Transcript: Dancing to Hotline Bling | Jul 25, 2016

Nam sits in the studio. She's in her thirties, with shoulder-length curly brown hair. She's wearing blue rimmed glasses, black trousers, a black top, a red blazer and a silver necklace.

A caption reads "Dancing to ‘Hotline Bling.'"

The caption changes to "Nam Kiwanuka. Twitter: @namshine."

Nam says DRAKE'S MUSIC VIDEO FOR HIS BIG
HIT "HOTLINE BLING" SPARKED
COUNTLESS PARODY VIDEOS MASHING
UP THE RAPPER'S DANCE MOVES WITH
SONGS AS VARIED AS JUSTIN
BIEBER'S "WHAT DO YOU MEAN" TO
THE
COSBY SHOW
THEME SONG.
WHY ARE SEEMINGLY DIFFERENT
TUNES ABLE TO ELICIT THE SAME
DANCE MOVES?
FOR MORE ON THE NEUROSCIENCE OF
MOVING TO THE MUSIC WE'RE JOINED
BY LAUREL TRAINOR, A PROFESSOR
IN THE DEPARTMENT OF PSYCHOLOGY,
NEUROSCIENCE AND BEHAVIOUR AT
MCMASTER UNIVERSITY.
LAUREL, WELCOME.

Laurel is in her forties, with mid-length straight light brown hair with bangs. She wears glasses, jeans, a black top, a pale blue blazer and a pendant necklace.

Laurel says THANK YOU.

Nam says FIRST WE'RE GONNA TAKE A LOOK AT
THE ORIGINAL "HOTLINE BLING."
VIDEO.

The video plays. Drake dances inside a white cube.

The song goes YOU USED TO CALL ME ON MY
CELLPHONE
LATE NIGHT WHEN YOU NEED MY
LOVE
CALL ME ON MY CELLPHONE
LATE NIGHT WHEN YOU NEED MY
LOVE
AND I KNOW WHEN THAT HOTLINE
BLING
THAT CAN ONLY MEAN ONE
THING
I KNOW WHEN THAT HOTLINE
BLING
THAT CAN ONLY MEAN ONE
THING
EVER SINCE I LEFT THE
CITY—.

The caption changes to "Dancing to ‘Hotline Bling’. Rhythm nation."

Nam says AND NOW LET'S WATCH ONE OF THE
MASH-UP VERSIONS.

(music plays)

As Drake’s dances, Kelsey Grammer sings HEY BABY I
HEAR THE BLUES AND CALLIN',
TOSSED SALADS AND SCRAMBLED
EGGS
QUITE STYLISH
AND MAYBE I SEEM A BIT
CONFUSED, YEAH MAYBE, BUT I'VE
GOT YOU PEGGED
HA, HA, HA, HA
BUT I DON'T KNOW WHAT TO DO
WITH THOSE TOSSED SALADS AND
SCRAMBLED EGGS
THEY'RE CALLING AGAIN
SCRAMBLED EGGS ALL OVER MY
FACE

[NAM LAUGHS]

Nam says I LOVE THAT
FRASIER
ONE.
SO WHY DO HIS DANCE MOVES MANAGE
TO SYNCH WITH TWO VERY DIFFERENT
SONGS?

The caption changes to "Laurel Trainor. McMaster University."

Laurel says WELL, I THINK ONE OF THE
INTERESTING THINGS IS, PEOPLE
ARE BEST AT HEARING RHYTHMS
WITHIN A CERTAIN RANGE OF
TEMPOS.
AND SO SOMETHING THAT ALL THOSE
SONGS HAVE IN COMMON IS THAT
THEY'RE IN THE OPTIMAL RANGE OF
TEMPOS, BOTH FOR US TO PERCEIVE
THE RHYTHM AND ALSO FOR US TO
MOVE TO IT.
SO YOU CAN SORT OF INTERCHANGE
TO SOME EXTENT WHAT MOVES YOU'RE
GONNA PUT WITH WHAT MUSIC.

Nam says AND TO WHAT EXTENT IS OUR
BRAIN BEING TRICKED BY WHAT
WE'RE SEEING?

Laurel says WELL, ABSOLUTELY.
YOU KNOW, WE ARE VERY TOLERANT
ABOUT THINGS BEING A LITTLE BIT
OUT OF SYNCH BETWEEN THE SOUND
AND THE MOVEMENTS, ESPECIALLY
FOR DANCING.
BUT EVEN FOR SPEECH WE'RE QUITE,
YOU KNOW THE MOVEMENTS OF THE
MOUTH TO THE SOUND THAT'S COMING
OUT, WE'RE QUITE TOLERANT ABOUT
DISCREPANCIES.

Nam says NOW WHICH IS YOUR FAVOURITE
VERSION?
WHICH VERSION IS BETTER?

Laurel says OH...
[NAM AND LAUREL LAUGH]

Laurel says SO I HAVE TO SAY THAT ONE IS...
THAT IS AMAZING.
BUT I THINK THE OTHER THING
THAT'S INTERESTING ABOUT
WATCHING THE DIFFERENT VERSIONS
IS I THINK YOUR ATTENTION GETS
DRAWN TO DIFFERENT ASPECTS OF
THE MOVEMENT DEPENDING ON WHICH
SONG IT'S BEING PUT WITH.

Nam says MM.

Laurel says AND HE'S GOT QUITE A VARIETY OF
MOVEMENTS IN THERE.
AND SO ONE OF THEM IS GONNA
BE--IN EVERY SONG ONE OF THEM IS
GONNA FIT REALLY WELL WITH THAT
SONG.

Nam says DID YOU SEE THE
MISTER BEAN
ONE?

Laurel says NO, I DIDN'T SEE THAT ONE.

Nam says IT WAS HILARIOUS.

Laurel says OH YEAH.

Nam says THANK YOU LAUREL.

Laurel says YOU'RE WELCOME.

The caption changes to "Producer: Colin Ellis. @ColinEllis81."

Watch: Dancing to Hotline Bling