life is a journey car perfume

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Sport Life is a Journey - Sport Car Perfume

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Lasts up to 6 - 8 weeks

The smell of leather is reminiscent of a natural rawness. Its perfume is powerful, yet soft with accords that add smoky, tobacco and woody accents.

Patchouli is considered a very important ingredient in many love potions in India. This is not really surprising when you consider the sultry tones of musk and earth that conjure up something deeply sensual.

Making you feel revitalised

Power recharge formula, description, ingredients, instructions, shipping and return.

Life is a journey, enjoy the ride with this car perfume based on the smoky scent of leather, warm tonka bean and herbaceous patchouli. The fragrance lasts up to 6-8 weeks and is activated by the airflow from your car's fan. The car perfume comes with a stylish wooden holder that can be reused when you purchase a perfume refill.

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WARNING. Causes skin irritation. May cause an allergic skin reaction. Toxic to aquatic life with long lasting effects. If medical advice is needed, have product container or label at hand. Keep out of reach of children. IF ON SKIN: Wash with plenty of water/soap. Dispose of contents/container to the hazardous waste collection point. CONTAINS (E)-2-Methoxy-4-(Prop-1-enyl)Phenol, Methylcyclopentadecenone; Methyl 2-Octynoate; 4-Tert-Butylcyclohexyl Acetate; Tetramethyl Acetyloctahydronaphthalenes; Heliotropine; Coumarin.

1) Remove the foil carefully without damaging the membrane 2) Click the clip onto the holder in the preferred position 3) Click the perfume onto your car’s fan unit 4) Adjust the fan setting to regulate the intensity of the fragrance

Delivery time 3-5 business days.

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• Life is a Journey - Homme Car Perfume

Homme Life is a Journey - Homme Car Perfume

Notify me when back in stock, arabian amber.

Amber is fossilized tree resin, which has been appreciated for its color and natural beauty since Neolithic times. In perfumes the Amber Accord Amber is sweet, soft and sensual with a powdery, vanillic and oriental accent.

1) Remove the foil carefully without damaging the membrane 2) Click the clip onto the holder in the preferred position 3) Click the perfume onto your car’s fan unit 4) Adjust the fan setting to regulate the intensity of the fragrance

Description

Ingredients, instructions, shipping and return.

Life is a journey, enjoy the ride with this car perfume based on the empowering scent of amber and musk. The fragrance lasts up to 6-8 weeks and is activated by the air flow from your car’s fan. The car perfume comes with a stylish wooden holder that can be reused when you purchase a perfume refill.

See WARNING

WARNING. Causes skin irritation. May cause an allergic skin reaction. Causes serious eye irritation. Toxic to aquatic life with long lasting effects. If medical advice is needed, have product container or label at hand. Keep out of reach of children. Wash hands thoroughly after handling. IF IN EYES: Rinse cautiously with water for several minutes. Remove contact lenses, if present and easy to do. Continue rinsing. Dispose of contents/container to the hazardous waste collection point. Contains L-Beta-Pinene; L-Alpha-Pinene; (1S)-3,7,7-trimethylbicyclo[4.1.0]hept-3-ene; (E)-1-(2,6,6-trimethyl-1-cyclohexen-1-yl)pent-1-en-3-one; Trimethyl-Propylcyclohexanepropanol; 2,4-Dimethyl-3-Cyclohexene Carboxaldehyde; Alpha-Isomethyl Ionone; Acetylcedrene; Eucalyptol; Cis-3-Hexenyl Methyl Carbonate; Citronellol; Coumarin; Limonene; Methyl Dihydroxy-Dimethylbenzoate; Ethyl 2,2-Dimethylhydrocinnamal; Vetiverol; 4-Tert-Butylcyclohexyl Acetate; Ethyl Linalool; Octahydro-Methoxy-Tetramethyl-Methanoazulene; Tetramethyl Acetyloctahydronaphthalenes.

Delivery time 3-5 business days.

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The Ritual of Sakura Life is a Journey - Car Perfume

An exclusive car perfume based on Rice Milk and Cherry Blossom

(E)-2-Methoxy-4-(Prop-1-Enyl)Phenol; (E)-1-(2,6,6-Trimethyl-1,3-Cyclohexadien-1-Yl)-2-Buten-1-One; (E)-1-(2,6,6-Trimethyl-2-Cyclohexen-1-Yl)-2-Buten-1-One; 2,4-Dimethylcyclohex-3-Ene-1-Carbaldehyde; 3,4,5,6,6-Pentamethylhept-3-En-2-One; 3-P-Cumenyl-2-Methylpropionaldehyde; Benzyl Salicylate; d-p-Mentha-1(6),8-Dien-2-One; Geraniol; Linalool; Nerol; Piperonal; Undec-10-Enal.

1) Remove the foil carefully without damaging the membrane 2) Click the clip onto the holder in the preferred position 3) Click the perfume onto your car’s fan unit 4) Adjust the fan setting to regulate the intensity of the fragrance

Free Delivery with orders over BHD 15.

Free Return within 14 days

CAR PERFUME "LIFE IS A JOURNEY" THE RITUAL OF KARMA - DELICATELY SWEET - LOTUS & WHITE TEA - Raumduft

inkl. MwSt.

6 g (CHF 433.33 / 100 g)

Verkauft und versandt durch

2-4 Werktage

Standard-Lieferung

Kostenlos für Einkäufe über CHF 34.90*

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Globetrotter Thibaud Crivelli On Sensory Encounters, Crafted Memories, And His New Perfume Extract Tubéreuse Astrale

Alicia choo.

Beneath the composed demeanour of young entrepreneur Thibaud Crivelli lies an insatiable thirst for adventure, a trait that runs deep in his family’s lineage for more than 150 years. Possessing a curious and empathetic spirit, Crivelli cultivated a radical bond with nature during his upbringing, prompting him to establish his own luxury perfume house, Maison Crivelli. Each of their scented creation—perfume extracts, eaux de parfum and discovery sets—encapsulates a particular composition derived from Crivelli’s real-life experiences, and is formulated without phthalates, colourants or animal products.

“In the early days of Maison Crivelli, the primary objective was always to offer perfumes that would surprise and captivate,” Crivelli reflects. “Recognising the saturated nature of the market, I worked towards earning credibility by highlighting the authenticity of my experiences rather than relying on a public façade.” Born in Paris, Crivelli grew up amidst the terrains of central France and Provence. In 2006, he relocated to China, embarking on a decade-long pilgrimage across various Asian locales, where his Western sensibilities intersected with novel influences, fostering an experiential approach to wildlife. Before diving into perfumery, Crivelli pursued business studies and gained experience working for various perfume and cosmetic brands. This journey took him to Singapore and Hong Kong, where he delved into sales and marketing to broaden his understanding of market dynamics.

“Being exposed to my father’s work in the cosmetics sector early on also contributed to my fascination with perfumery. By the time I turned 14 or 15, I began to seriously consider pursuing a career in this industry,” Crivelli says. His passion for perfumery further deepened as he explored different regions and their distinctive scents. “Whether it was the earthy notes of vetiver in India or the woody essence of hinoki in Japan, each place offered its own olfactory profile.”

As Crivelli’s senses were continually stirred, his excursion was punctuated with many unforeseen elements, which imbued him with an atypical knowledge of perfume at every level. From smelling scorched sandalwood on the slopes of an erupting volcano or meandering across a cocoa plantation on a motorbike, to tasting absinthe underneath the Northern lights or traversing an iris-laden field on the desert’s fringe, each occurrence typified his personal connections for textures and smells. When asked about his most memorable scent, Crivelli reveals: “It would have to be leather. Growing up, my family had a strong attachment to horses. My father and sister were avid riders, and we kept all our riding gear at home in a dedicated room. The scent of leather was pervasive in our household as it carries a sense of nostalgia and familiarity.”

The majority of natural components utilised in Crivelli’s perfumes are carefully chosen from trusted partners, then meticulously hand-selected and processed. This harvesting process ensures the preservation of all the aromatic properties of the plant, especially for coveted constituents, while certain raw materials are either organically nurtured or Fair Trade Certified. Transforming raw substrates involves extensive hands-on work as the production process begins with building a perfume concept using various mediums to narrate an entire jaunt. “Collaborating closely with perfumers, we discuss and refine formulations,” Crivelli says. “Upon sample approval, we proceed to the legal aspects and then move to the blending phase, where different notes are combined and left to mature for several weeks.”

Just recently, the house introduced its latest perfume extract, Tubéreuse Astrale, crafted in collaboration with master perfumer Quentin Bisch. Inspired by one of his childhood memories, Crivelli envisioned a fresh interpretation of the white flower, a staple in haute parfumerie . Tubéreuse Astrale opens with a warm, sensual, powdery note of cinnamon, augmented by a subtle hint of cumin—an integrand that, while barely perceptible, adds depth to the note. The perfume divulges several pivotal facets: the finest quality Indian tuberose absolute; Chinese osmanthus absolute with infused leathery, peach-like character and carrot seed essential oil; Indonesian patchouli; and Spanish cistus absolute. These hallmarks impart a supple distinction while bolstering its floral undertones, resulting in an addictive and modern melange.

“Tubéreuse Astrale echoes many treasured memories with my father, who was always passionate about astronomy. When the season was right, we would venture out at night to observe the constellations through a telescope,” Crivelli reminisces. He recalls the gentle rustle of tall grass in the breeze, accompanied by the soothing chirping of crickets. This recollection sparked the concept of crafting this effervescent tuberose fragrance—anchored by a creamy, almost tactile blend of leather and musk.

The Maison Crivelli Tubéreuse Astrale is now available in 50ml bottles (RM1,350) in the Kens Apothecary website , along with other perfume creations.

Maison Crivelli

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For L.A. rapper Jay 305, smelling good is sanctity and Scent Bar is the church

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For Jay 305, smelling good is sanctity. A trail of musks, resinous woods and creamy florals follow him around like an orb of protection. But the real flex, the never-ending quest, is to smell unlike anyone else. At Scent Bar DTLA , the niche perfume boutique with locations at The Row, Hollywood and New York City, the South-Central rapper is picking up perfumes and putting them to his nose in short progression, leaving a collection of bulbous and angular bottles in his wake. He is looking for something that stimulates him almost reflexively, the way a fragrance that’s truly meant for you will. Jay came in with a list of possible contenders written on his Notes app, which he does often: Parfum de Marly’s Layton, Initio Parfums Privés’ Oud for Greatness , Nasomatto’s Black Afgano. Beast-mode fragrances with an air of mystery, or spirituality. The kind of perfumes that make an introduction for you. “Scent, it’s like your brand,” Jay says.

Jay has come here at least once a week for the last few years. Always to the DTLA location, usually after going to Smorgasburg L.A. He’s also a regular at Frédéric Malle on Melrose Place where he stocks up on one of his favorites, Carnal Flower. At Dawah Bookshop in Leimert Park, he blends his own perfume oils, and at Dover Street Market, where everyone knows him by name, he’s most recently been drawn to the Edward Bess perfume collection. At Scent Bar, we’re jumping from the “incense” shelf, to the “cult masculine” shelf, smelling everything David Aguirre, an artist who’s been working at Scent Bar for years and is often Jay’s point person, skillfully pulls from the “oud” or “floral” shelves behind the counter. Aguirre has taught Jay the correct pronunciation of many French perfume names and has put him on to all-time favorites, like Jeroboam’s Oriento, a jammy rose patchouli with a sparkling saffron top note.

Born Jay Cummins, he’s grown accustomed to his personal interests defying the expectations people have of him based on where he grew up, his time spent behind bars or the experiences he raps about in his music. Jay’s discography has become the stuff of L.A. legend — hood anthems, strip club classics. It was 2012’s “Youzza Flip” that put him on the map, which was only further cemented by his work on Dom Kennedy’s label Other People’s Money, a.k.a. OPM, throughout the 2010s. He’s been making music since — finding hits with tracks like “Why You So Nasty?” featuring Travis Scott off his 2017 album, “Taking All Bets.” But he’s also a certified perfume addict, has been vegan for 10 years, is sober and has lived life in full dedication to health and wellness after getting into a car wreck in his early 20s, and a doctor telling him that if he didn’t lose weight his knees wouldn’t heal. He’s a Virgo, and reminds me often of the sign’s superiority. He dabbles in dirtbikes in a quest toward finding freedom, which is how we first met . And he’s a fashion enthusiast, which is something he’s felt fully free to express in recent years through a personal style he’s dubbed “ghetto couture.”

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Today, he’s wearing mostly New Bedstuy , a brand designed by his friend Johnnie Davis that’s known for making subversive staples, and Margiela. Sitting courtside at a Lakers game recently, Wiz Khalifa dubbed Jay “the best dressed in the West,” he says, proudly. He’s also a kind of unofficial mayor of L.A. — with friends spanning the music, art and fashion worlds in the city, casually name-dropping everyone from Kendrick Lamar and Rita Ora in the same breath. Almost a year ago, I ran into Jay at a TOMBOGO film screening for L.A. Fashion Week. His scent hit me immediately, and I asked the question compulsively: “What are you wearing?” Jay knew I wasn’t talking about his vest, his shoes, or his hat. He looked at me, twinkle in his eye, smirk forming: “I have my own mix. I can’t tell you what.” We immediately agreed that we should go to Scent Bar, our mutual happy place. (And for the record, I guessed at least one perfume in this mysterious mix off first whiff alone, which is when Jay knew I was a real one.)

Jay’s latest EP, called “Don’t Wait Until I Die,” made in collaboration with rapper and producer Hit-Boy, takes a page from the deep, oily, enveloping scents that have become his signature. The record, which dropped in May, is complex, dealing with themes of legacy and mortality. “Pieces,” a kind of summer banger made with Dom Kennedy and Hit-Boy, serves as the flipside to “Devils Happy In LA,” a demon mode record that unveils the city’s dark side. In “Pray 2 God Is Real,” Jay raps about pleading to a higher power for safety, for understanding, for his people. He’s been wearing ouds as part of his creative process when making the EP, one of the most expensive — and divisive — notes in perfumery known as “wood of the gods.” “It has a darker tone to it, but it’s still spiritual, it’s still healing, which is what ‘Don’t Wait Until I Die’ is,” he says. “Don’t wait until I’m gone to remember my scent.”

Fragrance people are a different breed — obsessive little freaks who are driven by their senses and fall in love with things that are invisible. The real heads can chop it up for hours about the construction of a perfume, the feelings and ideas that it can provoke. We’ve reached the point in our Scent Bar journey where Jay and I are talking a mile a minute, eyes rolling in the back of our heads every time we smell something special, darting from corner to corner. Nothing makes sense and everything is beautiful — flying high on the ecstasy of perfume.

I came in with the intention of buying something, and I have Jay smell the perfume I’ve been considering for the last six months five times in a row (indoors and outdoors) because I am actually insane. And he must be too because he doesn’t once refuse or second-guess me. It’s called Ma Nishtana by Parfum Prissana, with notes of frankincense, labdanum, saffron, rose, smoke and leather. It’s the kind of fragrance that’s so animalic and intense at first smell that it makes you gag, with a dry down that becomes strangely addicting, comforting and warm. There is an understanding between Jay and I that this is what one must do — talk about, think about, and smell perfume incessantly to understand it, and find something that is either in reflection of the person you are or the person you want to become.

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Dec. 8, 2023

Scent Bar is the kind of place where, if you love perfume, feels almost illegal to be inside of. There is so much at your disposal, so many things you’ve never smelled and too many things you want to smell forever. Jay will often come here on a date to flex his knowledge — “It’s what you taught her, not what you bought her,” goes one of his many mantras — to get a sense if a potential partner is going to be repelled by the smells he likes. “If she’s a good person, that’s how you find out,” he says. How so? “Because that’s when you find out if she’s with the dark side or she’s with the light side. If she comes in here and [can’t stand] the smell, something’s wrong.” For Jay, scent is directly rooted in spirituality, love of self and respect for others.

“It brings out emotions,” Jay says of fragrance. “Scent and taste are the biggest things you remember from being a kid.” Growing up in a Black Caribbean household in the ‘80s and ‘90s — his mom is from Jamaica, his dad is from Barbados — smelling good was law. “If you have an outfit on, but you don’t have cologne on or you don’t smell good, do you even have the flyest fit on? What’s the point,” he says. It was after his grandmother told him he was musty in front of a girl he liked when he was 9 years old that Jay vowed to never be caught slipping again. His first fragrance was Davidoff’s Cool Water — a cult classic masculine marine fragrance with notes of rosemary, sea water and ambergris. (The perfumer behind the fragrance is Pierre Bourdon, who would go on to make fragrances for one of Jay’s favorite houses, Frédéric Malle, including French Lover and Iris Poudre.) His journey jumped to Nautica Blue, then Versace Dylan Blue. (Every popular “men’s” fragrance in the ‘90s was named after the color blue, apparently.) He eventually started dabbling in Le Labo, and then Byredo, which opened him up to the niche perfume world.

Perfume is baked into Jay’s ritual every morning. A daily baptism that comes after a workout and a shower. His spray points include behind his knees, his lower back, his shoulders and his beard “depending.” On what, I ask? He laughs, and doesn’t fully answer.

“Scent and taste are the biggest things you remember from being a kid.”

— Jay 305

We take a walk around The Row to place a to-go order at Pizzeria Bianco while we huff the blotters doused with our potential perfume picks. Jay and I have similar tastes in scent — we want to smell moody, mystical, like we just stumbled out of a temple and know something you don’t, with a touch of zesty punchiness or weirdness. We gravitate toward scents that are polarizing. “There’s going to be something for everybody,” he says. “It’s like making music, like making art. Some people aren’t gonna get it right then and there, but one day, it might just hit them.”

He’s encouraging me to just get Ma Nishtana — probably because I won’t shut up about it, and maybe because both of our nostrils are lowkey charred at this point. When we walk back into Scent Bar, I bolt toward the counter where I left the Ma Nishtana bottle, and next to it I notice a simple, cylindrical bottle of a perfume I’d never seen, or heard of, called Papyrus Oud by Parle Moi de Parfum. Something urges me to open the magnetic cap and the moment I inhale the smell of the faintly golden liquid, I feel my eyes well up a little bit. I know. I know in that immediate way you know when a perfume is right for you. It smells, to me, like burnt paper, Smarties candies and leather. The notes range from ginger to orris root, white cedar and vetiver. This perfume gets me, this perfume is me. No question. I have Jay smell it and buy it immediately.

Jay asks for samples of Orto Parisi’s Terroni, a delicious, damp, smoky, wet earth and raspberry fragrance, and Naomi Goodsir’s Bois d’Ascese, a perfume that smells like drinking whiskey neat around a bonfire. He vows to come buy one of them in celebration when “Don’t Wait Until I Die” comes out.

As I sit in the car, the smell of Papyrus Oud filling space, I feel so full — maybe it’s from the dopamine hit of just spending $150, but mostly, I think, from finding a fragrance that feels like a self-portrait. I remember something that Jay said to me earlier in the day about perfume: “It’s like the Earth,” he says. “The Earth only gives.” It’s at that moment I realize that I accidentally walked away with the samples Jay got for himself. Good thing he’ll be back next week.

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Julissa James is a staff writer for Image, where she covers culture, style, fashion, art and L.A. She has been with the Los Angeles Times since 2019 and has written for the magazine since 2021.

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The Ritual of Sakura Life is a Journey - Car Perfume

An exclusive car perfume based on Rice Milk and Cherry Blossom

(E)-2-Methoxy-4-(Prop-1-Enyl)Phenol; (E)-1-(2,6,6-Trimethyl-1,3-Cyclohexadien-1-Yl)-2-Buten-1-One; (E)-1-(2,6,6-Trimethyl-2-Cyclohexen-1-Yl)-2-Buten-1-One; 2,4-Dimethylcyclohex-3-Ene-1-Carbaldehyde; 3,4,5,6,6-Pentamethylhept-3-En-2-One; 3-P-Cumenyl-2-Methylpropionaldehyde; Benzyl Salicylate; d-p-Mentha-1(6),8-Dien-2-One; Geraniol; Linalool; Nerol; Piperonal; Undec-10-Enal.

1) Remove the foil carefully without damaging the membrane 2) Click the clip onto the holder in the preferred position 3) Click the perfume onto your car’s fan unit 4) Adjust the fan setting to regulate the intensity of the fragrance

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Whales Have an Alphabet

Until the 1960s, it was uncertain whether whales made any sounds at all..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

[MUSIC PLAYING]

From “The New York Times,” I’m Michael Barbaro. This is “The Daily.”

Today, ever since the discovery that whales produce songs, scientists have been trying to find a way to decipher their lyrics. After 60 years, they may have finally done it. My colleague, Carl Zimmer, explains.

It’s Friday, May 24.

I have to say, after many years of working with you on everything from the pandemic to —

— CRISPR DNA technology, that it turns out your interests are even more varied than I had thought, and they include whales.

They do indeed.

And why? What is it about the whale that captures your imagination?

I don’t think I’ve ever met anybody who is not fascinated by whales. I mean, these are mammals like us, and they’re swimming around in the water. They have brains that are much bigger than ours. They can live maybe 200 years. These are incredible animals, and animals that we still don’t really understand.

Right. Well, it is this majestic creature that brings us together today, Carl, because you have been reporting on a big breakthrough in our understanding of how it is that whales communicate. But I think in order for that breakthrough to make sense, I think we’re going to have to start with what we have known up until now about how whales interact. So tell us about that.

Well, people knew that whales and dolphins traveled together in groups, but up until the 1960s, we didn’t really know that whales actually made any sounds at all. It was actually sort of an accident that we came across it. The American military was developing sophisticated microphones to put underwater. They wanted to listen for Russian submarines.

As one does. But there was an engineer in Bermuda, and he started hearing some weird stuff.

[WHALE SOUNDS]

And he wondered maybe if he was actually listening to whales.

What made him wonder if it was whales, of all things?

Well, this sound did not sound like something geological.

It didn’t sound like some underwater landslide or something like that. This sounded like a living animal making some kind of call. It has these incredible deep tones that rise up into these strange, almost falsetto type notes.

It was incredibly loud. And so it would have to be some really big animal. And so with humpback whales swimming around Bermuda, this engineer thought, well, maybe these are humpback whales.

And so he gets in touch with a husband and wife team of whale biologists, Roger and Katy Payne, and plays these recordings to them. And they’re pretty convinced that they’re hearing whales, too. And then they go on to go out and confirm that by putting microphones in the water, chasing after groups of whales and confirming, yes, indeed, that these sounds are coming from these humpback whales.

So once these scientists confirm in their minds that these are the sounds of a whale, what happens with this discovery?

Well, Roger and Katy Payne and their colleagues are astonished that this species of whale is swimming around singing all the time for hours on end. And it’s so inspirational to them that they actually help to produce a record that they release “The Song of the Humpback Whale” in 1970.

And so this is being sold in record stores, you know, along with Jimi Hendrix and Rolling Stones. And it is a huge hit.

Yeah, it sells like two million copies.

Well, at the time, it was a huge cultural event. This record, this became almost like an anthem of the environmental movement. And it led, for whales in particular, to a lot of protections for them because now people could appreciate that whales were a lot more marvelous and mysterious than they maybe had appreciated before.

And so you have legislation, like the Marine Mammal Act. The United States just agrees just to stop killing whales. It stops its whaling industry. And so you could argue that the discovery of these whale songs in Bermuda led to at least some species of whales escaping extinction.

Well, beyond the cultural impact of this discovery, which is quite meaningful, I wonder whether scientists and marine biologists are figuring out what these whale songs are actually communicating.

So the Paynes create a whole branch of science, the study of whale songs. It turns out that pretty much every species of whale that we know of sings in some way or another. And it turns out that within a species, different groups of whales in different parts of the world may sing with a different dialect. But the big question of what these whales are singing, what do these songs mean, that remains elusive into the 21st century. And things don’t really change until scientists decide to take a new look at the problem in a new way.

And what is that new way?

So in 2020, a group of whale biologists, including Roger Payne, come together with computer scientists from MIT. Instead of humpback whales, which were the whales where whale songs are first discovered, these scientists decide to study sperm whales in the Caribbean. And humpback whales and sperm whales have very, very different songs. So if you’re used to humpback whales with their crazy high and low singing voices —

Right, those best-selling sounds.

— those are rockin’ tunes of the humpback whales, that’s not what sperm whales do. Sperm whales have a totally different way of communicating with each other. And I actually have some recordings that were provided by the scientists who have been doing this research. And so we can take a listen to some of them.

Wow, It’s like a rhythmic clicking.

These are a group of sperm whales swimming together, communicating.

So whale biologists knew already that there was some structure to this sound. Those clicks that you hear, they come in little pulses. And each of those pulses is known as a coda. And whale biologists had given names to these different codas. So, for example, they call one coda, one plus one plus three —

— which is basically click, click, click, click, click, or four plus three, where you have four clicks in a row and a pause and then three clicks in a row.

Right. And the question would seem to be, is this decipherable communication, or is this just whale gibberish?

Well, this is where the computer scientists were able to come in and to help out. The whale biologists who were listening to the codas from the sperm whales in the Caribbean, they had identified about 21 types. And then that would seem to be about it.

But then, an MIT computer science graduate student named Prajusha Sharma was given the job of listening to them again.

And what does she hear?

In a way, it’s not so much what she heard, but what she saw.

Because when scientists record whale songs, you can look at it kind of like if you’re looking at an audio of a recording of your podcast, you will see the little squiggles of your voice.

And so whale biologists would just look at that ticker of whale songs going across the screen and try to compare them. And Sharma said, I don’t like this. I just — this is not how I look at data. And so what she decided to do is she decided to kind of just visualize the data differently. And essentially, she just kind of flipped these images on their side and saw something totally new.

And what she saw was that sperm whales were singing a whole bunch of things that nobody had actually been hearing.

One thing that she discovered was that you could have a whale that was producing a coda over and over and over again, but it was actually playing with it. It was actually stretching out the coda,

[CLICKING] So to get a little bit longer and a little bit longer, a little bit longer.

And then get shorter and shorter and shorter again. They could play with their codas in a way that nobody knew before. And she also started to see that a whale might throw in an extra click at the end of a coda. So it would be repeating a coda over and over again and then boom, add an extra one right at the end. What they would call an ornamentation. So now, you have yet another signal that these whales are using.

And if we just look at what the sperm whales are capable of producing in terms of different codas, we go from just 21 types that they had found in the Caribbean before to 156. So what the scientists are saying is that what we might be looking at is what they call a sperm whale phonetic alphabet.

Yeah, that’s a pretty big deal because the only species that we know of for sure that has a phonetic alphabet —

— is us, exactly. So the reason that we can use language is because we can make a huge range of sounds by just doing little things with our mouths. A little change in our lips can change a bah to a dah. And so we are able to produce a set of phonetic sounds. And we put those sounds together to make words.

So now, we have sperm whales, which have at least 150 of these different versions of sounds that they make just by making little adjustments to the existing way that they make sounds. And so you can make a chart of their phonetic alphabet, just like you make a chart of the human phonetic alphabet.

So then, that raises the question, do they combine their phonetic alphabet into words? Do they combine their words into sentences? In other words, do sperm whales have a language of their own?

Right. Are they talking to each other, really talking to each other?

If we could really show that whales had language on par with humans, that would be like finding intelligent life on another planet.

We’ll be right back.

So, Carl, how should we think about this phonetic alphabet and whether sperm whales are actually using it to talk to each other?

The scientists on this project are really careful to say that these results do not definitively prove what these sperm whale sounds are. There are a handful of possibilities here in terms of what this study could mean. And one of them is that the whales really are using full-blown language.

What they might be talking about, we don’t know. I mean, perhaps they like to talk about their travels over hundreds and thousands of miles. Maybe they’re talking about, you know, the giant squid that they caught last night. Maybe they’re gossiping about each other.

And you have to remember, sperm whales are incredibly social animals. They have relationships that last for decades. And they live in groups that are in clans of thousands of whales. I mean, imagine the opportunities for gossip.

These are all at least imaginable now. But it’s also possible that they are communicating with each other, but in a way that isn’t language as we know it. You know, maybe these sounds that they’re producing don’t add up to sentences. There’s no verb there. There’s no noun. There’s no structure to it in terms of how we think of language.

But maybe they’re still conveying information to each other. Maybe they’re somehow giving out who they are and what group they belong to. But it’s not in the form of language that we think of.

Right. Maybe it’s more kind of caveman like as in whale to whale, look, there, food.

It’s possible. But, you know, other species have evolved in other directions. And so you have to put yourself in the place of a sperm whale. You know, so think about this. They are communicating in the water. And actually, like sending sounds through water is a completely different experience than through the air like we do.

So a sperm whale might be communicating to the whale right next to it a few yards away, but it might be communicating with whales miles away, hundreds of miles away. They’re in the dark a lot of the time, so they don’t even see the whales right next to them. So it’s just this constant sound that they’re making because they’re in this dark water.

So we might want to imagine that such a species would talk the way we do, but there are just so many reasons to expect that whatever they’re communicating might be just profoundly different, so different that it’s actually hard for us to imagine. And so we need to really, you know, let ourselves be open to lots of possibilities.

And one possibility that some scientists have raised is that maybe language is just the wrong model to think about. Maybe we need to think about music. You know, maybe this strange typewriter, clickety clack is actually not like a Morse code message, but is actually a real song. It’s a kind of music that doesn’t necessarily convey information the way conversation does, but it brings the whales together.

In humans, like, when we humans sing together in choruses, it can be a very emotional experience. It’s a socially bonding experience, but it’s not really like the specific words that we’re singing that bring us together when we’re singing. It’s sharing the music together.

But at a certain point, we stop singing in the chorus, and we start asking each other questions like, hey, what are you doing for dinner? How are you going to get home? There’s a lot of traffic on the BQE. So we are really drawn to the possibility that whales are communicating in that same kind of a mode.

We’re exchanging information. We’re seeking out each other’s well-being and emotional state. And we’re building something together.

And I think that happens because, I mean, language is so fundamental to us as human beings. I mean, it’s like every moment of our waking life depends on language. We are talking to ourselves if we’re not talking to other people.

In our sleep, we dream, and there are words in our dreams. And we’re just stewing in language. And so it’s really, really hard for us to understand how other species might have a really complex communication system with hundreds of different little units of sound that they can use and they can deploy. And to think anything other than, well, they must be talking about traffic on the BQE. Like —

— we’re very human-centric. And we have to resist that.

So what we end up having here is a genuine breakthrough in our understanding of how whales interact. And that seems worth celebrating in and of itself. But it really kind of doubles as a lesson in humility for us humans when it comes to appreciating the idea that there are lots of non-human ways in which language can exist.

That’s right. Humility is always a good idea when we’re thinking about other animals.

So what now happens in this realm of research? And how is it that these scientists, these marine biologists and these computer scientists are going to try to figure out what exactly this alphabet amounts to and how it’s being used?

So what’s going to happen now is a real sea change in gathering data from whales.

So to speak.

So these scientists are now deploying a new generation of undersea microphones. They’re using drones to follow these whales. And what they want to do is they want to be recording sounds from the ocean where these whales live 24 hours a day, seven days a week. And so the hope is that instead of getting, say, a few 100 codas each year on recording, these scientists want to get several hundred million every year, maybe billions of codas every year.

And once you get that much data from whales, then you can start to do some really amazing stuff with artificial intelligence. So these scientists hope that they can use the same kind of artificial intelligence that is behind things like ChatGPT or these artificial intelligence systems that are able to take recordings of people talking and transcribing them into text. They want to use that on the whale communication.

They want to just grind through vast amounts of data, and maybe they will discover more phonetic letters in this alphabet. Who knows? Maybe they will actually find bigger structures, structures that could correspond to language.

If you go really far down this route of possibilities, the hope is that you would understand what sperm whales are saying to each other so well that you could actually create artificial sperm whale communication, and you could play it underwater. You could talk to the sperm whales. And they would talk back. They would react somehow in a way that you had predicted. If that happens, then maybe, indeed, sperm whales have something like language as we understand it.

And the only way we’re going to figure that out is if we figure out not just how they talk to themselves, but how we can perhaps talk to them, which, given everything we’ve been talking about here, Carl, is a little bit ironic because it’s pretty human-centric.

That’s right. This experiment could fail. It’s possible that sperm whales don’t do anything like language as we know it. Maybe they’re doing something that we can’t even imagine yet. But if sperm whales really are using codas in something like language, we are going to have to enter the conversation to really understand it.

Well, Carl, thank you very much. We appreciate it.

Thank you. Sorry. Can I say that again? My voice got really high all of a sudden.

A little bit like a whale’s. Ooh.

Yeah, exactly. Woot. Woot.

Thank yoooo. No. Thank you.

Here’s what else you need to know today.

We allege that Live Nation has illegally monopolized markets across the live concert industry in the United States for far too long. It is time to break it up.

On Thursday, the Justice Department sued the concert giant Live Nation Entertainment, which owns Ticketmaster, for violating federal antitrust laws and sought to break up the $23 billion conglomerate. During a news conference, Attorney General Merrick Garland said that Live Nation’s monopolistic tactics had hurt the entire industry of live events.

The result is that fans pay more in fees, artists have fewer opportunities to play concerts, smaller promoters get squeezed out, and venues have fewer real choices.

In a statement, Live Nation called the lawsuit baseless and vowed to fight it in court.

A reminder — tomorrow, we’ll be sharing the latest episode of our colleagues’ new show, “The Interview.” This week on “The Interview,” Lulu Garcia-Navarro talks with Ted Sarandos, the CEO of Netflix, about his plans to make the world’s largest streaming service even bigger.

I don’t agree with the premise that quantity and quality are somehow in conflict with each other. I think our content and our movie programming has been great, but it’s just not all for you.

Today’s episode was produced by Alex Stern, Stella Tan, Sydney Harper, and Nina Feldman. It was edited by MJ Davis, contains original music by Pat McCusker, Dan Powell, Elisheba Ittoop, Marion Lozano, and Sophia Lanman, and was engineered by Alyssa Moxley. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

Special thanks to Project SETI for sharing their whale recordings.

That’s it for “The Daily.” I’m Michael Barbaro. See you on Tuesday after the holiday.

• May 29, 2024   •   29:46 The Closing Arguments in the Trump Trial
• May 28, 2024   •   25:56 The Alitos and Their Flags
• May 24, 2024   •   25:18 Whales Have an Alphabet
• May 23, 2024   •   34:24 I.C.C. Prosecutor Requests Warrants for Israeli and Hamas Leaders
• May 22, 2024   •   23:20 Biden’s Open War on Hidden Fees
• May 21, 2024   •   24:14 The Crypto Comeback
• May 20, 2024   •   31:51 Was the 401(k) a Mistake?
• May 19, 2024   •   33:23 The Sunday Read: ‘Why Did This Guy Put a Song About Me on Spotify?’
• May 17, 2024   •   51:10 The Campus Protesters Explain Themselves
• May 16, 2024   •   30:47 The Make-or-Break Testimony of Michael Cohen
• May 15, 2024   •   27:03 The Possible Collapse of the U.S. Home Insurance System
• May 14, 2024   •   35:20 Voters Want Change. In Our Poll, They See It in Trump.

Hosted by Michael Barbaro

Featuring Carl Zimmer

Produced by Alex Stern ,  Stella Tan ,  Sydney Harper and Nina Feldman

Edited by MJ Davis Lin

Original music by Elisheba Ittoop ,  Dan Powell ,  Marion Lozano ,  Sophia Lanman and Pat McCusker

Engineered by Alyssa Moxley

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music | YouTube

Ever since the discovery of whale songs almost 60 years ago, scientists have been trying to decipher the lyrics.

But sperm whales don’t produce the eerie melodies sung by humpback whales, sounds that became a sensation in the 1960s. Instead, sperm whales rattle off clicks that sound like a cross between Morse code and a creaking door. Carl Zimmer, a science reporter, explains why it’s possible that the whales are communicating in a complex language.

On today’s episode

Carl Zimmer , a science reporter for The New York Times who also writes the Origins column .

Background reading

Scientists find an “alphabet” in whale songs.

These whales still use their vocal cords. But how?

There are a lot of ways to listen to The Daily. Here’s how.

We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Dan Farrell, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Renan Borelli, Maddy Masiello, Isabella Anderson and Nina Lassam.

Carl Zimmer covers news about science for The Times and writes the Origins column . More about Carl Zimmer

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