doing. And it was the
Speaker 1: first time in my life that I have ever felt weightless,
Speaker 1: like I was doing all these complicated things, but I
Speaker 1: didn't feel anything. He was making my body move. Just
Speaker 1: feel like being merryonetted. Almost. Yeah, it kind of does
Speaker 1: feel like being merrionetted, but it's actually something even more
Speaker 1: transcendent than that. It's like you feel nothing. The drummers
Speaker 1: can move the dancers, and it's a two way street.
Speaker 1: The dancers can influence the drummer's performance too. The goal
Speaker 1: in West African dance or the styles that I do,
Speaker 1: is to have a perfect connection with the music and
Speaker 1: the live musicians. There has to be kind of like
Speaker 1: perfect synchronicity between you and the musicians. That conversation has
Speaker 1: to be fluid. When that is the case, you will
Speaker 1: feel a physical kind of healing of your body. When
Speaker 1: I was in my early twenties, I helped teach a
Speaker 1: salsa class, which makes me sound like a way better
Speaker 1: dancer than I am. Essentially, I would just show up
Speaker 1: early and learn the moves from Don, the real instructor,
Speaker 1: so that he could demonstrate them to the class with
Speaker 1: the help of a female lead. And Don was this
Speaker 1: gay dude who, by his own description, would go dancing
Speaker 1: flaming like butane, and so to make it look like
Speaker 1: we had chemistry when we danced in front of an audience,
Speaker 1: he'd sometimes whisper threats like um he would say, I'm
Speaker 1: going to cut you the nature of a dip, and
Speaker 1: I'd giggle, and that would sell our rapport to the crowd. Anyway.
Speaker 1: I remember struggling to get this really flashy spin. It
Speaker 1: was a fast double turn that involved ducking under the
Speaker 1: dude's arm, and it was awesome. It was super hard.
Speaker 1: I asked Don to slow it down. I'm real cerebral,
Speaker 1: and I wanted to talk through each step one by one,
Speaker 1: and he just flatly refused. You can't learn it that way,
Speaker 1: he said, you gotta feel it. Just let the music
Speaker 1: guide you, close your eyes and humble your mind to
Speaker 1: your body. How old were you when you started performing
Speaker 1: as a musician in dance classes? Nineteen when I played
Speaker 1: dance for a dance studio do you remember the first day? No,
Speaker 1: and what instrument did you play piano? And what kind
Speaker 1: of stuff did you play on the piano. Dance teacher
Speaker 1: was a French lady. She liked the Greek movie Sober
Speaker 1: of the Greek. She got fixed safe and I sat
Speaker 1: played different versions of the Greek. That is Craig Harris.
Speaker 1: He's loved music and rhythm since he was a kid.
Speaker 1: He studied composition and even though he grew up to
Speaker 1: pursue a totally different career path, he always wrote music
Speaker 1: for dance on the side. But then something started to
Speaker 1: change in Craig's body. H In around two thousand six
Speaker 1: or two thousand five. I had weird imbalance and strange
Speaker 1: kind of heavy body feeling, and it was a mystery
Speaker 1: that no one could diagnose. It's like everything has weights
Speaker 1: on it. My body feels a little heavier, so anything
Speaker 1: you do is a little harder, a little more work.
Speaker 1: There was also a marked stiffness, a sense of rigidity.
Speaker 1: It would be like, um, if you're really cold. Then
Speaker 1: a tremor in his left hand. Craig went back to
Speaker 1: the doctor. He's a German doctor and he's very straightforward,
Speaker 1: and he said, well, I'm sorry to tell you this,
Speaker 1: but I'm afraid you have Parkinson's. Parkinson's disease is a
Speaker 1: progressive nervous system disorder that affects movement, and it can
Speaker 1: make everyday motions difficult. People with Parkinson's might not swing
Speaker 1: their arms when they walk, or have difficulty writing or
Speaker 1: making facial expressions. Movement can be especially difficult to initiate.
Speaker 1: In late stage Parkinson's, people can experience freezing, rendering someone
Speaker 1: temporarily unable to move or walk at all. People sometimes
Speaker 1: describe it is feeling glued to the floor. There's no cure,
Speaker 1: but medication can help treat Parkinson's symptoms, and rhythm can too.
Speaker 1: Music can actually help people lock into a more natural
Speaker 1: walking gate, taking longer, more confident steps. There's even a
Speaker 1: new smartphone app that uses ankle sensors to collect data
Speaker 1: on the gate of Parkinson's patients and then plays music
Speaker 1: at a tempo designed to keep them moving smoothly. Craig
Speaker 1: enrolled in a dance class designed for people with Parkinson's disease.
Speaker 1: I talked to one of Craig's instructors, Maria Walsh from
Speaker 1: Motion Pacific Dance, and she said that If a dancer
Speaker 1: freezes midstep in class, introducing a little bit of rhythm
Speaker 1: can help break the hold. She'll have them home a
Speaker 1: little rhythm, then try to stomp it and eventually walk
Speaker 1: to it again. Craig doesn't suffer from freezing, but he
Speaker 1: does notice that dance eases his symptoms. I moved a
Speaker 1: little easier and lighter, and I felt a little lighter
Speaker 1: psychologically but physically too. Dance is both therapy and a
Speaker 1: way to elevate my spirits. It seems to have the
Speaker 1: effect of making things more fluid physically and mentally for me,
Speaker 1: and rhythm holds the same magnetism for him that it
Speaker 1: did as a teenager. It feels like pretty much the
Speaker 1: same as it does when you don't have Parkinson's. You know,
Speaker 1: it just feels good. So how exactly do music and
Speaker 1: dance therapy help people with conditions like Parkinson's. Back to Edith,
Speaker 1: our Belgian researcher for a bit of neuroscience. Keeping the
Speaker 1: beat is believed to be hardwired in her brain too,
Speaker 1: So we actually we see that our neurals the connections
Speaker 1: in our brain that they can synchronize their firing to
Speaker 1: musical beats. When we move, we tend to synchronize in
Speaker 1: certain ways to music. We tend to connect to the
Speaker 1: sounds and to the vibrations and so on. A research
Speaker 1: suggests that when we listen to a song, some of
Speaker 1: our brain waves can actually sink to the tempo. Are
Speaker 1: synapses fire and time with the music. Okay, a quick
Speaker 1: reminder here that the phrase it's all just vibrations man,
Speaker 1: is not allowed on this program. If all of a
Speaker 1: person's brain waves were perfectly aligned, it wouldn't mean they
Speaker 1: were enlightened. It could mean that they're having a seizure.
Speaker 1: So let's just keep it empirical. But yes, it is
Speaker 1: pretty awesome that our brain waves are believed to align
Speaker 1: with what's on the stereo, and that neurological alignment may
Speaker 1: be part of what prompts us to dance. The electrical
Speaker 1: impact is passing through the parts of our brain responsible
Speaker 1: for movement are already dialed into the tempo, which maybe
Speaker 1: why it is really challenging to dance out of sync
Speaker 1: with the beat. I'm not dancing to the music. I
Speaker 1: can sometimes jump in rhythm with the music. I can
Speaker 1: go against it. I can completely forget about the music
Speaker 1: and do something else. Is it difficult to avoid the
Speaker 1: temptation to dance to be just because that's kind of
Speaker 1: maybe naturally what we're inclined to do. Yeah, it's interesting,
Speaker 1: I think it is. I think it takes training and
Speaker 1: retraining too long to do that. This is Vangeline. She
Speaker 1: specializes in a form of dance called Bhutto. Bhutto is
Speaker 1: an art phone that came from Japan in the nineteen fifties.
Speaker 1: It's an avant garde art phone and it's kind of
Speaker 1: like the dance of the subconscious, exploration of the unconscious.
Speaker 1: Photo is sometimes called the dance of darkness, and it
Speaker 1: is unlike any dance you've ever seen. Tatsumihi Jakata, one
Speaker 1: of the choreographers who created Bhutto, would sometimes fast before
Speaker 1: performances for a dramatic, emaciated look. He and other dancers
Speaker 1: would often cover their bodies in bone white paint before
Speaker 1: taking stage. I'd only run across Bhutto once years ago,
Speaker 1: having accidentally stumbled across a YouTube link, and in it,
Speaker 1: the body of a tall, hairless man painted lunar white
Speaker 1: falls down a stone staircase. He pieces himself back together
Speaker 1: at the bottom, moving with so many tightly controlled, isolated movements.
Speaker 1: It's as if there were tiny rotors spinning in each joint.
Speaker 1: He doesn't look human. He looks like a first failed
Speaker 1: hybrid of machine and man, able to suffer but not survive.
Speaker 1: And one gets the sense that the kind thing to
Speaker 1: do would be to find a rock and put the
Speaker 1: thing out of its misery, but also that you'd never
Speaker 1: be able to summon the grit to do it yourself. Booto.
Speaker 1: It's it's just intense man. She was purely Japanese. Then
Speaker 1: it moved to Europe in the seventies, and then it
Speaker 1: exploded all over the world. Vangeline is from France, but
Speaker 1: she studied in Japan and Mexico. When I asked about
Speaker 1: the aesthetic of bhutto, it seems like I just sort
Speaker 1: of missed the point. It's also much about how it
Speaker 1: looks as how it feels. So if you're watching you
Speaker 1: budo performance, probably you you're having some kind of people
Speaker 1: have very violent response. They hate it, they love it,
Speaker 1: they go into a deep trance, they relax, some people leave,
Speaker 1: and I really offended. Like I think when it began,
Speaker 1: people were fainting when they were watching bud So there's
Speaker 1: that kind of visceral response from the body when you
Speaker 1: actually watch it, Bhutto often moves faster or slower than
Speaker 1: the way we do in our normal lives, and it
Speaker 1: incorporates some gestures and expressions that aren't really allowed in public.
Speaker 1: And when you think about it, we've got a pretty
Speaker 1: narrow band of just and expressions that are allowed in public.
Speaker 1: Like if a person blinks too frequently, that might be
Speaker 1: enough to weird you out. Let alone, twisting or bending
Speaker 1: their torso, or curling and unfurling their toes. There's a
Speaker 1: lot that's just off limits. All day long, we watch
Speaker 1: people moving a certain way in the way that society
Speaker 1: has kind of taught us to move walking down the street,
Speaker 1: Like right now we're talking to each other, were standing
Speaker 1: in a specific way. So if I start doing movements
Speaker 1: that are a little bit strange or different, or that
Speaker 1: are considered scary or possibly sexual, or you know, outside
Speaker 1: of the realm of what's socially acceptable, then that immediately
Speaker 1: provokes the viewer. So there's that aspect to bule of
Speaker 1: that da and consciousness of the body brings types of
Speaker 1: movement that we're not really accustomed to seeing in public.
Speaker 1: I went to Vangeline Studio to try it for myself.
Speaker 1: It's a single room in Brooklyn and a building near
Speaker 1: the train. Soft rubber mats on the floor fit together
Speaker 1: like puzzle pieces, and a sign on the door says
Speaker 1: no shoes. Okay, full disclosure. I find Vangeline almost pathologically likable.
Speaker 1: You will hear that in my voice while we are dancing,
Speaker 1: and I am not sorry. She is just so likable. Yeah,
Speaker 1: And you can totally use the mirror because it's there.
Speaker 1: The mirror is awesome. Is that helpful or is that?
Speaker 1: I like the mirror? Vanity is good? Why not? At
Speaker 1: first Vangeline said I could move anyway I wanted. We
Speaker 1: were just going to experiment with rhythm. Okay. So the
Speaker 1: first one is you just try to move with the beat. Anything.
Speaker 1: Now I'm going to try it to move against the beat, okay, okay,
Speaker 1: so no, because it's home. It's really hard, man. It
Speaker 1: is so hard. It's like patch your head and rub
Speaker 1: your tummy hard. Your body just does not want to
Speaker 1: do it. Also, it became clear how impoverished my own
Speaker 1: inventory of movements is. I was reusing moves already like
Speaker 1: half a minute in, but Vangeline was doing all sorts
Speaker 1: of stuff simple steps to like zombie vibes. You can
Speaker 1: have very tiny tremors and movement that in Japanese they
Speaker 1: call faint soft fructuations, like something's passing through your face,
Speaker 1: one little movement of your fingertip, and then you can
Speaker 1: go from macro to micro, and you can go from
Speaker 1: the very exclusive to total stillness. I'm not sure I
Speaker 1: would have been bold enough to try bootle with just anyone,
Speaker 1: but Vangeline was so compassionate and also really smart. She
Speaker 1: made me feel comfortable enough to risk looking foolish. And
Speaker 1: if Booto's aim is to invite the full scope of
Speaker 1: our humanity to the dance, well, fear and foolishness, they're
Speaker 1: surely part of it. There was is also just a
Speaker 1: joy contagion. Vangeline is electrified by bhutto, and I was
Speaker 1: near enough to catch some sparks. YEA, thank you so much.
Speaker 1: The effort it takes to dance against the beat in
Speaker 1: a form like bhutto is evidence of just how sensitive
Speaker 1: we are to rhythm. We are primed for music, so
Speaker 1: for instance, just nature sounds or sounds on the streets
Speaker 1: or something can become musical to you. That, of course
Speaker 1: was Edith. Again. I make my living as a musician,
Speaker 1: and when I'm in the van with my band and
Speaker 1: we're stopped at a red light waiting to make a turn,
Speaker 1: I have noticed on more than one occasion that all
Speaker 1: of us are like grooving to the clicking of the
Speaker 1: turn signal. Edith says, there's another theory about why we're
Speaker 1: compelled to dance, one that's totally different from anything we've
Speaker 1: heard so far, and it has to do with our
Speaker 1: appetite for control. Well, there is a thing called agency.
Speaker 1: That's a theoretical idea about the fact that when you
Speaker 1: feel in control of things, it makes you feel good.
Speaker 1: It's motivating, it's fun. So you're kind of imitating your music,
Speaker 1: but it can also feel as if you are creating.
Speaker 1: It's because you're dancing more strongly, fiercely, and so on. Yeah,
Speaker 1: that's something you can clearly have when you're listening to
Speaker 1: music and you play the musical director. That sense of
Speaker 1: agency all over, so you act as if you are
Speaker 1: making the music yourself, which feels awesome. What do you
Speaker 1: mean when you act as a musical director. You're talking
Speaker 1: about like air guitar. Yeah, I was talking about like
Speaker 1: a director of a symphonic orchestra. But yeah, air guitar
Speaker 1: is exactly the same, of course. Yeah. For all her
Speaker 1: knowledge about the complex neurological and psychological underpinnings of dance,
Speaker 1: Edith has a pretty simple takeaway message. We should all
Speaker 1: dance more. People who think that it's just some past
Speaker 1: time are so wrong, because it's much more than that,
Speaker 1: and it can help us in so many ways. I
Speaker 1: sort of dance almost every morning when my kids are up,
Speaker 1: everybody's downstairs. I usually shower a little bit later than
Speaker 1: the rest. I put on my music and I danced
Speaker 1: in the bethroom, and I usually come down for breakfast
Speaker 1: in the way more positive states than when I got off.
Speaker 1: If we can all get over our self consciousness, dancing
Speaker 1: just feels good, and we do it because it connects
Speaker 1: us to one another like social glue. We sometimes dance
Speaker 1: because it's sexy and proves we are too. And dancing
Speaker 1: has become folded into our big cultural rituals. The first
Speaker 1: slow dance at weddings ringed by wet eyed spectators, the waltz,
Speaker 1: the new dresses and borrowed car for prom, the doofy
Speaker 1: Congo line, at a work party that started ironic and
Speaker 1: ends up awesome. We dance because our bodies are built
Speaker 1: to move to music, and maybe also because shredding and
Speaker 1: air guitar solo feels red. Well. You know that end
Speaker 1: of program sound as well as I do. But we
Speaker 1: cannot shut down this show about music and dance without
Speaker 1: a killer dance jam. We used to call that stuff
Speaker 1: boots and pants music when I was a kid, because
Speaker 1: you know, boots and pants and boots and pants and boots. Okay,
Speaker 1: we're not technically allowed to use commercial music on this program,
Speaker 1: but that will not stop us. I hit up my
Speaker 1: friend Laser Beak to ask if he could hook me
Speaker 1: up with a Dink a Dink dance remix, and oh
Speaker 1: my goodness, did Beaks a legend God come through? DNC
Speaker 1: ding ding? Come on? Are you hearing man? This is
Speaker 1: gonna own the club circuit Ma York to Miami, Pop
Speaker 1: of the Summer Guarantee. Deeply Human is a BBC World
Speaker 1: Service and American Public Media co production with I Heart Media,
Speaker 1: and it's hosted by Mesa. Find me online, Tessa on
Speaker 1: Instagram and Tessa Darling on Twitter. This one's for you, baby,
Speaker 1: Jesse Hey, I just want to see you dance for
Speaker 1: me on the next Deeply Human, why is the human
Speaker 1: animal modest? We're so modest, in fact, that we can
Speaker 1: be reluctant to undress even to save our own lives,
Speaker 1: say in a case of exposure to a biotoxin. Join
Speaker 1: me next time to find out why you are not
Speaker 1: naked and neither of mine.