8

1
00:00:03,637 --> 00:00:07,272
Narrator: THERE IS NOTHING
MORE FAMILIAR...

2
00:00:07,274 --> 00:00:10,842
OR MORE MYSTERIOUS.

3
00:00:10,844 --> 00:00:13,811
BREATHTAKING IN ITS ACTION...

4
00:00:13,813 --> 00:00:17,315
MARVELOUS IN ITS MECHANICS...

5
00:00:17,317 --> 00:00:21,119
EXQUISITE IN ITS RANGE
OF SENSES...

6
00:00:21,121 --> 00:00:26,458
AND STAGGERING IN ITS ABILITY
TO UNDERSTAND.

7
00:00:26,460 --> 00:00:30,728
ON A FANTASTIC VOYAGE
THROUGH A SINGLE DAY...

8
00:00:30,730 --> 00:00:33,265
PLUNGE DEEP
INTO THE ROUTINE MIRACLES

9
00:00:33,267 --> 00:00:35,100
OF THE HUMAN BODY...

10
00:00:35,102 --> 00:00:38,136
♪ DREAM ON, DREAM ON... ♪

11
00:00:38,138 --> 00:00:43,341
Narrator: ...OUR INSTRUMENTS,
ENGINES, INFRASTRUCTURE,

12
00:00:43,343 --> 00:00:47,079
ROADWAYS, AND CIRCUITRY.

13
00:00:47,081 --> 00:00:54,186
THROUGH 10,000 BLINKS,
20,000 BREATHS, 100,000 BEATS...
14
00:00:54,188 --> 00:00:55,454
HELLO...

15
00:00:55,456 --> 00:00:59,591
Narrator: ...TODAY IS AN
ORDINARY, EXTRAORDINARY DAY

16
00:00:59,593 --> 00:01:04,296
IN THE LIFE OF
THE INCREDIBLE HUMAN MACHINE.

17
00:01:16,476 --> 00:01:19,176
BITS OF STARDUST...

18
00:01:19,178 --> 00:01:21,312
THAT'S REALLY ALL WE ARE.

19
00:01:21,314 --> 00:01:24,549
OXYGEN, CARBON, HYDROGEN...

20
00:01:24,551 --> 00:01:26,083
AND A HANDFUL OF ELEMENTS

21
00:01:26,085 --> 00:01:31,823
WORTH NO MORE THAN $20
AT ANY CHEMICAL SUPPLY SHOP.

22
00:01:31,825 --> 00:01:34,258
BUT GET THESE CHEMICALS
TOGETHER...

23
00:01:34,260 --> 00:01:39,397
MARINATE IN A HOSPITABLE PLACE
FOR ABOUT 3.8 BILLION YEARS...

24
00:01:39,399 --> 00:01:45,737
AND THAT MUNDANE MIX
OF MOLECULES BECOMES PRECIOUS.

25
00:01:45,739 --> 00:01:49,941
THERE ARE MORE THAN SIX BILLION
HUMAN BODIES LIVING ON EARTH...

26
00:01:49,943 --> 00:01:51,476
EACH OF US THE AMALGAMATION
27
00:01:51,478 --> 00:01:55,947
OF SOME 100 TRILLION
MICROSCOPIC CELLS.

28
00:01:55,949 --> 00:01:58,182
WHILE THE INSTRUCTIONS
FOR EACH INDIVIDUAL

29
00:01:58,184 --> 00:02:01,986
ARE 99.9% IDENTICAL...

30
00:02:01,988 --> 00:02:07,024
NO TWO OF US
ARE EXACTLY THE SAME.

31
00:02:07,026 --> 00:02:10,562
AS A NEW DAY DAWNS,
EACH HUMAN MACHINE

32
00:02:10,564 --> 00:02:12,831
BEGINS THE SUCCESSION
OF MIRACLES

33
00:02:12,833 --> 00:02:16,000
THAT WILL TAKE IT
FROM MORNING TO MIDNIGHT.

34
00:02:17,571 --> 00:02:19,571
[HORNS HONKING]

35
00:02:21,641 --> 00:02:22,941
CELLS...

36
00:02:22,943 --> 00:02:24,375
SENSES...

37
00:02:24,377 --> 00:02:25,777
MUSCLES...

38
00:02:25,779 --> 00:02:27,044
BONES...

39
00:02:27,046 --> 00:02:28,379
HEARTS...
40
00:02:28,381 --> 00:02:29,948
BRAINS...

41
00:02:29,950 --> 00:02:33,685
ALL MUST MARSHAL
THEIR FORCES AND UNITE...

42
00:02:33,687 --> 00:02:35,687
JUST TO WAKE US UP.

43
00:02:35,689 --> 00:02:36,888
[ALARM CLOCK]

44
00:02:45,131 --> 00:02:47,131
AT THE SURFACE OF IT ALL,

45
00:02:47,133 --> 00:02:52,370
A VELVETY OVERCOAT OF CELLS
AND PROTEIN KEEPS US IN...

46
00:02:52,372 --> 00:02:56,240
AND THE REST OF THE WORLD OUT.

47
00:02:56,242 --> 00:03:03,748
IT IS OUR ARMOR, OUR RADIATOR,
OUR ENTREE TO PAIN AND PLEASURE.

48
00:03:05,852 --> 00:03:09,086
IT IS THE BODY'S
LARGEST ORGAN...

49
00:03:09,088 --> 00:03:12,557
OUR SKIN.

50
00:03:12,559 --> 00:03:16,360
SMOOTH AND SILKY
TO THE EYES AND TOUCH...

51
00:03:16,362 --> 00:03:20,532
A CLOSER LOOK PRESENTS
A VERY DIFFERENT LANDSCAPE.

52
00:03:20,534 --> 00:03:23,234
MAGNIFIED 600 TIMES,

53
00:03:23,236 --> 00:03:28,573
OUR OUTERMOST SKIN
IS NOTHING BUT DEAD CELLS...

54
00:03:28,575 --> 00:03:30,975
RIDDLED WITH RIDGES AND GROOVES

55
00:03:30,977 --> 00:03:34,946
AND POCKED WITH
COUNTLESS BUMPS AND HOLES.

56
00:03:34,948 --> 00:03:36,514
LOOK CLOSER STILL

57
00:03:36,516 --> 00:03:39,383
AND WE FIND HUNDREDS
OF THOUSANDS OF BACTERIA

58
00:03:39,385 --> 00:03:43,121
INHABIT EVERY SQUARE INCH OF US.

59
00:03:48,461 --> 00:03:55,066
WITH EVERY TICK OF THE CLOCK,
OUR DEAD SKIN GETS SLOUGHED OFF.

60
00:03:55,068 --> 00:04:02,440
WE SHED AT LEAST 600,000
PARTICLES OF SKIN AN HOUR--

61
00:04:02,442 --> 00:04:06,845
ABOUT A POUND AND A HALF'S WORTH
EACH YEAR--

62
00:04:06,847 --> 00:04:12,117
WHICH ACCOUNTS FOR AS MUCH AS
80% OF THE DUST IN OUR HOUSES.

63
00:04:16,089 --> 00:04:19,724
BUT THERE'S PLENTY OF SKIN
TO GO AROUND.

64
00:04:19,726 --> 00:04:22,927
IF WE COULD PEEL IT OFF
AND LAY IT OUT FLAT,

65
00:04:22,929 --> 00:04:27,666
THE AVERAGE PERSON'S SKIN
WOULD COVER SOME 18 SQUARE FEET.

66
00:04:27,668 --> 00:04:34,438
THOUGH JUST MILLIMETERS THICK,
IT WOULD WEIGH ABOUT SIX POUNDS.

67
00:04:34,440 --> 00:04:37,709
AND WE'RE CONSTANTLY
MAKING MORE.

68
00:04:37,711 --> 00:04:39,678
JUST WAIT A MONTH OR SO

69
00:04:39,680 --> 00:04:44,482
AND YOU, TOO, WILL HAVE
A SHINY NEW COAT.

70
00:04:44,484 --> 00:04:48,787
WHICH MEANS SKIN
CAN'T BE ALL DEAD.

71
00:04:48,789 --> 00:04:50,388
DIP BELOW THE SURFACE

72
00:04:50,390 --> 00:04:53,224
AND YOU FIND CELLS
CONTINUOUSLY DIVIDING

73
00:04:53,226 --> 00:04:56,561
TO REPLACE
THOSE DEAD CELLS ABOVE.

74
00:04:59,332 --> 00:05:03,601
MILES OF BLOOD VESSELS PULSE
TO SKIN'S CONNECTIVE TISSUES.

75
00:05:08,408 --> 00:05:11,910
AND LET'S NOT FORGET ALL THOSE
PRECIOUS NERVE ENDINGS.

76
00:05:13,880 --> 00:05:15,013
[GASPS]

77
00:05:15,015 --> 00:05:17,582
45 MILES WORTH OF NERVES

78
00:05:17,584 --> 00:05:21,619
STRETCH FROM OUR HEADS
DOWN TO OUR TOES...

79
00:05:21,621 --> 00:05:25,456
AND MANY REACH TO OUR SKIN...

80
00:05:25,458 --> 00:05:28,727
SOME PARTS MORE THAN OTHERS.

81
00:05:28,729 --> 00:05:31,963
IF SENSITIVITY
WERE SIZE-DEPENDENT,

82
00:05:31,965 --> 00:05:36,768
WE WOULD LOOK
SOMETHING LIKE THIS.

83
00:05:36,770 --> 00:05:41,039
OUR SUPERSENSITIVE HANDS,
FEET, TONGUE AND LIPS...

84
00:05:41,041 --> 00:05:43,407
EACH PACKED
WITH TOUCH RECEPTORS...

85
00:05:43,409 --> 00:05:45,643
WOULD SWELL ENORMOUSLY.

86
00:05:45,645 --> 00:05:51,883
OUR LEGS, ON THE OTHER HAND,
WOULD RESEMBLE A CHICKEN'S.

87
00:05:51,885 --> 00:05:53,952
GOOD THING FOR US...

88
00:05:53,954 --> 00:05:57,588
THERE IS MORE TO THIS ORGAN
THAN TOUCH.

89
00:05:57,590 --> 00:06:01,692
SKIN IS ALSO OUR
HEATING AND COOLING SYSTEM.

90
00:06:01,694 --> 00:06:07,198
AND BY HELPING MAINTAIN THAT
COMFY 98.6 DEGREES FAHRENHEIT,
91
00:06:07,200 --> 00:06:12,003
IT KEEPS US ALIVE.

92
00:06:12,005 --> 00:06:14,105
THROUGH ITS NETWORK
OF BLOOD VESSELS,

93
00:06:14,107 --> 00:06:16,307
SKIN CARRIES
AS MUCH AS ONE THIRD

94
00:06:16,309 --> 00:06:20,678
OF THE HEART'S HOT,
FRESHLY PUMPED BLOOD.

95
00:06:20,680 --> 00:06:23,848
GET TOO HOT,
AND THESE VESSELS CAN WIDEN

96
00:06:23,850 --> 00:06:28,186
TO RELEASE HEAT
FROM OUR BODIES.

97
00:06:28,188 --> 00:06:31,589
BUT SOMETIMES THAT'S NOT ENOUGH.

98
00:06:35,728 --> 00:06:38,395
A GOOD WORKOUT CAN RAISE
THE BODY'S TEMPERATURE

99
00:06:38,397 --> 00:06:40,731
SEVERAL DEGREES ABOVE NORMAL...

100
00:06:40,733 --> 00:06:42,967
A POTENTIALLY DEADLY STATE

101
00:06:42,969 --> 00:06:46,637
IF IT WEREN'T FOR SKIN'S
SLICK SAFETY NET...

102
00:06:46,639 --> 00:06:48,706
SWEAT.

103
00:06:48,708 --> 00:06:51,642
THE MORE THAN TWO MILLION HOLES
 ACROSS OUR SKIN

104
00:06:51,644 --> 00:06:56,080
CAN PRODUCE UP TO A HALF GALLON
OF THE LIQUID IN AN HOUR.

105
00:06:59,752 --> 00:07:02,954
THE HEATED DROPLETS
EVAPORATE INTO THE AIR

106
00:07:02,956 --> 00:07:06,290
AND LEAVE THE BODY COOL.

107
00:07:06,292 --> 00:07:10,094
THROUGH A SPECIAL CAMERA
THAT IMAGES HEAT, NOT LIGHT,

108
00:07:10,096 --> 00:07:14,131
WE CAN SEE THIS AIR CONDITIONING
SYSTEM AT WORK.

109
00:07:14,133 --> 00:07:17,502
THE HOTTER THE BODY,
THE DEEPER THE RED.

110
00:07:22,141 --> 00:07:26,110
NO SURPRISE, SOME OF THE WARMEST
PARTS OF OUR BODIES--

111
00:07:26,112 --> 00:07:29,313
OUR FOREHEADS, PALMS,
AND ARMPITS--

112
00:07:29,315 --> 00:07:33,283
CORRELATE WITH THE GREATEST
CONCENTRATION OF SWEAT GLANDS.

113
00:07:38,825 --> 00:07:43,260
BUT WE'RE MORE LIKELY TO
ENCOUNTER THE OPPOSITE EXTREME

114
00:07:43,262 --> 00:07:45,596
IN OUR MORNING ROUTINE.

115
00:07:48,200 --> 00:07:53,671
EXPOSED TO A CHILL, TINY MUSCLES
JERK OUR HAIRS TO ATTENTION,
116
00:07:53,673 --> 00:07:56,841
BULGING THE SKIN AROUND THEM.

117
00:07:56,843 --> 00:07:59,810
WE CALL THEM GOOSE BUMPS.

118
00:08:03,816 --> 00:08:08,218
SCIENTISTS HAVE DUBBED US
THE NAKED APE...

119
00:08:08,220 --> 00:08:14,124
BUT LOOK CLOSELY AND WE FIND
WE'RE ANYTHING BUT NAKED.

120
00:08:14,126 --> 00:08:19,229
SOME OF OUR SKIN CELLS
FORM TUBES THAT PRODUCE HAIR...

121
00:08:19,231 --> 00:08:23,000
AND WE HAVE AS MANY OF THESE
FOLLICLES PUNCTUATING OUR SKIN

122
00:08:23,002 --> 00:08:25,636
AS DO OUR HAIRY RELATIVES...

123
00:08:25,638 --> 00:08:29,106
SOME FIVE MILLION OF THEM.

124
00:08:29,108 --> 00:08:34,812
AS NEW HAIR CELLS DIVIDE,
THEY PUSH OLD ONES UP AND OUT.

125
00:08:34,814 --> 00:08:37,682
BY THE TIME OUR HAIR
BREACHES THE SURFACE...

126
00:08:37,684 --> 00:08:40,718
IT'S DEAD, TOO...

127
00:08:40,720 --> 00:08:44,689
WHICH IS WHY WE DON'T FEEL PAIN
WITH EVERY HAIRCUT.

128
00:08:49,596 --> 00:08:54,465
CLEANED AND COIFFED, WE VENTURE
INTO THE BUSTLING MORNING WORLD.

129
00:08:54,467 --> 00:08:59,369
AROUND US, OTHER INCREDIBLE
HUMAN MACHINES GREET THE DAY,

130
00:08:59,371 --> 00:09:01,906
IN ALL DIFFERENT
SIZES AND SHAPES,

131
00:09:01,908 --> 00:09:04,141
COLORS AND TEXTURES.

132
00:09:04,143 --> 00:09:09,680
BUT ON SOME LEVEL,
WE ALL INHABIT THE SAME SKIN.

133
00:09:09,682 --> 00:09:11,682
BELOW THE SURFACE,

134
00:09:11,684 --> 00:09:15,185
EACH OF US HAS ABOUT
THE SAME NUMBER OF MELANOCYTES,

135
00:09:15,187 --> 00:09:17,888
THE CELLS THAT PUMP
THE DARK PIGMENT MELANIN

136
00:09:17,890 --> 00:09:22,760
INTO OUR HAIR AND SKIN
AND GIVE THEM COLOR.

137
00:09:22,762 --> 00:09:25,830
IT'S JUST THE AMOUNT OF MELANIN
THESE CELLS PRODUCE

138
00:09:25,832 --> 00:09:28,599
THAT DETERMINES
WHETHER WE ARE BLACK OR WHITE,

139
00:09:28,601 --> 00:09:30,300
BRUNETTE OR BLONDE.

140
00:09:30,302 --> 00:09:32,970
GENERALLY SPEAKING,
THE MORE THE MELANIN...
141
00:09:32,972 --> 00:09:36,406
THE DARKER.

142
00:09:36,408 --> 00:09:38,542
THAT SAME CHEMICAL ADDS COLOR

143
00:09:38,544 --> 00:09:42,013
TO A VERY DIFFERENT
SENSORY ORGAN.

144
00:09:42,015 --> 00:09:45,549
BLUE OR BROWN, GREEN OR HAZEL...

145
00:09:45,551 --> 00:09:48,218
THEY ARE THE MOST VITAL
SENSORY ORGAN

146
00:09:48,220 --> 00:09:52,657
THAT THE INCREDIBLE MACHINE HAS.

147
00:09:52,659 --> 00:09:56,127
OUR DAY HAS JUST BEGUN,

148
00:09:56,129 --> 00:10:00,597
AND THE MAGNIFICENT MIRACLE
OF SIGHT LEADS THE WAY.

149
00:10:05,038 --> 00:10:07,138
NAVIGATING THE MORNING RUSH HOUR

150
00:10:07,140 --> 00:10:12,810
IS SOMETHING MOST HUMAN MACHINES
DO ON AUTOPILOT,

151
00:10:12,812 --> 00:10:18,248
OBLIVIOUS TO THE STAGGERING TASK
WE LEAVE TO TWO GELATINOUS ORBS.

152
00:10:21,387 --> 00:10:25,656
EYES SIT SQUARELY ON THE FRONT
OF OUR FACES FOR A REASON.

153
00:10:28,027 --> 00:10:30,027
PEERING FORWARD AND SET APART

154
00:10:30,029 --> 00:10:34,598
JUST ENOUGH TO LET US
GAUGE DISTANCE,

155
00:10:34,600 --> 00:10:38,869
THEY LET US SPOT AND TRACK
WHATEVER WE DESIRE.

156
00:10:42,809 --> 00:10:49,213
IN MICROSECONDS, OUR EYES SIGHT,
FOLLOW, FOCUS AND PROCESS IMAGES

157
00:10:49,215 --> 00:10:51,215
FRACTIONS OF AN INCH LONG

158
00:10:51,217 --> 00:10:54,518
OR MOVING AT HUNDREDS
OF MILES PER HOUR...

159
00:10:54,520 --> 00:10:57,988
ENABLING US TO ASSESS AND
APPRECIATE THE WORLD AROUND US

160
00:10:57,990 --> 00:11:00,958
MORE THAN ANY OTHER SENSE.

161
00:11:07,767 --> 00:11:11,369
THEY MAY BE THE WINDOWS
TO OUR SOULS,

162
00:11:11,371 --> 00:11:13,371
BUT ON A LESS POETIC LEVEL,

163
00:11:13,373 --> 00:11:17,307
EYES ARE JUST HUNGRY HARVESTERS
OF LIGHT...

164
00:11:17,309 --> 00:11:19,142
TRAPPING AND TRANSLATING THEM

165
00:11:19,144 --> 00:11:25,483
INTO ELECTRICAL IMPULSES
THE BRAIN CAN UNDERSTAND.

166
00:11:25,485 --> 00:11:29,186
LIGHT HITS THE CORNEA FIRST.
167
00:11:29,188 --> 00:11:33,123
THIS TRANSPARENT LAYER,
CLEANSED AND LUBRICATED

168
00:11:33,125 --> 00:11:36,960
ABOUT 10 TIMES A MINUTE
WITH EVERY BLINK,

169
00:11:36,962 --> 00:11:40,564
ADMITS AND DIRECTS
INCOMING LIGHT RAYS.

170
00:11:40,566 --> 00:11:45,669
FROM THERE, THEY PASS THROUGH
THE DARK OPENING OF THE PUPIL,

171
00:11:45,671 --> 00:11:50,408
THEN A TRANSPARENT PROTEIN LENS.

172
00:11:50,410 --> 00:11:54,044
GATEKEEPERS OF LIGHT,
THE MUSCLES OF THE COLORFUL IRIS

173
00:11:54,046 --> 00:11:58,549
SQUEEZE THE PUPIL CLOSED
AGAINST TOO MUCH LIGHT...

174
00:11:58,551 --> 00:12:04,121
NOT ENOUGH, THE IRIS RELAXES
AND THE PUPIL OPENS.

175
00:12:04,123 --> 00:12:06,189
AND IN JUST A FRACTION
OF A SECOND,

176
00:12:06,191 --> 00:12:11,128
IT CAN SLIDE BACK AND FORTH
BETWEEN THE TWO.

177
00:12:11,130 --> 00:12:13,764
FOCUSED BY CORNEA AND LENS,

178
00:12:13,766 --> 00:12:17,601
LIGHT THEN FLIES THROUGH
THE JELLY-LIKE BULK OF THE EYE

179
00:12:17,603 --> 00:12:20,003
AND ONTO ITS REAR WALL.

180
00:12:20,005 --> 00:12:22,773
JUST ABOUT
A HUNDREDTH OF AN INCH THICK,

181
00:12:22,775 --> 00:12:25,108
THIS IS THE RETINA,

182
00:12:25,110 --> 00:12:28,446
WHERE MORE THAN 120 MILLION
PHOTORECEPTORS

183
00:12:28,448 --> 00:12:31,682
CONVERT LIGHT
INTO ELECTRICAL IMPULSES,

184
00:12:31,684 --> 00:12:35,886
BEFORE PROCESSING AND
SHIPPING THEM OFF TO THE BRAIN.

185
00:12:37,924 --> 00:12:39,623
IN A MIND-BOGGLING FEAT

186
00:12:39,625 --> 00:12:43,193
THAT SOAKS UP ABOUT A THIRD
OF OUR BRAINPOWER,

187
00:12:43,195 --> 00:12:46,229
OUR BRAINS CONTINUALLY
COMPARE NEW DATA

188
00:12:46,231 --> 00:12:49,667
WITH INFORMATION PROCESSED
A SPLIT SECOND BEFORE--

189
00:12:49,669 --> 00:12:53,036
COMBINE THAT WITH WHAT THEY
ALREADY EXPECT TO BE THERE...

190
00:12:53,038 --> 00:12:56,874
AND VISION IS BORN.

191
00:12:56,876 --> 00:13:01,345
AT LEAST THAT'S HOW
IT'S SUPPOSED TO WORK.
192
00:13:01,347 --> 00:13:07,351
WHEN IT DOESN'T, THE WORLD
CAN LOOK MORE LIKE THIS.

193
00:13:07,353 --> 00:13:10,454
62-YEAR-OLD LINDA MORFOOT
HAS A GENETIC DISEASE

194
00:13:10,456 --> 00:13:14,057
CALLED RETINITIS PIGMENTOSA,

195
00:13:14,059 --> 00:13:15,593
WHICH HAS BEEN
GRADUALLY DEGRADING

196
00:13:15,595 --> 00:13:17,094
HER EYES' PHOTORECEPTORS

197
00:13:17,096 --> 00:13:19,897
FOR THE PAST 40 YEARS.

198
00:13:19,899 --> 00:13:24,201
THEY HAVEN'T TURNED LIGHT
INTO SIGHT FOR THE LAST 10.

199
00:13:24,203 --> 00:13:26,336
Morfoot: IT'S FRUSTRATING
TO LOSE YOUR SIGHT

200
00:13:26,338 --> 00:13:29,507
BECAUSE YOU RUN INTO THINGS,
YOU RUN INTO PEOPLE.

201
00:13:29,509 --> 00:13:33,410
AND IT CAN BE DEPRESSING.

202
00:13:33,412 --> 00:13:35,880
Narrator: NOW, THANKS
TO DR. MARK HUMAYAN

203
00:13:35,882 --> 00:13:38,215
OF THE UNIVERSITY
OF SOUTHERN CALIFORNIA,

204
00:13:38,217 --> 00:13:40,417
 SHE MAY SEE AGAIN.

205
00:13:40,419 --> 00:13:42,720
ALL ALONG, WE'VE BEEN TOLD
IT'S IMPOSSIBLE.

206
00:13:42,722 --> 00:13:46,423
IT'S SCIENCE FICTION.
IT CAN'T HAPPEN.

207
00:13:46,425 --> 00:13:49,727
Narrator: HUMAYAN HAS IMPLANTED
AN INGENIOUS LITTLE DEVICE

208
00:13:49,729 --> 00:13:53,096
AT THE BACK OF LINDA'S EYE--

209
00:13:53,098 --> 00:13:57,467
JUST 16 ELECTRODES THAT SHOULD
ACT AS A SIMPLE RETINA,

210
00:13:57,469 --> 00:14:01,405
TURNING LIGHT INTO IMPULSES
THAT CAN BE SENT TO THE BRAIN.

211
00:14:01,407 --> 00:14:03,741
WE LAY IT RIGHT ON THE RETINA,

212
00:14:03,743 --> 00:14:06,376
AND THE CURRENT STIMULATES
THE UNDERLYING NERVE CELLS.

213
00:14:06,378 --> 00:14:08,579
SO WHEN THIS INFORMATION
IS RECEIVED BY THE BRAIN,

214
00:14:08,581 --> 00:14:11,415
YOU SEE A SPOT OF LIGHT.

215
00:14:11,417 --> 00:14:13,450
Narrator:
TO PERCEIVE THOSE SPOTS,

216
00:14:13,452 --> 00:14:16,486
LINDA HAD TO FIRST WEAR
A SPECIAL PAIR OF SUNGLASSES
217
00:14:16,488 --> 00:14:23,060
THAT CAPTURE LIGHT, CONVERT IT
INTO ELECTRICAL SIGNALS

218
00:14:23,062 --> 00:14:27,565
AND FIRE UP THE IMPLANTS
IN HER EYES.

219
00:14:27,567 --> 00:14:31,635
AS THE DOCTORS ACTIVATED
THE ELECTRODES ONE BY ONE,

220
00:14:31,637 --> 00:14:33,837
IT STARTED TO WORK.

221
00:14:33,839 --> 00:14:38,776
IT WAS CRUDE, BUT LINDA COULD
NOW SEE LIGHT AND MOVEMENT.

222
00:14:38,778 --> 00:14:42,713
Morfoot: AS THEY TURNED
MORE AND MORE ELECTRODES ON,

223
00:14:42,715 --> 00:14:46,383
I COULD SEE THE LIGHTS ON
OR THE DOORWAY.

224
00:14:46,385 --> 00:14:49,152
I COULD TELL THE DIFFERENCE
BETWEEN BLACK AND WHITE.

225
00:14:49,154 --> 00:14:52,756
IT WAS EXCITING, YES, IT WAS.

226
00:14:52,758 --> 00:14:54,725
Narrator:
16 SIGNALS HARDLY ACCOUNT

227
00:14:54,727 --> 00:14:59,730
FOR THE MILLION OR SO
A WORKING RETINA TRANSMITS.

228
00:14:59,732 --> 00:15:02,766
BUT WITH EACH PASSING DAY,

229
00:15:02,768 --> 00:15:07,437
 HER BRAIN COMPENSATES
AND LINDA SEES MORE DETAIL.

230
00:15:11,110 --> 00:15:13,110
Humayan: WE THOUGHT
THAT 16 ELECTRODES

231
00:15:13,112 --> 00:15:16,546
WOULD NEVER, EVER GIVE LINDA
OR ANY OF THE PATIENTS

232
00:15:16,548 --> 00:15:19,549
THE LEVEL OF VISION
THEY HAVE BEEN ABLE TO ATTAIN.

233
00:15:19,551 --> 00:15:22,853
THE BRAIN FILLS IN
THE MISSING GAPS.

234
00:15:22,855 --> 00:15:24,888
Narrator: FROM SIMPLE
FLASHES OF LIGHT,

235
00:15:24,890 --> 00:15:29,126
OUR BRAINS CAN SOMEHOW CONJURE
MEANINGFUL IMAGES.

236
00:15:31,396 --> 00:15:34,297
SO NOW, AFTER 10 YEARS
OF BLINDNESS,

237
00:15:34,299 --> 00:15:38,335
LINDA CAN SEE THE GRANDCHILDREN
SHE NEVER SAW BEFORE.

238
00:15:38,337 --> 00:15:40,337
Morfoot: AND THEY LIKE TO RUN
IN FRONT OF ME:

239
00:15:40,339 --> 00:15:43,306
"GRANDMA, GRANDMA, WHERE AM I?"

240
00:15:46,078 --> 00:15:48,912
I'M MORE CONNECTED TO THEM...

241
00:15:48,914 --> 00:15:54,685
A LITTLE MORE PART
 OF THEIR LIVES, YOU KNOW?

242
00:15:58,491 --> 00:16:01,425
Narrator: THE GIFT OF SIGHT--

243
00:16:01,427 --> 00:16:05,196
EVEN FOR THOSE OF US
LUCKY ENOUGH TO SEE 20/20--

244
00:16:05,198 --> 00:16:10,967
DOES NOT WORK ALONE
IN THE INCREDIBLE HUMAN MACHINE.

245
00:16:10,969 --> 00:16:16,006
ON EITHER SIDE OF OUR HEADS
ARE THE BODY'S MICROPHONES--

246
00:16:16,008 --> 00:16:18,041
EARS.

247
00:16:18,043 --> 00:16:21,445
BUT EARS DO MUCH MORE
THAN HEAR...

248
00:16:21,447 --> 00:16:24,682
THEY GIVE US
THE GRACEFUL GIFT OF BALANCE,

249
00:16:24,684 --> 00:16:30,721
TELLING US WHERE WE ARE IN SPACE
AT ANY GIVEN MOMENT.

250
00:16:30,723 --> 00:16:33,990
RIDING A BIKE,
NAILING A LANDING,

251
00:16:33,992 --> 00:16:38,929
RIPPING A DIVE,
EVEN TAKING A BABY STEP--

252
00:16:38,931 --> 00:16:40,731
ALL WOULD BE IMPOSSIBLE

253
00:16:40,733 --> 00:16:45,703
WITHOUT THE INTRICATE GADGETRY
DEEP INSIDE OUR EARS.
254
00:16:48,006 --> 00:16:52,409
HERE, THREE FLUID-FILLED TUBES
WORK LIKE CARPENTER'S LEVELS

255
00:16:52,411 --> 00:16:54,811
TO HELP KEEP US BALANCED.

256
00:16:57,216 --> 00:17:00,517
WHEN WE TURN OUR HEADS,
THE FLUIDS MOVE,

257
00:17:00,519 --> 00:17:02,253
STIMULATING NERVE CELLS

258
00:17:02,255 --> 00:17:05,589
AND ORIENTING THE BRAIN
IN THREE DIMENSIONS...

259
00:17:05,591 --> 00:17:11,595
UP-DOWN, RIGHT-LEFT,
FORWARD-BACKWARD.

260
00:17:11,597 --> 00:17:13,464
IT'S A POWERFUL LITTLE MECHANISM

261
00:17:13,466 --> 00:17:18,135
THAT WE CAN STIMULATE
ARTIFICIALLY.

262
00:17:18,137 --> 00:17:23,474
WELCOME TO THE WEIRD WORLD
OF TOMORROW.

263
00:17:23,476 --> 00:17:26,377
WITH A SPECIAL
ELECTRIFIED HEADSET,

264
00:17:26,379 --> 00:17:31,582
SCIENTISTS IN JAPAN HAVE TAKEN
HOLD OF OUR BALANCING CENTERS.

265
00:17:31,584 --> 00:17:36,987
BY SENDING CURRENT DOWN TO THOSE
NERVES IN OUR INNER EARS,

266
00:17:36,989 --> 00:17:42,159
 THEY'VE CREATED
REMOTE-CONTROLLED HUMAN BEINGS.

267
00:17:46,365 --> 00:17:50,100
Man, translated: I'VE NEVER
EXPERIENCED SUCH A SENSATION.

268
00:17:50,102 --> 00:17:51,368
IT WAS LIKE BEING DRUNK

269
00:17:51,370 --> 00:17:55,306
ON THE DECK OF A BOAT
ROCKING IN THE WAVES.

270
00:17:57,075 --> 00:17:59,376
Narrator: THE CURRENT
IS LOW VOLTAGE...

271
00:17:59,378 --> 00:18:01,945
JUST ENOUGH TO THROW PEOPLE
OFF BALANCE

272
00:18:01,947 --> 00:18:05,549
AND COMPEL THEM TO WALK
LEFT, RIGHT...

273
00:18:05,551 --> 00:18:09,653
EVEN TRACE THE SHAPE
OF A GIANT PRETZEL.

274
00:18:09,655 --> 00:18:13,657
Woman, translated:
MY BODY WAS OUT OF CONTROL.

275
00:18:13,659 --> 00:18:18,195
IT WAS SWAYING TO THE LEFT
AND TO THE RIGHT.

276
00:18:18,197 --> 00:18:20,497
Narrator:
THE CONCEPT IS SO BIZARRE

277
00:18:20,499 --> 00:18:24,635
WE CAN EVEN REMOTE CONTROL
OURSELVES.

278
00:18:26,706 --> 00:18:29,807
 Man, translated: WE'RE NOT
TRYING TO CONTROL PEOPLE

279
00:18:29,809 --> 00:18:33,844
OR MANIPULATE THEIR ACTIONS.

280
00:18:33,846 --> 00:18:39,015
RATHER, WE WANT TO HELP THEM,
HELP GUIDE THEM.

281
00:18:39,017 --> 00:18:44,120
Narrator: ESPECIALLY PEOPLE WITH
BALANCE PROBLEMS OR DIZZINESS.

282
00:18:44,122 --> 00:18:46,189
THE RESEARCHERS SAY ONE DAY

283
00:18:46,191 --> 00:18:49,727
IT MAY EVEN HELP
NAVIGATIONAL DEVICES LIKE GPS

284
00:18:49,729 --> 00:18:53,564
TO PHYSICALLY GUIDE US
TO OUR DESTINATIONS

285
00:18:53,566 --> 00:18:57,768
OR MAKE A VIDEO GAME FEEL
MORE LIKE A ROLLERCOASTER.

286
00:19:01,741 --> 00:19:05,008
OUR EARS PROVIDE
ANOTHER POWERFUL SENSATION

287
00:19:05,010 --> 00:19:08,245
TO ENRICH OUR DAY.

288
00:19:08,247 --> 00:19:12,048
EVERY TIME WE, OR ANYTHING ELSE
FOR THAT MATTER,

289
00:19:12,050 --> 00:19:16,854
MAKE A MOVE OR VIBRATE,
WE CREATE RIPPLES IN THE AIR...

290
00:19:16,856 --> 00:19:19,356
[JACKHAMMER]
291
00:19:19,358 --> 00:19:23,960
DISTINCT WAVES ALL TRAVELING
AT DIFFERENT FREQUENCIES,

292
00:19:23,962 --> 00:19:28,465
WHICH WAFT INTO OUR EARS
AT SOME 750 MILES PER HOUR...

293
00:19:28,467 --> 00:19:30,967
AND PRODUCE SOUND.

294
00:19:30,969 --> 00:19:33,036
LIKE RADAR DISHES,

295
00:19:33,038 --> 00:19:38,141
OUR EARS CHANNEL THE SOUND WAVES
DEEP INTO OUR SKULLS.

296
00:19:38,143 --> 00:19:41,712
OUR EARDRUMS VIBRATE
IN TUNE TO THE FREQUENCIES,

297
00:19:41,714 --> 00:19:44,381
MOVING THREE TINY BONES,

298
00:19:44,383 --> 00:19:49,386
EACH ABOUT AS LONG
AS A GRAIN OF RICE.

299
00:19:49,388 --> 00:19:52,589
MAGNIFIED 20 TIMES...

300
00:19:52,591 --> 00:19:58,028
WE CAN SEE THE EAR HEAR,
INSIDE...

301
00:19:58,030 --> 00:20:00,030
AND OUT.

302
00:20:00,032 --> 00:20:03,534
[SINGING]

303
00:20:09,842 --> 00:20:11,909
THE BONES' MOVEMENTS
GET CONVERTED
304
00:20:11,911 --> 00:20:13,911
TO PULSES OF PRESSURE...

305
00:20:13,913 --> 00:20:16,346
WHICH VIBRATES FLUID...

306
00:20:16,348 --> 00:20:19,450
WHICH DISTURBS TINY HAIRS...

307
00:20:19,452 --> 00:20:21,919
WHICH EXCITE NERVE CELLS...

308
00:20:21,921 --> 00:20:25,855
WHICH TRANSLATE ALL OF THIS
TO THE BRAIN.

309
00:20:27,826 --> 00:20:30,961
ONE SOUND PERHAPS MORE
THAN ANY OTHER

310
00:20:30,963 --> 00:20:35,299
IS MUSIC TO OUR EARS--
THE HUMAN VOICE.

311
00:20:35,301 --> 00:20:37,667
[SINGING]

312
00:20:37,669 --> 00:20:40,037
IT'S AN ASTONISHINGLY VERSATILE
INSTRUMENT...

313
00:20:40,039 --> 00:20:42,072
BUT IT'S VULNERABLE.

314
00:20:42,074 --> 00:20:44,207
♪ GOTTA HAVE A FANTASY ♪

315
00:20:44,209 --> 00:20:46,910
Narrator: JUST ASK STEVEN TYLER
OF AEROSMITH--

316
00:20:46,912 --> 00:20:51,148
SOMEONE WHOSE LIFE'S WORK
DEPENDS ON HIS VOCAL CORDS.

317
00:20:51,150 --> 00:20:55,152
♪ ..TO READ BETWEEN THE LINES ♪

318
00:20:55,154 --> 00:20:58,255
[AUDIENCE CHEERING]

319
00:20:58,257 --> 00:20:59,923
Narrator: FEW OF US THINK
ABOUT THE TRAUMA

320
00:20:59,925 --> 00:21:01,691
WE GENERATE IN OUR VOICE BOXES

321
00:21:01,693 --> 00:21:06,997
WHEN WE TALK, SING,
LAUGH OR SCREAM.

322
00:21:06,999 --> 00:21:09,232
BUT TAKE A LOOK
DOWN THE TALENTED GULLET

323
00:21:09,234 --> 00:21:12,702
OF STEVEN TYLER,
AEROSMITH'S LEAD SINGER...

324
00:21:12,704 --> 00:21:15,272
[SCREAMS]

325
00:21:15,274 --> 00:21:18,976
AND YOU GET A FEEL FOR WHY HE--
AND MILLIONS OF OTHERS--

326
00:21:18,978 --> 00:21:24,514
ARE WREAKING HAVOC
ON A DELICATE INSTRUMENT.

327
00:21:24,516 --> 00:21:29,186
TONIGHT, AS AEROSMITH PERFORMS,
DR. STEVEN ZEITELS AND HIS TEAM

328
00:21:29,188 --> 00:21:31,388
FROM MASSACHUSETTS
GENERAL HOSPITAL

329
00:21:31,390 --> 00:21:34,391
WILL GET A RARE TREAT.
330
00:21:34,393 --> 00:21:37,260
WITH THE HELP OF SPECIAL
MONITORING EQUIPMENT,

331
00:21:37,262 --> 00:21:40,163
THEY'LL SEE HOW THIS FAMOUS
PAIR OF VOCAL CORDS

332
00:21:40,165 --> 00:21:42,732
HOLDS UP TO SUCH EXTREMES.

333
00:21:42,734 --> 00:21:44,601
Tyler: DR. ZEITELS,
ONE TIME FOR MY KIDS,

334
00:21:44,603 --> 00:21:47,537
WHAT IS THIS MONITORING?

335
00:21:47,539 --> 00:21:48,905
Zeitels: WHAT WE'RE GOING
TO BE DOING

336
00:21:48,907 --> 00:21:51,808
IS LOOKING AT THE VIBRATIONS
ON THE SKIN OF YOUR NECK,

337
00:21:51,810 --> 00:21:54,444
WHICH IS GOING TO PICK UP
THE INTENSITY OF YOUR VOICE.

338
00:21:54,446 --> 00:21:58,515
IT'S GOING TO BE PICKING UP
THE LOUDNESS OF YOUR VOICE.

339
00:21:58,517 --> 00:22:00,550
Tyler: THANK YOU, DOCTOR.

340
00:22:00,552 --> 00:22:01,684
INTO THE ABYSS.

341
00:22:01,686 --> 00:22:04,921
INTO THE GREAT BEYOND
WITH DR. ZEITELS.

342
00:22:04,923 --> 00:22:07,657
Narrator: BACKSTAGE
 THROUGHOUT TONIGHT'S CONCERT,

343
00:22:07,659 --> 00:22:09,692
ZEITELS WILL USE AN ENDOSCOPE

344
00:22:09,694 --> 00:22:13,430
TO EXAMINE TYLER'S VOICE BOX
UP CLOSE.

345
00:22:16,168 --> 00:22:19,269
Tyler: TRY NOT TO TOUCH
THE SIDES.

346
00:22:19,271 --> 00:22:21,971
STICK YOUR TONGUE OUT
FOR ME.

347
00:22:21,973 --> 00:22:24,574
JUST BREATHE,
SAY "EEEE..."

348
00:22:24,576 --> 00:22:26,076
EEEEH...

349
00:22:26,078 --> 00:22:27,644
Man: IT'S A RARE INSIGHT

350
00:22:27,646 --> 00:22:31,814
INTO WHAT GOES ON
IN A HIGH PERFORMANCE SINGER.

351
00:22:31,816 --> 00:22:34,951
REAL-TIME MEASURES
OF A PERFORMER

352
00:22:34,953 --> 00:22:38,422
WHO IS AT THE TOP OF HIS GAME
DOING A LIVE PERFORMANCE

353
00:22:38,424 --> 00:22:39,956
IN FRONT OF THOUSANDS
OF PEOPLE--

354
00:22:39,958 --> 00:22:42,459
THAT'S A FIRST,
IT HASN'T BEEN DONE BEFORE.
355
00:22:42,461 --> 00:22:46,796
[TYLER VOCALIZING
RANGE OF NOTES]

356
00:22:52,804 --> 00:22:54,438
[LAUGHS]

357
00:22:54,440 --> 00:22:56,873
Narrator: TO PRODUCE
THESE KINDS OF SOUNDS,

358
00:22:56,875 --> 00:22:59,076
TYLER'S VOCAL CORDS
ARE SLAMMING TOGETHER

359
00:22:59,078 --> 00:23:04,581
AN AVERAGE
OF 170 TIMES A SECOND.

360
00:23:04,583 --> 00:23:06,383
THAT'S MORE THAN
HALF A MILLION TIMES

361
00:23:06,385 --> 00:23:09,686
DURING THE COURSE OF A CONCERT

362
00:23:09,688 --> 00:23:11,688
AND NEARLY A BILLION TIMES

363
00:23:11,690 --> 00:23:16,159
DURING THE COURSE OF HIS
30-YEAR PROFESSIONAL CAREER.

364
00:23:16,161 --> 00:23:18,061
THERE'S NO PART
OF THE HUMAN BODY

365
00:23:18,063 --> 00:23:19,596
THAT LIKELY SEES THESE KINDS

366
00:23:19,598 --> 00:23:21,998
OF COLLISION FORCES
AND SHEARING STRESSES,

367
00:23:22,000 --> 00:23:24,701
WHICH IS WHY VOCAL FOLDS
ESSENTIALLY WEAR OUT OVER TIME.

368
00:23:24,703 --> 00:23:25,902
[CHEERING]

369
00:23:25,904 --> 00:23:28,771
Narrator: IT'S ALSO WHY
JUST MONTHS EARLIER

370
00:23:28,773 --> 00:23:33,643
DAMAGED VOCAL CORDS CANCELED
MUCH OF AEROSMITH'S TOUR.

371
00:23:33,645 --> 00:23:36,446
TYLER COULD BARELY SING...

372
00:23:36,448 --> 00:23:41,318
[RASPY VOCALIZATIONS]

373
00:23:41,320 --> 00:23:44,154
FORCING HIM TO UNDERGO
ZEITELS' KNIFE,

374
00:23:44,156 --> 00:23:47,090
OR LASER IN THIS CASE.

375
00:23:47,092 --> 00:23:50,660
STEVEN BASICALLY
HAD A VOCAL BLEED,

376
00:23:50,662 --> 00:23:53,930
WHICH IS VERY COMMON
IN PERFORMERS.

377
00:23:53,932 --> 00:23:57,800
Narrator: COMMON, IN FACT,
TO MANY WITH THE GIFT OF GAB,

378
00:23:57,802 --> 00:24:01,271
FROM ATTORNEYS TO TELEMARKETERS.

379
00:24:01,273 --> 00:24:05,074
THE LASER SURGERY, WHICH ZEITELS
AND HIS TEAM PIONEERED,

380
00:24:05,076 --> 00:24:08,077
 WORKS BY SEALING OFF
DAMAGED VESSELS...

381
00:24:08,079 --> 00:24:11,348
TO STOP THE BLEEDING.

382
00:24:11,350 --> 00:24:14,284
THESE AREN'T SOME PHOTOSHOP
TRICKS YOU'RE LOOKING AT...

383
00:24:14,286 --> 00:24:16,886
THIS IS STEVEN TYLER'S
VOICE BOX,

384
00:24:16,888 --> 00:24:20,957
AND THESE ARE HIS FRAGILE
BLOOD VESSELS DISAPPEARING.

385
00:24:20,959 --> 00:24:24,227
Tyler: HE WAS ABLE TO JUST
ZAP THOSE BLOOD VESSELS...

386
00:24:24,229 --> 00:24:28,598
SO I GO OUT THERE AND JUST SING
AND HOPE FOR THE BEST.

387
00:24:28,600 --> 00:24:31,568
[AEROSMITH PLAYING<i> DREAM ON]</i>

388
00:24:31,570 --> 00:24:35,238
Narrator: NOW, AS STEVEN
HEADS ON STAGE,

389
00:24:35,240 --> 00:24:39,442
HIS FINELY TUNED VOCAL CORDS
SPRING INTO ACTION.

390
00:24:39,444 --> 00:24:42,078
AND WE GET A FRONT ROW SEAT.

391
00:24:42,080 --> 00:24:45,315
THIS IS STEVEN TYLER OUTSIDE...

392
00:24:45,317 --> 00:24:49,852
♪ EVERY TIME THAT I LOOK
IN THE MIRROR... ♪
393
00:24:49,854 --> 00:24:51,588
Narrator: ..AND IN.

394
00:24:51,590 --> 00:24:55,758
♪ EVERY TIME THAT I LOOK
IN THE MIRROR ♪

395
00:24:55,760 --> 00:25:01,964
♪ ALL THESE LINES ON MY FACE
GETTIN' CLEARER ♪

396
00:25:01,966 --> 00:25:03,966
Narrator: EVERY TIME WE EXHALE,

397
00:25:03,968 --> 00:25:08,004
WE FORCE AIR THROUGH
OUR TWO MEMBRANOUS VOCAL CORDS.

398
00:25:08,006 --> 00:25:10,740
WHEN WE BRING THEM TOGETHER,
THEY VIBRATE.

399
00:25:10,742 --> 00:25:13,443
♪ DREAM ON, DREAM ON... ♪

400
00:25:13,445 --> 00:25:16,746
Narrator: THESE VIBRATIONS
PRODUCE SOUND,

401
00:25:16,748 --> 00:25:21,184
MUCH LIKE A GUITAR STRING
AFTER IT'S BEEN PLUCKED.

402
00:25:21,186 --> 00:25:22,519
♪ DREAM ON... ♪

403
00:25:22,521 --> 00:25:25,555
Narrator: MUSCLES OPEN
AND CLOSE THE CHORDS

404
00:25:25,557 --> 00:25:29,259
AND CHANGE THE SOUND'S PITCH.

405
00:25:29,261 --> 00:25:33,996
DURING LOW NOTES, THE CHORDS ARE
LOOSE AND VIBRATE MORE SLOWLY.
406
00:25:33,998 --> 00:25:37,834
♪ DREAM ON, DREAM ON,
DREAM ON... ♪

407
00:25:37,836 --> 00:25:39,636
Narrator:
BUT FOR THOSE FALSETTOS:

408
00:25:39,638 --> 00:25:42,805
♪ DREAM ON, DREAM ON... ♪

409
00:25:42,807 --> 00:25:44,907
Narrator: HIS CHORDS STRETCH
TO THE LIMIT

410
00:25:44,909 --> 00:25:48,077
AND VIBRATE
VIRTUALLY OFF THE CHARTS...

411
00:25:48,079 --> 00:25:51,581
♪ AAAH ♪

412
00:25:51,583 --> 00:25:57,120
A SURPRISINGLY SIMPLE FEAT
FOR TYLER'S PLIABLE CHORDS.

413
00:25:59,958 --> 00:26:01,558
Tyler: I MEAN TO GO FROM,

414
00:26:01,560 --> 00:26:04,494
[LOW] ♪ I WOKE UP THIS MORNING
ON THE WRONG SIDE OF THE BED ♪

415
00:26:04,496 --> 00:26:07,697
♪ AND ALL THEM THINGS YOU SAYI''
AND ALL THEM THINGS I SAID ♪

416
00:26:07,699 --> 00:26:11,401
AND IT'S IN THAT VOICE,
AND THEN, YOU KNOW, OF COURSE,

417
00:26:11,403 --> 00:26:13,637
[HIGHER] ♪ AND I DON'T
WANT TO MISS A THING ♪

418
00:26:13,639 --> 00:26:15,037
IS IN THAT VOICE,

419
00:26:15,039 --> 00:26:17,374
AND THEN DREAM ON IS
[HIGHEST] ♪ DREAM ON, DREAM ON ♪

420
00:26:17,376 --> 00:26:19,409
AND THEY'VE ASKED ME BEFORE,

421
00:26:19,411 --> 00:26:20,777
"HOW DO YOU SING THAT SONG
EVERY NIGHT?"

422
00:26:20,779 --> 00:26:24,314
WELL, THAT'S ONE OF THE EASIEST
ONES FOR ME TO SING.

423
00:26:24,316 --> 00:26:25,315
GO.

424
00:26:25,317 --> 00:26:27,850
AAAAAAHHH!

425
00:26:27,852 --> 00:26:31,854
Narrator:
AS FOR WHAT TRANSLATES THESE
VOCAL VIBRATIONS INTO SONG...

426
00:26:31,856 --> 00:26:34,557
THAT HAPPENS MUCH FARTHER UP...

427
00:26:34,559 --> 00:26:39,028
IN THE THROAT, THE MOUTH,
THE TONGUE, THE NOSE.

428
00:26:39,030 --> 00:26:42,799
THESE ARE WHAT PUT THE STAMP
ON HUMAN SOUND...

429
00:26:42,801 --> 00:26:45,702
DISTINGUISHING THE LIKES
OF STEVEN TYLER

430
00:26:45,704 --> 00:26:48,705
FROM JUST ABOUT ANYONE ELSE.