WEBVTT - The Barry White Effect

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

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<v Speaker 1>Works dot com. Hey, wasn't the stuff to blow your mind?

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<v Speaker 1>My name is Robert Lamb and I'm Julie. Can't get

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<v Speaker 1>a nun? You love Douglas? Yeah? Are you? Are you

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<v Speaker 1>a frog? I'm Berry White. Oh okay, I was getting

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<v Speaker 1>a little more cartoon frog than Verry White. But man,

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<v Speaker 1>this place, I'm telling you how stuff works. You try

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<v Speaker 1>to bust out an accent here or any sort of

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<v Speaker 1>vocal nuance, and you have a bunch of experts chining in.

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<v Speaker 1>But no, it's good to you went for Verry White,

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<v Speaker 1>because today we're talking about the very wide effect. We're

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<v Speaker 1>talking a little bit about Barry White, a little bit

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<v Speaker 1>about Marilyn Monroe, throwing in some koalas here and there.

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<v Speaker 1>But but first, let let's just talk very briefly about

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<v Speaker 1>Marilyn Monroe and Barry White from sort of a cultural standpoint,

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<v Speaker 1>like both of these are icons of sex appeal that

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<v Speaker 1>really may not hold up as we were discussing earlier,

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<v Speaker 1>to uh to, to modern pop culture standards, and certainly

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<v Speaker 1>to any individual out there, you might not think, oh, well,

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<v Speaker 1>you know, Verry Wide is the the be all of

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<v Speaker 1>male sexuality or you might you might not have Marilyn

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<v Speaker 1>Monroe posters all over your dorm room. Um, but they

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<v Speaker 1>still have this sort of iconic um power to them. Yeah,

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<v Speaker 1>they do. They are just brimming with sexuality. And some

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<v Speaker 1>of that is because of the type of music that

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<v Speaker 1>very White created. It was very much like I'm gonna

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<v Speaker 1>put the player on and we're gonna get down right now.

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<v Speaker 1>He wasn't doing historical ballads about you know, about the

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<v Speaker 1>battles in in history or anything. He was very much

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<v Speaker 1>get down to business. And in terms of Marylyn Row,

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<v Speaker 1>I mean she is sort of like a female through

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<v Speaker 1>the cultural lens completely, you know, um, characaturist, sort of

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<v Speaker 1>the Betty boot living Betty boop. Yeah, and she does

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<v Speaker 1>for the roles she played. I don't recall ever having

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<v Speaker 1>seen Marilyn Monroe movie where she threw a karate chop

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<v Speaker 1>or um, you know, or fought an alien on a

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<v Speaker 1>space ship. It was it was very much Marilyn on

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<v Speaker 1>her as Marilyn Monroe. Um, you know, copy and paste,

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<v Speaker 1>repeat right. That was her purview, right. She wasn't trying

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<v Speaker 1>to put forward this idea of a balanced idea of

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<v Speaker 1>what a woman could be or should be. So here

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<v Speaker 1>we have these big iconic presences and we have a

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<v Speaker 1>couple of studies to actually relate to them. And at

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<v Speaker 1>the bottom of all this, there's this idea that we

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<v Speaker 1>might actually have a voice prejudice. We might hear certain

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<v Speaker 1>voices and gravitate toward them. And we're going to explore

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<v Speaker 1>this idea. Yeah, and and and that end of itself

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<v Speaker 1>when we can all relate to that there are certain

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<v Speaker 1>voices that are going to annoy us in our lives,

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<v Speaker 1>and we're gonna have certain uh taste that revolve around

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<v Speaker 1>other voices. Like it's like some people are gonna be

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<v Speaker 1>really annoyed by a high nasal voice or or even

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<v Speaker 1>a really deep voice. I could say that as being annoying.

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<v Speaker 1>I mean, there's so many like everything that we've discussed

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<v Speaker 1>concerning where the human condition meets uh Darwinian evolution. There's

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<v Speaker 1>there's what we have evolved to be, and then there's

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<v Speaker 1>the complications that have arisen from the ascension of human

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<v Speaker 1>consciousness and the layers of culture we put over everything well,

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<v Speaker 1>and one of the ways that we try to cut

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<v Speaker 1>through all of that and try to figure out whether

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<v Speaker 1>or not there's some sort of baseline two voices, and

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<v Speaker 1>the way that we react to them is we look

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<v Speaker 1>to the animal world, specifically residents, frequencies, and animals. So

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<v Speaker 1>we've seen studies of animals and birds that reveal that

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<v Speaker 1>listeners can figure out body size and what the intent

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<v Speaker 1>of the collar is based our frequency, voice quality, and

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<v Speaker 1>format spacing. So this format spacing is really important because

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<v Speaker 1>as we're going to go on and talk about these

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<v Speaker 1>lower pitches, those are really are at the heart of

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<v Speaker 1>what makes something very low pitched. So essentially, lower pitched

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<v Speaker 1>vocalizations are less space between something called formats okay, and

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<v Speaker 1>these formats uh, These frequencies are emphasized frequencies within vocalizations

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<v Speaker 1>and humans, formats are essential to speech and they help

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<v Speaker 1>us to distinguish between vowels. So, in effect, an animals

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<v Speaker 1>roar or vocal communication of its choice is going to

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<v Speaker 1>be a key to its size. The lower, more baritone

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<v Speaker 1>sounds are going to say hey, I'm a big animal,

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<v Speaker 1>as opposed to the higher ones that would say hey,

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<v Speaker 1>I'm a smaller animal. Yeah. I mean, there's this idea

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<v Speaker 1>that pure tone like sounds are more likely to suggest

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<v Speaker 1>a smaller size, submissiveness and fear that sounds yeah like that. Yeah, yeah.

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<v Speaker 1>Now one particular study, because because you want specific examples

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<v Speaker 1>of this, I'm sure we would looked at a two

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<v Speaker 1>thousand and eleven study publishing the Journal of Experimental Biology,

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<v Speaker 1>and they looked at koala bears. Now, koala bears, if

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<v Speaker 1>you don't know anything about up them, you might think

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<v Speaker 1>of them as purely a sexual creatures that live only

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<v Speaker 1>on you know, tree limbs or in baby cribs. You know,

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<v Speaker 1>they're Steph quala airs. I mean, they're very adorable looking,

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<v Speaker 1>but of course, like any animal, they engaged and rather

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<v Speaker 1>raucous sexual life all their own. UM. We've we've discussed

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<v Speaker 1>in the past lesbian qualas that will push one another

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<v Speaker 1>up against plants and and have their way, and so

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<v Speaker 1>you know, the kualas are a decent place to look

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<v Speaker 1>for examples of of this kind of vocal frequency. UM

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<v Speaker 1>is used as a kind of mating signature. And indeed

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<v Speaker 1>they found it by um that the that the male

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<v Speaker 1>qualas advertise their size by changing the residents of their

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<v Speaker 1>calls lower resonance. Again called formats have a more baritone quality,

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<v Speaker 1>and that just just telling the lady quala is out

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<v Speaker 1>there Hey, I'm big. I'm a big kuala and the

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<v Speaker 1>the underlying theme here is that I'm a big koala

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<v Speaker 1>that can fight off other koalas. So if you, if

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<v Speaker 1>you hear me, guys, know that I am a rather

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<v Speaker 1>sizeable opponent, you know, on a mess with me, and ladies,

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<v Speaker 1>I am a preferred nate because as a large koala,

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<v Speaker 1>I'm more likely to give you large koala offspring who

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<v Speaker 1>will in turn have mating success in their lives. So

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<v Speaker 1>there's a very you know, hardcore Darwinian message here. Uh,

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<v Speaker 1>I mean, it all comes down to the passing of

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<v Speaker 1>jeans one generation to the next and trying to gain

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<v Speaker 1>the next generation for success. Yeah, and uh this actually

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<v Speaker 1>points to the research of a group of twenty male

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<v Speaker 1>kualas during the kuala breeding season at Lone Pine Koala

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<v Speaker 1>Sanctuary in Australia. And usually these guys, these little cute marsupials,

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<v Speaker 1>are pretty quiet this the year, but when it is

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<v Speaker 1>mating season they do have that deep, choppy growl. And so,

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<v Speaker 1>as you say, the promise here and the research that

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<v Speaker 1>was born out here is again there's a larger body

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<v Speaker 1>size headsize that's correlated with the lower frequencies and this

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<v Speaker 1>idea of hey, I'm going to create more competitive offspring

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<v Speaker 1>for you. And in the case of something like a

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<v Speaker 1>foul dear, a low frequency growl that's heard off in

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<v Speaker 1>the distance might discourage another would be suitors to a

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<v Speaker 1>fellow dough, let's say, to retreat from the area. So

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<v Speaker 1>it's not just like hey, I'm gonna give you some

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<v Speaker 1>really sturdy young n's, but it could also be something

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<v Speaker 1>of a play that's kind of like, hey, you better

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<v Speaker 1>step off because I'm in the area. All right. So this,

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<v Speaker 1>i'll leads to the inevitable question what about humans? Is it?

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<v Speaker 1>Is it the same with us? What about Barry White?

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<v Speaker 1>And indeed had his very white factor because Barry White,

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<v Speaker 1>just to to to remind everyone, was a very big man.

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<v Speaker 1>I mean he he struggled with obesity, you know, most

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<v Speaker 1>of his adult life, but he's also six four. He

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<v Speaker 1>was a big dude, an imposing figure, but also one

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<v Speaker 1>that that again became iconic because he had this uh

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<v Speaker 1>this kind of soft, uh teddy bear kind of quality

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<v Speaker 1>to him as well, like you never doubted that he

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<v Speaker 1>could he could stand up for himself and he could

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<v Speaker 1>put a new place. But he was a approachable he was.

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<v Speaker 1>He had this lovable charm and charisma about him. Well,

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<v Speaker 1>there is a study that was published in Plos one

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<v Speaker 1>called human vocal attractiveness as Signaled by body size projection,

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<v Speaker 1>and this looks at both high frequency and low frequency

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<v Speaker 1>and it found, let's look at the males first, that

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<v Speaker 1>male listeners preferred female voices with high pitch, breathy voice

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<v Speaker 1>in wide format spacing because it correlated with a smaller

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<v Speaker 1>body size. Does this sound like anyone you've ever known? President?

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<v Speaker 1>I think that was that was pretty spot on. It's

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<v Speaker 1>kind of hard to do. Um. Now, a breathy voice

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<v Speaker 1>is indicative of the higher pitches that you would see

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<v Speaker 1>in younger, thinner vocal cords. So there's this idea that

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<v Speaker 1>it is suggesting that it's a youthful person. Um. And

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<v Speaker 1>then it is achieved by increasing the amount of air

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<v Speaker 1>passing through vocal chords, giving it an aspirated quality. For

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<v Speaker 1>female listeners, of course, they they prefer that deep, husky

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<v Speaker 1>male voice. But again, not only doesn't need to be

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<v Speaker 1>a deep voice, it needs to be that breathy voice.

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<v Speaker 1>And again think of Barry White. Uh, the breathiness to it.

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<v Speaker 1>It has this kind of calmness too, is saying, yeah,

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<v Speaker 1>I'm a big I'm a big guy, but I'm not

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<v Speaker 1>a dangerous guy. I'm an approachable guy. I'm a lovable guy. Uh.

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<v Speaker 1>For instance, John Goodman's voice we're discussing earlier generally does

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<v Speaker 1>not come up as possessing very wide qualities, even though

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<v Speaker 1>John Goodman is UH is of course a big man

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<v Speaker 1>with a very deep, very deep voice. But in most

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<v Speaker 1>of the most like interviews I've seen with him, and

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<v Speaker 1>and certainly in any of his film roles, he tends

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<v Speaker 1>to have a very abrasive quality and and it's kind

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<v Speaker 1>of a fast talker much of the time, and kind

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<v Speaker 1>of a grumbling nature to everything he says that. So

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<v Speaker 1>it doesn't have that breath equality. It doesn't. He doesn't

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<v Speaker 1>have that teddy bear quality that you get with Barry White,

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<v Speaker 1>and that, as this study reveals, that's what UH female

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<v Speaker 1>listeners are supposedly going for. Yeah, the idea is that

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<v Speaker 1>that breathiness kind of mitigates any sort of aggressivity that

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<v Speaker 1>might be perceived in the voice. So you go, oh,

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<v Speaker 1>what a gentle giant. So you'll see information all throughout

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<v Speaker 1>scientific literature that a deep voice is part and parcel

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<v Speaker 1>of sexual selection and that men with low frequency short

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<v Speaker 1>space formats have more sexual hookups. You'll see this in literature.

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<v Speaker 1>In fact, there's a paper by the name of voice

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<v Speaker 1>Pitch Predicts Reprotective Success and Male Hunter Gathers, and it

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<v Speaker 1>bears out the fact that the men of the Hodza

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<v Speaker 1>people are a Tanzanian hunter gathers assired far more children

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<v Speaker 1>than their higher pitched counterparts. That's important to note that

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<v Speaker 1>they went to a secluded community like this to conduct

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<v Speaker 1>this study, because once you start factoring in things like

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<v Speaker 1>birth control, that just kind of excused the whole human

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<v Speaker 1>mating platform. Now, one of the things that excuse this

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<v Speaker 1>idea of lower pitch voices as part and parcel of

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<v Speaker 1>sexual selection. K evolution is a paper published by Lee

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<v Speaker 1>Simmons at All in the December twenty eleven issue of

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<v Speaker 1>p l O S One, and it says, hey, men

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<v Speaker 1>with deeper attractive voices may have lower sperm quality than

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<v Speaker 1>then with less attractive voices. And this was determined by

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<v Speaker 1>seamen analysis which revealed that men with deeper voices have

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<v Speaker 1>lower scores on seven motility parameters. Now we're talking about

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<v Speaker 1>fifty four male participants from the University of Western Australia.

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<v Speaker 1>They were recruited for this and this is just one study,

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<v Speaker 1>but I think it gives you the idea that it's

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<v Speaker 1>not quite as cut and dried as some of the

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<v Speaker 1>literature in the past would put out there. And researchers

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<v Speaker 1>believe that the lower sperm quality reflects a trade off

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<v Speaker 1>that comes with having to compete for mats. Okay, because

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<v Speaker 1>if you were a say this the squirrelier uh mail

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<v Speaker 1>with a higher voice or the sort of annoying voice,

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<v Speaker 1>you you may not get that many shots at the prize.

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<v Speaker 1>So when you do, it's got to count. But if

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<v Speaker 1>you are the very wide of the Kuala world world,

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<v Speaker 1>you know you've got numerous opportunities to at the bullside.

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<v Speaker 1>Alright'm gonna take a quick break and we're going to

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<v Speaker 1>talk about something else that actually maked Trump the Verry

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<v Speaker 1>White and Maryland Monroe voice, and it has to do

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<v Speaker 1>with our own voices. All Right, we are back and

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<v Speaker 1>during the break, um Noel, our producer, myself and Robert

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<v Speaker 1>had this quick little discussion of who could actually take

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<v Speaker 1>on the mantle of Barry White these days, Who is

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<v Speaker 1>the modern Berry White, who can deliver all that sultry fuzziness. Yeah,

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<v Speaker 1>and I was thinking, like I was thinking, okay, John Goodman, No,

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<v Speaker 1>that didn't work. And I was like running through all

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<v Speaker 1>these different names of like sort of big or deep voiced,

0:12:51.840 --> 0:12:54.360
<v Speaker 1>you know, male actors or celebrities, and none of them

0:12:54.400 --> 0:12:56.199
<v Speaker 1>were really clicking. Like all of them just seemed a

0:12:56.240 --> 0:12:59.280
<v Speaker 1>little off. But Noel nailed it. He said, I got it,

0:13:00.200 --> 0:13:03.200
<v Speaker 1>And he said Scarlett Johanson. Yeah, because Scarlett Johnson has

0:13:03.240 --> 0:13:07.920
<v Speaker 1>this wonderful, like husky female voice that I I ventured

0:13:07.960 --> 0:13:11.280
<v Speaker 1>to say a lot of people find attractive. It's great.

0:13:11.280 --> 0:13:12.880
<v Speaker 1>And what I love about it is is this little

0:13:12.920 --> 0:13:15.000
<v Speaker 1>gender twist, because really it's sort of if you took

0:13:15.040 --> 0:13:18.160
<v Speaker 1>all of the best aspects of Marilyn and Rose voice

0:13:18.480 --> 0:13:20.920
<v Speaker 1>and Barry Whites and put it together, and man, I

0:13:20.960 --> 0:13:22.680
<v Speaker 1>would love to have her voice. That would be great.

0:13:22.920 --> 0:13:25.360
<v Speaker 1>It is. It is a really good voice. I've admired

0:13:25.400 --> 0:13:28.240
<v Speaker 1>it since uh was it a ghost World back in

0:13:28.240 --> 0:13:32.320
<v Speaker 1>the day. Yeah, well admired. Well done, Scarlett. All Right,

0:13:32.480 --> 0:13:35.640
<v Speaker 1>So we we may love all the huskiness, the breathiness,

0:13:35.640 --> 0:13:38.960
<v Speaker 1>but it turns out that ultimately we just love to

0:13:39.000 --> 0:13:42.839
<v Speaker 1>hear ourselves in others. That trumps everything. Else. Yeah. A

0:13:42.960 --> 0:13:46.400
<v Speaker 1>new University of British Columbia study finds that we prefer

0:13:46.520 --> 0:13:48.960
<v Speaker 1>voices that are similar to our own. And the reason

0:13:49.040 --> 0:13:52.360
<v Speaker 1>here is because they convey These voices convey a soothing

0:13:52.400 --> 0:13:56.520
<v Speaker 1>sense of community and social belongingness. It's the known quantity

0:13:56.640 --> 0:13:59.120
<v Speaker 1>right right, So we automatically be connect and we begin

0:13:59.160 --> 0:14:01.240
<v Speaker 1>to empathize with some anounce if they sound like us.

0:14:01.600 --> 0:14:05.240
<v Speaker 1>And Molly Babbel great last name, by the way, a

0:14:05.320 --> 0:14:08.520
<v Speaker 1>professor in the Department of Linguistics and her colleagues at

0:14:08.520 --> 0:14:12.640
<v Speaker 1>the University of California, Santa Cruz asked college age participants

0:14:12.640 --> 0:14:15.840
<v Speaker 1>in California to rate the attractiveness of thirty male voices

0:14:15.960 --> 0:14:20.320
<v Speaker 1>and thirty female voices reading isolated words. And these sixty

0:14:20.400 --> 0:14:24.240
<v Speaker 1>voices represent a geographical areas west of the Mississippi River. Now,

0:14:24.320 --> 0:14:26.400
<v Speaker 1>one of the things that stood out is that the

0:14:26.760 --> 0:14:30.360
<v Speaker 1>California folks, the participants had a really strong preference for

0:14:30.400 --> 0:14:34.080
<v Speaker 1>female voices that pronounced the the oo vowel, the double

0:14:34.120 --> 0:14:37.840
<v Speaker 1>o vowel sound from a word like goose further forward

0:14:37.880 --> 0:14:42.200
<v Speaker 1>in the mouth, as opposed to the um sound that

0:14:42.320 --> 0:14:46.160
<v Speaker 1>someone in Fargo, North Dakota might make when saying gorse.

0:14:48.000 --> 0:14:51.480
<v Speaker 1>In that case, the word is originating deeper back in

0:14:51.560 --> 0:14:54.680
<v Speaker 1>the mouth. Yeah, this was This was fascinating because on

0:14:54.680 --> 0:14:57.120
<v Speaker 1>one hand, you have to sort of realize that at

0:14:57.120 --> 0:14:59.160
<v Speaker 1>the end of the day when you're when you're thinking

0:14:59.200 --> 0:15:02.960
<v Speaker 1>about what's attracted and what's not attractive and another human being. Uh,

0:15:03.400 --> 0:15:05.760
<v Speaker 1>You're you're getting down to are these people I want

0:15:05.800 --> 0:15:07.640
<v Speaker 1>to spend time with? Or in the in the case

0:15:07.680 --> 0:15:09.720
<v Speaker 1>of potential mate, is this someone I want to to

0:15:09.800 --> 0:15:13.800
<v Speaker 1>spend an examinant amount of time with? And uh and

0:15:13.800 --> 0:15:16.640
<v Speaker 1>and so you're going to want somebody or you're gonna

0:15:16.640 --> 0:15:19.080
<v Speaker 1>want people that you have things in common with, that

0:15:19.120 --> 0:15:22.040
<v Speaker 1>you share some sort of sense of community. Uh. And

0:15:22.080 --> 0:15:25.320
<v Speaker 1>then this, you know, this goes back through thousands and

0:15:25.320 --> 0:15:27.440
<v Speaker 1>thousands of years of human history. You know, you want

0:15:28.360 --> 0:15:30.360
<v Speaker 1>people need to belong They need to belong to a

0:15:30.440 --> 0:15:33.520
<v Speaker 1>group in order to survive. There's a survival advantage in

0:15:33.640 --> 0:15:37.480
<v Speaker 1>being able to to to sync with those around you. Yeah,

0:15:37.480 --> 0:15:39.520
<v Speaker 1>and I think that it's it's interesting that that is

0:15:39.560 --> 0:15:45.280
<v Speaker 1>more powerful than this sort of veiled idea that breathy voice,

0:15:45.400 --> 0:15:49.440
<v Speaker 1>husky voice is going to deliver on on sex um

0:15:49.520 --> 0:15:51.680
<v Speaker 1>essentially as what we're thinking, right we're thinking about marily

0:15:51.720 --> 0:15:54.720
<v Speaker 1>Monroe or Barry White. Um, and that it really does.

0:15:54.800 --> 0:15:59.480
<v Speaker 1>The sense of community trumps that promise, that suggestion. And

0:15:59.720 --> 0:16:02.080
<v Speaker 1>the only thing that kind of gets in the way

0:16:02.080 --> 0:16:06.200
<v Speaker 1>of this idea of community and familiarity is the foreign

0:16:06.440 --> 0:16:10.720
<v Speaker 1>language paradox. Yes. And I kept thinking about this myself

0:16:10.720 --> 0:16:12.680
<v Speaker 1>when I was reading a lot of this initial stuff,

0:16:12.680 --> 0:16:14.520
<v Speaker 1>because I was thinking, Okay, what are the voices that

0:16:14.640 --> 0:16:18.720
<v Speaker 1>I would say, I, you know, objectively find uh attractive.

0:16:19.040 --> 0:16:22.000
<v Speaker 1>I would say that like a like in male voices,

0:16:22.120 --> 0:16:25.120
<v Speaker 1>like a British accent, and in and in among the ladies,

0:16:25.280 --> 0:16:28.600
<v Speaker 1>a German accent. Really, yeah, like the German accent. I

0:16:28.600 --> 0:16:32.000
<v Speaker 1>don't know, there's something like strong and commanding about a

0:16:32.080 --> 0:16:36.560
<v Speaker 1>German accent. Anyway, Well that's the said even real German,

0:16:36.560 --> 0:16:40.160
<v Speaker 1>I don't. Yeah, that's rapid, my friend. Well but it did.

0:16:40.560 --> 0:16:42.400
<v Speaker 1>I know, you didn't put your heart into it whole

0:16:42.520 --> 0:16:46.880
<v Speaker 1>and far. See Okay, but you're that's okay, So that's

0:16:46.920 --> 0:16:51.760
<v Speaker 1>not a good example. But um, but still are you

0:16:51.840 --> 0:16:53.960
<v Speaker 1>running it for me? But see, so that's what I

0:16:54.000 --> 0:16:55.880
<v Speaker 1>would say if someone had asked me. But of course,

0:16:56.280 --> 0:16:58.720
<v Speaker 1>in reality, I did not marry anyone with a with

0:16:58.760 --> 0:17:01.320
<v Speaker 1>a German accent or a British accent and uh and

0:17:01.560 --> 0:17:03.720
<v Speaker 1>and so I end up sort of defaulting to the

0:17:03.800 --> 0:17:06.639
<v Speaker 1>argument that you end up mirring someone who are choosing

0:17:06.640 --> 0:17:09.199
<v Speaker 1>a partner. It sounds more like you somebody who is

0:17:09.359 --> 0:17:12.159
<v Speaker 1>uh in my case, someone who was raised in the

0:17:12.200 --> 0:17:15.440
<v Speaker 1>South but has like less of the Southern accent. Uh.

0:17:15.520 --> 0:17:17.800
<v Speaker 1>My Michigan people to your right. Now, I wasn't raised

0:17:17.840 --> 0:17:20.119
<v Speaker 1>in the South, okay, but I have been here long

0:17:20.240 --> 0:17:22.440
<v Speaker 1>enough that I've taken on the twang, that's for sure.

0:17:23.080 --> 0:17:26.639
<v Speaker 1>Professor Babbel again, she says that once you're outside of

0:17:26.680 --> 0:17:30.720
<v Speaker 1>a certain range of familiarity, novel and exotic sounding voices

0:17:30.840 --> 0:17:33.480
<v Speaker 1>might become more attractive. She says, we all have to

0:17:33.520 --> 0:17:36.240
<v Speaker 1>keep in mind that we find some accents more preferable

0:17:36.240 --> 0:17:40.080
<v Speaker 1>than others because of social stereotypes that are associated with them.

0:17:40.080 --> 0:17:41.439
<v Speaker 1>And I thought, you know what, I think she's right.

0:17:41.480 --> 0:17:42.879
<v Speaker 1>I'm kind of a sucker for that, because I'm a

0:17:42.880 --> 0:17:45.600
<v Speaker 1>sucker for a British accent, because I think that it it,

0:17:45.960 --> 0:17:48.720
<v Speaker 1>you know, is endowed with a bunch of different things

0:17:48.720 --> 0:17:52.720
<v Speaker 1>for me, like worldliness and wit. Now, of course, both

0:17:52.760 --> 0:17:55.040
<v Speaker 1>of us when we're talking about British accents. We're probably

0:17:55.040 --> 0:17:58.640
<v Speaker 1>talking about very specific British accents. We're thinking thinking more

0:17:58.640 --> 0:18:02.280
<v Speaker 1>about like Ben king Lee and like Tom Hudleston, that

0:18:02.359 --> 0:18:07.200
<v Speaker 1>kind of accent, rather than like a strong Birmingham, England.

0:18:07.640 --> 0:18:09.760
<v Speaker 1>And I'm not thinking Cockney and I'm not thinking Downton

0:18:09.760 --> 0:18:13.040
<v Speaker 1>Abbey either. That the Cockney accent is kind of sexy

0:18:13.040 --> 0:18:15.159
<v Speaker 1>in its own right, you know, I suppose it can

0:18:15.200 --> 0:18:18.920
<v Speaker 1>be yes, but again, the the idea that of an

0:18:18.920 --> 0:18:21.879
<v Speaker 1>exotic voice is a void, and it's a voice that

0:18:22.040 --> 0:18:24.520
<v Speaker 1>is uh, that is new, it's novel and maybe a

0:18:24.520 --> 0:18:27.080
<v Speaker 1>little dangerous, and that does appeal to the novelty seeking

0:18:27.240 --> 0:18:30.639
<v Speaker 1>aspects of an individual. You know, we want new experiences,

0:18:30.680 --> 0:18:33.320
<v Speaker 1>we want new ideas, and we've we've podcasted on this before,

0:18:33.440 --> 0:18:36.480
<v Speaker 1>so you could definitely see where you would gravitate towards

0:18:36.680 --> 0:18:39.960
<v Speaker 1>individuals with those qualities, and you're projecting your fantasies onto that,

0:18:40.280 --> 0:18:42.000
<v Speaker 1>right and and it's kind of so we end up

0:18:42.000 --> 0:18:44.840
<v Speaker 1>seeing the situation where there's there the voices that sound

0:18:44.880 --> 0:18:47.200
<v Speaker 1>like our own, and those are cherished, and then there's

0:18:47.240 --> 0:18:49.760
<v Speaker 1>the voices far away that sound nothing like our own,

0:18:50.080 --> 0:18:52.399
<v Speaker 1>and those are cherished. It's that gulf in between that

0:18:52.520 --> 0:18:54.680
<v Speaker 1>just turns us off, you know, like they're saying they're

0:18:55.080 --> 0:18:57.040
<v Speaker 1>they're there, their vowe, their vowels are coming out just

0:18:57.080 --> 0:18:59.800
<v Speaker 1>a little weird, and I don't like it. It's the other, right,

0:19:00.000 --> 0:19:01.840
<v Speaker 1>it's a and we always have a fear of the other.

0:19:02.040 --> 0:19:04.520
<v Speaker 1>So it's interesting to see it played out like that.

0:19:05.359 --> 0:19:07.600
<v Speaker 1>All right. So that's pretty much an overview of your

0:19:07.640 --> 0:19:11.159
<v Speaker 1>Barry White, your mail women rose out there. Also, I

0:19:11.280 --> 0:19:14.160
<v Speaker 1>have a video on this topic, and in it, I'm

0:19:14.200 --> 0:19:18.960
<v Speaker 1>going to reveal the real reason why Marilyn Monroe spoke

0:19:19.080 --> 0:19:24.600
<v Speaker 1>like a di ide then and revoiced gal. Interesting. Yeah,

0:19:24.760 --> 0:19:27.240
<v Speaker 1>I can't reveal it here. You gotta go to uh

0:19:27.440 --> 0:19:31.480
<v Speaker 1>YouTube mind stuff show. Check out also stuff to Alow

0:19:31.520 --> 0:19:33.680
<v Speaker 1>your mind dot com that of course is the mothership.

0:19:33.880 --> 0:19:36.480
<v Speaker 1>You'll find links out to all of our stuff. There.

0:19:36.560 --> 0:19:40.440
<v Speaker 1>You'll find links to our Facebook, our Twitter, our tumbler page,

0:19:40.600 --> 0:19:43.520
<v Speaker 1>or Google Plus, uh you name it. We probably signed

0:19:43.560 --> 0:19:45.920
<v Speaker 1>up for a one point or another, and as well

0:19:45.960 --> 0:19:48.440
<v Speaker 1>as all of our our podcast episodes going all the

0:19:48.440 --> 0:19:50.639
<v Speaker 1>way back through our history. You'll find all of our

0:19:50.640 --> 0:19:52.760
<v Speaker 1>blog posts. Stuff to blow your mind dot com check

0:19:52.760 --> 0:19:55.080
<v Speaker 1>it out, throw some traffic. We love it when you

0:19:55.160 --> 0:19:56.760
<v Speaker 1>do so If you guys have some thoughts on this,

0:19:56.920 --> 0:19:59.760
<v Speaker 1>You see that Marilyn Monroe video and you have some questions,

0:19:59.880 --> 0:20:02.480
<v Speaker 1>or you you've got a qualm there about some Marilynon

0:20:02.560 --> 0:20:05.520
<v Speaker 1>Row stuff, or you have some ideas about Barry White

0:20:05.640 --> 0:20:08.040
<v Speaker 1>and the reasons why we were attracted to certain voices.

0:20:08.320 --> 0:20:11.280
<v Speaker 1>You can email us at blow the Mind at Discovery

0:20:11.480 --> 0:20:18.040
<v Speaker 1>dot com for more on this and thousands of other

0:20:18.080 --> 0:20:26.920
<v Speaker 1>topics because it how stuff works dot com