1 00:00:00,600 --> 00:00:03,360 Speaker 1: Hello. There, It's me Josh, and I'm doing my live 2 00:00:03,440 --> 00:00:06,120 Speaker 1: show The End of the World or How I Learned 3 00:00:06,120 --> 00:00:11,800 Speaker 1: to Start Worrying and Love Humanity on June in Minneapolis 4 00:00:11,880 --> 00:00:15,120 Speaker 1: and in Washington, d C. Go to the Miracle Theater 5 00:00:15,280 --> 00:00:18,439 Speaker 1: dot com for d C tickets and the Parkway Theater 6 00:00:18,560 --> 00:00:21,880 Speaker 1: dot com for tickets to the Minneapolis show. I'll see 7 00:00:21,920 --> 00:00:26,600 Speaker 1: you soon. Welcome to Stuff You should know, a production 8 00:00:26,640 --> 00:00:35,120 Speaker 1: of I Heart Radios How Stuff Works. Hey, and welcome 9 00:00:35,159 --> 00:00:37,880 Speaker 1: to the podcast. I'm Josh Clark, and there's Charles w. 10 00:00:38,200 --> 00:00:43,920 Speaker 1: Chiuck Bryant. F that was nice. And there's Jerry Rowland 11 00:00:44,000 --> 00:00:50,560 Speaker 1: over there the jar stir rolling on as always. Don't 12 00:00:50,600 --> 00:00:54,520 Speaker 1: look at me like that weirdly, I said, F what 13 00:00:54,560 --> 00:00:57,800 Speaker 1: was it? I don't know. Let's see you don't know. 14 00:00:58,120 --> 00:01:00,920 Speaker 1: This made me think a lot about and singing and 15 00:01:01,080 --> 00:01:03,560 Speaker 1: pitch and stuff, and made me think about you and 16 00:01:03,640 --> 00:01:06,960 Speaker 1: singing and pitched too, did it? Because I tried? I 17 00:01:07,000 --> 00:01:10,080 Speaker 1: know I don't have absolute pitch, but I tried. I 18 00:01:10,160 --> 00:01:11,959 Speaker 1: was just like, well, let me test myself. And I 19 00:01:11,959 --> 00:01:14,720 Speaker 1: went to the little quiet room here, and the only 20 00:01:14,760 --> 00:01:16,400 Speaker 1: way I knew how to test it was to think 21 00:01:16,440 --> 00:01:19,640 Speaker 1: of a song. I know, that starts and like, see that, 22 00:01:19,720 --> 00:01:22,560 Speaker 1: I know how to play and sing, And then I did. 23 00:01:22,720 --> 00:01:26,160 Speaker 1: I sang a see and then I hit the play 24 00:01:26,160 --> 00:01:30,560 Speaker 1: button on the YouTube clip of a C and the 25 00:01:30,600 --> 00:01:34,080 Speaker 1: C was way higher than I was singing it. But 26 00:01:34,160 --> 00:01:37,240 Speaker 1: I think I was in just a different key. It 27 00:01:37,360 --> 00:01:40,399 Speaker 1: wasn't like off like oh, it was like, oh, that 28 00:01:40,560 --> 00:01:43,480 Speaker 1: sounds like a C in a different octave. So the 29 00:01:43,480 --> 00:01:46,440 Speaker 1: way all that works is confusing. Have you have you 30 00:01:46,480 --> 00:01:50,200 Speaker 1: ever heard of Charlie Pouth? No, so you we found 31 00:01:50,200 --> 00:01:53,040 Speaker 1: this guy. She watches the um John Mayor. You know, 32 00:01:53,120 --> 00:01:57,040 Speaker 1: John Mayor has an Instagram TV show every week. I 33 00:01:57,080 --> 00:01:59,080 Speaker 1: did not know that, but I know he's big on Instagram. 34 00:01:59,160 --> 00:02:01,600 Speaker 1: It's actually pretty well. He went so far as to 35 00:02:01,640 --> 00:02:03,440 Speaker 1: create a show good for him. He had a guy 36 00:02:03,480 --> 00:02:07,360 Speaker 1: on named Charlie Pooth and Charlie Pooth is has maybe 37 00:02:07,440 --> 00:02:10,400 Speaker 1: the most perfect pitch of anybody on the planet. And 38 00:02:10,440 --> 00:02:13,320 Speaker 1: there's videos of this guy like kidding a note and 39 00:02:13,360 --> 00:02:17,239 Speaker 1: he's like here's enough, and like he's got a um 40 00:02:17,320 --> 00:02:19,760 Speaker 1: what would you call that thing? A little magic machine 41 00:02:19,800 --> 00:02:22,280 Speaker 1: that shows you exactly what the pitch is? Okay, that 42 00:02:22,360 --> 00:02:25,120 Speaker 1: thing it just peeped like the needle just goes right 43 00:02:25,120 --> 00:02:27,120 Speaker 1: to act or e or whatever, and he just like 44 00:02:27,160 --> 00:02:29,160 Speaker 1: he's not even looking. It's it's just out of nowhere. 45 00:02:29,200 --> 00:02:33,040 Speaker 1: It's really impressive. Does you mean like John Mayer? She 46 00:02:33,160 --> 00:02:35,960 Speaker 1: actually has become a fan of John Mayor. All right, 47 00:02:37,320 --> 00:02:41,480 Speaker 1: his show is actually worth watching. Yeah, current mood got. 48 00:02:42,960 --> 00:02:46,120 Speaker 1: So we're talking about perfect pitch or absolute pitch, and 49 00:02:46,160 --> 00:02:48,320 Speaker 1: that is we're going to define it right away here, 50 00:02:48,919 --> 00:02:51,960 Speaker 1: unlike us, and that is to do like the poof 51 00:02:51,960 --> 00:02:58,600 Speaker 1: does pouf pouf um, which is, if someone says hit 52 00:02:58,639 --> 00:03:03,640 Speaker 1: a c with no uh and he with nothing to 53 00:03:03,680 --> 00:03:06,920 Speaker 1: compare to, I can just belt out of sea or 54 00:03:07,400 --> 00:03:09,839 Speaker 1: recognize the see if someone says what notices, it goes 55 00:03:09,919 --> 00:03:12,240 Speaker 1: both ways. It's a double edged talent. It's a double 56 00:03:12,320 --> 00:03:15,160 Speaker 1: edged talent. That's what absolute or perfect pitches. So you 57 00:03:15,240 --> 00:03:18,680 Speaker 1: might say, like, okay, there's some aliens walking around among us, 58 00:03:18,680 --> 00:03:21,520 Speaker 1: and this is how they show themselves. They're able to 59 00:03:22,200 --> 00:03:26,400 Speaker 1: produce a no at will. Right, But really, if you 60 00:03:26,440 --> 00:03:29,400 Speaker 1: step back and the grabster put this article together for us, 61 00:03:29,400 --> 00:03:32,160 Speaker 1: he did a good job. He did. He went to 62 00:03:32,280 --> 00:03:36,000 Speaker 1: great links to point out that having absolute pitch, or 63 00:03:36,080 --> 00:03:40,200 Speaker 1: what's also called perfect pitch, really is kind of useless. 64 00:03:40,920 --> 00:03:42,200 Speaker 1: I don't know if I agree with that he went 65 00:03:42,280 --> 00:03:44,840 Speaker 1: to such links. I became to wonder if the grabster 66 00:03:44,880 --> 00:03:48,320 Speaker 1: is actually jealous of people who well, he makes a 67 00:03:48,400 --> 00:03:50,560 Speaker 1: point quite a bit that you know, it doesn't help 68 00:03:50,560 --> 00:03:52,640 Speaker 1: you wrote a song. It doesn't make you anymore creative. 69 00:03:52,840 --> 00:03:54,600 Speaker 1: So what it sounded like when you're reading it a 70 00:03:54,680 --> 00:03:56,960 Speaker 1: little bit? And that is quite true. It does not. 71 00:03:57,720 --> 00:04:00,640 Speaker 1: But make no bones about it. If you're a singer 72 00:04:00,720 --> 00:04:03,920 Speaker 1: in a band, having perfect pitch is an asset. It 73 00:04:04,000 --> 00:04:06,680 Speaker 1: might be annoying to your bandmates, right there's I saw 74 00:04:06,720 --> 00:04:09,840 Speaker 1: this video, these two Japanese kids, and it was what 75 00:04:10,360 --> 00:04:13,840 Speaker 1: annoying things that people with perfect pitch to? And uh 76 00:04:13,960 --> 00:04:17,719 Speaker 1: yeah it was this one kid was annoying the Jesus 77 00:04:17,720 --> 00:04:20,880 Speaker 1: out of another. I could see that cute. I mean, 78 00:04:20,920 --> 00:04:23,920 Speaker 1: it's got to be an asset, I would guess. So 79 00:04:23,960 --> 00:04:27,160 Speaker 1: sure you know, well you like, let me give you 80 00:04:27,200 --> 00:04:30,719 Speaker 1: an example of relative pitch that it gives if you're 81 00:04:30,720 --> 00:04:34,920 Speaker 1: in the shower. If if I'm in the shower and 82 00:04:35,000 --> 00:04:40,240 Speaker 1: I start singing, um, some Morrissey song. Let's say it 83 00:04:40,400 --> 00:04:43,119 Speaker 1: starts out pretty normal, but there's some high notes in there. 84 00:04:43,760 --> 00:04:46,640 Speaker 1: Maybe if I really stretch, I can hit. Once I 85 00:04:46,640 --> 00:04:49,160 Speaker 1: get to those high notes, I can't even come close. 86 00:04:49,960 --> 00:04:52,640 Speaker 1: The reason why is because I started in a higher 87 00:04:52,760 --> 00:04:56,040 Speaker 1: key than I should have, because I had no reference 88 00:04:56,080 --> 00:04:59,920 Speaker 1: point whatsoever, and it just started singing a big male 89 00:05:00,120 --> 00:05:04,400 Speaker 1: strikes again. Oh no, eight, that's way too low, right, 90 00:05:04,920 --> 00:05:07,599 Speaker 1: I couldn't do that. I mean, like that sounds perfect. Yeah, 91 00:05:07,760 --> 00:05:10,680 Speaker 1: I actually do a pretty good Morrissey. Oh yeah, let's 92 00:05:10,720 --> 00:05:13,880 Speaker 1: hear it. Oh I can't do it right now. My 93 00:05:13,960 --> 00:05:17,640 Speaker 1: voice is all podcasted out. I'm not gonna humiliate myself 94 00:05:17,640 --> 00:05:20,800 Speaker 1: on here. I'm sorry. I'll do it for you later 95 00:05:21,080 --> 00:05:24,920 Speaker 1: in the shower. Um be like you got some soap, 96 00:05:27,320 --> 00:05:32,640 Speaker 1: you have some soup on your own. Sorry, that's my Morrissey. Alright, 97 00:05:32,680 --> 00:05:37,680 Speaker 1: So we should talk about reference um, relative pitch and 98 00:05:37,720 --> 00:05:40,320 Speaker 1: having a reference point. That's you can be a great 99 00:05:40,320 --> 00:05:45,120 Speaker 1: singer and not have perfect pitch. Um. It is right 100 00:05:45,240 --> 00:05:47,839 Speaker 1: in that, like you know, it's not like, oh, you 101 00:05:47,839 --> 00:05:49,400 Speaker 1: know a perfect pitch, you're probably not gonna be a 102 00:05:49,400 --> 00:05:51,520 Speaker 1: good singer. Or you do a perfect pitch, you're like 103 00:05:51,600 --> 00:05:54,279 Speaker 1: such a great creator and songwriter. Those don't have any 104 00:05:54,279 --> 00:05:56,240 Speaker 1: to do with one another. But if you've ever been 105 00:05:56,240 --> 00:05:59,520 Speaker 1: to see a vocal group, sing like star Land Vocal Band. 106 00:06:00,200 --> 00:06:03,280 Speaker 1: Never seen them, but Emily, my wife was in a 107 00:06:03,440 --> 00:06:06,880 Speaker 1: show choir and high school, so that's you know, that's 108 00:06:06,920 --> 00:06:09,720 Speaker 1: exactly what they did. Um. I believe they had piano accompaniment. 109 00:06:10,120 --> 00:06:13,560 Speaker 1: Sometimes it was acapella. But but but if you've seen 110 00:06:13,560 --> 00:06:17,320 Speaker 1: an acapella group, you will almost always see a pianist 111 00:06:17,440 --> 00:06:20,960 Speaker 1: hit a single note before they start playing. And here 112 00:06:21,040 --> 00:06:24,960 Speaker 1: that or they might have like akrat tuner, which is 113 00:06:25,000 --> 00:06:26,720 Speaker 1: one of those little things you hold up to your mouth. 114 00:06:27,080 --> 00:06:30,600 Speaker 1: It's like a round harmonica pitch pipe. Yeah, I mean 115 00:06:30,600 --> 00:06:32,520 Speaker 1: it's a type of pitch pipe. What did you call 116 00:06:32,560 --> 00:06:35,800 Speaker 1: it a krat tuner? It was It's like a that's 117 00:06:35,800 --> 00:06:40,400 Speaker 1: probably like saying band aid or something or Kleenex proprietary epidemic. Yeah, 118 00:06:40,400 --> 00:06:42,920 Speaker 1: I think so. Uh, They're all kind of pitch pipes, 119 00:06:43,000 --> 00:06:44,720 Speaker 1: but this is a little cool round one. It's like 120 00:06:44,760 --> 00:06:48,000 Speaker 1: a round harmonica. Yeah. Yeah, and they usually wear it 121 00:06:48,040 --> 00:06:50,839 Speaker 1: like a medallion around their net. The choir director, do 122 00:06:50,920 --> 00:06:54,200 Speaker 1: they I've seen it? Okay? Um. So they would either 123 00:06:54,240 --> 00:06:56,279 Speaker 1: blow into one of those pitch pipes or they would 124 00:06:56,320 --> 00:06:59,760 Speaker 1: hit a piano key and the choir would all know 125 00:07:00,040 --> 00:07:02,160 Speaker 1: in their head they would have that reference point. Then 126 00:07:02,520 --> 00:07:04,440 Speaker 1: it's like, all right, here's here's where we start with 127 00:07:04,480 --> 00:07:08,440 Speaker 1: our barbershop quartet song. Right. That's either the first note 128 00:07:08,560 --> 00:07:11,400 Speaker 1: of the song or the key that the song sung in. 129 00:07:11,840 --> 00:07:14,160 Speaker 1: But either way, once they have that and they're like 130 00:07:14,600 --> 00:07:17,960 Speaker 1: hey or whatever, they can sing the rest of the 131 00:07:18,000 --> 00:07:21,480 Speaker 1: song and key relative to that note. That alone, to 132 00:07:21,560 --> 00:07:24,880 Speaker 1: me is impressive. So even relative pitch is impressive to me, 133 00:07:25,120 --> 00:07:28,640 Speaker 1: let alone absolute pitch. Well, I mean everyone has relative pitch, 134 00:07:29,480 --> 00:07:31,680 Speaker 1: I guess. But if somebody who's like, here's an apoo, 135 00:07:31,840 --> 00:07:33,440 Speaker 1: I'd be like, what do you want me to do 136 00:07:33,520 --> 00:07:35,840 Speaker 1: with that? Oh, I see what you mean? Yeah, sure, 137 00:07:36,080 --> 00:07:38,480 Speaker 1: you know. I wouldn't be able to necessarily keep up 138 00:07:38,520 --> 00:07:40,240 Speaker 1: with the rest of the song just because I heard 139 00:07:40,240 --> 00:07:44,440 Speaker 1: the first note. Yeah, I almost feel like, yeah, but 140 00:07:44,480 --> 00:07:46,400 Speaker 1: you know the song. So like, once you have your 141 00:07:46,400 --> 00:07:51,000 Speaker 1: starting point, you're good. I guess. Yeah, that's a good point. 142 00:07:51,320 --> 00:07:54,600 Speaker 1: That's a good point. Practiced it. Yeah, And I think 143 00:07:54,600 --> 00:07:59,760 Speaker 1: about any smoke could do this. Um. I was inquired, 144 00:07:59,760 --> 00:08:02,120 Speaker 1: but we always had piano accompaniment and the piano led 145 00:08:02,120 --> 00:08:03,720 Speaker 1: the song. Like, I don't remember a single song we 146 00:08:03,760 --> 00:08:09,760 Speaker 1: did Inquire that started with just the vocals acapello. It 147 00:08:09,880 --> 00:08:12,320 Speaker 1: was always like a piano intro, so you know exactly 148 00:08:12,320 --> 00:08:13,680 Speaker 1: where you are. I was just trying to come up 149 00:08:13,680 --> 00:08:18,960 Speaker 1: with a song that starts out like that Bohemian rapid. Sure, 150 00:08:19,520 --> 00:08:21,360 Speaker 1: you know what's funny. I was just thinking of the 151 00:08:21,400 --> 00:08:24,640 Speaker 1: other Queen song, I Want It All. Oh Yeah, which 152 00:08:24,680 --> 00:08:27,280 Speaker 1: I believe starts talking Queen. I thought that was a 153 00:08:27,280 --> 00:08:35,200 Speaker 1: Burger King adds Burger Queen. Alright, so h relative pitch, 154 00:08:35,320 --> 00:08:38,240 Speaker 1: that's the deal. I feel like we should cover some more, 155 00:08:38,320 --> 00:08:40,840 Speaker 1: Like I feel like the other half of this episode 156 00:08:40,880 --> 00:08:43,960 Speaker 1: should be tone deafness. We did one on tone deafness. 157 00:08:44,160 --> 00:08:46,000 Speaker 1: We did I Swear to God. We did one called 158 00:08:46,040 --> 00:08:48,839 Speaker 1: his tone deafness Hereditary, and we talked about how in 159 00:08:48,880 --> 00:08:51,640 Speaker 1: the Philippines, if you sing my way in a tone 160 00:08:51,640 --> 00:08:55,160 Speaker 1: deaf way at karaoke, you may get stabbed because people 161 00:08:55,240 --> 00:08:57,760 Speaker 1: have been stabbed before. I don't remember that one. You 162 00:08:57,800 --> 00:09:00,200 Speaker 1: don't remember that, not at all. We talked about tone 163 00:09:00,200 --> 00:09:03,520 Speaker 1: deafness for sure, So your plan just fell apart. Yeah, 164 00:09:03,559 --> 00:09:05,160 Speaker 1: but I mean there's a lot of I never study 165 00:09:05,280 --> 00:09:08,080 Speaker 1: music theory, so I'm an air learner as far as 166 00:09:08,160 --> 00:09:11,760 Speaker 1: guitar and all that stuff goes. Did Jarry just preview right, yeah, 167 00:09:12,040 --> 00:09:16,760 Speaker 1: she just faced me. Um, but it gets a little 168 00:09:16,840 --> 00:09:20,040 Speaker 1: like convoluted when you start talking about keys and octaves 169 00:09:20,080 --> 00:09:22,840 Speaker 1: and half steps and whole steps and stuff like that. 170 00:09:22,880 --> 00:09:24,920 Speaker 1: The thing that calms me down is when you talk 171 00:09:24,920 --> 00:09:28,840 Speaker 1: about science, right, So let's talk science here. When you 172 00:09:28,880 --> 00:09:36,000 Speaker 1: talk about pitch pitches all relativity, right, Yes, you're talking 173 00:09:36,040 --> 00:09:38,920 Speaker 1: about one note in relation to another note. Is that 174 00:09:39,000 --> 00:09:42,040 Speaker 1: other note higher or lower? That's really what pitches, right, 175 00:09:42,120 --> 00:09:48,600 Speaker 1: It's it's the gradations of notes and relations to one another. Right. Okay, Um, 176 00:09:48,640 --> 00:09:51,160 Speaker 1: if you if you look at what you're talking about scientifically, 177 00:09:51,200 --> 00:09:53,400 Speaker 1: you're talking about a sound wave. So really what you're 178 00:09:53,400 --> 00:09:56,600 Speaker 1: talking about is the frequency of a note is what 179 00:09:56,760 --> 00:09:59,559 Speaker 1: gives it? It's A or it's B or is it 180 00:09:59,679 --> 00:10:02,199 Speaker 1: C sharp or something like that, And there is a 181 00:10:02,240 --> 00:10:06,120 Speaker 1: whole step between an A and a B, but there's 182 00:10:06,120 --> 00:10:10,880 Speaker 1: actually a half step in between. Okay, you know all this? Okay, 183 00:10:11,000 --> 00:10:13,960 Speaker 1: how am I doing so far? Am I explaining it? Right? Yeah? 184 00:10:14,000 --> 00:10:17,680 Speaker 1: I mean like if you sit at a piano, a 185 00:10:17,720 --> 00:10:20,640 Speaker 1: half step is the very next key, whether it's a 186 00:10:20,640 --> 00:10:24,160 Speaker 1: black or white, and a whole step is skipping a 187 00:10:24,240 --> 00:10:27,000 Speaker 1: key and going to the second key. But I thought 188 00:10:27,040 --> 00:10:31,080 Speaker 1: there were some stretches where there are two white keys together, 189 00:10:31,240 --> 00:10:34,680 Speaker 1: and that was a full step, which are called natural tones. 190 00:10:35,280 --> 00:10:38,720 Speaker 1: There's no half step in between those notes. That's not 191 00:10:38,760 --> 00:10:41,920 Speaker 1: how I understand it. That's the that's the piano demo 192 00:10:42,040 --> 00:10:46,040 Speaker 1: I saw. Yeah, and the other thing that struck me too. 193 00:10:46,280 --> 00:10:48,600 Speaker 1: I never knew this before ever. So you know, like 194 00:10:48,640 --> 00:10:51,839 Speaker 1: there's a B B flat and a C sharp or 195 00:10:51,880 --> 00:10:53,480 Speaker 1: actually I think could be a B sharp and a 196 00:10:53,520 --> 00:10:57,959 Speaker 1: C flat same note. Yeah, what with the whole reason 197 00:10:58,040 --> 00:11:01,760 Speaker 1: those things exist? And it's a half note sharper flat is, 198 00:11:02,320 --> 00:11:04,760 Speaker 1: but the whole reason it exists to tell you which 199 00:11:04,800 --> 00:11:07,480 Speaker 1: way to go on the scale up or down a 200 00:11:07,520 --> 00:11:10,840 Speaker 1: half not a half note. Yeah, like I'm trying to 201 00:11:10,840 --> 00:11:13,800 Speaker 1: think about in band, you can play an A and 202 00:11:13,840 --> 00:11:18,360 Speaker 1: if you move that up one bar, that's an A sharp, 203 00:11:18,960 --> 00:11:21,640 Speaker 1: but that's also a B flat because B would be 204 00:11:21,679 --> 00:11:25,800 Speaker 1: the next thing up from that middle point. So I 205 00:11:25,840 --> 00:11:28,199 Speaker 1: never really knew there were rules for why you would 206 00:11:28,240 --> 00:11:30,720 Speaker 1: refer to it as an A sharper a B flat. 207 00:11:30,760 --> 00:11:32,719 Speaker 1: From what I understand is to know, all right, you 208 00:11:32,760 --> 00:11:36,240 Speaker 1: want to go down, So you're going to going down 209 00:11:36,280 --> 00:11:39,200 Speaker 1: to A sharp from a B or you're going up 210 00:11:40,040 --> 00:11:43,400 Speaker 1: to a B flat from an A interesting that I 211 00:11:43,480 --> 00:11:46,079 Speaker 1: think I probably just got it wrong, that we're mangling 212 00:11:46,160 --> 00:11:48,680 Speaker 1: so many things. But what we're talking about is is 213 00:11:48,720 --> 00:11:51,840 Speaker 1: what's called the Western musical scale. It's a twelve note 214 00:11:51,880 --> 00:11:54,640 Speaker 1: scale and it's made up of ten octaves that humans 215 00:11:54,640 --> 00:11:58,479 Speaker 1: can hear. And if each note is a specific wavelength 216 00:11:58,640 --> 00:12:02,480 Speaker 1: of frequency of a sound vibration that's the same every 217 00:12:02,520 --> 00:12:04,839 Speaker 1: single time, and A always has the same frequency and 218 00:12:04,920 --> 00:12:08,199 Speaker 1: B always has the same frequency. If you double that frequency, 219 00:12:08,360 --> 00:12:12,120 Speaker 1: you've just gone up an octave, right, And that scale 220 00:12:12,120 --> 00:12:16,640 Speaker 1: repeats itself and ascends or descends going into higher lower octaves. 221 00:12:16,679 --> 00:12:21,760 Speaker 1: So that was good. People with perfect or absolute pitch 222 00:12:22,000 --> 00:12:26,200 Speaker 1: will be able to hear any note on at any 223 00:12:26,240 --> 00:12:29,720 Speaker 1: octave on that scale and say, oh that's a A 224 00:12:30,000 --> 00:12:38,080 Speaker 1: seven or a B six sharp right, Um. They just 225 00:12:38,240 --> 00:12:40,600 Speaker 1: from hearing it, or they'll be able to reproduce it. 226 00:12:40,600 --> 00:12:42,800 Speaker 1: So it's not like they can just memorize twelve notes. 227 00:12:43,320 --> 00:12:46,760 Speaker 1: They can memorize twelve notes over say ten octaves, they 228 00:12:46,840 --> 00:12:50,160 Speaker 1: can recognize them. Yeah. And if you're someone who plays 229 00:12:50,240 --> 00:12:53,560 Speaker 1: instruments by ear and sings by ear and can't read music, 230 00:12:54,280 --> 00:12:59,520 Speaker 1: um it can you really appreciate Um? Two things, the 231 00:12:59,600 --> 00:13:03,840 Speaker 1: simply city of people who write three chord major songs, 232 00:13:04,559 --> 00:13:07,720 Speaker 1: and then the complexity, even though it's frustrating of like 233 00:13:07,800 --> 00:13:10,120 Speaker 1: an Elton John. So like, if I sit down to 234 00:13:10,120 --> 00:13:12,920 Speaker 1: play guitar to an Elton John song, I'll look up 235 00:13:12,920 --> 00:13:16,280 Speaker 1: the chords and the words, and nine times out of 236 00:13:16,280 --> 00:13:18,080 Speaker 1: ten I'm like, I don't what. I don't even know 237 00:13:18,120 --> 00:13:20,599 Speaker 1: this chord. Yeah, and I gotta like go to a 238 00:13:20,640 --> 00:13:23,120 Speaker 1: chord book and figure it out. He did all kinds 239 00:13:23,120 --> 00:13:26,720 Speaker 1: of crazy chords. That's really diminished minor. I mean, minors 240 00:13:26,720 --> 00:13:29,200 Speaker 1: are simple enough, but but but that's in that's it 241 00:13:29,320 --> 00:13:32,200 Speaker 1: was still in the Western musical scale, or was incorporating 242 00:13:32,280 --> 00:13:34,880 Speaker 1: tones from other musical scales that weren't. No, it was 243 00:13:34,920 --> 00:13:36,920 Speaker 1: still the Western. But you know, instead of playing an 244 00:13:36,960 --> 00:13:40,240 Speaker 1: F it would be like an F sharp minor seventh 245 00:13:40,360 --> 00:13:43,679 Speaker 1: or something. So what do is minor and major? Then? Well, 246 00:13:45,080 --> 00:13:48,160 Speaker 1: minor is the saddest of all keys. A minor that's 247 00:13:48,160 --> 00:13:51,320 Speaker 1: his final tip reference. So you still get it. Thank 248 00:13:51,360 --> 00:13:53,360 Speaker 1: you for explaining it though, and not just letting all 249 00:13:53,360 --> 00:13:57,200 Speaker 1: the listeners right in and laugh at me. Um, I 250 00:13:57,200 --> 00:13:59,360 Speaker 1: mean I don't know how to explain. I mean, a 251 00:13:59,440 --> 00:14:03,160 Speaker 1: minor is variation of the major, but it sounds completely 252 00:14:03,160 --> 00:14:06,960 Speaker 1: different and much more like it does sound more sad 253 00:14:07,000 --> 00:14:09,000 Speaker 1: and like if I played you in a in an 254 00:14:09,000 --> 00:14:11,920 Speaker 1: A minor in a B and a B minor, you go, oh, 255 00:14:12,400 --> 00:14:14,280 Speaker 1: we need to get a piano in here for this one. 256 00:14:15,520 --> 00:14:18,719 Speaker 1: Can we expense a piano? Maybe we should take a 257 00:14:18,760 --> 00:14:22,920 Speaker 1: break while we go get a piano. Let's do it, okay? 258 00:14:25,560 --> 00:14:49,840 Speaker 1: In things like chuck and chuck. Sorry, alright, so one 259 00:14:49,880 --> 00:14:52,080 Speaker 1: thing we should say chuck when we're talking about as 260 00:14:52,080 --> 00:14:55,800 Speaker 1: I'm sorry, absolute, Do you feel like people are keeping 261 00:14:55,880 --> 00:14:57,400 Speaker 1: up with this or we just throwing out so much 262 00:14:57,480 --> 00:15:00,720 Speaker 1: random information? A little both. I think that music majors 263 00:15:00,760 --> 00:15:04,200 Speaker 1: are really just like, oh guys, oh lord, nobody likes 264 00:15:04,200 --> 00:15:08,720 Speaker 1: them anyway. But for normal people, you think that they're like, okay, 265 00:15:08,760 --> 00:15:10,960 Speaker 1: now I understand what pitches because that's really the goal 266 00:15:11,040 --> 00:15:13,360 Speaker 1: here a little bit. We're not we're not explaining anything 267 00:15:13,360 --> 00:15:15,920 Speaker 1: to music majors that they don't already know, and we're 268 00:15:15,920 --> 00:15:18,920 Speaker 1: actually mangling the stuff that they do know. Right. Uh. 269 00:15:19,000 --> 00:15:21,160 Speaker 1: One thing we can say that's pretty easy to understand 270 00:15:21,240 --> 00:15:26,000 Speaker 1: is though, is that perfect pitch is? Um, it's a 271 00:15:26,000 --> 00:15:29,800 Speaker 1: bit of a on a sliding scale. It's hard to 272 00:15:29,840 --> 00:15:32,880 Speaker 1: define like it's either perfect or not perfect, because you 273 00:15:32,920 --> 00:15:35,640 Speaker 1: have a range from tone deaf to perfect pitch, and 274 00:15:35,720 --> 00:15:37,840 Speaker 1: you may be way closer to perfect pitch and may 275 00:15:37,880 --> 00:15:40,640 Speaker 1: even say I have perfect pitch, but not have like 276 00:15:40,760 --> 00:15:46,320 Speaker 1: absolute perfect pitch at the time when tested right exactly. 277 00:15:46,520 --> 00:15:49,600 Speaker 1: So it's not it's not binary, right, there's it's not 278 00:15:49,680 --> 00:15:51,400 Speaker 1: whether they're one of those you have it or you 279 00:15:51,440 --> 00:15:54,400 Speaker 1: don't have it kind of things. And it's suggested, is 280 00:15:54,440 --> 00:15:56,520 Speaker 1: when we'll talk about it a little more, that everybody 281 00:15:56,600 --> 00:16:01,240 Speaker 1: has some level of absolute pitch. It's just some people 282 00:16:01,280 --> 00:16:04,320 Speaker 1: are way better right than others, so so much so 283 00:16:04,360 --> 00:16:06,960 Speaker 1: that they seem like they have perfect pitch compared to 284 00:16:06,960 --> 00:16:09,480 Speaker 1: everybody else. Yeah, I'm not sure I understood that part either, 285 00:16:10,560 --> 00:16:14,360 Speaker 1: but we'll get to that. Um. And it's interesting to 286 00:16:14,400 --> 00:16:17,320 Speaker 1: note too that this, uh, even if you do have 287 00:16:17,400 --> 00:16:21,120 Speaker 1: absolute pitch, you might have trouble identifying the same notes 288 00:16:21,160 --> 00:16:25,480 Speaker 1: at different octaves. Um, you're not supposed to. You can't 289 00:16:25,520 --> 00:16:28,920 Speaker 1: call yourself a perfect pitch person. Yeah, I guess so right. Yeah, 290 00:16:28,960 --> 00:16:31,600 Speaker 1: you have to hang your head in shape. But that's tough. 291 00:16:31,640 --> 00:16:34,320 Speaker 1: Identical notes and different octaves are tough, and it results 292 00:16:34,320 --> 00:16:38,080 Speaker 1: in some weird um phenomena like the Shepherd tone, which 293 00:16:38,160 --> 00:16:41,640 Speaker 1: is really neat um. If you've ever been to a 294 00:16:41,720 --> 00:16:46,720 Speaker 1: Christopher Nolan movie, Um, specifically dune Kirk. Did dun Kirk 295 00:16:46,800 --> 00:16:49,840 Speaker 1: use it? Well, he uses it all the time, Like 296 00:16:49,880 --> 00:16:53,960 Speaker 1: the sound of that motorcycle had a specific name, but 297 00:16:53,960 --> 00:16:56,560 Speaker 1: the one batman rides with the two big fat wheels 298 00:16:56,000 --> 00:16:59,840 Speaker 1: the cycle. Yeah, I think that's what it's called. Okay, 299 00:17:00,240 --> 00:17:01,800 Speaker 1: I think I had another name, didn't it? Or no, 300 00:17:02,520 --> 00:17:04,880 Speaker 1: well maybe I think of the Adam West's bat cycling 301 00:17:05,000 --> 00:17:08,400 Speaker 1: so um, but he uses that sound. Um, it's called 302 00:17:08,440 --> 00:17:12,040 Speaker 1: the Shepherd tone, and it's basically several tones from different 303 00:17:12,040 --> 00:17:15,720 Speaker 1: octaves layered on one another. The highest tone gets quieter, 304 00:17:16,560 --> 00:17:20,359 Speaker 1: the middle tone stays loud, and the bass tone uh 305 00:17:20,400 --> 00:17:22,959 Speaker 1: as sinds and volume, and if you play them all together, 306 00:17:23,680 --> 00:17:26,520 Speaker 1: it's this mental trick that your mind can't process. And 307 00:17:26,560 --> 00:17:30,160 Speaker 1: it sounds like something that's either going up or down 308 00:17:30,400 --> 00:17:33,800 Speaker 1: into infinity basically right, But it's really just the same 309 00:17:33,840 --> 00:17:37,159 Speaker 1: thing on a loop over and over again. But it sounds, yeah, 310 00:17:37,200 --> 00:17:41,879 Speaker 1: clearly just going up and rising in pitch constantly for infinity. 311 00:17:42,200 --> 00:17:47,080 Speaker 1: It's really interesting, really tension creating it really puts you 312 00:17:47,160 --> 00:17:49,800 Speaker 1: on edge, not like nails on a chalkboard on edge, 313 00:17:49,840 --> 00:17:53,800 Speaker 1: but more like like what's gonna happen? This is still 314 00:17:53,840 --> 00:17:58,280 Speaker 1: going on? Uh, And shout out to um Roger Shepherd 315 00:17:59,040 --> 00:18:03,840 Speaker 1: from Stanford. He's a psychologists in who I guess discovered 316 00:18:03,920 --> 00:18:07,160 Speaker 1: this audio illusion. There also another shout out to Diana 317 00:18:07,240 --> 00:18:10,960 Speaker 1: Deutsch who was a researcher for m audio illusions, which 318 00:18:10,960 --> 00:18:13,520 Speaker 1: are really interesting. It's like the sound version of an 319 00:18:13,560 --> 00:18:16,680 Speaker 1: optical illusion and reveals a lot about how the brain 320 00:18:16,720 --> 00:18:22,440 Speaker 1: processes information. Um. She has a site I guess that 321 00:18:22,800 --> 00:18:26,000 Speaker 1: you see San Diego that I want everybody to go 322 00:18:26,119 --> 00:18:31,159 Speaker 1: to right now, pause the pause the episodes and go 323 00:18:31,280 --> 00:18:35,359 Speaker 1: to Deutsch d e U T s C H dot 324 00:18:35,520 --> 00:18:39,320 Speaker 1: U C S D dot E d U slash psychology 325 00:18:39,440 --> 00:18:43,320 Speaker 1: slash pages. Here's where it gets tricky dot pH P 326 00:18:43,960 --> 00:18:48,960 Speaker 1: question mark lowercase I equals to one too. Why didn't 327 00:18:49,000 --> 00:18:51,399 Speaker 1: you get a your L shortener for that? I don't know, 328 00:18:52,480 --> 00:18:54,679 Speaker 1: Just do it and and thank me later. But it 329 00:18:54,840 --> 00:18:59,600 Speaker 1: has She has these um these audio clips that show 330 00:18:59,760 --> 00:19:03,720 Speaker 1: how when you hear something spoken over and over again 331 00:19:03,840 --> 00:19:06,439 Speaker 1: enough times, the same thing over and over again, it 332 00:19:06,600 --> 00:19:10,639 Speaker 1: turns into music to you. It turns into being sung interesting, 333 00:19:10,800 --> 00:19:12,879 Speaker 1: and the way that she has it laid out and 334 00:19:12,920 --> 00:19:16,119 Speaker 1: demonstrated it is the most mind blowing thing I have 335 00:19:16,280 --> 00:19:19,840 Speaker 1: heard in ages. I loved. I went right. I was 336 00:19:19,840 --> 00:19:22,360 Speaker 1: like you, you've got to hear this, and it's it's 337 00:19:22,400 --> 00:19:26,600 Speaker 1: like I'm watching John Mayre. Shut up, who sings better 338 00:19:26,600 --> 00:19:29,720 Speaker 1: than him? This Diana Deutsch, Lady, Wow, I'll have to 339 00:19:29,760 --> 00:19:32,959 Speaker 1: hear that. That's pretty cool. You're you're gonna love it. 340 00:19:33,480 --> 00:19:36,720 Speaker 1: You will love it, Chuck awesome. Okay, it has really 341 00:19:36,760 --> 00:19:38,480 Speaker 1: nothing to do with perfect pitch, but it is just 342 00:19:38,560 --> 00:19:40,560 Speaker 1: kind of one of those things where it's like this, 343 00:19:40,560 --> 00:19:45,040 Speaker 1: this is worth mentioning to the world. Okay, all right. 344 00:19:45,080 --> 00:19:50,400 Speaker 1: So there's this guy named Nicholas uh Slanemski who's a 345 00:19:50,400 --> 00:19:54,680 Speaker 1: composer and a music lexicologist and a conductor. He wrote 346 00:19:54,760 --> 00:19:59,520 Speaker 1: in his autobiography about having absolute pitch. Basically how like 347 00:20:00,920 --> 00:20:03,160 Speaker 1: he kind of um, it was a party trick when 348 00:20:03,160 --> 00:20:05,080 Speaker 1: he was a kid, and then when he went to 349 00:20:05,160 --> 00:20:08,760 Speaker 1: school to music school, of course, um, he kind of 350 00:20:09,000 --> 00:20:12,320 Speaker 1: like kind of thought his s didn't stink because he 351 00:20:12,359 --> 00:20:14,920 Speaker 1: had perfect pitch and they didn't have to work his hard. 352 00:20:15,359 --> 00:20:17,120 Speaker 1: And he was a little snotty about it, I think 353 00:20:17,880 --> 00:20:22,080 Speaker 1: from what I gather from ed summation. And apparently while 354 00:20:22,119 --> 00:20:24,520 Speaker 1: he was off just like, hmm, I've got perfect pitch, 355 00:20:24,840 --> 00:20:27,399 Speaker 1: all his classmates are actually busting their butts and working 356 00:20:27,440 --> 00:20:31,320 Speaker 1: hard and actually writing really good music, and he fell 357 00:20:31,359 --> 00:20:33,399 Speaker 1: behind him was like, how could I be falling behind? 358 00:20:33,440 --> 00:20:36,159 Speaker 1: I have absolute pitch and he's just leaning on that 359 00:20:36,240 --> 00:20:38,359 Speaker 1: too hard he was, so he had kind of a 360 00:20:39,680 --> 00:20:42,119 Speaker 1: a moment of inspiration where he's like, Oh, I actually 361 00:20:42,119 --> 00:20:44,000 Speaker 1: have to put in the work too, And I think 362 00:20:44,000 --> 00:20:46,159 Speaker 1: this is where Ed was kind of getting that it 363 00:20:46,240 --> 00:20:49,920 Speaker 1: doesn't actually help. It's good, it's a neat thing to have. 364 00:20:50,200 --> 00:20:52,240 Speaker 1: You can't write your own ticket though in the music business. 365 00:20:52,480 --> 00:20:54,480 Speaker 1: Because he had perfect pitch, it doesn't help you be 366 00:20:54,600 --> 00:20:56,680 Speaker 1: any more creative or anything like that. And as a 367 00:20:56,760 --> 00:20:59,760 Speaker 1: matter of fact, Slominski Um points out in that Auto 368 00:20:59,800 --> 00:21:03,720 Speaker 1: by bography that, um, there have been plenty of people 369 00:21:04,040 --> 00:21:08,200 Speaker 1: who were just master composers like Tchaikovsky and Wagner were 370 00:21:08,240 --> 00:21:10,560 Speaker 1: both um. Neither one of them had perfect pitch. And 371 00:21:10,640 --> 00:21:12,840 Speaker 1: yet you'd be hard pressed to find somebody who's like 372 00:21:12,920 --> 00:21:15,960 Speaker 1: those guys were hacks. You know, they were pretty good, 373 00:21:16,000 --> 00:21:18,280 Speaker 1: and they didn't have perfect pitch. So you can do 374 00:21:18,400 --> 00:21:21,399 Speaker 1: quite well in music and not have perfect pitch, especially 375 00:21:21,480 --> 00:21:23,639 Speaker 1: if you have one of those little round harmonic as 376 00:21:23,680 --> 00:21:28,959 Speaker 1: you were talking about Lenny Kravitz harmonica pitch pipe. Um, 377 00:21:29,040 --> 00:21:32,800 Speaker 1: it's hard to tell how many people have perfect pitch. Um, 378 00:21:32,920 --> 00:21:35,320 Speaker 1: you hear one in ten thousand a lot, But as 379 00:21:35,480 --> 00:21:37,120 Speaker 1: Ed points out, it's kind of hard to find any 380 00:21:37,200 --> 00:21:40,920 Speaker 1: reference for this that really is accurate or legit. Yeah. 381 00:21:40,960 --> 00:21:42,760 Speaker 1: I think he ran into that same thing where you 382 00:21:42,800 --> 00:21:44,800 Speaker 1: see the same info on the internet in the same 383 00:21:44,840 --> 00:21:48,320 Speaker 1: way everywhere. It means that it's probably not real. I 384 00:21:48,400 --> 00:21:51,520 Speaker 1: think so, um, because it's got to be more than 385 00:21:51,560 --> 00:21:53,520 Speaker 1: one in ten thousand. Well, he said he found one 386 00:21:53,560 --> 00:21:57,159 Speaker 1: that that's found about four percent of the population has it, 387 00:21:57,240 --> 00:22:00,320 Speaker 1: so it would be four hundred and four it out 388 00:22:00,320 --> 00:22:05,280 Speaker 1: of ten thousand, four times greater than what was previously thought. 389 00:22:05,640 --> 00:22:08,520 Speaker 1: That's right. Uh. And you're more likely to have and 390 00:22:08,520 --> 00:22:10,959 Speaker 1: this is where it gets interesting, of like where does 391 00:22:11,000 --> 00:22:15,640 Speaker 1: it come from? Nature or nurture. You're definitely more likely to, um, 392 00:22:15,800 --> 00:22:19,200 Speaker 1: have perfect pitch if you start your training in music 393 00:22:19,280 --> 00:22:23,080 Speaker 1: before the age of six. Yeah, there's a critical period 394 00:22:23,560 --> 00:22:26,119 Speaker 1: for the brain where it's just mush waiting to be 395 00:22:26,240 --> 00:22:35,000 Speaker 1: molded into smarts. So things like language, foreign languages, music, um, 396 00:22:35,400 --> 00:22:37,960 Speaker 1: basically anything you can think of that requires talent that 397 00:22:38,040 --> 00:22:41,320 Speaker 1: not everybody can do kind of falls into that critical 398 00:22:41,400 --> 00:22:44,240 Speaker 1: period where if you start to learn that early on, 399 00:22:44,440 --> 00:22:46,880 Speaker 1: before age six, you're going to be able to learn 400 00:22:46,880 --> 00:22:50,040 Speaker 1: it way easier than somebody who's an adult trying to 401 00:22:50,119 --> 00:22:53,920 Speaker 1: learn it. And so perfect pitch shows up way more frequently, 402 00:22:53,960 --> 00:22:57,480 Speaker 1: and kids who had musical training and exposure specifically to 403 00:22:57,520 --> 00:23:01,120 Speaker 1: the Western music scale uh at an early age than 404 00:23:01,119 --> 00:23:05,160 Speaker 1: it does to two people who were not explosed to it. Yeah. 405 00:23:05,240 --> 00:23:10,080 Speaker 1: And also if you speak a tone language uh fluently 406 00:23:10,119 --> 00:23:13,680 Speaker 1: and definitely natively, you're more likely to have absolute pitch. 407 00:23:14,440 --> 00:23:17,359 Speaker 1: Tone languages are we have a little I mean every 408 00:23:17,440 --> 00:23:19,639 Speaker 1: language has a little bit of that. When we people 409 00:23:19,760 --> 00:23:23,520 Speaker 1: inflect in English, different things, different tones that can be 410 00:23:23,560 --> 00:23:34,359 Speaker 1: different meanings. Oh really, oh really, but we have nothing 411 00:23:34,400 --> 00:23:37,840 Speaker 1: on like Mandarin, Chinese or Cantonese. These are real tone 412 00:23:37,880 --> 00:23:41,960 Speaker 1: languages where your tones can indicate like the same word 413 00:23:42,000 --> 00:23:44,680 Speaker 1: can have five, six, seven different meanings depending on your tone. 414 00:23:45,119 --> 00:23:49,560 Speaker 1: Really interesting. Yeah, so people who speak tone languages tend 415 00:23:49,560 --> 00:23:52,760 Speaker 1: to have are more likely to have absolute pitch than 416 00:23:52,800 --> 00:23:56,400 Speaker 1: people who don't speak tone languages, right, yes, Okay, so 417 00:23:56,640 --> 00:24:00,360 Speaker 1: that raises a really good question. Then, Um, there's one 418 00:24:00,359 --> 00:24:03,879 Speaker 1: other big clue here, And just because we have the 419 00:24:03,880 --> 00:24:05,600 Speaker 1: clues asn't mean we figured out I don't think we 420 00:24:05,680 --> 00:24:10,240 Speaker 1: said there. Um is still no full understanding of why 421 00:24:10,359 --> 00:24:14,600 Speaker 1: some people have absolute or perfect pitch. Um, but it 422 00:24:14,680 --> 00:24:19,359 Speaker 1: also appears more frequently in the population of people with autism. 423 00:24:20,320 --> 00:24:24,640 Speaker 1: They tend to have more more frequency of perfect pitch 424 00:24:24,720 --> 00:24:27,639 Speaker 1: than people who do not have autism. Yeah, and the 425 00:24:27,720 --> 00:24:30,480 Speaker 1: same with I know it correlates to like, uh, supposedly 426 00:24:30,480 --> 00:24:35,320 Speaker 1: photographic memory thing synesthesia, which we've talked about and Billy 427 00:24:35,400 --> 00:24:39,119 Speaker 1: Joel's a synaesthetz. Yeah, so that might have something to 428 00:24:39,119 --> 00:24:43,080 Speaker 1: do with his abilities. So one one UM, actually two 429 00:24:43,119 --> 00:24:47,080 Speaker 1: explanations I saw for people with autism is that, UM, 430 00:24:47,119 --> 00:24:51,520 Speaker 1: it's believed that they process information piecemeal rather than wholesale, 431 00:24:52,119 --> 00:24:55,160 Speaker 1: which would explain rather than hearing like the whole musical 432 00:24:55,200 --> 00:24:57,800 Speaker 1: composition that year the individual notes, so it would be 433 00:24:57,840 --> 00:25:00,440 Speaker 1: easier for them to be acquainted with the individual will note. 434 00:25:01,600 --> 00:25:06,000 Speaker 1: Or Um, they just are more developed. Their sensory input 435 00:25:06,480 --> 00:25:09,800 Speaker 1: is way more developed than than people without autism. Those 436 00:25:09,800 --> 00:25:13,000 Speaker 1: are the two competing theories for why people with autism 437 00:25:13,119 --> 00:25:16,880 Speaker 1: have perfect pitch. More interesting. All right, Well, the whole 438 00:25:16,960 --> 00:25:20,560 Speaker 1: question that we talked about is in nature or nurture. Um. 439 00:25:20,600 --> 00:25:25,280 Speaker 1: That's sort of a debate that's still going on, UM. 440 00:25:25,320 --> 00:25:29,760 Speaker 1: And it's hard to study this stuff, uh universally. First 441 00:25:29,760 --> 00:25:33,840 Speaker 1: of all, this seems to apply almost exclusively to the 442 00:25:33,880 --> 00:25:37,440 Speaker 1: Western music scale. I think so, right, UM, because that's 443 00:25:37,480 --> 00:25:39,440 Speaker 1: what you're doing. You're saying, that's an A, that's an F, 444 00:25:39,800 --> 00:25:42,399 Speaker 1: here's n F, here's an A. UM that and what 445 00:25:42,440 --> 00:25:45,159 Speaker 1: you're talking about the notes on the Western music scale. 446 00:25:45,280 --> 00:25:48,040 Speaker 1: They think that people who have perfect pitch can detect 447 00:25:48,080 --> 00:25:51,560 Speaker 1: notes that are more nuanced than the full step or 448 00:25:51,600 --> 00:25:55,080 Speaker 1: the half step of the Western music scale. But I 449 00:25:55,119 --> 00:25:58,040 Speaker 1: didn't see anywhere where it's like, yes, this translates everywhere 450 00:25:58,080 --> 00:26:00,440 Speaker 1: into any music scale. So it does seemed to be 451 00:26:00,560 --> 00:26:06,400 Speaker 1: universal from that outset to begin with. Yeah, okay, yeah sure. Uh. 452 00:26:06,440 --> 00:26:08,680 Speaker 1: And the other thing that I thought was interesting, you 453 00:26:08,720 --> 00:26:12,840 Speaker 1: talked about this at the beginning, UM, about labeling the 454 00:26:12,880 --> 00:26:17,080 Speaker 1: sensory input. It's like, you know, they throw the letter 455 00:26:17,200 --> 00:26:22,920 Speaker 1: C on that wavelength. Basically, it's no different than than saying, well, 456 00:26:22,960 --> 00:26:25,680 Speaker 1: that color is red. It's just a it's just a 457 00:26:25,760 --> 00:26:28,840 Speaker 1: label we've created. It was right or it is. I 458 00:26:28,880 --> 00:26:32,680 Speaker 1: saw an analogy for this where if somebody with perfect pitch, 459 00:26:33,320 --> 00:26:36,160 Speaker 1: if you and I analogize it to somebody who could 460 00:26:36,200 --> 00:26:38,480 Speaker 1: pick out color, they could see a blue wall in 461 00:26:38,560 --> 00:26:41,480 Speaker 1: somebody's house and then drive to the to the paint 462 00:26:41,520 --> 00:26:44,240 Speaker 1: store and pick out that same blue from the wall 463 00:26:44,320 --> 00:26:47,920 Speaker 1: of samples. Interesting, it's basically the same thing. But there's 464 00:26:47,960 --> 00:26:51,000 Speaker 1: a big clue there with the fact that most people 465 00:26:51,040 --> 00:26:54,720 Speaker 1: like that's pretty pretty refined, but most people can look 466 00:26:54,760 --> 00:26:57,800 Speaker 1: at something and say that's blue, that's green, that's red. 467 00:26:58,240 --> 00:27:01,800 Speaker 1: Because we were almost on the world to a child 468 00:27:01,920 --> 00:27:05,960 Speaker 1: trained from a very young age to recognize and identify 469 00:27:06,119 --> 00:27:09,919 Speaker 1: and name colors. Not everybody gets that kind of training 470 00:27:09,960 --> 00:27:14,000 Speaker 1: around the world with musical notes, right, But where they do, 471 00:27:14,560 --> 00:27:18,440 Speaker 1: like in Japan, where far more children are trained more 472 00:27:18,720 --> 00:27:22,919 Speaker 1: universally in music, they have found much more prevalences of 473 00:27:23,160 --> 00:27:26,920 Speaker 1: absolute pitch there. Okay, which makes sense, right, You're exposed 474 00:27:26,920 --> 00:27:28,800 Speaker 1: from a very early age what is an A, what 475 00:27:28,960 --> 00:27:31,399 Speaker 1: is an F and you're hitting that critical period. But 476 00:27:31,520 --> 00:27:35,800 Speaker 1: that really reveals something important here too, Chuck not everybody. 477 00:27:35,920 --> 00:27:40,320 Speaker 1: Not every kid in Japan has absolute pitch. Just like 478 00:27:40,400 --> 00:27:42,159 Speaker 1: every kid in Japan can tell you what blue is 479 00:27:42,280 --> 00:27:45,800 Speaker 1: or what red is, they can't necessarily all tell you 480 00:27:45,840 --> 00:27:48,000 Speaker 1: what an A is or where an F is, right, 481 00:27:48,280 --> 00:27:52,040 Speaker 1: They just can't, So that that suggests that there is 482 00:27:52,200 --> 00:27:55,680 Speaker 1: perhaps some genetic basis to it. Not everybody can learn 483 00:27:56,000 --> 00:27:58,879 Speaker 1: absolute or perfect pitch. All right, I think that's a 484 00:27:58,880 --> 00:28:01,520 Speaker 1: good place to break in, and uh, we'll talk more 485 00:28:01,560 --> 00:28:04,560 Speaker 1: about your family jeans in perfect pitch right after this, 486 00:28:08,840 --> 00:28:33,760 Speaker 1: and things like jo stry All right, Chuck, you said 487 00:28:33,760 --> 00:28:37,879 Speaker 1: something about jeans. I'm wearing them, You're always wearing them. 488 00:28:37,880 --> 00:28:41,360 Speaker 1: I'm wearing dad jeans, are they They're a little dad jeanie. 489 00:28:41,920 --> 00:28:45,400 Speaker 1: Now what our dad jeans? Those look like normal jeans 490 00:28:45,440 --> 00:28:48,640 Speaker 1: to me. That's because we both were cool in the 491 00:28:48,680 --> 00:28:52,040 Speaker 1: same era, which is twenty years ago. So what faded 492 00:28:52,120 --> 00:28:56,040 Speaker 1: his dad jeans? I think it's a little little bag here. 493 00:28:56,600 --> 00:28:58,720 Speaker 1: I'm just too old to wear straight up skinny jeans. 494 00:28:58,800 --> 00:29:01,920 Speaker 1: Too old, my thighs are too chunky. Yeah, you know 495 00:29:01,960 --> 00:29:04,800 Speaker 1: I feel about skinny jeans. I liked it all. Almost 496 00:29:04,800 --> 00:29:07,480 Speaker 1: all jeans now are a little stretchy, though they are. 497 00:29:07,560 --> 00:29:10,680 Speaker 1: It's like they put elastic in them. Yeah, like every 498 00:29:10,840 --> 00:29:13,280 Speaker 1: fabric is a little stretchy. Now it feels like I'm like, oh, 499 00:29:13,320 --> 00:29:17,200 Speaker 1: I'm assize thirty. I never knew that. Um. Alright, so 500 00:29:17,320 --> 00:29:21,280 Speaker 1: jeans um. Absolute pitch does tend to run in families. Okay, 501 00:29:21,320 --> 00:29:26,880 Speaker 1: So clearly it's genetic, right, Well, no, not necessarily. Like 502 00:29:27,240 --> 00:29:29,680 Speaker 1: everything that I gathered here is that we just don't know. 503 00:29:29,880 --> 00:29:32,959 Speaker 1: There's probably some genetics involved and a lot of uh, 504 00:29:33,280 --> 00:29:36,840 Speaker 1: nurture involved that. So that was the old view, and 505 00:29:36,880 --> 00:29:40,360 Speaker 1: I think it's still kind of predominant that that that 506 00:29:40,400 --> 00:29:42,640 Speaker 1: this was this explained absolute pitch. If I may take 507 00:29:42,680 --> 00:29:46,600 Speaker 1: this one, Yeah, that you were born with the genetic 508 00:29:46,840 --> 00:29:51,800 Speaker 1: propensity toward absolute pitch. Yeah, Like, if you're Lucy waynewright, 509 00:29:53,000 --> 00:29:56,280 Speaker 1: our friend and her mom and her dad are both 510 00:29:56,320 --> 00:30:02,600 Speaker 1: professional singers. It's no mistake that Lucy, Martha and Rufus 511 00:30:02,800 --> 00:30:07,200 Speaker 1: are all professional singers. There's a genetic component there, for sure. 512 00:30:07,360 --> 00:30:09,040 Speaker 1: But the other way to look at it, and this 513 00:30:09,120 --> 00:30:12,000 Speaker 1: is the reason why the nature versus nurture debate hasn't 514 00:30:12,040 --> 00:30:16,240 Speaker 1: been settled. It's also quite possible that just because Lucy 515 00:30:16,360 --> 00:30:19,440 Speaker 1: was exposed to music from a very owning age, including 516 00:30:19,440 --> 00:30:21,680 Speaker 1: the critical period. It could have nothing to do with 517 00:30:21,720 --> 00:30:24,480 Speaker 1: genetics and could have everything to do with environment. So 518 00:30:24,520 --> 00:30:27,240 Speaker 1: the thing that everybody's settled on is it's probably both 519 00:30:27,720 --> 00:30:30,440 Speaker 1: that you're you have a genetic propensity toward it, and 520 00:30:30,480 --> 00:30:34,200 Speaker 1: that if you are exposed to the Western musical scale 521 00:30:34,880 --> 00:30:38,960 Speaker 1: at that critical period before age six, and then you 522 00:30:39,160 --> 00:30:42,360 Speaker 1: learn later on like, oh, my parents are will actually 523 00:30:42,360 --> 00:30:44,760 Speaker 1: be kind to me and and talk nice to me. 524 00:30:44,800 --> 00:30:46,760 Speaker 1: If I show off in front of their friends that 525 00:30:46,800 --> 00:30:49,160 Speaker 1: I can do in a off the top of my head, 526 00:30:49,600 --> 00:30:53,480 Speaker 1: then that reinforces that and that develops into absolutely a 527 00:30:53,520 --> 00:30:56,240 Speaker 1: perfect pitch later on in life. Is that the part 528 00:30:56,280 --> 00:30:59,120 Speaker 1: where the child has to see value in it in 529 00:30:59,200 --> 00:31:02,200 Speaker 1: order to kind of and I guess that's true with anything. Yeah, 530 00:31:02,400 --> 00:31:04,960 Speaker 1: your kid doesn't see value and something, they're not gonna 531 00:31:05,240 --> 00:31:08,600 Speaker 1: work towards that, right exactly. See, my parents neither one 532 00:31:08,640 --> 00:31:12,880 Speaker 1: of my parents can sing. Really, my sister can't sing, 533 00:31:13,440 --> 00:31:15,360 Speaker 1: but my brother and I can both sing. Oh I've 534 00:31:15,360 --> 00:31:17,920 Speaker 1: heard you. It's like Angels Scott sing is better than me. 535 00:31:17,960 --> 00:31:21,680 Speaker 1: Of course, I mean does that go without saying at 536 00:31:21,680 --> 00:31:26,480 Speaker 1: this point? Uh, it's interesting though how that works because 537 00:31:26,480 --> 00:31:30,160 Speaker 1: we weren't super exposed to music either a little bit, 538 00:31:30,280 --> 00:31:33,560 Speaker 1: but not like my parents weren't big music people that 539 00:31:33,600 --> 00:31:35,680 Speaker 1: were like, oh man, let me gotta listen to this record, yeah, 540 00:31:36,280 --> 00:31:38,680 Speaker 1: check this track. Yeah. Just that just didn't happen. So 541 00:31:38,680 --> 00:31:41,480 Speaker 1: we were discovering music on our own. But I wonder 542 00:31:41,520 --> 00:31:45,520 Speaker 1: if my brother gave me the nurture side, because he 543 00:31:45,640 --> 00:31:48,760 Speaker 1: was singing and we were inquired and he was giving 544 00:31:48,760 --> 00:31:52,480 Speaker 1: me records and stuff. I could totally yeah. I mean, 545 00:31:52,520 --> 00:31:55,080 Speaker 1: that's that's nurture right there. It's just not coming from 546 00:31:55,120 --> 00:31:59,600 Speaker 1: your parents, but that's still nurturing. I'm just fascinated. I'm 547 00:31:59,640 --> 00:32:04,520 Speaker 1: just fast neated by talents period. And like Michelle and 548 00:32:04,520 --> 00:32:06,960 Speaker 1: Scott can both draw. I can't draw at all, And 549 00:32:07,000 --> 00:32:10,640 Speaker 1: like how that stuff? You know? My mom is an artist? 550 00:32:11,520 --> 00:32:13,720 Speaker 1: Oh is she? Yeah? I didn't Oh yeah that's right. 551 00:32:13,760 --> 00:32:16,640 Speaker 1: The mural, yeah she. I mean she's a was a 552 00:32:16,640 --> 00:32:19,240 Speaker 1: professional artist. And it's just like I can't draw a 553 00:32:19,240 --> 00:32:22,160 Speaker 1: stick figure, right, They didn't get passed out. And it's 554 00:32:22,160 --> 00:32:24,200 Speaker 1: funny when I say that around my mom, she's like, oh, 555 00:32:24,360 --> 00:32:26,160 Speaker 1: you can draw. I remember all the build a cat 556 00:32:26,280 --> 00:32:28,959 Speaker 1: stuff he used to do, and Opus the penguin from 557 00:32:28,960 --> 00:32:31,720 Speaker 1: bloom County. It's like, Mom, I was tracing. She's like, well, 558 00:32:31,720 --> 00:32:33,800 Speaker 1: that takes talent. I'm like, she's like, oh no, it 559 00:32:33,880 --> 00:32:38,360 Speaker 1: really does. I never knew she said tracing takes talent. 560 00:32:43,320 --> 00:32:46,040 Speaker 1: But I'm just fascinated about talents, especially having a daughter 561 00:32:46,080 --> 00:32:48,680 Speaker 1: now and like, is she good at this? Is she 562 00:32:48,760 --> 00:32:50,240 Speaker 1: not gonna be good at this? Yeah? I don't know. 563 00:32:51,120 --> 00:32:53,280 Speaker 1: Some some of the stuff you can nurture, but some 564 00:32:53,320 --> 00:32:56,560 Speaker 1: stuff you just gotta wait and see. It's the it's 565 00:32:56,600 --> 00:32:59,960 Speaker 1: an age old question. I I think that anybody who 566 00:33:00,120 --> 00:33:02,120 Speaker 1: is like it's a hundred percent nature a hundred percent 567 00:33:02,240 --> 00:33:05,560 Speaker 1: nurtures off. Either way, it's got to be a combination 568 00:33:05,560 --> 00:33:07,320 Speaker 1: of the two. I mean, we did that episode on 569 00:33:07,360 --> 00:33:11,640 Speaker 1: epigenetics that basically proved it's both. You know, it shows 570 00:33:11,680 --> 00:33:14,720 Speaker 1: how it's both. So yeah, it's got to be both. 571 00:33:14,880 --> 00:33:17,640 Speaker 1: I would I would say absolute pitchfalls under that well, 572 00:33:17,680 --> 00:33:20,560 Speaker 1: and with absolute pitch too. It's interesting because the way 573 00:33:20,600 --> 00:33:24,520 Speaker 1: I read this is that people can learn it. Yeah, 574 00:33:24,560 --> 00:33:27,440 Speaker 1: with practice, I guess even later in life. Yeah. The 575 00:33:27,440 --> 00:33:29,640 Speaker 1: thing that really caught my attention is there's a drug 576 00:33:29,720 --> 00:33:33,920 Speaker 1: called valpro eight. The aids in neural plasticity, which means 577 00:33:33,920 --> 00:33:37,240 Speaker 1: you learn better, you can restructure your brain to learn 578 00:33:37,320 --> 00:33:39,840 Speaker 1: new stuff at a later age. Yeah, I had never 579 00:33:39,920 --> 00:33:42,320 Speaker 1: heard of that. I had neither. Apparently that treats epilepsy, 580 00:33:42,360 --> 00:33:47,320 Speaker 1: bipolar disorder in migraines and can help you saying better 581 00:33:47,440 --> 00:33:51,440 Speaker 1: may literally make you smarter as what I'm getting U. 582 00:33:51,600 --> 00:33:54,000 Speaker 1: The other thing I took issue with is that this 583 00:33:54,160 --> 00:33:57,040 Speaker 1: said much like an American learning German a H. Forty 584 00:33:57,080 --> 00:33:58,920 Speaker 1: will never be as fluent as someone born and raised 585 00:33:58,920 --> 00:34:02,680 Speaker 1: in Germany. Is that true? Uh? Yeah, I think native 586 00:34:02,720 --> 00:34:07,040 Speaker 1: born speakers always have an edge up on I think. 587 00:34:07,560 --> 00:34:10,800 Speaker 1: I don't know. I figure if you really immerse yourself, 588 00:34:10,840 --> 00:34:13,000 Speaker 1: you moved to Germany, like you could learn it just 589 00:34:13,040 --> 00:34:16,600 Speaker 1: as good. Right, maybe. And I've also heard that you're 590 00:34:16,640 --> 00:34:18,439 Speaker 1: never truly and this may be one of those dumb 591 00:34:18,440 --> 00:34:21,399 Speaker 1: things you hear in elementary school, but you can never 592 00:34:21,480 --> 00:34:25,239 Speaker 1: truly be fluent if you don't dream in that language. 593 00:34:25,640 --> 00:34:27,000 Speaker 1: And I don't know if that's true, if that's an 594 00:34:27,000 --> 00:34:30,160 Speaker 1: old wives tale. I've never heard that you haven't. No, 595 00:34:30,760 --> 00:34:32,719 Speaker 1: I've always heard that like after a certain age, you 596 00:34:32,760 --> 00:34:36,279 Speaker 1: can't dream in a foreign tongue and thus you're not 597 00:34:36,760 --> 00:34:40,000 Speaker 1: quote unquote fluent. That sounds made up. It sounds like 598 00:34:40,160 --> 00:34:42,640 Speaker 1: playground stuff like the bar code being the number of 599 00:34:42,640 --> 00:34:46,480 Speaker 1: the UM. There's one last part that I thought was 600 00:34:46,560 --> 00:34:50,480 Speaker 1: really fascinating. There's a larger part of this debate that 601 00:34:50,920 --> 00:34:53,920 Speaker 1: the fact that there are people walking around with absolute 602 00:34:54,040 --> 00:34:59,399 Speaker 1: pitch um and not everybody has it suggests something that 603 00:35:00,080 --> 00:35:04,840 Speaker 1: we may have a part of our brain that is 604 00:35:04,960 --> 00:35:09,560 Speaker 1: left over to sense and detect music in differences in music, 605 00:35:10,120 --> 00:35:14,240 Speaker 1: and that to some people that suggests that music singing 606 00:35:14,360 --> 00:35:20,480 Speaker 1: specifically actually predated language in our development or evolution. I 607 00:35:20,480 --> 00:35:23,880 Speaker 1: could see that totally. Yeah. And the example uses that 608 00:35:23,960 --> 00:35:30,320 Speaker 1: a series of sounds was early communication. Sure means he 609 00:35:30,440 --> 00:35:34,200 Speaker 1: got me yeah, or you know ah, like you know 610 00:35:34,280 --> 00:35:36,799 Speaker 1: big tuktok is saying big mammoth is coming this way. 611 00:35:37,040 --> 00:35:39,320 Speaker 1: That was clearly a lookout. Even before you said it, 612 00:35:39,360 --> 00:35:40,880 Speaker 1: I was going to say look out. But if you 613 00:35:40,880 --> 00:35:44,040 Speaker 1: really hear what I did there, that's singing in a way, right, 614 00:35:44,200 --> 00:35:48,760 Speaker 1: it can write it's a tone and eventually over time, um, 615 00:35:48,800 --> 00:35:54,440 Speaker 1: that could be um kind of uh systematized, categorize where standardized. 616 00:35:54,440 --> 00:35:55,960 Speaker 1: That's what I was looking for. One of those eyes 617 00:35:56,280 --> 00:35:59,440 Speaker 1: um where that's just what your group says, and your 618 00:35:59,440 --> 00:36:02,560 Speaker 1: group gets grim bigger, and that spreads and eventually turns 619 00:36:02,600 --> 00:36:05,440 Speaker 1: into words something more nuanced. So it makes total sense. 620 00:36:05,840 --> 00:36:07,719 Speaker 1: The other reason I saw that made sense to me 621 00:36:07,800 --> 00:36:10,560 Speaker 1: was that if we were running around nature we heard 622 00:36:10,600 --> 00:36:15,000 Speaker 1: birds calling, we heard um cats growling or something like that, 623 00:36:15,280 --> 00:36:18,640 Speaker 1: we may start to imitate those things were through clicks 624 00:36:18,640 --> 00:36:21,560 Speaker 1: and whistles and all this stuff. If they sound natural, 625 00:36:22,200 --> 00:36:24,719 Speaker 1: um much more than like language does. So it makes 626 00:36:24,800 --> 00:36:28,879 Speaker 1: total sense that that song would have come before language. Yeah, 627 00:36:28,880 --> 00:36:31,680 Speaker 1: I mean I think there's a uh an eight tonality 628 00:36:31,760 --> 00:36:37,360 Speaker 1: and and in words and pre words, yeah, pre words 629 00:36:37,400 --> 00:36:39,640 Speaker 1: like it doesn't I don't know, because otherwise it just 630 00:36:39,640 --> 00:36:42,239 Speaker 1: would have been a series of grunts and clicks and 631 00:36:42,320 --> 00:36:45,560 Speaker 1: things like very staccato and short. Yeah. It's almost like 632 00:36:45,600 --> 00:36:47,360 Speaker 1: with some of the first person born who was like, 633 00:36:47,400 --> 00:36:49,440 Speaker 1: well how do you do? And that was like the 634 00:36:49,480 --> 00:36:51,359 Speaker 1: first person to ever talk, and that was the first 635 00:36:51,400 --> 00:36:55,200 Speaker 1: sentence ever spoken, you know, like it's a it's a 636 00:36:55,239 --> 00:36:58,240 Speaker 1: great question. Uh. If you want to know more about 637 00:36:58,280 --> 00:37:01,399 Speaker 1: great questions like absolute pitch, Well, they're friends. We want 638 00:37:01,400 --> 00:37:06,560 Speaker 1: to direct you to our beloved website that we put 639 00:37:06,600 --> 00:37:09,400 Speaker 1: a lot of blood, sweat and tears into how stuff works. 640 00:37:09,480 --> 00:37:12,360 Speaker 1: They got a lot of good stuff for you there Okay, okay, 641 00:37:12,520 --> 00:37:16,200 Speaker 1: And since I said okay, it's time for listener mail. Actually, 642 00:37:16,760 --> 00:37:19,480 Speaker 1: can I jump back, jump back? Jack we didn't talk 643 00:37:19,480 --> 00:37:22,440 Speaker 1: about people who supposedly had perfect pitch. We'll throw some 644 00:37:22,520 --> 00:37:25,000 Speaker 1: names out real quick. Oh man, I'm sorry. Yeah, that's 645 00:37:25,000 --> 00:37:28,680 Speaker 1: all right. Michael Jackson supposedly had perfect pitch. And there's 646 00:37:28,719 --> 00:37:30,560 Speaker 1: this story. This is from Mental Floss. By the way, 647 00:37:31,040 --> 00:37:34,560 Speaker 1: there's a story from will I Am who backed Michael 648 00:37:34,640 --> 00:37:37,000 Speaker 1: Jackson up in a song and said that he warmed 649 00:37:37,080 --> 00:37:39,319 Speaker 1: up for three hours to sing a five minute song 650 00:37:39,880 --> 00:37:41,920 Speaker 1: three hours of me Me Me, Me, Me Me Me. 651 00:37:43,239 --> 00:37:46,360 Speaker 1: Mariah Carey supposedly discovered she had perfect pitch at the 652 00:37:46,360 --> 00:37:51,279 Speaker 1: age of four. Um Ella Fitzgerald, I love this story. 653 00:37:51,760 --> 00:37:54,040 Speaker 1: Apparently she was so dead on that her band would 654 00:37:54,080 --> 00:37:56,520 Speaker 1: warm up to her voice, so the other way. That's 655 00:37:56,560 --> 00:37:59,640 Speaker 1: really it's pretty cool. I love that. Lady bing Crosby, 656 00:38:00,040 --> 00:38:07,840 Speaker 1: m his um travel partner, said that sharing a train ride, 657 00:38:07,960 --> 00:38:13,040 Speaker 1: he would snore and pitch to the train whistle. That's cute. 658 00:38:13,080 --> 00:38:16,359 Speaker 1: That's like the three stooges who like me Me Me, Me, 659 00:38:16,360 --> 00:38:21,680 Speaker 1: Me Me Me. Florence Henderson of the Brady Bunch, he's 660 00:38:21,680 --> 00:38:26,800 Speaker 1: a singer as well. Mozart. Sure they assumed Beethoven, although 661 00:38:26,840 --> 00:38:31,520 Speaker 1: that was never on record. Paul Shaffer, The World's Most 662 00:38:31,560 --> 00:38:36,799 Speaker 1: Dangerous Band, Jimmy Hendrix. As the story goes, Hendrix, when 663 00:38:36,800 --> 00:38:39,400 Speaker 1: he was first learning guitar could not afford a guitar tuner, 664 00:38:39,800 --> 00:38:42,239 Speaker 1: so he would go to a music store strum the 665 00:38:42,280 --> 00:38:44,480 Speaker 1: open strings and then go back and like tune it 666 00:38:44,520 --> 00:38:48,440 Speaker 1: to what he remembered hearing. And he learned guitar like 667 00:38:48,520 --> 00:38:53,240 Speaker 1: age nine or something, maybe even younger. Uh. And then Yanni. 668 00:38:53,800 --> 00:38:58,040 Speaker 1: And Yanni was even tested on dateline someone playing random keys, 669 00:38:58,040 --> 00:39:00,680 Speaker 1: and he nailed it. Apparently, of course it's ny Yeah, 670 00:39:00,880 --> 00:39:04,960 Speaker 1: I always confused. Yanni was zomb fear. Oh, one was 671 00:39:05,000 --> 00:39:07,759 Speaker 1: a pan flutter and one was a pam flute. Greek God, 672 00:39:08,160 --> 00:39:11,400 Speaker 1: wasn't one wasn't? I thought they both played the pam flute. No, 673 00:39:11,800 --> 00:39:16,600 Speaker 1: Yanni was a composer of the big flowery arrangements. He 674 00:39:16,680 --> 00:39:18,480 Speaker 1: may he may pain fluted up every now and then, 675 00:39:18,520 --> 00:39:21,480 Speaker 1: but I don't think that he wasn't shy with the 676 00:39:21,480 --> 00:39:23,680 Speaker 1: pam flut. But that, yeah, I got you all right. Well, 677 00:39:23,760 --> 00:39:25,680 Speaker 1: I think I already said the listener mail things, So 678 00:39:25,760 --> 00:39:30,200 Speaker 1: let's jump right into it. Yes, all right, so this 679 00:39:30,280 --> 00:39:32,880 Speaker 1: is actually woe Chuck. Before we get into it, let 680 00:39:32,960 --> 00:39:35,040 Speaker 1: me add something here. So you remember our friend Lowell 681 00:39:35,080 --> 00:39:42,399 Speaker 1: Hutchinson who um who sponsored our our Yes, well, low 682 00:39:42,520 --> 00:39:45,440 Speaker 1: didn't include the name of her shop that she donates 683 00:39:46,280 --> 00:39:50,080 Speaker 1: of the to the David Sheldrick Wildlife Trust, and she 684 00:39:50,080 --> 00:39:52,279 Speaker 1: she emailed in with it, so we gotta share it. 685 00:39:53,400 --> 00:39:57,160 Speaker 1: You go to etsy dot com, slash shop slash Lowell 686 00:39:57,520 --> 00:40:02,239 Speaker 1: hutch Designs l O W E. L. Hutch Designs and 687 00:40:02,400 --> 00:40:05,200 Speaker 1: by her would her turned would and some of that 688 00:40:05,280 --> 00:40:08,040 Speaker 1: money is going to save elephants. That's awesome and much 689 00:40:08,040 --> 00:40:12,839 Speaker 1: easier than the San Diego state you are l you work, 690 00:40:12,960 --> 00:40:16,319 Speaker 1: but everybody, all right, here we go everyone. I love 691 00:40:16,320 --> 00:40:19,320 Speaker 1: it when we get a uh, a little bit of 692 00:40:19,400 --> 00:40:22,560 Speaker 1: Kisman happening. Hey, guys heard the episode and what happens 693 00:40:22,560 --> 00:40:25,560 Speaker 1: when the government mistakenly think someone is dead. You mentioned 694 00:40:25,560 --> 00:40:28,080 Speaker 1: that you're having trouble finding info on why the postal 695 00:40:28,160 --> 00:40:31,560 Speaker 1: service would be reporting a death to the government, And 696 00:40:31,560 --> 00:40:34,560 Speaker 1: an amazing coincidence, I actually just had to do that 697 00:40:35,040 --> 00:40:37,600 Speaker 1: the very same day that that episode dropped. I work 698 00:40:37,640 --> 00:40:41,160 Speaker 1: as a mail carrier in New Rochelle, New York, and 699 00:40:41,200 --> 00:40:44,600 Speaker 1: I can confirmed. I confirmed that we are responsible for 700 00:40:44,600 --> 00:40:47,000 Speaker 1: reporting deaths, and in some cases it's a bit more 701 00:40:47,040 --> 00:40:50,000 Speaker 1: common than you think. Procedure is actually quite simple. When 702 00:40:50,000 --> 00:40:52,759 Speaker 1: a government agency, usually the I R. S L or 703 00:40:53,000 --> 00:40:56,080 Speaker 1: Social Security, is having trouble reaching an individual, they send 704 00:40:56,080 --> 00:40:59,800 Speaker 1: a special form to the post office responsible for to 705 00:41:00,080 --> 00:41:03,759 Speaker 1: ring that person's mail. Reform asks the mail carrier knows 706 00:41:03,800 --> 00:41:06,480 Speaker 1: the whereabouts of that person. I imagine the first thing 707 00:41:06,520 --> 00:41:08,960 Speaker 1: I would say, it's like, I don't know, I just 708 00:41:08,960 --> 00:41:13,960 Speaker 1: deliver mail here. Yeah, whether they moved, or whether they're 709 00:41:14,000 --> 00:41:16,040 Speaker 1: just ignoring the government's calls and letters, or in some 710 00:41:16,080 --> 00:41:18,920 Speaker 1: cases they have unfortunately passed away. The carrier will try 711 00:41:18,960 --> 00:41:22,200 Speaker 1: to find out where that person is what they like 712 00:41:22,280 --> 00:41:26,840 Speaker 1: to use them as investigators almost that's crazy, um. And 713 00:41:26,880 --> 00:41:28,680 Speaker 1: if they don't already know, and they will fill out 714 00:41:28,680 --> 00:41:31,000 Speaker 1: the form to be sent back to the agency. If 715 00:41:31,040 --> 00:41:33,080 Speaker 1: I are one of my co workers informs the agency 716 00:41:33,160 --> 00:41:35,920 Speaker 1: that the individual is deceased, then we get a coupon 717 00:41:36,040 --> 00:41:39,560 Speaker 1: for now I'm just kidding. Then they have officially been 718 00:41:39,600 --> 00:41:42,200 Speaker 1: reported as such, and it is the responsibility of the 719 00:41:42,239 --> 00:41:46,359 Speaker 1: government to confirm this information with next of ken. That 720 00:41:46,640 --> 00:41:51,080 Speaker 1: is from tom Uhlongie, the government's like you know, your 721 00:41:51,120 --> 00:41:56,040 Speaker 1: mom's postal workers spreading. So thanks Tom, and thanks for 722 00:41:56,080 --> 00:42:00,160 Speaker 1: delivering mail to new Rochelle Rochelle in New York show 723 00:42:00,280 --> 00:42:03,319 Speaker 1: Rochelle the Musical. That's right. Uh yeah, thanks a lot, Tom. 724 00:42:03,360 --> 00:42:05,600 Speaker 1: That's pretty cool you heard that at the same time 725 00:42:05,600 --> 00:42:07,760 Speaker 1: you were doing that. We love that kind of thing, amazing. 726 00:42:07,800 --> 00:42:10,440 Speaker 1: Would you call it kismet? Yeah, If you've got a 727 00:42:10,440 --> 00:42:12,600 Speaker 1: little bit of kismet going on, let us know. You 728 00:42:12,640 --> 00:42:14,480 Speaker 1: can go onto stuff you should Know dot com and 729 00:42:14,520 --> 00:42:16,560 Speaker 1: find our social links there, or you can send us 730 00:42:16,600 --> 00:42:23,280 Speaker 1: an email to stuff Podcasts at i heart radio dot com. 731 00:42:23,360 --> 00:42:25,080 Speaker 1: Stuff you Should Know is a production of i Heeart 732 00:42:25,160 --> 00:42:28,080 Speaker 1: Radio's How Stuff Works. For more podcasts for my heart Radio, 733 00:42:28,160 --> 00:42:30,800 Speaker 1: visit the iHeart Radio app, Apple Podcasts, or wherever you 734 00:42:30,880 --> 00:42:32,000 Speaker 1: listen to your favorite shows.