1 00:00:04,120 --> 00:00:07,160 Speaker 1: Get in touch with technology with tech Stuff from how 2 00:00:07,200 --> 00:00:13,680 Speaker 1: stuff works dot com. Hey there, and welcome to tech Stuff. 3 00:00:13,720 --> 00:00:16,640 Speaker 1: I'm your host, Jonathan Strickland. I'm an executive producer at 4 00:00:16,640 --> 00:00:19,720 Speaker 1: how Stuff Works and I love all things tech and 5 00:00:19,760 --> 00:00:22,880 Speaker 1: in our last episode, I talked about actress Hetty Lamar 6 00:00:22,920 --> 00:00:25,480 Speaker 1: and how she came to America just before World War 7 00:00:25,560 --> 00:00:28,280 Speaker 1: Two erupted in Europe and how she co invented a 8 00:00:28,360 --> 00:00:33,280 Speaker 1: form of secret communication via radio signals with composer George Antile. 9 00:00:33,840 --> 00:00:37,800 Speaker 1: These two seemingly unlikely inventors proposed a method in which 10 00:00:37,840 --> 00:00:41,080 Speaker 1: allied radio operators would be able to control something like 11 00:00:41,159 --> 00:00:44,519 Speaker 1: a torpedo using radio signals without fear of having their 12 00:00:44,560 --> 00:00:48,880 Speaker 1: operations jammed by enemy operators. The system made clever use 13 00:00:48,880 --> 00:00:51,879 Speaker 1: of the same basic technology that player Pianos used, and 14 00:00:51,880 --> 00:00:54,000 Speaker 1: if you haven't heard that episode, I urge you to 15 00:00:54,080 --> 00:00:56,720 Speaker 1: check it out as it's a good starter for today's 16 00:00:56,840 --> 00:01:00,440 Speaker 1: show and just a quick reminder. The system that Lamar 17 00:01:00,520 --> 00:01:03,480 Speaker 1: and and Tile proposed would allow a radio transmitter and 18 00:01:03,520 --> 00:01:07,679 Speaker 1: a paired receiver switch radio frequencies multiple times during a 19 00:01:07,720 --> 00:01:11,720 Speaker 1: transmission in an effort to avoid frequency jamming. The trick 20 00:01:11,840 --> 00:01:14,840 Speaker 1: was to create a system where the transmission antenna and 21 00:01:14,880 --> 00:01:19,000 Speaker 1: the receiver could automatically tune to the appropriate frequencies on 22 00:01:19,040 --> 00:01:21,720 Speaker 1: their own in such a way as to be unpredictable 23 00:01:21,840 --> 00:01:24,800 Speaker 1: to enemies. To do that, you would need some sort 24 00:01:24,800 --> 00:01:28,399 Speaker 1: of instructions that both systems could carry out in synchronization, 25 00:01:28,920 --> 00:01:31,720 Speaker 1: and Tile supplied this mechanism in the form of paper 26 00:01:31,840 --> 00:01:35,679 Speaker 1: rolls identical to the type used in player pianos, complete 27 00:01:35,680 --> 00:01:38,800 Speaker 1: with the ability to tune into eighty eight different frequencies, 28 00:01:39,120 --> 00:01:43,240 Speaker 1: just as a typical piano has eight keys. So Hetty 29 00:01:43,319 --> 00:01:46,440 Speaker 1: Lamar and George Antile submitted their idea to the United 30 00:01:46,440 --> 00:01:52,760 Speaker 1: States Navy. The Navy's response was less than enthusiastic. Essentially, 31 00:01:52,800 --> 00:01:55,640 Speaker 1: the Navy said, we don't want to put player pianos 32 00:01:55,640 --> 00:01:59,160 Speaker 1: in torpedoes, which seems like a pretty short sighted counterpoint. 33 00:01:59,720 --> 00:02:03,400 Speaker 1: In a ddition, some modern historians have trouble believing Henny 34 00:02:03,480 --> 00:02:06,560 Speaker 1: Lamar could have come up with this idea herself. Some 35 00:02:06,720 --> 00:02:10,400 Speaker 1: have suggested that rather than invent the approach, she simply 36 00:02:10,480 --> 00:02:13,040 Speaker 1: learned about it while she was still in Austria, while 37 00:02:13,080 --> 00:02:17,040 Speaker 1: she was married to Fritz Mandel, and armament manufacturer who 38 00:02:17,120 --> 00:02:20,320 Speaker 1: was supplying weapons to the Nazis, but according to a 39 00:02:20,440 --> 00:02:24,880 Speaker 1: nine interview with Lamar, that simply wasn't true. She said 40 00:02:24,919 --> 00:02:27,880 Speaker 1: she never learned anything about armaments from her husband, who 41 00:02:27,880 --> 00:02:31,720 Speaker 1: preferred to keep his wife in relative seclusion. Personally, I 42 00:02:31,760 --> 00:02:35,000 Speaker 1: think it is completely believable that Lamar came up with 43 00:02:35,040 --> 00:02:38,519 Speaker 1: this idea, as she understood the potential that frequency hopping 44 00:02:38,520 --> 00:02:42,080 Speaker 1: could provide for secret communications, but she lacked the mechanical 45 00:02:42,120 --> 00:02:45,480 Speaker 1: and electrical engineering knowledge to make practical use of it, So, 46 00:02:45,520 --> 00:02:47,560 Speaker 1: in other words, it's not like she came out of 47 00:02:47,600 --> 00:02:51,400 Speaker 1: nowhere with a fully formed implementation of her idea. The 48 00:02:51,440 --> 00:02:54,680 Speaker 1: military told Lamar that if she wanted to support the 49 00:02:54,760 --> 00:02:58,960 Speaker 1: United States during the war, she should stop coming up 50 00:02:58,960 --> 00:03:02,240 Speaker 1: with ideas and instead she should put her fame to 51 00:03:02,400 --> 00:03:06,680 Speaker 1: use in selling war bonds. Lamar, believing the United States 52 00:03:06,760 --> 00:03:09,200 Speaker 1: to be on the right side of the conflict, did 53 00:03:09,240 --> 00:03:14,280 Speaker 1: just that. Her idea languished with other classified documents locked 54 00:03:14,320 --> 00:03:18,880 Speaker 1: away in the United States Navy, and the reason that 55 00:03:18,960 --> 00:03:21,639 Speaker 1: it was locked away was that while the Navy didn't 56 00:03:21,639 --> 00:03:25,160 Speaker 1: plan on using it, they were concerned that some of 57 00:03:25,200 --> 00:03:29,960 Speaker 1: this information could potentially give the enemy valuable information if it, 58 00:03:30,040 --> 00:03:33,000 Speaker 1: in fact we're shared publicly, so it got put into 59 00:03:33,200 --> 00:03:36,920 Speaker 1: secret storage. Essentially, she went on to perform for troops 60 00:03:37,000 --> 00:03:39,480 Speaker 1: and raise money for the United States, reportedly raising the 61 00:03:39,520 --> 00:03:43,240 Speaker 1: equivalent of more than twenty million dollars by some estimates. 62 00:03:44,040 --> 00:03:46,960 Speaker 1: This was all before she herself was a citizen in 63 00:03:47,000 --> 00:03:49,440 Speaker 1: the United States. She was not yet a cisen but 64 00:03:49,520 --> 00:03:53,240 Speaker 1: she was raising money for the US. In two the 65 00:03:53,280 --> 00:03:56,560 Speaker 1: United States government, in an act I can only describe 66 00:03:56,800 --> 00:04:03,240 Speaker 1: as wicked, seized Lamar's patents and labeled her an enemy alien. 67 00:04:04,000 --> 00:04:08,160 Speaker 1: Lamar was perplexed here. She had been participating in events 68 00:04:08,440 --> 00:04:11,760 Speaker 1: to raise money for the United States, she had willingly 69 00:04:12,040 --> 00:04:15,360 Speaker 1: submitted her patent to the United States military, and now 70 00:04:15,400 --> 00:04:18,640 Speaker 1: she found herself labeled by that same government as an 71 00:04:18,680 --> 00:04:22,640 Speaker 1: alien resident from a hostile country because she was originally 72 00:04:22,680 --> 00:04:26,679 Speaker 1: from Austria. It was a pretty big insult on top 73 00:04:26,839 --> 00:04:30,880 Speaker 1: of everything else. But Lamar kept on working in Hollywood. 74 00:04:31,200 --> 00:04:33,719 Speaker 1: She produced her own film at a point when such 75 00:04:33,720 --> 00:04:36,520 Speaker 1: a thing was unheard of. The studios didn't care for 76 00:04:36,520 --> 00:04:39,320 Speaker 1: that one bit, as they had a pretty tight stranglehold 77 00:04:39,360 --> 00:04:43,360 Speaker 1: on entertainment at the time, and no studio wanted actors 78 00:04:43,400 --> 00:04:46,480 Speaker 1: to get big ideas about producing their own movies independently. 79 00:04:47,000 --> 00:04:50,880 Speaker 1: The studios liked it, with the actors being entirely dependent 80 00:04:50,960 --> 00:04:53,520 Speaker 1: upon the studio, so this was not something that was 81 00:04:53,560 --> 00:04:58,160 Speaker 1: greeted with acclaim among studio executives at the time. She 82 00:04:58,240 --> 00:05:00,320 Speaker 1: was able to bring her mother over to the States. 83 00:05:00,360 --> 00:05:03,160 Speaker 1: If you remember, in the last episode, she was concerned 84 00:05:03,160 --> 00:05:07,080 Speaker 1: her mom had fled Austria to England but had been 85 00:05:07,120 --> 00:05:10,160 Speaker 1: stuck there for a while. But Hetty Lamar was able 86 00:05:10,200 --> 00:05:13,200 Speaker 1: to get her mom to over to the United States, 87 00:05:13,400 --> 00:05:15,919 Speaker 1: and she made a good deal of money when she 88 00:05:15,960 --> 00:05:20,039 Speaker 1: started cecil b Demills, Samson and Delilah, but she would 89 00:05:20,400 --> 00:05:22,720 Speaker 1: end up losing a lot of that money producing her 90 00:05:22,720 --> 00:05:26,520 Speaker 1: own movies, which would be commercially unsuccessful. She was attempting 91 00:05:26,560 --> 00:05:29,720 Speaker 1: to create roles for herself because she was frustrated that 92 00:05:29,839 --> 00:05:32,800 Speaker 1: studios were giving her the same sort of roles over 93 00:05:32,839 --> 00:05:36,799 Speaker 1: and over, which were essentially wicked temptresses, and she wanted 94 00:05:36,800 --> 00:05:40,360 Speaker 1: to play different types of parts. So she made her 95 00:05:40,360 --> 00:05:44,239 Speaker 1: own movies, but they ended up not doing so well 96 00:05:44,480 --> 00:05:49,000 Speaker 1: and it almost bankrupted her. In nineteen Lamar would ask 97 00:05:49,040 --> 00:05:50,640 Speaker 1: a friend of hers who was in the U. S. 98 00:05:50,720 --> 00:05:53,719 Speaker 1: Navy if he might be able to find out whatever 99 00:05:53,800 --> 00:05:57,280 Speaker 1: happened to her patent because it got locked away in secrecy, 100 00:05:57,279 --> 00:05:59,320 Speaker 1: and she was just curious, you know, whatever happened to 101 00:05:59,360 --> 00:06:02,440 Speaker 1: that idea. I came up with her friend did some 102 00:06:02,520 --> 00:06:05,880 Speaker 1: digging and discovered that the technology she and Antile had 103 00:06:05,880 --> 00:06:09,520 Speaker 1: proposed in ninety one was now in common use in 104 00:06:09,560 --> 00:06:13,440 Speaker 1: the United States military for secret communications. Her patent at 105 00:06:13,480 --> 00:06:17,679 Speaker 1: that point had expired. So patents provide protection, but only 106 00:06:17,760 --> 00:06:19,920 Speaker 1: for a set number of years. So if you have 107 00:06:20,040 --> 00:06:23,680 Speaker 1: an invention and you patent it for the amount of 108 00:06:23,720 --> 00:06:26,680 Speaker 1: time that the patent is active, you have protection. If 109 00:06:26,680 --> 00:06:31,000 Speaker 1: someone else uses your invention, creates something that relies upon 110 00:06:31,040 --> 00:06:35,320 Speaker 1: your invention without first licensing that from you, without you 111 00:06:35,400 --> 00:06:38,839 Speaker 1: giving them permission to do it, you can, uh you 112 00:06:38,839 --> 00:06:41,120 Speaker 1: can pursue a legal case against them and say that 113 00:06:41,160 --> 00:06:45,120 Speaker 1: they've infringed upon your patented idea or your patented invention, 114 00:06:45,279 --> 00:06:47,880 Speaker 1: I should say, and if the court finds it is so, 115 00:06:48,360 --> 00:06:53,120 Speaker 1: you could be awarded money for that. However, patents only 116 00:06:53,480 --> 00:06:55,560 Speaker 1: are good for a certain number of years, and after 117 00:06:55,640 --> 00:06:59,120 Speaker 1: that they passed into the public domain, which is meant 118 00:06:59,200 --> 00:07:03,640 Speaker 1: to give inventors the opportunity to take advantage of previous 119 00:07:03,680 --> 00:07:07,320 Speaker 1: inventions and then improve upon them. Otherwise, you would lock 120 00:07:07,400 --> 00:07:10,280 Speaker 1: an ideal way and it would become the exclusive domain 121 00:07:10,480 --> 00:07:15,080 Speaker 1: of a single party, and that would squelch innovation. Well, 122 00:07:15,560 --> 00:07:19,239 Speaker 1: Lamar's patent had entered into the public domain by nineteen 123 00:07:19,360 --> 00:07:23,280 Speaker 1: sixty nine. However, as it turns out, the military had 124 00:07:23,320 --> 00:07:28,720 Speaker 1: been using that patented idea since before the patent had 125 00:07:28,760 --> 00:07:33,440 Speaker 1: actually expired, and that meant that Lamar should have been 126 00:07:33,480 --> 00:07:36,760 Speaker 1: paid for the use of that idea. As those who 127 00:07:36,840 --> 00:07:41,040 Speaker 1: submitted their inventions to the Inventor's Counsel I mentioned them 128 00:07:41,040 --> 00:07:44,120 Speaker 1: in the last episode, they were supposed to receive compensation 129 00:07:44,360 --> 00:07:48,640 Speaker 1: if those inventions were actually put into practice. Lamar was 130 00:07:48,880 --> 00:07:51,680 Speaker 1: unaware of the fact that they had been doing this 131 00:07:52,000 --> 00:07:54,520 Speaker 1: by the time she found out her patent had expired, 132 00:07:54,880 --> 00:07:57,520 Speaker 1: and she did not know that if she were to 133 00:07:58,160 --> 00:08:02,600 Speaker 1: sue within six years of the patent expiring for revenue 134 00:08:02,800 --> 00:08:05,280 Speaker 1: that should have been hers, she could have won the 135 00:08:05,360 --> 00:08:08,400 Speaker 1: court case. She was unaware of all of that, and 136 00:08:08,560 --> 00:08:12,400 Speaker 1: as a result, she did not receive any money from 137 00:08:12,520 --> 00:08:16,440 Speaker 1: her patented idea that the United States government was actively 138 00:08:17,640 --> 00:08:23,040 Speaker 1: exploiting from the nineteen fifties onward. The implementation in uh 139 00:08:23,080 --> 00:08:26,320 Speaker 1: in question the one that was first used back when 140 00:08:26,360 --> 00:08:30,600 Speaker 1: her patented idea was still patented, was called the Sanna 141 00:08:30,680 --> 00:08:34,720 Speaker 1: buoy or Sanna boy as most people pronounce it, But 142 00:08:34,800 --> 00:08:39,120 Speaker 1: it's a a portmanteau of sonar and buoy or boy 143 00:08:39,840 --> 00:08:42,200 Speaker 1: I say, booie. That's just the way I've always said 144 00:08:42,240 --> 00:08:45,240 Speaker 1: that word. But you know, thing thing what floats in 145 00:08:45,280 --> 00:08:49,080 Speaker 1: the water SnO. Sano buoys have been around for a while, 146 00:08:49,120 --> 00:08:52,960 Speaker 1: but this particular implementation used Lamar's proposal of frequency hopping, 147 00:08:53,480 --> 00:08:55,760 Speaker 1: and it would allow a buoy in the water to 148 00:08:56,520 --> 00:08:59,880 Speaker 1: send sonar signals out in an attempt to detect in 149 00:09:00,400 --> 00:09:03,680 Speaker 1: submarines in the area and send those communications up to 150 00:09:04,160 --> 00:09:08,480 Speaker 1: an airplane that's flying surveillance overhead. So you would actually 151 00:09:08,480 --> 00:09:13,000 Speaker 1: deploy several of these Sauna buys in an area, and 152 00:09:13,080 --> 00:09:15,720 Speaker 1: you would use any signals they were picking up to 153 00:09:15,800 --> 00:09:19,640 Speaker 1: triangulate the position of an submarine and be able to 154 00:09:20,679 --> 00:09:23,480 Speaker 1: locate them and then track them. So, in order to 155 00:09:23,559 --> 00:09:27,080 Speaker 1: do that effectively, you want that communication to be secret 156 00:09:27,360 --> 00:09:30,720 Speaker 1: and you want you want to avoid the potential of 157 00:09:31,040 --> 00:09:34,520 Speaker 1: whoever you're trying to spy on be able to jam 158 00:09:34,559 --> 00:09:37,240 Speaker 1: the signals, so you need some way of preventing that. 159 00:09:37,360 --> 00:09:40,640 Speaker 1: Frequency hopping was the way her patent had passed to 160 00:09:40,679 --> 00:09:43,560 Speaker 1: a contractor who was working on the Sauna Buy. His 161 00:09:43,679 --> 00:09:49,920 Speaker 1: name was rummeld Ireneus Sabor Machaki, and I know I've 162 00:09:50,080 --> 00:09:52,680 Speaker 1: butcher trying to pronounce that name. It was a heck 163 00:09:52,679 --> 00:09:55,120 Speaker 1: of a name to try and pronounce. He said that 164 00:09:55,160 --> 00:09:58,480 Speaker 1: when he was handed the patent the names had been expunged. 165 00:09:58,640 --> 00:10:00,680 Speaker 1: He didn't know who was respond stable for it. It 166 00:10:00,760 --> 00:10:03,720 Speaker 1: was just property of the United States Navy. But he 167 00:10:03,840 --> 00:10:06,120 Speaker 1: used it as a basis for his design of a 168 00:10:06,240 --> 00:10:10,800 Speaker 1: frequency hopping communication system between the Sauna Buy and airplanes, 169 00:10:11,040 --> 00:10:14,160 Speaker 1: though his version used a computer chip to determine which 170 00:10:14,200 --> 00:10:17,719 Speaker 1: frequencies the two elements would use in sequence rather than 171 00:10:17,880 --> 00:10:21,880 Speaker 1: rolls of piano paper, so they upgraded the means of 172 00:10:21,960 --> 00:10:25,720 Speaker 1: sending the series of frequencies, but it was still the 173 00:10:25,760 --> 00:10:29,240 Speaker 1: same idea. Years later he discovered who had written the patent, 174 00:10:29,720 --> 00:10:32,520 Speaker 1: and he created a page on his personal website that 175 00:10:32,559 --> 00:10:36,319 Speaker 1: he titled a Tribute to Hetty Lamar. He detailed how 176 00:10:36,360 --> 00:10:39,120 Speaker 1: the frequency hopping technology was used not just in Saanna 177 00:10:39,160 --> 00:10:43,280 Speaker 1: Buy's but also early surveillance drones developed by the Aerojet 178 00:10:43,320 --> 00:10:47,800 Speaker 1: General Corporation and which eventually were used in Vietnam. In 179 00:10:47,880 --> 00:10:51,439 Speaker 1: his piece, he thanked heavy Lamar for contributions, and as 180 00:10:51,480 --> 00:10:54,840 Speaker 1: the years went by, Lamar hit many obstacles. She would 181 00:10:54,840 --> 00:10:57,559 Speaker 1: be married several times, but the marriages would never last 182 00:10:57,679 --> 00:11:00,240 Speaker 1: very long. She had two children of her own and 183 00:11:00,280 --> 00:11:03,679 Speaker 1: adopted another, though her adopted son would essentially be raised 184 00:11:03,679 --> 00:11:06,440 Speaker 1: by another family. She would be taken under the care 185 00:11:06,480 --> 00:11:09,640 Speaker 1: of a doctor named Max Jacobsen, sometimes referred to as 186 00:11:09,720 --> 00:11:13,760 Speaker 1: doctor field Good, who got her hooked on amphetamines. His 187 00:11:13,880 --> 00:11:16,720 Speaker 1: medical license would ultimately be revoked by the New York 188 00:11:16,760 --> 00:11:20,200 Speaker 1: State Board of Regents in nineteen seventy five, and Hey 189 00:11:20,280 --> 00:11:24,600 Speaker 1: Lamar would become a recluse. She had multiple plastic surgeries, 190 00:11:24,720 --> 00:11:27,520 Speaker 1: some of which did not go well, which made her 191 00:11:27,559 --> 00:11:31,280 Speaker 1: withdraw even further. She was ashamed of her appearance, and 192 00:11:31,360 --> 00:11:35,280 Speaker 1: when she was contacted in nineteen seven and told that 193 00:11:35,400 --> 00:11:38,360 Speaker 1: lockeed Martin and the military plan to honor her with 194 00:11:38,400 --> 00:11:42,320 Speaker 1: an award for her contributions for her creation of frequency hopping, 195 00:11:42,640 --> 00:11:47,560 Speaker 1: her response was, well, it's about time. She did not 196 00:11:47,640 --> 00:11:50,959 Speaker 1: attend the ceremony herself. She was self conscious about how 197 00:11:51,000 --> 00:11:54,280 Speaker 1: she looked, but her son accepted the award for her, 198 00:11:54,480 --> 00:11:56,120 Speaker 1: and she called him right in the middle of the 199 00:11:56,160 --> 00:11:59,240 Speaker 1: acceptance speech, to the great amusement of both her son 200 00:11:59,440 --> 00:12:03,079 Speaker 1: and the crowd. Old Hetty Lamar died in two thousand, 201 00:12:03,400 --> 00:12:05,880 Speaker 1: at the age of eighty five, and by then her 202 00:12:05,960 --> 00:12:08,840 Speaker 1: story had been told a few times, but her name 203 00:12:08,920 --> 00:12:13,160 Speaker 1: and performances had often been used as punchlines. Ultimately, I'm 204 00:12:13,240 --> 00:12:16,559 Speaker 1: very sad for Hetty Lamar, as I feel her contributions 205 00:12:16,559 --> 00:12:22,959 Speaker 1: were criminally underappreciated and unrewarded and unacknowledged, and the things 206 00:12:23,000 --> 00:12:24,920 Speaker 1: that she was most known for were things that she 207 00:12:25,080 --> 00:12:29,520 Speaker 1: ultimately thought were not very important, playing these roles that 208 00:12:29,600 --> 00:12:32,480 Speaker 1: the studio kept pushing on her, not the parts that 209 00:12:32,520 --> 00:12:38,440 Speaker 1: she wanted, nor her intellectual contributions. Those were left in 210 00:12:38,840 --> 00:12:45,960 Speaker 1: complete ignorance among most people, and I find that really tragic. However, 211 00:12:46,000 --> 00:12:48,000 Speaker 1: when we come back, I'm going to talk more about 212 00:12:48,080 --> 00:12:51,200 Speaker 1: frequency hopping and how it's an underlying technology for a 213 00:12:51,240 --> 00:12:54,280 Speaker 1: lot of the stuff we use today. But first let's 214 00:12:54,320 --> 00:13:04,280 Speaker 1: take a quick break to thank our sponsor. So the 215 00:13:04,360 --> 00:13:08,080 Speaker 1: concept behind frequency hopping is simple. You have two or 216 00:13:08,080 --> 00:13:11,480 Speaker 1: more radios tuned to a frequency which allows for communication 217 00:13:11,559 --> 00:13:15,680 Speaker 1: between those two radios, and in synchronized moments, you switch 218 00:13:15,840 --> 00:13:20,080 Speaker 1: the transmitting and receiving frequencies to a different frequency but 219 00:13:21,040 --> 00:13:22,960 Speaker 1: different from the one they had been using, but the 220 00:13:23,040 --> 00:13:26,920 Speaker 1: same as each other, So they both simultaneously switched to 221 00:13:26,960 --> 00:13:30,600 Speaker 1: a new frequency, the same new frequency. Doing this prevents 222 00:13:30,679 --> 00:13:33,520 Speaker 1: someone else from easily being able to snoop on you, 223 00:13:33,760 --> 00:13:37,679 Speaker 1: or to jam your conversation, or just to encounter interference 224 00:13:37,679 --> 00:13:40,400 Speaker 1: in general, because you're never on any one frequency for 225 00:13:40,480 --> 00:13:43,400 Speaker 1: two terribly long. So imagine you're listening to a song 226 00:13:43,520 --> 00:13:45,880 Speaker 1: on the radio, and a minute into the song, your 227 00:13:45,960 --> 00:13:49,920 Speaker 1: radio switches spontaneously to a different station, but the same 228 00:13:49,960 --> 00:13:51,800 Speaker 1: song is on there, and it's playing in the exact 229 00:13:51,800 --> 00:13:54,400 Speaker 1: same spot, And you find out that your radio and 230 00:13:54,440 --> 00:13:58,000 Speaker 1: the transmitter are synchronized, and that if you had stuck 231 00:13:58,080 --> 00:14:01,560 Speaker 1: to your original station, you'd only hear part of the 232 00:14:01,600 --> 00:14:03,720 Speaker 1: song before the signal just went away and you were 233 00:14:03,760 --> 00:14:06,920 Speaker 1: listening to nothing at all. That's the basic idea. It's 234 00:14:06,960 --> 00:14:09,480 Speaker 1: simple in concept, but how do you implement it so 235 00:14:09,520 --> 00:14:13,080 Speaker 1: that it actually works. Both the transmitter and the receiver 236 00:14:13,320 --> 00:14:17,760 Speaker 1: rely upon a pseudo random sequence to determine the series 237 00:14:17,800 --> 00:14:21,200 Speaker 1: of frequencies that are to be used throughout the communication, 238 00:14:21,600 --> 00:14:24,640 Speaker 1: and pseudo random kind of means what it sounds like 239 00:14:24,920 --> 00:14:29,680 Speaker 1: it's a process that on casual glance looks like it's random, 240 00:14:29,960 --> 00:14:33,280 Speaker 1: but in reality it isn't. I've talked about this in 241 00:14:33,440 --> 00:14:37,280 Speaker 1: previous episodes of tech Stuff. Computers can create things that 242 00:14:37,360 --> 00:14:39,720 Speaker 1: appear to be random because they actually go through a 243 00:14:39,840 --> 00:14:44,040 Speaker 1: very complicated system in order to get a specific product. 244 00:14:44,480 --> 00:14:47,720 Speaker 1: But if you were to understand all the steps, you 245 00:14:47,720 --> 00:14:50,520 Speaker 1: would see that it's not truly a random number because 246 00:14:50,520 --> 00:14:55,160 Speaker 1: computers are not good at creating true random numbers. They 247 00:14:55,200 --> 00:14:59,560 Speaker 1: can just simulate random most of the time anyway, So 248 00:15:00,520 --> 00:15:03,280 Speaker 1: you tend to use a very complicated process, but it's 249 00:15:03,480 --> 00:15:06,640 Speaker 1: entirely deterministic. So that does mean that if you knew 250 00:15:06,960 --> 00:15:09,720 Speaker 1: every single step of the process, and you had enough 251 00:15:09,760 --> 00:15:13,520 Speaker 1: time and enough smarts, you could get to the answer 252 00:15:14,120 --> 00:15:16,840 Speaker 1: that the computer is using. In fact, if you're good 253 00:15:16,960 --> 00:15:18,840 Speaker 1: enough and you're fast enough, you could do it to 254 00:15:18,840 --> 00:15:21,200 Speaker 1: the point where you could predict what the next thing 255 00:15:21,480 --> 00:15:24,360 Speaker 1: is going to be, and you could actually in advance 256 00:15:24,480 --> 00:15:28,400 Speaker 1: tune to the correct frequency every single time if you 257 00:15:28,480 --> 00:15:30,920 Speaker 1: had all the information that the system was using in 258 00:15:31,000 --> 00:15:34,080 Speaker 1: order to generate this stuff. But again, if you were 259 00:15:34,120 --> 00:15:36,040 Speaker 1: just to look at it, it would appear to be 260 00:15:36,080 --> 00:15:39,680 Speaker 1: totally random because it's such a complicated system that's going 261 00:15:39,720 --> 00:15:42,480 Speaker 1: through before it gets to that that solution, and the 262 00:15:42,520 --> 00:15:48,000 Speaker 1: processes tend to be really super fast, like changing frequencies 263 00:15:48,080 --> 00:15:51,440 Speaker 1: at least twice a second, and that's a slow one. 264 00:15:52,080 --> 00:15:55,480 Speaker 1: Most of them change frequencies way more frequently than two 265 00:15:55,520 --> 00:15:58,200 Speaker 1: times in a second, which means it's way too fast 266 00:15:58,200 --> 00:16:01,360 Speaker 1: for a human to be able to replicate any a Typically, 267 00:16:01,560 --> 00:16:03,600 Speaker 1: the way this might work is you would have two 268 00:16:03,840 --> 00:16:07,880 Speaker 1: radio transmitters and receivers or radios, let's just say, and 269 00:16:07,920 --> 00:16:10,240 Speaker 1: you want them both on the same series of frequencies. 270 00:16:10,480 --> 00:16:13,360 Speaker 1: So you you make some sort of process that generates 271 00:16:13,360 --> 00:16:16,080 Speaker 1: what appears to be a random number, and that this 272 00:16:16,160 --> 00:16:19,400 Speaker 1: number is somehow associated with frequencies, typically in a look 273 00:16:19,440 --> 00:16:22,680 Speaker 1: up table. So you could say, like, if the number 274 00:16:22,880 --> 00:16:27,280 Speaker 1: is fourteen, you look at this table, this chart, and 275 00:16:27,320 --> 00:16:30,160 Speaker 1: it tells you what sequence of frequencies you need to 276 00:16:30,280 --> 00:16:34,280 Speaker 1: use for that communications session. So your first radio will 277 00:16:34,320 --> 00:16:37,720 Speaker 1: send a request to radio number two. Radio number two 278 00:16:37,760 --> 00:16:43,080 Speaker 1: responds with a seed number generated by this pseudo random process. 279 00:16:43,120 --> 00:16:45,560 Speaker 1: So Radio one says, hey, I want to chat. Radio 280 00:16:45,600 --> 00:16:50,440 Speaker 1: two says, use this number. Radio one ends up using 281 00:16:50,440 --> 00:16:53,240 Speaker 1: that number and looks up the series of frequencies, sends 282 00:16:53,280 --> 00:16:57,080 Speaker 1: that back to radio two for a confirmation. Uh, the 283 00:16:57,080 --> 00:16:59,480 Speaker 1: these are the sequence of frequencies that the two radios 284 00:16:59,480 --> 00:17:02,400 Speaker 1: are going to use for the duration of their communication session, 285 00:17:02,920 --> 00:17:07,160 Speaker 1: and then the radio two will confirm that by sending 286 00:17:07,200 --> 00:17:11,520 Speaker 1: a synchronization signal to radio one that makes both radio 287 00:17:11,680 --> 00:17:15,679 Speaker 1: start on the same moment and then they can communicate. 288 00:17:15,720 --> 00:17:19,840 Speaker 1: They will swap frequencies, not just knowing which frequency it 289 00:17:19,960 --> 00:17:24,560 Speaker 1: goes next, but how long each frequency will be landed upon, right, 290 00:17:24,600 --> 00:17:27,960 Speaker 1: how long do you spend on each individual frequency? And 291 00:17:28,000 --> 00:17:31,200 Speaker 1: that allows for the communication between these two devices where 292 00:17:31,240 --> 00:17:34,760 Speaker 1: you're you're hopping from one frequency to the next throughout 293 00:17:34,800 --> 00:17:39,760 Speaker 1: the entire session. And once you do that, you would 294 00:17:39,800 --> 00:17:44,120 Speaker 1: appear to be hopping too frequencies at random from the 295 00:17:44,200 --> 00:17:47,840 Speaker 1: perspective and of an outside observer. So if you and 296 00:17:47,880 --> 00:17:50,919 Speaker 1: your buddy are chatting with each other over cellular phones 297 00:17:50,960 --> 00:17:56,840 Speaker 1: that are using frequency hopping spread spectrum approach, then I 298 00:17:56,960 --> 00:18:00,399 Speaker 1: when I'm looking at the signals that are you're sending 299 00:18:00,440 --> 00:18:01,840 Speaker 1: back and forth to me, it would look like it's 300 00:18:01,840 --> 00:18:05,040 Speaker 1: totally random, like there's no meaning from one frequency to 301 00:18:05,080 --> 00:18:08,880 Speaker 1: the next. You're not sequentially hopping frequencies, you're jumping all 302 00:18:08,920 --> 00:18:12,639 Speaker 1: over within that that bandwidth, whatever that band of frequencies 303 00:18:12,720 --> 00:18:15,760 Speaker 1: happens to be. You could be jumping left and right, 304 00:18:15,880 --> 00:18:18,960 Speaker 1: you know, up and down all sorts of ways, and 305 00:18:19,000 --> 00:18:21,920 Speaker 1: I would not be able to determine where you're going 306 00:18:21,960 --> 00:18:25,640 Speaker 1: to go next. That's really important for a multiple reasons, 307 00:18:25,640 --> 00:18:28,560 Speaker 1: not just the idea of not being snooped upon, that's 308 00:18:28,560 --> 00:18:32,679 Speaker 1: a big one, but also avoiding interference. Uh, you can 309 00:18:32,720 --> 00:18:36,000 Speaker 1: have multiple devices all communicating through the same methodology, and 310 00:18:36,040 --> 00:18:38,920 Speaker 1: because they're all using different frequencies and hopping around a lot, 311 00:18:39,520 --> 00:18:44,080 Speaker 1: then the odds of two communication devices needing to use 312 00:18:44,119 --> 00:18:46,880 Speaker 1: the exact same frequency at the exact same time are 313 00:18:47,000 --> 00:18:51,120 Speaker 1: very very low. Also, these devices tend to be very 314 00:18:51,240 --> 00:18:54,439 Speaker 1: low power devices, and because of that, they have a 315 00:18:54,480 --> 00:18:57,359 Speaker 1: limited range. So once you get outside of that range, 316 00:18:57,640 --> 00:19:00,560 Speaker 1: you don't really have to worry about interference anymore. So 317 00:19:01,080 --> 00:19:04,720 Speaker 1: two mobile phones that happened to hop on the same frequency, 318 00:19:05,720 --> 00:19:07,720 Speaker 1: that's only gonna be an issue if they were really 319 00:19:07,720 --> 00:19:12,520 Speaker 1: close together, otherwise the signals won't propagate far enough. And 320 00:19:12,560 --> 00:19:16,880 Speaker 1: again these happen. It happened so fast, within a split second, 321 00:19:17,480 --> 00:19:20,280 Speaker 1: the odds of it actually causing any real interference are 322 00:19:20,320 --> 00:19:24,840 Speaker 1: extremely low, and any interference that's perceptible to human beings 323 00:19:25,359 --> 00:19:30,600 Speaker 1: that's almost impossible. So it you want to make sure 324 00:19:30,680 --> 00:19:33,520 Speaker 1: that you have this this methodology set up in your 325 00:19:33,560 --> 00:19:36,639 Speaker 1: system in a way that appears to be pseudo random 326 00:19:36,720 --> 00:19:38,840 Speaker 1: to make sure you keep it secure and to keep 327 00:19:38,840 --> 00:19:42,120 Speaker 1: it from interfering with all the other systems that are 328 00:19:42,119 --> 00:19:45,359 Speaker 1: out there. Uh. One nice thing about this is that 329 00:19:45,440 --> 00:19:47,840 Speaker 1: again you can use those multiple devices in that same 330 00:19:47,840 --> 00:19:51,560 Speaker 1: frequency channel, and typically there are enough subchannels to allow 331 00:19:51,640 --> 00:19:54,280 Speaker 1: lots of multiple devices to access the system without any 332 00:19:54,280 --> 00:19:57,879 Speaker 1: sort of cross talk or interference. So WiFi uses this. 333 00:19:57,920 --> 00:20:01,080 Speaker 1: For example, when I did the WiFi episode, I talked 334 00:20:01,240 --> 00:20:05,359 Speaker 1: briefly about the strategy called frequency hopping spread spectrum or 335 00:20:05,520 --> 00:20:08,760 Speaker 1: f h s S. A spread spectrum is a method 336 00:20:08,800 --> 00:20:11,520 Speaker 1: in which a signal is spread throughout the frequency domain 337 00:20:11,640 --> 00:20:15,480 Speaker 1: of a bandwidth. So let's just say, for argument's sake, 338 00:20:15,560 --> 00:20:18,880 Speaker 1: we've got a bandwidth of channels. There are ten essential 339 00:20:19,119 --> 00:20:22,960 Speaker 1: essentially sub channels inside this bandwidth, so you can think 340 00:20:22,960 --> 00:20:24,960 Speaker 1: of it as a highway that has ten lanes of 341 00:20:25,080 --> 00:20:29,399 Speaker 1: potential traffic. A spread spectrum would take a signal that 342 00:20:29,480 --> 00:20:32,320 Speaker 1: normally would fit into just a single channel or a 343 00:20:32,320 --> 00:20:35,720 Speaker 1: single lane on this highway, and then allow that signal 344 00:20:35,760 --> 00:20:40,560 Speaker 1: to spread through the entire width of that bandwidth or 345 00:20:40,720 --> 00:20:43,520 Speaker 1: all of the lanes of the highway. With frequency hopping, 346 00:20:43,720 --> 00:20:46,160 Speaker 1: it would be as if the car was magically jumping 347 00:20:46,200 --> 00:20:48,920 Speaker 1: from say, lane to to lane seven, and then from 348 00:20:48,960 --> 00:20:51,359 Speaker 1: lane seven to lane five, and then lane five to 349 00:20:51,440 --> 00:20:54,119 Speaker 1: lane one, and so on and so forth, just immediately 350 00:20:54,520 --> 00:20:57,920 Speaker 1: jumping from one lane to the next while continuously traveling 351 00:20:57,960 --> 00:21:01,880 Speaker 1: down the highway. But there are other methodologies that take 352 00:21:01,920 --> 00:21:06,359 Speaker 1: a slightly different approach. Direct sequence spread spectrum, which is 353 00:21:06,400 --> 00:21:09,879 Speaker 1: also used in WiFi, takes the signal and then modulates 354 00:21:09,880 --> 00:21:12,800 Speaker 1: it with a pseudo random noise spreading code, and the 355 00:21:12,840 --> 00:21:16,320 Speaker 1: result is that tiny bits of data travel through different 356 00:21:16,320 --> 00:21:21,080 Speaker 1: frequency subchannels. So with frequency hopping, you have this big 357 00:21:21,160 --> 00:21:25,119 Speaker 1: highway with ten lanes, and the car is in any 358 00:21:25,240 --> 00:21:28,480 Speaker 1: one lane at any given time, but just one lane, right, 359 00:21:28,640 --> 00:21:31,080 Speaker 1: It's like either in lane two, or it's in lane 360 00:21:31,080 --> 00:21:34,879 Speaker 1: three or whatever. And then when it comes time to hop, 361 00:21:35,440 --> 00:21:38,800 Speaker 1: it suddenly appears in a different lane, but it's always 362 00:21:38,920 --> 00:21:43,359 Speaker 1: only in one lane at a time. Direct sequence spread 363 00:21:43,400 --> 00:21:47,040 Speaker 1: spectrum is different. It's in all the lanes simultaneously, but 364 00:21:47,080 --> 00:21:50,639 Speaker 1: only tiny parts of it are in each lane, and 365 00:21:50,680 --> 00:21:52,399 Speaker 1: then on the other end you're able to piece it 366 00:21:52,440 --> 00:21:58,240 Speaker 1: all together. So different approach to using the same sort 367 00:21:58,280 --> 00:22:00,960 Speaker 1: of trying to solve the same sort of problem. So 368 00:22:01,080 --> 00:22:04,679 Speaker 1: it's the basis d S S S. The direct sequence 369 00:22:04,680 --> 00:22:07,600 Speaker 1: spread spectrum is the basis of c d M A 370 00:22:07,760 --> 00:22:11,480 Speaker 1: mobile phone technology, and then the frequency hopping spread spectrum 371 00:22:11,560 --> 00:22:15,240 Speaker 1: is the underlying technology for G s M mobile phones. 372 00:22:16,160 --> 00:22:19,960 Speaker 1: Most of the world used g s M for mobile 373 00:22:20,000 --> 00:22:24,000 Speaker 1: phone technology, at least before the development of lte A 374 00:22:24,119 --> 00:22:26,120 Speaker 1: T and t n T Mobile were the two companies 375 00:22:26,160 --> 00:22:28,640 Speaker 1: in the United States that relied on g s M tech, 376 00:22:29,320 --> 00:22:31,359 Speaker 1: and then c d M A was only used in 377 00:22:31,400 --> 00:22:34,000 Speaker 1: a couple of places in the world, primarily the United 378 00:22:34,040 --> 00:22:39,520 Speaker 1: States under Verizon and Sprint. In WiFi, the typical approach 379 00:22:39,560 --> 00:22:42,080 Speaker 1: with f H S S was to use one of 380 00:22:42,160 --> 00:22:46,119 Speaker 1: seventy nine different one mega hurts channels following one of 381 00:22:46,240 --> 00:22:50,080 Speaker 1: seventy eight different hops sequences, and the sequence would require 382 00:22:50,119 --> 00:22:53,920 Speaker 1: hops every four hundred milliseconds. The odds of interference, whether 383 00:22:53,960 --> 00:22:57,240 Speaker 1: intentional or otherwise, we're really low. To reduce the chance 384 00:22:57,280 --> 00:23:01,120 Speaker 1: of interference even more, like I said, these technologies were 385 00:23:01,200 --> 00:23:06,359 Speaker 1: using very low power transmissions, uh typically around one what 386 00:23:06,760 --> 00:23:09,480 Speaker 1: or less in power. And you may remember in that 387 00:23:09,520 --> 00:23:12,800 Speaker 1: recent episode about WiFi how the spectrum set aside for 388 00:23:12,840 --> 00:23:16,400 Speaker 1: WiFi communication happened to be within the range of industrial 389 00:23:16,520 --> 00:23:20,160 Speaker 1: and medical equipment and also stuff like microwave ovens. So 390 00:23:20,640 --> 00:23:24,439 Speaker 1: in the United States, the FCC had said, this band 391 00:23:24,560 --> 00:23:28,840 Speaker 1: of frequencies is set aside for these particular types of technologies. However, 392 00:23:29,600 --> 00:23:34,240 Speaker 1: if your technology can transmit at a power level below 393 00:23:34,560 --> 00:23:38,760 Speaker 1: one what or so, then you may also make use 394 00:23:38,800 --> 00:23:44,040 Speaker 1: of this and unlicensed approaches to this this band of frequencies. 395 00:23:44,080 --> 00:23:47,680 Speaker 1: That's where WiFi rose up out of the unlicensed use 396 00:23:48,040 --> 00:23:51,360 Speaker 1: as long as they remained in the transmission power below 397 00:23:51,920 --> 00:23:56,359 Speaker 1: the threshold. So that also meant that the potential of 398 00:23:56,400 --> 00:24:00,000 Speaker 1: interference was decreased because again those signals could not try 399 00:24:00,080 --> 00:24:02,280 Speaker 1: will very far, they just didn't have a lot of 400 00:24:02,640 --> 00:24:06,800 Speaker 1: behind them. H f HSS has been used in multiple 401 00:24:06,840 --> 00:24:10,879 Speaker 1: types of technologies, from cell phones to WiFi to bluetooth technology, 402 00:24:10,960 --> 00:24:15,240 Speaker 1: and the bluetooth implementation is actually called adaptive frequency hopping 403 00:24:15,320 --> 00:24:19,879 Speaker 1: spread spectrum or a f H Bluetooth signals change frequencies 404 00:24:20,440 --> 00:24:24,320 Speaker 1: one thousand six hundred times a second across seventy nine 405 00:24:24,320 --> 00:24:28,639 Speaker 1: possible subchannels. And it's called adaptive because Bluetooth can detect 406 00:24:28,640 --> 00:24:32,560 Speaker 1: which frequencies are the most crowded and avoid those using 407 00:24:32,840 --> 00:24:36,880 Speaker 1: less crowded frequencies to help head off potential interference problems. Now, 408 00:24:36,920 --> 00:24:40,400 Speaker 1: some investimated that the value of this technology comes close 409 00:24:40,440 --> 00:24:44,480 Speaker 1: to thirty billion dollars or more, and Lamar never really 410 00:24:44,480 --> 00:24:47,240 Speaker 1: got to see any of that. During her lifetime. She 411 00:24:47,280 --> 00:24:49,960 Speaker 1: made money in other ways, but didn't really get to 412 00:24:50,040 --> 00:24:53,000 Speaker 1: profit off this idea, which again seems to be a shame. Now, 413 00:24:53,000 --> 00:24:56,080 Speaker 1: when we come back, we're gonna talk about some other 414 00:24:56,200 --> 00:25:02,720 Speaker 1: more interesting, not more in interesting, but additional interesting inventions 415 00:25:02,760 --> 00:25:06,360 Speaker 1: that came to us from celebrities. But first let's take 416 00:25:06,359 --> 00:25:16,800 Speaker 1: another quick break to thank our sponsor. Well, I've pretty 417 00:25:16,840 --> 00:25:20,119 Speaker 1: much exhausted the topic of frequency hopping without getting into 418 00:25:20,280 --> 00:25:23,399 Speaker 1: much more technical detail, and that would increase both the 419 00:25:23,480 --> 00:25:26,560 Speaker 1: likelihood that I would lose a lot of listeners and 420 00:25:26,640 --> 00:25:30,600 Speaker 1: more likely I would get something really really wrong, because 421 00:25:30,640 --> 00:25:34,560 Speaker 1: my own understanding of the technology does not go that deep. 422 00:25:34,880 --> 00:25:37,359 Speaker 1: So instead of trying to talk about it for another 423 00:25:37,400 --> 00:25:39,840 Speaker 1: ten minutes and him and Hall, which I think would 424 00:25:39,840 --> 00:25:41,919 Speaker 1: waste everyone's time. I thought it might be fun to 425 00:25:41,960 --> 00:25:45,600 Speaker 1: chat about other actors and other people in the entertainment 426 00:25:45,640 --> 00:25:49,760 Speaker 1: industry who have been credited with various inventions and what 427 00:25:49,880 --> 00:25:54,520 Speaker 1: those inventions are. For example, actor and musician Harry Connick Jr. 428 00:25:54,720 --> 00:25:59,119 Speaker 1: Invented a system that synchronized the display of digital sheet 429 00:25:59,280 --> 00:26:02,800 Speaker 1: music from musicians in an orchestra, so instead of musicians 430 00:26:02,840 --> 00:26:06,800 Speaker 1: all referencing printed sheet music on paper, which requires you 431 00:26:06,840 --> 00:26:08,760 Speaker 1: to find time to turn a page and try to 432 00:26:08,840 --> 00:26:11,520 Speaker 1: keep up with the pace of the musical piece. Harry 433 00:26:11,600 --> 00:26:15,439 Speaker 1: Connick Jr. Gets a credit on US patent six million, 434 00:26:15,480 --> 00:26:18,480 Speaker 1: three forty eight thousand, six hundred forty eight for a 435 00:26:18,560 --> 00:26:20,960 Speaker 1: music display that keeps time with the playing of a 436 00:26:21,000 --> 00:26:24,280 Speaker 1: piece and updates automatically. You file for the patent in 437 00:26:24,359 --> 00:26:28,920 Speaker 1: nineteen and received a patent on February nine, two thousand two. 438 00:26:29,119 --> 00:26:33,520 Speaker 1: The abstract reads like this quote, a system and method 439 00:26:33,560 --> 00:26:37,760 Speaker 1: for coordinated music composition and display among musicians is presented. 440 00:26:38,080 --> 00:26:41,840 Speaker 1: The system and method enables a conductor, composer, or band 441 00:26:41,960 --> 00:26:46,199 Speaker 1: leader to interactively edit one or more music score parts 442 00:26:46,240 --> 00:26:50,600 Speaker 1: of a composition using a pen based interface, mouse, alpha 443 00:26:50,680 --> 00:26:55,359 Speaker 1: numeric keyboard, or a musical keyboard. Handwritten music editing which 444 00:26:55,440 --> 00:26:58,760 Speaker 1: is entered with the pen based interface may be flexibly 445 00:26:58,840 --> 00:27:02,520 Speaker 1: converted to a digital all music notation format. Connected to 446 00:27:02,600 --> 00:27:06,240 Speaker 1: the composer station are one or more musician stations that 447 00:27:06,359 --> 00:27:09,919 Speaker 1: may be arranged as an orchestra. The musical score parts 448 00:27:09,960 --> 00:27:14,280 Speaker 1: may be selectively transmitted to one or more musician stations 449 00:27:14,320 --> 00:27:17,960 Speaker 1: by the composer. Thus, an operator of the conductor station 450 00:27:18,200 --> 00:27:21,840 Speaker 1: can flexibly write and edit music score parts and transmit 451 00:27:21,880 --> 00:27:24,879 Speaker 1: the parts to musicians over the network. The system and 452 00:27:24,920 --> 00:27:27,560 Speaker 1: method can also be used to conduct the orchestra in 453 00:27:27,600 --> 00:27:30,960 Speaker 1: rehearsals or performances, so this could be incredibly useful if 454 00:27:30,960 --> 00:27:33,320 Speaker 1: you were composing a piece of music. Let's say that 455 00:27:33,359 --> 00:27:37,320 Speaker 1: you're a film composer and you're working on trying to 456 00:27:37,320 --> 00:27:41,000 Speaker 1: create just the right mood during the actual composition. You've 457 00:27:41,000 --> 00:27:43,560 Speaker 1: got the film to watch, You've got a print of 458 00:27:43,560 --> 00:27:46,720 Speaker 1: the film, there's no music on it yet, and you 459 00:27:46,800 --> 00:27:50,160 Speaker 1: decide to try a composition you've created, and the orchestra 460 00:27:50,240 --> 00:27:52,160 Speaker 1: plays it just as you wrote it, and you realize 461 00:27:52,200 --> 00:27:54,960 Speaker 1: this isn't actually evoking the emotion I want. I need 462 00:27:55,000 --> 00:27:57,240 Speaker 1: to change this up a little bit. With this system, 463 00:27:57,440 --> 00:28:00,119 Speaker 1: you can make those sort of notes live and have 464 00:28:00,200 --> 00:28:03,520 Speaker 1: it distributed immediately to musicians who could then read those 465 00:28:03,600 --> 00:28:06,840 Speaker 1: changes and incorporate that in their next performance of the piece. 466 00:28:07,400 --> 00:28:09,760 Speaker 1: I think about this when I hear episodes of the 467 00:28:09,800 --> 00:28:12,960 Speaker 1: soundtrack show, because they talk a lot about having to 468 00:28:12,960 --> 00:28:16,359 Speaker 1: do different takes and having different approaches to playing the 469 00:28:16,440 --> 00:28:19,200 Speaker 1: same sort of music over and over again. And I 470 00:28:19,240 --> 00:28:22,000 Speaker 1: think it's a pretty clever approach and also makes sense. 471 00:28:22,160 --> 00:28:24,960 Speaker 1: He is a musician. He created a system that would 472 00:28:25,000 --> 00:28:30,200 Speaker 1: benefit musicians. But what about magician Harry Houdini. He patented 473 00:28:30,320 --> 00:28:35,359 Speaker 1: a diver's suit in nineteen twenty one. Specifically, Whodini's design 474 00:28:35,440 --> 00:28:38,760 Speaker 1: was to improve upon deep sea diving suits. So this 475 00:28:38,800 --> 00:28:41,120 Speaker 1: is one of those big bulky ones as the big 476 00:28:41,520 --> 00:28:44,920 Speaker 1: like BioShock style helmet on the top of it. The 477 00:28:45,000 --> 00:28:47,960 Speaker 1: design was meant to be an improvement in several ways 478 00:28:48,120 --> 00:28:50,720 Speaker 1: upon the diving suits of the day. For example, is 479 00:28:50,760 --> 00:28:53,800 Speaker 1: meant to protect divers from the intense pressure they would 480 00:28:53,800 --> 00:28:56,720 Speaker 1: experience when diving deep below the surface. It was also 481 00:28:56,800 --> 00:28:59,560 Speaker 1: meant to allow divers to quickly move up or down 482 00:28:59,640 --> 00:29:02,440 Speaker 1: within the sea without having to spend as much time 483 00:29:02,560 --> 00:29:06,480 Speaker 1: compressing or decompressing, And it was meant to allow divers 484 00:29:06,520 --> 00:29:09,480 Speaker 1: to get in and out of the suit all by themselves, 485 00:29:09,760 --> 00:29:12,400 Speaker 1: including in the case of an emergency in which a 486 00:29:12,440 --> 00:29:15,800 Speaker 1: diver might need to ditch the suit underwater and risk 487 00:29:15,840 --> 00:29:18,800 Speaker 1: getting the bends in an effort to avoid certain death. 488 00:29:19,320 --> 00:29:22,600 Speaker 1: The diving suit consisted of an upper body section and 489 00:29:22,680 --> 00:29:25,160 Speaker 1: a lower body section, and they would join together at 490 00:29:25,200 --> 00:29:28,520 Speaker 1: a metallic belt at a lever operator system on it, 491 00:29:28,600 --> 00:29:31,479 Speaker 1: which would allow the diver to attach or detach the 492 00:29:31,520 --> 00:29:35,080 Speaker 1: two sections. So you flip a little lever and the 493 00:29:35,120 --> 00:29:39,400 Speaker 1: suit would come apart. Pretty clever invention and also makes sense. 494 00:29:39,440 --> 00:29:42,760 Speaker 1: Harry Hudini was all about finding ways to get out 495 00:29:42,800 --> 00:29:45,360 Speaker 1: of things very quickly. He was mostly known as an 496 00:29:45,480 --> 00:29:48,840 Speaker 1: escape artist kind of magician, more of an escape artist 497 00:29:48,880 --> 00:29:52,200 Speaker 1: than your your traditional magician. I would say. Then we 498 00:29:52,240 --> 00:29:54,840 Speaker 1: have Samuel Clemens, who was better known, of course as 499 00:29:54,920 --> 00:29:58,200 Speaker 1: Mark Twain. He got a patent for an invention titled 500 00:29:58,440 --> 00:30:03,920 Speaker 1: Quote Improvement in Adjustable and Detachable Straps for Garments end Quote, 501 00:30:04,200 --> 00:30:09,120 Speaker 1: which was essentially an elastic strap and clasp, with at 502 00:30:09,200 --> 00:30:11,760 Speaker 1: least one image in the patent showing a hook and 503 00:30:11,880 --> 00:30:16,400 Speaker 1: clasp system. So in other words, Mark Twain, writer of 504 00:30:16,480 --> 00:30:21,360 Speaker 1: Tom Sawyer and Huckleberry Finn invented the bra strap clasp. 505 00:30:22,400 --> 00:30:28,120 Speaker 1: Thank you, Mark Twain, we appreciate your support. Zeppo Marks, 506 00:30:28,200 --> 00:30:31,600 Speaker 1: the younger brother to the famous Marx brothers of Groucho, 507 00:30:31,800 --> 00:30:35,240 Speaker 1: Chico and Harpo. Not to mention Gummo, who most people 508 00:30:35,240 --> 00:30:38,000 Speaker 1: don't remember. He wasn't just an actor in some of 509 00:30:38,000 --> 00:30:41,480 Speaker 1: their earlier films. He was also an inventor. He created 510 00:30:41,560 --> 00:30:44,880 Speaker 1: a cardiac pulse monitor, plus a couple of other inventions, 511 00:30:44,920 --> 00:30:48,400 Speaker 1: including a heating pad that used steam as the source 512 00:30:48,440 --> 00:30:51,360 Speaker 1: for heat. The cardiac monitor was in the form of 513 00:30:51,400 --> 00:30:54,040 Speaker 1: a watch. And I gotta quote the abstract because I 514 00:30:54,080 --> 00:30:56,920 Speaker 1: like the idea, but I'm not sure how practical it 515 00:30:57,000 --> 00:30:59,400 Speaker 1: really is, whether or not it actually worked. But here's 516 00:30:59,440 --> 00:31:04,080 Speaker 1: there's the abstract quote. A unit to provide an audible 517 00:31:04,160 --> 00:31:08,360 Speaker 1: and vibratory warning to advise persons who have cardiac impairment 518 00:31:08,680 --> 00:31:12,200 Speaker 1: of extreme variations in the pulse rate. The unit is 519 00:31:12,240 --> 00:31:15,480 Speaker 1: provided with an electric motor that is operated by the 520 00:31:15,520 --> 00:31:18,800 Speaker 1: power of a small electric cell in a circuit that 521 00:31:18,920 --> 00:31:23,320 Speaker 1: is intermittently closed by a pulse actuated switch and which 522 00:31:23,480 --> 00:31:27,240 Speaker 1: rotates a permanent magnet. The latter is enclosed in a 523 00:31:27,320 --> 00:31:30,600 Speaker 1: housing that is held in a position corresponding to normal 524 00:31:30,760 --> 00:31:33,960 Speaker 1: by a hair spring, said housing under drag of the 525 00:31:34,000 --> 00:31:37,440 Speaker 1: magnetic field of the magnet being moved rotationally in the 526 00:31:37,440 --> 00:31:41,000 Speaker 1: direction of magnet rotation when the pulse rate is above 527 00:31:41,080 --> 00:31:44,280 Speaker 1: normal due to a more continuous energizing of the motor 528 00:31:44,360 --> 00:31:47,240 Speaker 1: by the pulse, and said housing under bias of the 529 00:31:47,280 --> 00:31:51,040 Speaker 1: hair spring being moved rotationally counter to said magnetic drag. 530 00:31:51,240 --> 00:31:54,800 Speaker 1: When the pulse rate is subnormal, a color coded tail 531 00:31:54,840 --> 00:31:58,320 Speaker 1: tale advises of lesser pulse rate variations in either direction, 532 00:31:58,600 --> 00:32:02,000 Speaker 1: and audible alarm is provided to warn of excessively high 533 00:32:02,120 --> 00:32:05,040 Speaker 1: or abnormally low changes of the pulse rate. So, in 534 00:32:05,080 --> 00:32:08,320 Speaker 1: other words, what all that wordiness says is that there 535 00:32:08,440 --> 00:32:12,520 Speaker 1: was an element inside this watch that would rotate as 536 00:32:12,560 --> 00:32:16,360 Speaker 1: part of its normal means of operation if it wasn't 537 00:32:16,360 --> 00:32:19,240 Speaker 1: attached to your risk at all. Once attached to your wrist, 538 00:32:19,600 --> 00:32:24,200 Speaker 1: their pulse would create a a switch. There would be 539 00:32:24,200 --> 00:32:26,200 Speaker 1: a switch that would open and close in time with 540 00:32:26,240 --> 00:32:29,920 Speaker 1: your pulse. Their pulse would somehow activate this switch. This 541 00:32:30,000 --> 00:32:31,880 Speaker 1: is the part where I'm not sure how this would work. 542 00:32:31,920 --> 00:32:34,520 Speaker 1: How you would have a switch that was sensitive enough 543 00:32:34,560 --> 00:32:38,760 Speaker 1: to activate whenever your pulse was beating through whenever it 544 00:32:38,800 --> 00:32:42,600 Speaker 1: was pressing against the switch, and whenever the switch is activated, 545 00:32:43,120 --> 00:32:48,400 Speaker 1: the permanent magnet inside this device would want to turn 546 00:32:48,640 --> 00:32:51,200 Speaker 1: in the opposite direction that it would normally turn in. 547 00:32:51,920 --> 00:32:57,160 Speaker 1: And if your pulse was regular, then these uh counter 548 00:32:57,560 --> 00:33:02,040 Speaker 1: active forces. The natural role rotation of the permanent magnet 549 00:33:02,120 --> 00:33:07,600 Speaker 1: due to the inner workings of the watch versus the 550 00:33:07,640 --> 00:33:10,640 Speaker 1: actions that were being created because of your pulse closing 551 00:33:10,680 --> 00:33:13,240 Speaker 1: off this switch would sort of cancel each other out. 552 00:33:13,720 --> 00:33:16,600 Speaker 1: But if your pulse was too slow, then it would 553 00:33:16,640 --> 00:33:18,960 Speaker 1: be rotating too much in the way that it was 554 00:33:19,120 --> 00:33:21,680 Speaker 1: naturally intended to go, or if your pulse was too fast, 555 00:33:21,680 --> 00:33:24,560 Speaker 1: it would be rotating counter to that direction, and in 556 00:33:24,600 --> 00:33:27,440 Speaker 1: either case it would alert you saying, hey, your heart's 557 00:33:27,440 --> 00:33:30,040 Speaker 1: going all crazy, like maybe you need to take a rest. 558 00:33:30,600 --> 00:33:32,680 Speaker 1: I honestly don't know if this thing would work based 559 00:33:32,720 --> 00:33:35,959 Speaker 1: upon the patent it. I didn't learn enough of it 560 00:33:36,040 --> 00:33:39,160 Speaker 1: to figure out how you could have a switch that's 561 00:33:39,160 --> 00:33:43,240 Speaker 1: sensitive without using something like h L e ed s 562 00:33:43,280 --> 00:33:47,600 Speaker 1: to detect when blood is flowing through your veins. Anyway, 563 00:33:47,880 --> 00:33:51,320 Speaker 1: I had a lot of options for other inventions created 564 00:33:51,320 --> 00:33:54,480 Speaker 1: by celebrities to kind of close this out. Steven Spielberg 565 00:33:54,520 --> 00:33:56,960 Speaker 1: invented a device that would allow you to make annotations 566 00:33:57,000 --> 00:34:01,120 Speaker 1: and edits to a document using your voice. Um typically 567 00:34:01,200 --> 00:34:03,760 Speaker 1: just a like a digital recorder that would allow you 568 00:34:03,800 --> 00:34:08,480 Speaker 1: to annotate a digital recording of a screenplay. He meant 569 00:34:08,520 --> 00:34:11,000 Speaker 1: to do this so that you can make edits on 570 00:34:11,080 --> 00:34:13,919 Speaker 1: the on the go, because he said, often you wanted 571 00:34:13,960 --> 00:34:17,120 Speaker 1: to speak out your thoughts, but it was hard to 572 00:34:17,160 --> 00:34:20,799 Speaker 1: capture what those ideas were in documented form, and this 573 00:34:20,840 --> 00:34:23,160 Speaker 1: would be a way that you could collect that information 574 00:34:23,400 --> 00:34:27,680 Speaker 1: and append it to an existing document. Michael Jackson's name 575 00:34:27,760 --> 00:34:30,360 Speaker 1: is on a patent for shoes that shifts the wearer's 576 00:34:30,480 --> 00:34:33,160 Speaker 1: center of gravity, allowing the wearer to lean much further 577 00:34:33,320 --> 00:34:36,600 Speaker 1: forward than they normally could and still maintain your balance. 578 00:34:37,120 --> 00:34:39,480 Speaker 1: This was to replicate the effect as seen in the 579 00:34:39,600 --> 00:34:42,840 Speaker 1: music video Smooth Criminal Now. During the music video, the 580 00:34:42,920 --> 00:34:46,759 Speaker 1: dancers actually wore special harnesses hooked up to cables, and 581 00:34:46,800 --> 00:34:49,360 Speaker 1: that gave them the ability to lean far forward, you know, 582 00:34:49,440 --> 00:34:53,160 Speaker 1: without face planting. But that would not be such a 583 00:34:53,200 --> 00:34:55,600 Speaker 1: good idea during a live show. It would require too 584 00:34:55,640 --> 00:34:58,320 Speaker 1: much set up, it would be too obvious to the audience, 585 00:34:58,520 --> 00:35:02,080 Speaker 1: so they needed some other warm of invention to allow 586 00:35:02,160 --> 00:35:05,360 Speaker 1: for that same sort of effect. So these shoes included 587 00:35:05,360 --> 00:35:08,960 Speaker 1: a way to lock into an upstanding post positioned on 588 00:35:09,000 --> 00:35:12,399 Speaker 1: a stage, sort of like a peg the shoe would 589 00:35:12,400 --> 00:35:14,640 Speaker 1: fit on. This actually makes me think of action figures. 590 00:35:14,719 --> 00:35:16,400 Speaker 1: There are a lot of action figures that in the 591 00:35:16,480 --> 00:35:20,040 Speaker 1: heel of a shoe on the action figure, there's a 592 00:35:20,040 --> 00:35:23,279 Speaker 1: little hole, and that typically will correspond with pegs that 593 00:35:23,360 --> 00:35:26,239 Speaker 1: you'll find in various action figure play sets, so that 594 00:35:26,280 --> 00:35:28,960 Speaker 1: the figure will stand up and not just fall over 595 00:35:29,000 --> 00:35:31,600 Speaker 1: as soon as you try and position him or her 596 00:35:31,719 --> 00:35:34,640 Speaker 1: in whatever placing you're using. But there was one invention 597 00:35:34,760 --> 00:35:38,239 Speaker 1: so goofy from someone pretty famous that I felt it 598 00:35:38,320 --> 00:35:42,400 Speaker 1: had to be my final example because it's just about 599 00:35:42,440 --> 00:35:45,040 Speaker 1: as much of the opposite of what Hetty Lamar did 600 00:35:45,080 --> 00:35:48,920 Speaker 1: as I can imagine. The inventor in question was Francis 601 00:35:48,960 --> 00:35:52,200 Speaker 1: Ford Coppola, and Coppola is a famous film director and 602 00:35:52,239 --> 00:35:56,040 Speaker 1: screenwriter and producer. He co wrote the film Patent, he 603 00:35:56,120 --> 00:36:00,440 Speaker 1: co wrote and directed The Godfather, and he directed apocalyp Now, 604 00:36:00,480 --> 00:36:03,440 Speaker 1: among other things, so he's definitely made a name for 605 00:36:03,520 --> 00:36:06,520 Speaker 1: himself in the history of film. He also has a 606 00:36:06,560 --> 00:36:09,600 Speaker 1: connection with Michael Jackson. I just mentioned Michael Jackson, well 607 00:36:09,760 --> 00:36:12,680 Speaker 1: Topola had a connection with him. He directed Captain e O, 608 00:36:13,080 --> 00:36:16,279 Speaker 1: which is a three D seventeen minute short film that 609 00:36:16,360 --> 00:36:20,080 Speaker 1: starred Michael Jackson in sort of a space fantasy adventure 610 00:36:20,640 --> 00:36:24,280 Speaker 1: and this was for Disney theme parks. But he also 611 00:36:24,600 --> 00:36:28,480 Speaker 1: filed a patent application on August thirty one, two thousand six, 612 00:36:28,880 --> 00:36:32,760 Speaker 1: and the patent application had the title Garment for identifying 613 00:36:32,840 --> 00:36:36,680 Speaker 1: location on body of the garment wearer. The abstract is 614 00:36:36,760 --> 00:36:41,200 Speaker 1: short quote the present invention discloses a garment having printed 615 00:36:41,239 --> 00:36:46,040 Speaker 1: thereon a figure comprising uniquely identifiable regions that when Warren 616 00:36:46,239 --> 00:36:49,319 Speaker 1: permit the wearer to identify for a third party a 617 00:36:49,360 --> 00:36:53,160 Speaker 1: particular location on the wearer's body end quote. The patent 618 00:36:53,239 --> 00:36:55,399 Speaker 1: includes an image of a shirt with a turtle shell 619 00:36:55,600 --> 00:36:59,480 Speaker 1: on it. The turtle's shell has a grid pattern printed 620 00:36:59,520 --> 00:37:02,719 Speaker 1: over it, and the grids have numbers inside of them, 621 00:37:02,719 --> 00:37:05,960 Speaker 1: so you can refer to specific numbers within the grid. 622 00:37:06,560 --> 00:37:09,000 Speaker 1: And the whole purpose of this is to let someone 623 00:37:09,000 --> 00:37:11,200 Speaker 1: else know when you have an itch in an effort 624 00:37:11,239 --> 00:37:15,520 Speaker 1: to get that itch scratched. Seriously, this is straight from 625 00:37:15,520 --> 00:37:18,680 Speaker 1: the patent application. I swear I did not make this up. 626 00:37:18,840 --> 00:37:23,080 Speaker 1: Quote for example, scratching an itch is a very common 627 00:37:23,120 --> 00:37:27,200 Speaker 1: task in everyday life. It can be especially difficult, however, 628 00:37:27,320 --> 00:37:29,680 Speaker 1: for a person to scratch his or her own itch 629 00:37:30,040 --> 00:37:32,520 Speaker 1: when the location of the itch isn't a hard to 630 00:37:32,560 --> 00:37:36,640 Speaker 1: reach spot, such as the back presently absent a device 631 00:37:36,800 --> 00:37:39,759 Speaker 1: such as a scratching stick. A person with an itch 632 00:37:39,880 --> 00:37:42,640 Speaker 1: in a hard to reach location must ask a second 633 00:37:42,719 --> 00:37:46,880 Speaker 1: party to scratch the itch. This, in turn requires orienting 634 00:37:46,920 --> 00:37:50,279 Speaker 1: the second party scratcher by using a series of directions 635 00:37:50,320 --> 00:37:54,000 Speaker 1: which are often being misunderstood by the second party. For example, 636 00:37:54,239 --> 00:37:58,680 Speaker 1: these instructions might include, could you scratch lower to the left? No, 637 00:37:59,160 --> 00:38:02,879 Speaker 1: the other left? Now down lower to the right, no, 638 00:38:02,880 --> 00:38:06,160 Speaker 1: no too far back to the left. This situation may 639 00:38:06,160 --> 00:38:09,040 Speaker 1: arise for people in normal health and dexterity, or for 640 00:38:09,120 --> 00:38:12,600 Speaker 1: people with limited flexibility, such as those having spinal injuries 641 00:38:12,640 --> 00:38:16,280 Speaker 1: that prevent them from bending or twisting to any significant degree. 642 00:38:16,600 --> 00:38:19,120 Speaker 1: So a solution was to have a print out of 643 00:38:19,160 --> 00:38:21,600 Speaker 1: a turtle shell with numbers on it, and then you 644 00:38:21,600 --> 00:38:25,000 Speaker 1: would just say can you scratch me at number seventeen. Then, 645 00:38:25,000 --> 00:38:27,360 Speaker 1: because you have the shirt on with the numbers on 646 00:38:27,400 --> 00:38:30,960 Speaker 1: the back, the person could reach up look at number seventeen, 647 00:38:31,520 --> 00:38:34,240 Speaker 1: give you a good old scratching and you would finally 648 00:38:34,280 --> 00:38:37,600 Speaker 1: have relief. The patent office did not appear to issue 649 00:38:37,640 --> 00:38:40,560 Speaker 1: a patent for this particular idea, and again I think 650 00:38:40,560 --> 00:38:43,759 Speaker 1: of it as being a an incredible contrast with what 651 00:38:43,840 --> 00:38:47,880 Speaker 1: Heavy Lamar's patent was back in So I had to 652 00:38:47,960 --> 00:38:50,799 Speaker 1: include that as our final example because it makes me 653 00:38:51,200 --> 00:38:54,799 Speaker 1: smile so much. Guys. Before I sign off, I just 654 00:38:54,840 --> 00:38:58,080 Speaker 1: want to give another shout out to the documentary Bombshell. 655 00:38:58,480 --> 00:39:03,400 Speaker 1: It's all about Heavy lamar story, not just the parts 656 00:39:03,480 --> 00:39:06,239 Speaker 1: about her UH kind of coming up with the idea 657 00:39:06,239 --> 00:39:10,120 Speaker 1: of frequency hopping, but also other elements of her life, 658 00:39:10,120 --> 00:39:14,600 Speaker 1: including the trials and tribulations she went through, the various 659 00:39:14,719 --> 00:39:19,040 Speaker 1: UH challenges she faced throughout her life, choices she made, 660 00:39:19,120 --> 00:39:21,440 Speaker 1: and how that affected her. I highly recommend it. If 661 00:39:21,480 --> 00:39:24,799 Speaker 1: you have the opportunity to watch it, go check it out. 662 00:39:25,160 --> 00:39:29,000 Speaker 1: I happen to watch it on Amazon Prime, but wherever 663 00:39:29,040 --> 00:39:31,080 Speaker 1: you might find it, uh, I think it's worth a watch. 664 00:39:31,239 --> 00:39:34,160 Speaker 1: So that's a thumbs up for me. Well, that wraps 665 00:39:34,239 --> 00:39:37,120 Speaker 1: up this discussion about Henty Lamar and frequency hopping and 666 00:39:37,160 --> 00:39:41,600 Speaker 1: celebrity inventions. I'm sure I will someday revisit celebrity inventions. 667 00:39:41,600 --> 00:39:42,920 Speaker 1: There are a couple of others out there that are 668 00:39:42,960 --> 00:39:46,000 Speaker 1: kind of interesting, some of which aren't necessarily zany, but 669 00:39:46,040 --> 00:39:50,000 Speaker 1: are genuinely interesting and useful. Uh, some of which are 670 00:39:50,440 --> 00:39:53,080 Speaker 1: more in that zany category. So maybe I'll do an 671 00:39:53,080 --> 00:39:54,920 Speaker 1: episode about that again in the future. If you have 672 00:39:55,040 --> 00:39:57,680 Speaker 1: a suggestion for an episode of tech Stuff, maybe you've 673 00:39:57,719 --> 00:40:00,600 Speaker 1: got a company or technology or person in tech I 674 00:40:00,600 --> 00:40:03,600 Speaker 1: should cover. Send me a message. The email address is 675 00:40:03,680 --> 00:40:06,680 Speaker 1: tech Stuff at how stuff works dot com, or drop 676 00:40:06,760 --> 00:40:09,120 Speaker 1: me a line on Facebook or Twitter. The handle at 677 00:40:09,160 --> 00:40:12,440 Speaker 1: both of those is tech Stuff h s W. Remember 678 00:40:12,480 --> 00:40:15,279 Speaker 1: to follow us on Instagram and I'll talk to you 679 00:40:15,320 --> 00:40:23,840 Speaker 1: again really soon. For more on this and thousands of 680 00:40:23,840 --> 00:40:36,000 Speaker 1: other topics, is it how stuff works dot com.