No Cure for Songs Stuck in Your Head

ALBANY, N.Y. - Unexpected and insidious, the earworm slinks its way into the brain and refuses to leave. Symptoms vary, although high levels of annoyance and frustration are common. There are numerous potential treatments, but no cure.

"Earworm" is the term coined by University of Cincinnati marketing professor James Kellaris for the usually unwelcome songs that get stuck in people's heads. Since beginning his research in 2000, Kellaris has heard from people all over the world requesting help, sharing anecdotes and offering solutions.

"I quickly learned that virtually everybody experiences earworms at one time or another," he said. "I think because it's experienced privately and not often a topic of conversation, maybe people really long for some social comparison. They want to know if other people experience what they experience."

Kellaris, whose most pervasive personal earworm (Byzantine chants) likely has something to do with his wife's job as a church choir director, has been interested in the topic of earworms for decades. As a musician who now studies how marketers reach the public, he began wondering how widespread stuck songs really are, and began doing small surveys in 2000.

Last year, he surveyed about 500 students, faculty and staff on campus asking about the type, frequency and duration of earworms, and possible causes and cures. Among the songs respondents picked as most likely to become stuck were: "The Lion Sleeps Tonight," the Chili's restaurant "baby back ribs" jingle and "Who Let the Dogs Out."

But the choice that topped the so-called "playlist from hell" was "Other," meaning the majority of those surveyed chose a unique song of their own as the most probable earworm. That led Kellaris to conclude that stuck songs are highly idiosyncratic.

"There are certain tunes that we would describe as catchy that are more likely to become one, but just about anything can become an earworm," he said.

The study, presented at conferences of the Society for Consumer Psychology in 2001 and 2003, showed:

"People with higher neuroticism scores tend to react to the onset of an earworm by saying 'Oh no, here it goes again, I wonder how long this is going to last,'" Kellaris said. "That fretting about it, I think, exacerbates it."

The atmosphere is ripe for earworms at Last Vestige, a music store just west of downtown Albany. As customers flipped through compact discs and records with markers displaying such subjects as "Elvis the Pelvis" and "Beatles Cash-in Copycats," employees Jim Kaufman and Charles Monroe ruminated on recent bouts with earworms.

"Top 40 pop, usually — stuff you wouldn't catch yourself listening to at home," said Kaufman, who named Jennifer Lopez's "Jenny From the Block" as a past stuck song. "Or stuff you're ashamed to admit listening to at home."

Both men said they get rid of earworms either by trying to ignore them or by playing a tune they enjoy. Monroe said an earworm "usually happens when I only hear the song for like a second, like if I go to the laundromat and I'm kind of in and out."

Kellaris heard similar stories after news of his study reached the public. He got hundreds of e-mails from the Philippines, South Africa, Norway, the United Kingdom, Germany, Argentina and all over North America. Among the messages:

_A company that provided background music for retail stores wanted to know how to avoid using music prone to becoming an earworm.

_Sufferers of a psychiatric condition where patients hear music when none is playing sent queries and case histories hoping Kellaris had found a way to cure or treat the disorder. The professor said the two are unrelated.

_Personal stories about earworms haunting individuals for weeks, months or years.

_Suggestions of how to cure an earworm, including chewing on a cinnamon stick, passing the earworm on to someone else or erasing the offending song by singing the theme from "Gilligan's Island."

For marketers, earworms can be a "double-edged sword," helpful if consumers look upon a memorable jingle favorably but with the potential to breed negativity toward a brand if the stuck song is viewed as annoying or unwelcome, said Larry Compeau, a marketing professor at Clarkson University and executive officer of the Society for Consumer Psychology.

"I think the trick with earworms or with any kind of piece of music in advertising is to make sure the music is going to trigger the kinds of emotions or feelings you want the consumer to experience," he said.

He said one theory is that stuck songs are "the brain's attempt to resolve missing information," and that retrieving the forgotten lyrics of a song will provide closure that "unsticks" an earworm.

From www.HenryGross.com:

The Story of "Shannon"
When I was twenty-one years old a wonderful girl came into my life by the name of Kathy Reinmann. As if having her in my life as a friend, a wife and a friend again for the next twenty three years, until she died of lung cancer five years ago this coming August, was not enough, she brought along with her into my heart her two year old Irish Setter, Shannon. She was an uncannily human dog whose ability to manipulate her human counterparts cannot be understated. I was touring around the country quite a lot in 1975 promoting an album called HENRY GROSS, the one with the yellow cover on A&M Records. I had the pleasure of doing long strings of dates with a group whose music always inspired me, The Beach Boys. Carl Wilson, arguably the finest solo voice in the group, was warm and welcoming from the very first show I played with them on a freezing cold day at the University of New Hampshire. After getting to know each other we realized we shared a love for much of the same music and a passion for fine vintage guitars. On a break from touring, while I was in Los Angeles, Carl invited me to his house to spend a day talking guitars, cars and rock & roll. While he was preparing lunch his two Alaskan husky dogs reached up on the counter and inhaled our food. I told Carl, while admiring the military perfection of the raid executed by his huskies, that I had an Irish Setter at home named Shannon. He was quite moved as he told me that he had an Irish Setter named Shannon that had been killed only recently when hit by a car. We spent the rest of the day jamming and driving around Carl's world which as a friend and to be honest a Beach Boy's fanatic was a thrill.

When I returned to New York City, where I lived, I began work on my second A&M album, PLUG ME INTO SOMETHING. A few weeks later just as we were about to master the finished album I was sitting on my bed with Shannon strumming my guitar trying to write a song when I was disturbed by the loud bass sounds from the Latin music blasting from the apartment above me. Rather than complain I made an amazing discovery. If I tried to play records of my own choice I could drown out the intrusive bass sounds but was unable to concentrate. But I found that when I played an environments record called "The Ultimate Seashore" I could drown out the bass and have a pleasing and relaxing background sound that didn't interfere with my writing. In a matter of minutes with the ocean sounds guiding me, and my 1964 Gibson Hummingbird acoustic in my hands, my thoughts drifted to Carl, The Beach Boys and with a glance at my girl Shannon, the indescribable sadness that losing such a beloved partner in life must be. The song seemed to write itself taking no more than ten minutes and with almost no cross outs on the paper. I made a tape of it on my giant Sony cassette recorder and sent it off to Carl. I was hoping to stop the presses and record it for PLUG ME INTO SOMETHING which Carl had already sung on, adding background vocals to the opening song, ONE MORE TOMORROW, but it was too late. I had to wait for the next album to record it. I always wished I could have had Carl sing backgrounds on SHANNON but conflicting schedules dictated it wasn't meant to be. I believed after it was recorded for my RELEASE album, that it was destined to be a hit and lobbied hard for it to be the first single. You see, the man upstairs who had played the loud Latin music, beginning the entire chain of events, came down when he heard me playing mixes over and over to decide which I liked. However, rather than hearing the expected complaints, he said he loved the sound of the record and wanted to know where he could buy a copy. I reasoned if a salsa music fan who spoke little English loved the record through the ceiling, Shannon, Kathy and I had a hit on our hands. Fortunately, history and lady luck proved me right. And that is the true story of the song SHANNON.

Sorry about the lack of paragraphs, I just copied it right over.

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