Beatles commemorations abound, but why?
It has been 45 years since Mitch Miller, head of A&R (artists and
repertory) at Columbia Records, dismissed the Beatles as "the hula
hoops of music." Will Beatles songs still be loved when baby boomers
are 64? Will they inspire future generations? Or will their music die
with those who became intoxicated by their wit and charisma during the
mind-expanding '60s?
Nowadays, everything from God to Google has to be explained in terms of neuroscience. The human brain has fallen in love with its own image. The appeal of art or music is no longer only, or even primarily, a mystery to be fathomed in terms of technique, archetypal resonance, or formal structure. It is a jigsaw puzzle to be assembled of molecules, the super-Sudoku that currently obsesses Homo conundrumicus.
Well, let's play this new game:
A hundred years from now, musicologists say, Beatles songs will be
so well known that every child will learn them as nursery rhymes, and
most people won't know who wrote them. They will have become
sufficiently entrenched in popular culture that it will seem as if
they've always existed, like "Oh! Susanna," "This Land Is Your Land"
and "Frère Jacques."
Great songs seem as though they've always
existed, that they weren't written by anyone. Figuring out why some
songs and not others stick in our heads, and why we can enjoy certain
songs across a lifetime, is the work not just of composers but also of
psychologists and neuroscientists. Every culture has its own music,
every music its own set of rules. Great songs activate deep-rooted
neural networks in our brains that encode the rules and syntax of our
culture's music. Through a lifetime of listening, we learn what is
essentially a complex calculation of statistical probabilities
(instantiated as neural firings) of what chord is likely to follow what
chord and how melodies are formed.
Skillful composers play with
these expectations, alternately meeting and violating them in
interesting ways. In my laboratory, we've found that listening
to a familiar song that you like activates the same parts of the brain
as eating chocolate, having sex or taking opiates. There really is a
sex, drugs and rock-and-roll part of the brain: a network of neural
structures including the nucleus accumbens and the amygdala. But no one
song does this for everyone, and musical taste is both variable and
subjective. [...]
To a neuroscientist, the longevity of the Beatles can be explained by
the fact that their music created subtle and rewarding schematic
violations of popular musical forms, causing a symphony of neural
firings from the cerebellum to the prefrontal cortex, joined by a
chorus of the limbic system and an ostinato from the brainstem. To a
musician, each hearing showcases nuances not heard before, details of
arrangement and intricacy that reveal themselves across hundreds or
thousands of performances and listenings.
Fortunately, Daniel Levitin is both -- "a former record producer" and rock musician who has become "a professor of psychology and music at
McGill University in Montreal," the author of This Is Your Brain on
Music: The Science of a Human Obsession. (That's the hardcover link -- the paperback will be out at the end of August.) That's why he knows that what makes music mysteriously great, whether you understand it in terms of the heart or the brain, is the simultaneous satisfying and violation of expectations. If the greatest, most freeing and empowering pleasure the human brain (soul) knows is the forging of a new connection between deep-rooted but overfamiliar ideas, which both taps into their old life and recharges them with new life, then . . .
Which Beatles songs did it for you?
There are so many. Having bathed in the Beatles like everyone else, but not been a superfan (what a thing to take for granted, like aural wallpaper!), I have to go through a catalog to remind myself. "I'm Lookin' Through You" and "Blackbird" come right to mind, and the catchiness of "Ticket to Ride" and "Day Tripper" (two versions of the same song, don't you think?), and the sly lyrics to "Come Together" ("hold you in his armchair you can feel his disease," right) and "Rocky Raccoon." But there are surprise memories that detonate in the catalog: "She Said, She Said" ("I know what it's like to be dead" -- probably one of my top five), "Mother Nature's Son," "Girl," "Fixing a Hole," "Good Day Sunshine," that clangorous guitar hook in "Got To Get You Into My Life," and on and on. And maybe most surprising, they're all right there, almost note for note, chord for chord . . . in my brain.
(Blog-related trivia bit: Lennon and McCartney actually wrote a song called "Thinking Of Linking." Can't place that one, though.)
UPDATE: I've been singing bits of Beatles songs all day -- as well as bits of other the songs that have come up in my mental commentary (the underground river from which blog posts are dipped) about what was more important to me than the Beatles ("Surrealistic Pillow," believe it or not) and what sappy taste in music I had (important to me my first year in New York: Simon & Garfunkel, José Feliciano, the Doors . . . and the Play of Daniel).
And I've been thinking that I really don't like the Beatles' druggy songs, with the exception of "A Day in the Life" which has some merits qua song, melodically and lyrically, and also historically -- it connects the lure of druggy escape or epiphany to the sense of how awful the world was. It belongs in a time capsule (I've been thinking a lot about time capsules). But "Lucy in the Sky with Diamonds" is musically moronic. Once the Beatles got on drugs, a lot of their songs became in-jokes; you had to be stoned or tripping just to enjoy and decode them. I never liked the manipulation and distortion, all those paper-thin layers of sound laminated on in the studio, and the woozy, blitzed, fatuous tone of voice. Those are the songs of theirs that will not endure, in my opinion. You hadda be there.
It's strange, because the only drugs I was at all sympathetic to were the "imagination drugs" -- grass and hallucinogens -- but I didn't like the music composed under their influence (that wasn't why I loved "Surrealistic Pillow," and those weren't the cuts I loved). Whereas I avoided all forms of speed like the plague and had no interest in cocaine, yet one of my all-time favorite songs is a rarely heard sex-and-blow ballad by the Stones -- "Moonlight Mile."