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Why you should revisit the classics, even if you were turned off them at school

<a href="https://theconversation.com/profiles/johanna-harris-305384">Johanna Harris</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Throughout my school years I had an exuberant, elderly piano teacher, Miss Hazel. She was one of five daughters (like me) and, like many young women of her generation, had never married her sweetheart because he did not return from the war. Her unabashed gusto for life and infectious, positive outlook left an indelible impression upon me. So too did the memorable fact that Miss Hazel read Jane Austen’s <a href="https://www.goodreads.com/book/show/84979.Pride_and_Prejudice">Pride and Prejudice</a> from beginning to end once every year. As a younger girl I wondered about the ways Pride and Prejudice could be so important to a woman in her eighties that she would want to read it annually. Was it to do with Austen’s depiction of a family with five daughters, or to relive an endearing love story? Since those years I have seen, more through lived experience than through academic study, just how deeply meaningful the reading of classic books, like Pride and Prejudice, can be. <figure class="align-left zoomable"></figure> I no longer simply read this book for Elizabeth Bennett’s love story, but for the finely crafted replication Austen gives us of human character, with all its flaws. Hers are imaginary yet imaginably real situations, all depicted with humour and a sensitively calibrated dose of sympathy for even the most unlikeable literary figures. The clergyman Mr Collins, Elizabeth’s distant cousin and her rejected suitor, was always repellent for his obsequiousness but I see more readily now his self-serving nature cloaked in altruism. The haughty snobbery of Darcy’s aristocratic aunt, Lady Catherine de Bourgh, hints at a deeper layer of sadness and fragility only rereading can illuminate. <h2>Box-ticking and speed</h2> When we’re at school or university we may read for speed. I remember managing my reading of Ann Radcliffe’s 432-page gothic romance <a href="https://www.goodreads.com/book/show/93135.The_Romance_of_the_Forest?from_search=true&from_srp=true&qid=oU6912stkW&rank=1">The Romance of the Forest</a> to work out how many pages per hour I would need to read across a weekend in order to finish the novel before my university tutorial. (It was an ungodly ratio and I don’t recall much of the novel.) <figure class="align-right zoomable"></figure> Or we may read for the tick-box exercise of writing for assessment requirements: accumulating knowledge of a novel’s original metaphors, descriptions that best capture a prescribed theme (“belonging” or “identity”), or of poetry by which we can demonstrate a grasp of innovative metre. But how and why do we reread classic books, when we are not constrained by class plans or prescribed exam themes. And why should we? <h2>‘Like a graft to a tree’</h2> Rebecca Mead’s <a href="https://www.goodreads.com/book/show/20924311-the-road-to-middlemarch?from_search=true&from_srp=true&qid=Cm2E7fwgeL&rank=1">The Road to Middlemarch</a> offers a compelling exploration of one writer’s five-yearly revisitation of George Eliot’s masterpiece, <a href="https://www.goodreads.com/book/show/19089.Middlemarch?from_search=true&from_srp=true&qid=CRcxE3ftkB&rank=1">Middlemarch</a>. Mead first read the novel at school, and Eliot’s subtitle to the novel, “A Study of Provincial Life”, captured precisely what Mead was trying to escape at that time: provinciality. Eliot’s central character, Dorothea Brooke, captivated Mead as an unconventional intellectual heroine yearning for a life of meaning and significance. Mead marked out important moments with a fluorescent pen, such as when the intellectual and spiritual inadequacies of Dorothea’s husband, <a href="https://www.britannica.com/topic/Edward-Casaubon">Casaubon</a>, dawn upon her. Mead writes, quoting Eliot: <blockquote> ‘Now when she looked steadily at her husband’s failure, still more at his possible consciousness of failure, she seemed to be looking along the one track where duty became tenderness […]’ These seemed like things worth holding on to. The book was reading me, as I was reading it. </blockquote> <figure class="align-left zoomable"></figure> This idea of books “reading us” can sound like an odd animism. But books can prompt us to reflect on our own lives, too. Eliot makes Middlemarch almost compulsory to reread later in life: the idealism of youth captures the young reader, while the novel’s humour becomes more sympathetic as we age. To reread a novel like Middlemarch is to trace the ways we too have experienced idealism turn to illusion, or have seen the restless pursuit of change turn to a retrospective gratitude and a recognition of grace. Our ability to acknowledge new depths of meaning in our own lives and to recognise within ourselves a subtler sympathy for the lives of others can be articulated almost as precisely as lived experience itself. As Mead says, “There are books that grow with the reader as the reader grows, like a graft to a tree.” <h2>Feeling for Lear</h2> The same can be said of Shakespeare. As young readers, we won’t necessarily capture the full vision <a href="https://www.goodreads.com/book/show/12938.King_Lear?from_search=true&from_srp=true&qid=nowKY1f5aB&rank=1">King Lear</a> offers us of the tragicomic paradoxes sometimes presented by old age. The play depicts the loss of power and control over one’s life and decision-making, the tender fragility of family relationships when the care of aged parents is suddenly an urgent question and the madness that can prevail when an inheritance is at stake. <figure class="align-right zoomable"></figure> Some of these things might abstractly be understood when taught to us in the classroom, but they are far more powerfully seen when revisited after we have lived a little more of that imaginably real life ourselves. As students we might have squirmed with discomfort at the literal blinding of Lear’s loyal subject the Earl of Gloucester (the horror of witnessing a visceral, grotesque injury). But as we age it is the tragedy of moral blindness that lingers, making the final scene so extraordinarily moving: “Do you see this? Look on her. Look, her lips. Look there, look there,” Lear pleads, as if to say that Cordelia, lifeless in his arms, still breathes. Does he really see her lips quiver? Does he really believe she lives? Is this some consolation with which he dies or is it delusion? Lear’s heart is broken. So is mine. Each time I revisit this final scene, the grief of Lear as a father is profoundly felt, but my heart is broken even more so by his continuing blindness; his vision (what he thinks he sees) is desperate, untrue, and ultimately meaningless. <h2>Sites of discovery</h2> When we read we inhabit imaginary worlds and each time the reading can be different. Philip Davis, a professor of literature and psychology <a href="https://global.oup.com/academic/product/reading-and-the-reader-9780199683185?cc=au&lang=en&">has written</a>, <blockquote> Rereading is important in checking and refreshing that sense of meaning, as the reader goes back and re-enters the precise language once again. </blockquote> Davis points to an idea advanced by the novelist and philosopher Iris Murdoch, of the reader’s collection of special, memorable fragments, which serve as metaphors for the reader’s self-utterances, developed over time. These are “nascent sites for thinking and re-centring”. This is a similar idea to the novelist and journalist Italo Calvino’s description in <a href="https://www.goodreads.com/book/show/9814.Why_Read_the_Classics_?from_search=true&from_srp=true&qid=RALd1Dx5a9&rank=1">Why Read the Classics?</a> of the way classic books “imprint themselves on our imagination as unforgettable” and “hide in the layers of memory disguised as the individual’s or the collective unconscious.” Works of imaginative literature are not manuals for life, though they might along the way gift us with some wisdom; they are sites of discovery and rediscovery. The classic works we are introduced to at school may establish such sites for thinking about ourselves and others, but it is in rereading them as we grow older that we can better see the ways we have grown as imaginative, moral beings.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/246147/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/johanna-harris-305384">Johanna Harris</a>, Associate Professor, Literature, Western Civilisation Program, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/why-you-should-revisit-the-classics-even-if-you-were-turned-off-them-at-school-246147">original article</a>.

Books

Disney to change content warnings shown before "problematic" classics

Disney will tone down the language of the content warnings on its streaming service that accompany classic movies with racial stereotypes. The current disclaimers played before older titles like Dumbo and Peter Pan said the film “includes negative depictions and/or mistreatment of peoples or cultures” adding, “these stereotypes were wrong then and are wrong now.” The new disclaimers will state: “This program is presented as originally created and may contain stereotypes or negative depictions,” and will not appear as introductory text that plays before the beginning of a film. The disclaimers will also only appear in the details section of certain films, where viewers will have to navigate to find it, decreasing their visibility. Disney will also replace its “Diversity & Inclusion” performance factor used to evaluate executive pay with a new “Talent Strategy”, according to Sonia Coleman, Disney’s senior executive vice president and chief human resources officer. Other rollbacks of its diversity, equity and inclusion measures include the closure of its Reimagine Tomorrow initiative, a website that highlighted stories and talent from underrepresented communities. Disney first added content warnings to older movies like Dumbo and Peter Pan in November 2019, due to racist depictions included in some of the films created by the studio in the 40s and 50s. Disney has become the latest major organisation to roll back its diversity measures following Donald Trump’s re-election as US President. Image: spatuletail / Shutterstock.com

Movies

Six covers of Bob Dylan songs that were better than the originals

<a href="https://theconversation.com/profiles/glenn-fosbraey-424079">Glenn Fosbraey</a>, <a href="https://theconversation.com/institutions/university-of-winchester-743">University of Winchester</a> He may never have strayed far from the minds of many music fans, but with his biopic A Complete Unknown hitting UK cinemas on January 17 and heartthrob Timothée Chalamet in the lead role, Bob Dylan may be about to gain an entirely new audience. Considered by many to be the <a href="https://faroutmagazine.co.uk/bob-dylan-on-the-simple-reason-he-became-a-songwriter/">greatest songwriter of all time</a>, Dylan’s influence on music can’t be understated. His voice, however, has divided listeners over the decades. Some find it <a href="https://www.insidehook.com/music/bob-dylan-singing-voice#:%7E:text=His%20voice%20has%20articulated%20an,has%20sounded%20like%20him%20since.">“mesmeric”</a> and others have likened it to that of <a href="https://www.insidehook.com/music/bob-dylan-singing-voice#:%7E:text=His%20voice%20has%20articulated%20an,has%20sounded%20like%20him%20since.">“a dog with his leg caught in barbed wire”</a>. Despite having, as a researcher of songwriting, something of a penchant for Dylan’s idiosyncratic and character-filled style, here are six covers of his songs which I believe outperform his versions. <iframe style="border-radius: 12px;" src="https://open.spotify.com/embed/playlist/7epeDOmTqTFJbJ4q8P5RtW?utm_source=generator" width="100%" height="152" frameborder="0" allowfullscreen="allowfullscreen" loading="lazy"></iframe> <h2>1. Girl from the North Country by Eels</h2> Girl from the North Country first appeared on Dylan’s 1963 album The Freewheelin’ Bob Dylan. But it featured again on <a href="https://www.youtube.com/watch?v=Je4Eg77YSSA">Nashville Skyline</a> in 1969 as a duet with Johnny Cash. That version has been praised for the <a href="https://www.musicradar.com/news/bob-dylan-making-of-nashville-skyline">skip and groove of the acoustic guitar performances</a> and how Dylan and Cash’s vocals are <a href="https://www.musicradar.com/news/bob-dylan-making-of-nashville-skyline">instinctive and spontaneous</a>. Another view would be that the guitars are out of time and the vocals are under-rehearsed – and the same shortcomings are on display during the song’s performance on the <a href="https://faroutmagazine.co.uk/johnny-cash-bob-dylan-duet-girl-north-country/">Johnny Cash show</a>. Far superior in my humble opinion is the 2005 version by alt-rock band Eels. <figure><iframe src="https://www.youtube.com/embed/OOCOxRIB2Zo?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Girl from the North Country by Eels.</figcaption></figure> The band performed the song for their <a href="https://www.dailymotion.com/video/xv3eel">Eels with Strings: Live at Town Hall</a> DVD and album. Band leader Mark Everett switched it from acoustic guitar to piano. His gentle arpeggiated playing complemented his <a href="https://www.theguardian.com/music/2008/feb/27/popandrock.mainsection">gruff yet tender</a> vocals and drew every drop of emotion out of the lyrics and melody. He keeps in time, too. <h2>2. Mr Tambourine Man by The Byrds</h2> A masterclass in lyric writing, Mr Tambourine Man (1965) saw Dylan <a href="https://genius.com/Bob-dylan-mr-tambourine-man-lyrics">flexing his linguistic muscles</a> to reel off dozens of intricate internal and end rhymes, including my personal favourite: <blockquote> Though I know that evening’s empire has returned into sand Vanished from my hand Left me blindly here to stand, but still not sleeping. </blockquote> The Byrds’ version, released in the same year and hitting number one in both the US and the UK, isn’t better than the brilliant original (how could it be?) but it is brilliantly different. <figure><iframe src="https://www.youtube.com/embed/Swqw5a8I4b4?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>The Byrds’ version of Mr Tambourine Man.</figcaption></figure> Abridging Dylan’s version in order to make for a more palatable running time for the singles market, what it lacks in lyrics it more than makes up for in melody. The harmonies in the chorus add to Dylan’s main vocal line. It was an era-defining moment that launched the folk-rock genre. <h2>3. All Along The Watchtower by The Jimi Hendrix Experience</h2> Dylan may have released the <a href="https://www.youtube.com/watch?v=bT7Hj-ea0VE">original version</a> of All Along The Watchtower on his John Wesley Harding album in 1967, but it was <a href="https://www.youtube.com/watch?v=TLV4_xaYynY">The Jimi Hendrix Experience’s cover</a>, released just six months later, which has largely been accepted as the definitive recording. <figure><iframe src="https://www.youtube.com/embed/NdSyFxTDQUM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>All Along the Watchtower performed by Jimi Hendrix.</figcaption></figure> Taking Dylan’s gentle acoustic guitar and harmonica number and feeding it through his legendary white Strat, Hendrix rocks seven shades of summer out of the song until it takes on a completely new life. So great was his reinterpretation (it seems derisive to merely label it a “cover”) that as well as being ranked at number 40 in Rolling Stone’s <a href="https://au.rollingstone.com/music/music-lists/best-songs-of-all-time-30065/the-jimi-hendrix-experience-all-along-the-watchtower-30527/">500 Greatest Songs of All Time</a> list, Dylan amended the song’s structure for <a href="https://faroutmagazine.co.uk/what-did-bob-dylan-think-jimi-hendrix-version-along-the-watchtower/">later live performances</a> in order for it to be more like Hendrix’s. <h2>4. If Not For You by George Harrison</h2> Granted, I only heard Dylan’s recording of <a href="https://www.youtube.com/watch?v=yyouhbgAiCA">If Not For You</a> after already being familiar with George Harrison’s version included on his 1970 album <a href="https://www.youtube.com/watch?v=XscuV_R6tr4">All Things Must Pass</a> for several years, so it was always going to feel slightly foreign to me. <figure><iframe src="https://www.youtube.com/embed/E28E1hEZN8g?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>George Harrison performs If Not For You.</figcaption></figure> What I wasn’t expecting, though, was how unimpressive and <a href="https://www.youtube.com/watch?v=yyouhbgAiCA">strangely flat</a> it seems compared to Harrison’s recording. Dylan’s run-together vocal lines were backed by oddly jaunty and accented side-stick drumming (with the snare struck on the second beat but then a quaver before the fourth instead of on the fourth itself) and punctuated with glockenspiel. It all adds up to a slightly confused and messy arrangement, which takes attention away from the sincerity of the lyrics. <h2>5. If Not For You by Olivia Newton John</h2> When Olivia Newton-John issued her own cover of If Not For You in 1971, she wisely opted for the <a href="https://americansongwriter.com/how-bob-dylan-and-george-harrison-helped-olivia-newton-john-land-her-first-hit/">same arrangement</a> as Harrison’s, thankfully, minus Phil Spector’s muddy over-production – and scored an international hit with it in the process. <figure><iframe src="https://www.youtube.com/embed/aJvwcpkBN3A?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>If Not For You performed by Olivia Newton John.</figcaption></figure> To my mind If Not For You remains one of Dylan’s most simplistic, beautiful songs – so long as he’s not singing it. <h2>6. Ballad of Hollis Brown by David Lynch</h2> Appearing on The Times They Are A-Changin’ (1964), Dylan presents the five-minute <a href="https://www.youtube.com/watch?v=_8xkxy3tXTA">Ballad of Hollis Brown</a> as its title suggests, as a <a href="https://pressbooks.pub/shawangunktest/chapter/pounding-in-your-brain-form-in-dylans-ballad-of-hollis-brown/#:%7E:text=%E2%80%9CHollis%20Brown%E2%80%9D%20is%20most%20assuredly,that%20plays%20is%20Dylan%27s%20guitar.">traditional ballad in both form and theme</a>. His voice is backed by a lone acoustic guitar, minus even his ever-present harmonica. <figure><iframe src="https://www.youtube.com/embed/AXnqohIm9g4?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>The Ballad of Hollis Brown by David Lynch.</figcaption></figure> Nearly half a century later, director David Lynch took time out from his day job to <a href="https://www.youtube.com/watch?v=AXnqohIm9g4">reimagine the song</a> as drum-heavy claustrophobia, twisting the original until it would have been unrecognisable if not for its title and lyrics. Dylan diehards may want to give this one a miss, but for those of us who enjoyed the music from the Roadhouse in Twin Peaks series three, this is a winner.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/246909/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/glenn-fosbraey-424079">Glenn Fosbraey</a>, Associate Dean of Humanities and Social Sciences, <a href="https://theconversation.com/institutions/university-of-winchester-743">University of Winchester</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/six-covers-of-bob-dylan-songs-that-were-better-than-the-originals-246909">original article</a>.

Music

Readers response: What's one song that never fails to make you cry?

We asked our readers what song always fills them with emotion, whether because of the lyrics or being associated with a heartfelt memory. Here's what they said. Kathryn Sands - Dance with my Father by Luther Vandross. Carol Hanson - Amazing Grace. Was played on the bagpipes at my mum's funeral. Matthew Walter - Probably "When You Kiss Me" by Shania Twain, as it's the song my wife walked down the aisle to on our wedding day. The other one would be "What I Never Knew I Always Wanted" by Carrie Underwood, which played after my son was born. Just sums up parenthood perfectly! Patricia Sundin - “I was only 19”. Makes me think of all my friends who were conscripted to go to fight in Vietnam. Not a happy time. Janette Willis - What a Wonderful World - Louis Armstrong. Trish Watts - If Tomorrow Never Comes by Garth Brooks. Jan Palmer - Imagine by John Lennon. Adelle Ellmers - Sounds of Silence cover by Disturbed. Played at my husband's funeral. It was one of his favourites. Gay Sharran Gold - At Last…. I have to turn it off when it plays. My daughter married her partner two days before she died and had that playing for their song. Heather Widjaja - Monsters by James Blunt. Always reminds me of the last days of my Dad's life. Jeanette Heaton - Forever Young by Bob Dylan. Reminds me of my beloved - lost too soon. Laraine Hughes - Because by Mario Lanza. Walked down the aisle and played at my beloved husband's funeral. Started and ended our life together. Rhonda Leaman - Somewhere Over The Rainbow from The Wizard of Oz. Image credits: Shutterstock

Music

Sir Bob Geldof reveals new version of iconic Christmas song

Sir Bob Geldof has shared the details of the 2024 reprise of the iconic song Do They Know It's Christmas?, revealing why the new version of the song will be the last. Do They Know It's Christmas? was first released in 1984, and was sparked by Bob Geldof being disturbed by a news report on the famine in Ethiopia. He enlisted big names such as Bono, Boy George, Sting and George Michael to join in on the song to raise awareness and money for the famine. "I was sickened by it. I mean, that is really it," Geldof told A Current Affair. "I sat down and turned on the TV, and here was this devastating thing that put, you know, my pathetic, puny personal problems in a horrifying perspective." Since then, three more versions of the charity song have been made, in 2004, 2014 and now, in 2024 to mark the 40th anniversary of the original track. <iframe title="YouTube video player" src="https://www.youtube.com/embed/CDiYk07FG1Y?si=TwdiduKB5vPX56V7" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Instead of recruiting new artists, this time Bob Geldof has remixed famous renditions from previous versions to combine the greatest voices of our time. Despite each iteration of the song having its own unique charm and voice, Geldof says it will be the last hurrah for the iconic Christmas tune. "I personally think, it's the definitive one and there will be no more," Geldof said. "The world has never been more fragile in my life, and I'm old, and I don't think people can take on board any more horror. They cannot absorb any more, but it's happening." Image credits: A Current Affair

Music

Most popular wedding song revealed

A classic 1980s hit has been crowned the most popular wedding song according to a recent study. According to the new research by Breezit, an online wedding vendor search tool that collates data, Whitney Houston’s pop ballad I Wanna Dance With Somebody is the most popular song for couples tying the knot. The 1987 hit, which was on Houston’s second studio album, ‘Whitney’, appeared 484 times across the 2,000 wedding-themed Spotify playlists the company poured through, which contained a total of 49,091 songs. Among thousands of playlists, I Wanna Dance With Somebody featured on more than 24 per cent of those nuptial-centric compilations. Coming in second on the list of most popular wedding songs was ABBA’s 1976 worldwide hit Dancing Queen. “Music plays an incredibly important role in wedding celebrations, and it’s fascinating to see which songs are still hailed as wedding classics, even years after their initial release,” Arturas Asakavicius, co-founder and CEO of Breezit, told <a href="https://www.brides.com/all-time-most-popular-wedding-song-new-study-8733497">Brides</a>. “Wedding playlists can help create lasting memories” he added, “capturing both the joy of the dance floor and the romance of walking down the aisle. Certain songs have become intertwined with the celebration of a wedding, which is why some have become timeless classics for many couples’ big day.” Image credits: Shutterstock

Music

Music and dementia: researchers are still making discoveries about how songs can help sufferers

<a href="https://theconversation.com/profiles/rebecca-atkinson-1288605">Rebecca Atkinson</a>, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> and <a href="https://theconversation.com/profiles/ming-hung-hsu-2215063">Ming-Hung Hsu</a>, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> Music is woven into the fabric of our everyday lives. Whether it’s lifting our spirits, pushing us to run faster or soothing us to sleep, we can all <a href="https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2021.713818/full">recognise its power</a>. So it’s no wonder it is increasingly being used in medical treatment. As well as proving very useful in <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3863265/">cancer treatment</a>, managing <a href="https://www.sciencedirect.com/science/article/pii/S1526590022000153">chronic pain</a> and even helping the brain <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2014.00245/full">recover after a stroke</a>, researchers have also been making great strides in using music to help patients with dementia. It reduces patients’ <a href="https://www.cochranelibrary.com/cdsr/doi/10.1002/14651858.CD003477/full">anxiety and depression</a>, and <a href="https://www.thelancet.com/journals/eclinm/article/PIIS2589-5370(23)00401-7/fulltext">improves wellbeing</a> both for them and their carers <a href="https://www.cambridge.org/core/journals/the-british-journal-of-psychiatry/article/individual-music-therapy-for-depression-randomised-controlled-trial/A1CD72904929CECCB956F4F3B09605AF">by enhancing</a> everyone’s ability to adapt and cope with adversity or stress. <a href="https://www.bamt.org">Music therapy</a> in the form of playing, singing or listening to music can also have a <a href="https://journals.sagepub.com/doi/abs/10.1177/1362361309105660">positive effect</a> on cognitive function – particularly for <a href="https://link.springer.com/article/10.1186/1472-6882-10-39">older adults</a> either with dementia or memory issues. So why does music appear to have such a powerful effect for people with dementia? <h2>Music and the brain</h2> About a decade ago, <a href="https://www.sciencedirect.com/science/article/abs/pii/S1053811911013000">researchers discovered that</a> when people listened to music, multiple areas of the brain were involved in processing it. These included the limbic (which processes emotions and memory), cognitive (involved with perception, learning and reaction) and motor areas (responsible for voluntary movement). This challenged preconceptions that music was processed more narrowly in the brain – and helped explain why it has such a unique neurological impact. Not only that, research has shown that music might help <a href="https://www.sciencedirect.com/science/article/abs/pii/S0306987708002880">regenerate the brain</a> and its connections. Many <a href="https://www.nhs.uk/conditions/dementia/about-dementia/causes/">causes of dementia</a> centre around cell death in the brain, raising the possibility that music could help people with dementia by mending or strengthening damaged neural connections and cells. It’s not just any music that has a regenerative effect on the brain, though. <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2016.00103/full">Familiar and favourite music</a> has been shown to have the biggest impact on the way we feel, and is closely linked with memory and emotions. This is because listening to our favourite songs <a href="https://www.nature.com/articles/nn.2726">releases feel-good hormones</a> that give us a sense of pleasure. Curated music playlists of favourite music could be the key in helping us deal with the <a href="https://journals.sagepub.com/doi/full/10.1177/10298649211030318">stress of everyday life</a>. This is relevant to Alzheimer’s and other forms of dementia because researchers have discovered that parts of the brain linked with <a href="https://academic.oup.com/brain/article/138/8/2438/330016">musical memories</a> are less affected by these conditions than other areas of the brain. This explains why memories and experiences that are linked to <a href="https://link.springer.com/article/10.14283/jpad.2018.19">favourite music</a> are often preserved for people with such conditions. Listening to music can also <a href="https://pubmed.ncbi.nlm.nih.gov/34346261/">help manage</a> their experiences of distress, agitation and “<a href="https://www.alzheimers.org.uk/about-dementia/symptoms-and-diagnosis/symptoms/sundowning">sundowning</a>” – where a person is more confused in the afternoon and evening. In a <a href="https://www.sciencedirect.com/science/article/pii/S0197457224002209?utm_campaign=STMJ_219742_AUTH_SERV_PA&utm_medium=email&utm_acid=224973760&SIS_ID=&dgcid=STMJ_219742_AUTH_SERV_PA&CMX_ID=&utm_in=DM500444&utm_source=AC_">small study</a> conducted by us and our colleagues at the Cambridge Institute for Music Therapy Research, we showed just how great of an effect listening to music can have for people with dementia. We found that when people with dementia repeatedly listened to their favourite music, their heart rate and movements changed in direct response. This showed that people’s physical responses were affected by musical features like rhythm and arrangement. Their heart rate also changed when they sang along to music, or when they began reminiscing about old memories or stories while listening to a song or thinking about the music. These changes are important because they show how music affects movement, emotions and memory recall. Studies have also shown that during and after listening to music, people with dementia <a href="https://www.mdpi.com/2076-3425/13/7/1103">experienced less agitation</a>, aggression and anxiety, and their general mood was improved. They even needed less medication when they had regular music sessions. Other researchers have even begun testing the effects of <a href="https://onlinelibrary.wiley.com/doi/abs/10.1002/gps.4721?casa_token=VufeKQP7aNsAAAAA%3AMSOgiwUQYKqmmrLsUFv9glmSnc5BMxoqeMmmt3HX4BJX2Fs2UKeXjnN2850o1Umz0j1NvmrpQ3W3Pw">music training programmes</a> to support cognition for people with dementia. Results have been promising so far – with adults in the study showing improved executive functioning (problem solving, emotion regulation and attention) compared to those who took part in just physical exercise. So, music is likely to continue to be a useful medical treatment for people with dementia. But based on what we know so far, it’s important that it comes from the patient’s own music collection – and is used alongside other management techniques such as using drugs that can slow the progression of dementia or help manage symptoms to support self-care and wellbeing.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/239446/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/rebecca-atkinson-1288605">Rebecca Atkinson</a>, Researcher in Music Therapy, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> and <a href="https://theconversation.com/profiles/ming-hung-hsu-2215063">Ming-Hung Hsu</a>, Senior Research Fellow, Music Therapy, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/music-and-dementia-researchers-are-still-making-discoveries-about-how-songs-can-help-sufferers-239446">original article</a>.

Mind

Young musician dies weeks after writing final song

Cat Janice has died aged 31 with her family by her side. The young musician, who had a large following on TikTok, had been battling cancer since January 2022 when doctors diagnosed her with sarcoma, a rare malignant tumour. She was declared cancer-free on July 22 that same year, following extensive surgery, chemo and radiation therapy. The mum-of-one was sadly re-diagnosed with cancer in June last year and despite fighting hard in the second round of her treatments, Janice told fans in January that her cancer "won" and that she "fought hard but sarcomas are too tough". Janice's family have announced her passing in a statement shared to her Instagram. "From her childhood home and surrounded by her loving family, Catherine peacefully entered the light and love of her heavenly creator," they said. "We are eternally thankful for the outpouring of love that Catherine and our family have received over the past few months." Before she died, Janice publicly announced that all her music would be signed over to her 7-year-old son, Loren, to support him in the future. Just weeks before her death, she released her final song Dance You Outta My Head in the hope it would spread "joy and fun". "My last joy would be if you pre saved my song 'Dance You Outta My Head' and streamed it because all proceeds go straight to my 7-year-old boy I'm leaving behind," she said, before the song was released. The song went viral, and took he number one spot in several countries and the number five spot on the Apple Itunes globally. Her family have said that the love she received for her final song, was unbelievable parting gift she could have ever received. "Cat saw her music go places she never expected and rests in the peace of knowing that she will continue to provide for her son through her music. This would not have been possible without all of you." Images: Instagram

Caring

Top 80s songs to get you moving

While the fashion from the 1980s might only come out of the closet for dress up parties these days, the music is still considered some of the best of our time. Especially for music to get you moving. From dance and pop hits to a little rap and rock, it’s got to be one of the most diverse, eclectic and extravagant decades in recent cultural history. Here, we have been busy rifling through the tracks to whittle down a decade of music into 40 of the best tracks to move to. From dancing to exercise, if you want to get up off that couch, these are the songs to hit play on. 1. “Girls Just Want to Have Fun” by Cyndi Lauper (1983) 2. “Hit Me with Your Best Shot” by Pat Benatar (1980) 3. “Eye of the Tiger” by Survivor (1982) 4. “Love Shack” by The B-52's (1989) 5. “Beat It” by Michael Jackson (1982) 6. “Manic Monday” by The Bangles (1986) 7. “Let's Dance” by David Bowie (1983) 8. “Livin' on a Prayer” by Bon Jovi (1986) 9. “I Love Rock N' Roll” by Joan Jett & The Blackhearts (1982) 10. “Thriller” by Michael Jackson (1982) 11. “Faith” by George Michael (1987) 12. “Jump” by Van Halen (1984) 13. “Don't Stop Believin’" by Journey (1982) 14. “Walking on Sunshine” by Katrina & The Waves (1983) 15. “Kiss” by Prince (1986) 16. “Holiday” by Madonna (1983) 17. “Celebration” by Kool and the Gang (1980) 18. “Billie Jean” by Michael Jackson (1982) 19. “Love is a Battlefield” by Pat Benatar (1983) 20. “Sweet Dreams (Are Made of This)” by Eurythmics (1983) 21. “White Wedding” by Billy Idol (1982) 22. “Take on Me” by a-ha (1985) 23. “Video Killed the Radio Star” by The Buggles (1981) 24. “Karma Chameleon” by Culture Club (1983) 25. “The Tide is High” by Blondie (1980) 26. “Wake Me Up Before You Go-Go” by Wham (1984) 27. “Let's Hear It for the Boy” by Deniece Williams (1984) 28. “A Little Respect” by Erasure (1988) 29. “Sweet Child O' Mine” by Guns N' Roses (1987) 30. “Footloose” by Kenny Loggins (1984) 31. “Wild Thing” by Tone-Loc (1989) 32. “Tainted Love” by Soft Cell (1981) 33. “Borderline” by Madonna (1983) 34. “I Wanna Dance With Somebody” by Whitney Houston (1987) 35. “Just Can't Get Enough” by Depeche Mode (1981) 36. “Never Gonna Give You Up” by Rick Astley (1987) 37. “Always Something There to Remind Me” by Naked Eyes (1983) 38. “You Got It (The Right Stuff)” by New Kids on the Block (1988) 39. “It Takes Two” by Rob Base (1988) 40. “Down Under” by Men at Work (1981) Image: Getty

Music

Mariah Carey slapped with multi-million dollar lawsuit over hit festive song

Mariah Carey is facing a multi-million dollar lawsuit over her hit festive song, as another musician has come forward claiming she plagiarised an original work. Carey’s song All I Want For Christmas Is You has long been a staple of December, and has sold over 10 million copies since its 1994 release. However, Andy Stone, lead vocalist of Vince Vance and the Valiants, claims Carey infringed on his copyright. Stone co-wrote a song, which has the same title as Carey’s smash hit, in 1989 to which he claims Carey and her team of copying his song’s “compositional structure,” according to the complaint obtained by <a href="https://www.foxnews.com/entertainment/mariah-carey-facing-20-million-lawsuit-over-all-i-want-for-christmas-is-you" target="_blank" rel="noopener">Fox News Digital</a>. <iframe title="YouTube video player" src="https://www.youtube.com/embed/w8HWHd0EYJA?si=IdW0GIKXEQBJqaO_" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> The court documents state that Carey “directly” copied lyrics from Stone’s 1989 hit and “approximately 50 per cent” of the song is copyright infringement. Stone went on to claim that Carey and her team “undoubtedly” had access to his version of All I Want For Christmas is You due to its “wide commercial and cultural success.” Stone’s track charted on Billboard for years, with the band even performing the track at the White House in 1994 - the same year Carey’s festive song was released. “Carey has capitalised on the success of her infringing work,” Stone’s complaint alleged. <iframe title="YouTube video player" src="https://www.youtube.com/embed/yXQViqx6GMY?si=Exrq9M0AA2u5XRpB" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> “All I Want For Christmas is You has become a ubiquitous part of popular culture, and Carey’s name has become synonymous with the season.” Stone first sued Carey over the copyright issue in June 2022 in a Louisiana court before dropping the claim five months later. Image credits: Getty Images

Legal

Country music star's "racist" song divides audience

A popular country music star has been forced to defend his new song and accompanying music video, after many condemned the track for being racist. Jason Aldean's song, titled Try That in a Small Town, soared to number one on the country music charts in the US, before been pulled by Country Music Television after claims it promoted gun violence, vigilantism and lynching: a form of execution frequently committed against African-Americans. The singer, who is known for his conservative views, defended the song, saying it was about, “the feeling of community that I had growing up in where we took care of our neighbours, regardless of difference of background or beliefs”. He also slammed the furore against the song, saying saying the accusations against the track that it is “pro lynching” are “not only meritless but dangerous”. Singer Sheryl Crow called out Aldean posting on Twitter, “There’s nothing small town or American about promoting violence,” and called the song “lame” for its controversial themes. <blockquote class="twitter-tweet"> .<a href="https://twitter.com/Jason_Aldean?ref_src=twsrc%5Etfw">@Jason_Aldean</a> I’m from a small town. Even people in small towns are sick of violence.There’s nothing small-town or American about promoting violence. You should know that better than anyone having survived a mass shooting. This is not American or small town-like. It’s just lame <a href="https://t.co/cuOtUO9xjr">https://t.co/cuOtUO9xjr</a> — Sheryl Crow (@SherylCrow) <a href="https://twitter.com/SherylCrow/status/1681485292425867264?ref_src=twsrc%5Etfw">July 19, 2023</a></blockquote> The music video for the song prompted a new wave of backlash, as it was filmed outside the Maury County Courthouse in Columbia, Tennessee, which is a site that African American man was lynched. A writer for entertainment industry magazine <a title="variety.com" href="https://variety.com/2023/music/opinion/jason-aldean-try-that-in-a-small-town-worst-country-song-video-column-1235673177/">Variety</a> said it was “the most contemptible country song of the decade” which traded on the “implicit moral superiority of having a limited number of neighbours”. “For Aldean, it’s about how tiny burgs are under the imminent threat of attack from lawless urban marauders who will have to be kept at bay by any means necessary – meaning, pretty explicitly, vigilantism,” wrote its music critic Chris William. He went on to say the video was “dangerous” because it “conflates the act of protesting with violent crime”. In the wake of the criticism, Aldean hit back on his social media accounts, saying people had gone "too far" with their interpretation of the song. He wrote on Twitter, “There is not a single lyric in the song that references race or points to it – and there isn’t a single clip that isn’t real news footage – and while I can try and respect others to have their own interpretation of a song with music – this one goes too far.” “My political views have never been something I’ve hidden from. And I know that a lot of us in this country don’t agree on how we get back to a sense of normalcy, where we go at least a day without a headline that keeps us up at night, but the desire for it to – that’s what the song is about.” Image credits: Getty Images

Music

6 classic songs involved in lawsuits

Like with all art, the line between appropriation and plagiarism in the music world is very blurred. Artists have always been inspired by other artists, so it’s inevitable that some works will be similar to others. These cases, however, prove that the consequences of copyright infringement can be extremely costly indeed. The Beatles vs. Chuck Berry Chuck Berry’s music has long been the object of adaptation, but none were as high-profile as The Beatles’ hit song “Come Together”, which allegedly borrowed lyrics and melodies from Berry’s “You Can’t Catch Me”. Lennon’s line, “Here come ol’ flattop, he come groovin’ up slowly” is thought to have been taken from Berry’s “Here come a flattop, he was movin’ up with me”. Berry’s publishing company was awarded nearly US$85,000 as a settlement. Johnny Cash vs. Gordon Jenkins In the 1970s, Cash was ordered to pay Gordon Jenkins US$75,000 after his 1955 song “Folsom Prison Blues” allegedly used lyrics and music from Jenkins’ 1953 tune “Crescent City Blues”. Although Cash’s song was a tale of murder and imprisonment and Jenkins’ was about a lovelorn woman desperate to escape, the songs were still similar enough to be the focus of a lawsuit. Men At Work vs. Larrikin Music It’s considered to be one of Australia’s most iconic songs (even an unofficial anthem for some), but Men At Work’s hit song “Down Under” was the subject of a nasty dispute in 2009 when they were sued by Larrikin Music, the owners of 1932 classic “Kookaburra”. Larrikin Music claimed that part of the Aussie band’s flute riff was stolen from the song “Kookaburra”, written by Marion Sinclair. The band was forced to give Larrikin 5 per cent of all royalties after 2002. Ray Parker, Jr. vs. Huey Lewis and the News Who can forget Parker’s iconic Ghostbusters theme song? Well, as it turns out, it may not have been completely original. Huey Lewis and the News sued Parker after hearing similarities with their song “I Want a New Drug”, and won the suit. In a strange twist, however, Huey Lewis revealed the details of the settlement to the media in a breach of confidentiality and was counter-sued by Parker in 2001. Rod Stewart vs. Jorge Ben Stewart was sued after the vocal melody from his hit “Do Ya Think I’m Sexy?” was found to be uncannily similar to that of Jorge Ben’s 1976 song “Taj Mahal”. As part of the settlement, Stewart decided to donate a percentage of the track’s earnings to UNICEF. “Clearly the melody had lodged itself in my memory and then resurfaced. Unconscious plagiarism, plain and simple,” Stewart wrote in his autobiography. Coldplay vs. Joe Satriani Satriani sued Coldplay in 2008, alleging that their song “Viva la Vida” used “substantial original portions” of music from his song “If I Could Fly”, which was released four years previously. They settled out of court in 2009. This suit came just months after American band Creaky Boards accused them of stealing the melody of their ironically-named song “The Songs I Didn’t Write”. Yusuf Islam (Cat Stevens) also claimed the song ripped off his track “Foreigner Suite”. Do you think any of these songs sound like their alleged inspirations? Tell us your thoughts in the comment section below. Image credit: Getty Related links: <a href="../finance/insurance/2016/04/10-odd-things-celebrities-have-insured/">10 odd things celebrities have insured</a> <a href="../entertainment/music/2016/04/the-surprising-real-names-of-singers/">The surprising real names of famous singers</a> <a href="../entertainment/music/2016/03/rock-and-roll-hits-banned-from-being-played/">6 rock ‘n’ roll hits banned from being played</a>

Legal

6 modern-classic movies everyone needs to see

There's never a bad time to dive back into the archives and watch some good movies. With that in mind, here we’ve rounded up six essential modern-classic movies from the past 15 years that everyone needs to see. Scroll through the gallery above for images. 1. Donnie Darko (2001) Jake Gyllenhaal plays a troubled teen that is tormented by visions of the future and a disturbing-looking bunny. Donnie Darko has become a cult classic, as it captured the angst of the youth who at the time the movie was in theatres were coping with the confusion of a post-9/11 world. 2. Bowling For Columbine (2002) Michael Moore's fourth feature film, which won an Oscar for best documentary, might be his best. The controversial director uses the events of the Columbine High School massacre to address the US' addiction to guns. Sadly, years later the issues explored in this movie are still relevant. 3. Ratatouille (2007) Ratatouille tells a compelling story through animation that isn't just for kids. Set in the posh Paris cooking world, Ratatouille follows a rat who fancies himself a chef. The movie could have been a disaster, but instead it showed that stories with lots of layers could be told well through cartoons and computer graphics. 4. There Will Be Blood (2007) Paul Thomas Anderson delivers a film that is epic in so many ways, including its story, its music, and its photography. Daniel Day-Lewis delivers a performance that withstands the test of time as a maniacal oil baron. 5. Zodiac (2007) David Fincher, who is known for his attraction to dark material, was perfect for bringing the story of the Zodiac Killer to the big screen. Jake Gyllenhaal plays a cartoonist for a newspaper who becomes obsessed with the case and takes over the detective work when the cops dry up on leads. Perhaps the best trick Fincher pulls off is building constant suspense so that, by the end, anyone could be the Zodiac. 6. WALL-E (2008) Arguably Pixar's greatest work, WALL-E explores so many different issues that you can watch it a dozen times and enjoy focusing on each one. From a love story to commentaries on obesity and climate change, the movie is much more than the mere travels of a lovable robot (but that part is great, too). Written by Jason Guerrasio. First appeared on <a href="../%20http:/www.stuff.co.nz/" target="_blank" rel="noopener">Stuff.co.nz.</a> Images: Getty

Movies

Readers respond: What's a song that is so beautiful it makes you cry?

It doesn't take much for music to make you move, but music that moves you to the point of tears is something special. We asked our readers which songs they find so beautiful that it touches a part of their soul and brings them to tears. Here are some of our favourite responses that, and a list of songs you could add to your playlist. Mary Therese Apostol - Unchained Melody from the film Ghosts... always brings me to tears. Also Always on my Mind brings back beautiful memories of a very loved person. Susan Buntin - Mike and the Mechanics song called The Living Years as I wasn’t there for my parents passing. Pat Sayers - "I'll take you home again Kathleen". One of my mother's favorites to sing, she had a good voice. It is not heard at all these days, but I cry even when I sing it, remembering her. Suzie Justinic - “If I can dream” by Elvis Presley. Very powerful song. Cry every time I hear it. Debbie Costelloe - Goodbye my friend by Linda Ronstad,it holds memories of my loved ones Kate Gregg - Fields of Athernrye Janine Sarai George - Outside when a full band of bagpipes plays a certain song, Danny Boy, Flowers of Scotland it can be magic. Chrissy Soldi - Nothing else matters by Metallica it was played at my son’s funeral still brings tears to my eyes. Annie MacCormack - ‘Sailing’ by Rod Stewart. We played it at my mum’s funeral. I cry every time I hear it. Nita Kennedy - "You raised me up" the CD was given to me on mother's day by my daughters with instructions to listen to the words because they reflected how they thought of me ... I did and I cried ..... Linda Misarz - If I can dream, by Elvis. Very powerful message. Barbara Bergen - Beautiful Dreamer by Roy Orbison Joyce Nickson - Imagine! John Lennon.

Music

Fans fume as classic film undergoes censorship treatment

Film fanatics are in outrage after discovering an unannounced edit in William Friedkin’s 1971 classic movie, The French Connection. The scene causing the trouble comes just 10 minutes into the drama, when two characters - Gene Hackman’s ‘Popeye’ Doyle and Roy Scheider’s Buddy ‘Cloudy’ Russo - are having a conversation, and one of them uses a racial slur. The sequence was removed, and the new edited version cuts to the latest in the conversation, omitting the part with the slur. Disney has been the subject of blame for the move - as the company took over Fox in 2019 and subsequently the rights to the film - with fans accusing them of censoring the scene in the United States, while in the United Kingdom and Canada, the unedited version of the film is still available for streaming on Disney+. Most took to social media to share their complaints, with the majority in agreement that Disney had missed the mark, and The Film Magazine’s Joseph Wade even calling it “corporate vandalism”. “In cases such as this, ‘Censor’ takes the place of ‘Vandalise’,” he tweeted. “They have vandalised a piece of art.” <blockquote class="twitter-tweet"> Disney Censor 'The French Connection' (1971) In cases such as this, "Censor" takes the place of "Vandalise". They have vandalised a piece of art. This is corporate vandalism no matter how said corporation spins the language. <a href="https://t.co/yxl1o2RsMU">pic.twitter.com/yxl1o2RsMU</a> — Joseph Wade (@JoeTFM) <a href="https://twitter.com/JoeTFM/status/1666327940072722434?ref_src=twsrc%5Etfw">June 7, 2023</a></blockquote> “At the risk of being like ‘nooo, my precious n-word,’ the uncensored FRENCH CONNECTION should be the only one in circulation, whether on TV or in theatres,” one user said. “I don't think it's a stretch to say that Friedkin knew exactly what having his detective protagonist use it said about him.” One user went on to share a clip of Hackman discussing the scene - and slur - in question, in which the actor claimed he “protested somewhat”, before sharing his belief that it was part of “who the guy is”. <blockquote class="twitter-tweet"> Gene Hackman speaking in 2012 about the controversial line from French Connection. <a href="https://t.co/l45DBP9DvD">pic.twitter.com/l45DBP9DvD</a> — oneilla (@oneilla828) <a href="https://twitter.com/oneilla828/status/1666439477403811840?ref_src=twsrc%5Etfw">June 7, 2023</a></blockquote> “The censorship of The French Connection is shameful if true,” another agreed. “Thank God,” a frustrated - and sarcastic - fan added, “now I can finally show my 6 year old child The French Connection without any worries”. One Twitter user wrote of how “it speaks badly for film preservation that even a Best Picture winner isn't immune from the clutches of Disney”, and how they’d prefer to watch the film “the way it was intended to be watched, thank you very much.” Images: Twentieth Century Fox

Movies

Alluring, classic, glamorous: the history of the martini cocktail

<a href="https://theconversation.com/profiles/ursula-kennedy-560331">Ursula Kennedy</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> The martini cocktail has existed in a range of guises throughout its ice-cold, crisp life. Several stories exist as to its origins. The “classic” martini is made with gin and vermouth (a fortified wine infused with spices) and garnished with an olive or a twist of lemon. It is quintessentially American. <h2>The contested origins of the martini</h2> <a href="https://historynewsnetwork.org/article/143103">Many believe</a> the martini was invented in the 1860s at the Occidental Hotel in San Francisco by bartender Jerry Thomas. Thomas evolved a one part sloe gin, two parts sweet vermouth, maraschino and a dash of bitters with a lemon concoction into a drink he called the Martinez, which he made for passengers departing on the ferry to the town of the same name. It was said to also be prepared for miners celebrating striking gold. Others believe it was invented in 1911 at the Knickerbocker Hotel in New York by bartender Martini di Taggia, served to billionaire John D. Rockerfeller with equal parts London dry gin and dry vermouth. However, recipes for the drink were published as early as 1862, in Jerry Thomas’s Bartenders’ Guide. Stronger versions of the martini include two parts gin, and even up to five parts gin, to one part vermouth, garnished with olive or lemon. A “dry” martini has little to no vermouth at all – the focus being gin. Author T.S. Eliot once said: <blockquote> There is nothing quite so stimulating as a strong dry martini cocktail. </blockquote> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=380&fit=crop&dpr=1 600w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=380&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=380&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=478&fit=crop&dpr=1 754w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=478&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=478&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>A classic martini with olives as the garnish. Shutterstock</figcaption></figure> <h2>The martini’s rise, fall and rise again</h2> During the <a href="https://www.history.com/topics/19th-century/gilded-age">Gilded Age</a> (1880-1900), the martini rose in popularity and remained so through to the mid-20th century. Prohibition in America during 1920 to 1933 did little to harm the martini’s popularity, as backyard gin production was reasonably easy. In the 1960s the drink’s popularity started to wane due to the burgeoning quality and availability of other beverages such as wines and beers. There were also concerns about alcohol consumption and health. With the increasing popularity of “retro” style and culture in recent years the martini has made a comeback, with <a href="https://vinepair.com/articles/martini-hype-train/">reports of increased demand</a> for the drink among young people. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=458&fit=crop&dpr=1 600w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=458&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=458&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=576&fit=crop&dpr=1 754w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=576&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=576&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Customers at a Philadelphia bar after Prohibition’s end, Dec. 1933. Shutterstock</figcaption></figure> <h2>Martini and its variations</h2> Today, the martini (or a common variation of it) is best known for its identity in popular culture, most famously as the drink of fictional British Secret Service agent, James Bond. The famous phrase “shaken, not stirred” was first uttered on screen by actor Sean Connery playing Bond in the 1964 movie Goldfinger. Bond’s tipple of choice is prepared with vodka rather than gin. While most purists believe the gin martini is the classic form of the drink, there are myriad variations that use the martini name or are closely related to the original drink, such as <a href="https://www.liquor.com/recipes/gibson/">the Gibson</a>, a classic martini garnished with cocktail onions instead of olives. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=597&fit=crop&dpr=1 600w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=597&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=597&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=750&fit=crop&dpr=1 754w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=750&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=750&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Sean Connory as James Bond, making his signature vodka martini. Wikimedia</figcaption></figure> <a href="https://www.spiritshunters.com/cocktail/the-history-of-the-dirty-martini/">The “dirty” martini </a>is currently popular, which is gin soiled with a generous dash of brine from the olive jar. According to the Oxford Companion to Spirits & Cocktails, the practice of adding brine to a martini has been around since at least 1901. The term “dirty martini” seemingly wasn’t coined until the 1980s, however. US president Franklin Delano Roosevelt may have been an early proponent of using olive brine in cocktails. Allegedly, the president “would shake up a drink at the drop of a hat … and was reported to have splashed a bite of brine in his drinks at the White House,” writes Robert Simonson in The Martini Cocktail: A Meditation on the World’s Greatest Drink, with Recipes. <a href="https://www.gq-magazine.co.uk/article/espresso-martini-vodka-cocktail">The story goes</a> that London bartender Dick Bradsell first made the espresso martini, a fusion of espresso, sweet coffee liqueur and vodka, in the late 1980s when supermodel Kate Moss (or sometimes Naomi Campbell) asked for a drink that would “wake me up and fuck me up”. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=399&fit=crop&dpr=1 600w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=399&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=399&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=502&fit=crop&dpr=1 754w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=502&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=502&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>The espresso martini. Shutterstock</figcaption></figure> There are many modern drinks that use the iconic martini glass to justify using martini in their name – however, they bear little resemblance to the original cocktail. An appletini is vodka blended with apple juice, apple cider or apple brandy, while the “French martini” consists of vodka, pineapple juice and raspberry liqueur. The TV show Sex and the City popularised the “flirtini”, containing vodka, champagne and pineapple juice. <figure><iframe src="https://www.youtube.com/embed/8STeT9WrYtU?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Keeping cool</h2> A martini glass – a classic conical bowl on a long straight stem – is one aspect of the drink that does not change. The glass was <a href="https://www.irishtimes.com/life-and-style/homes-and-property/design-moment-martini-glass-1925-1.4094434">formally unveiled at the 1925 Paris Exhibition</a> as an alternative to the classic champagne glass. The long stem allows the glass to be held while the drink remains cool, not warmed by the drinker’s hands. The wide rim allows the drinker’s nose to be close to the liquid when sipping, so the aromatics can be easily appreciated. <h2>Never out of style</h2> While Bond embodied the glamorous side of the martini, studies of writer Ian Fleming’s famous spy indicate that Bond had a <a href="https://theconversation.com/the-names-bond-james-bond-and-im-an-alcoholic-21440">severe problem with alcohol</a> consumption. On occasion he may have had a blood alcohol concentration of .36% – almost fatal. The martini should be consumed with deference … and in moderation.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/195913/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ursula-kennedy-560331">Ursula Kennedy</a>, Lecturer of Wine Science, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/alluring-classic-glamorous-the-history-of-the-martini-cocktail-195913">original article</a>. Images: Getty

Food & Wine

Surprising facts about 5 classic TV shows

As well as offering some real television nostalgia, these classic shows are also regarded as some of the most iconic TV shows ever made. Here are some lesser-known facts about five of the most popular shows in TV history. 1. I Love Lucy I Love Lucy had a rather rocky start. Fraught with dilemmas and thought to maybe not move forward with the pilot, it came down to play it safe, or take a chance on the untried medium of television. Ball recounts that in a dream, Hollywood actress Carole Lombard appeared in a “very smart suit and she said, <a href="https://books.google.com/books?id=uBWFgeCNAz4C&pg=PA26&lpg=PA26&dq=carole+lombard+Take+a+chance,+honey.+Give+it+a+whirl!&source=bl&ots=8jLdurHJI6&sig=lSqvQ7Uk-bHYFlraRdDppCxrj74&hl=en&sa=X&ved=0ahUKEwjt8byl9LXRAhVmi1QKHS3-DB70Q6AEIPjAH#v=onepage&q=carole%20lombard%20Take%20a%20chance%2C%20honey.%20Give%20it%20a%20whirl!&f=false" target="_blank" rel="noopener">‘Go on, honey. Give it a whirl</a>!’” And they did exactly that and they show is one of the most loved of its kind to date. 2. The Flintstones The popular 1960s cartoon The Flintstones may have become a hit around the world but it was not well received by everyone. One of television’s most iconic actors of all time, Jackie Gleason, was not happy about the show’s inspiration. According to Alan Reed Jr. (son of Alan Reed, who voiced Fred Flintstone), The Flintstones was <a href="http://www.thespectrum.com/story/entertainment/2015/09/24/alan-reed-jr-remembers-flintstones/72626720/" target="_blank" rel="noopener">inspired by The Honeymooners</a>, taking on the short-tempered and overbearing characteristics of Gleason’s vociferous Ralph Kramden. 3. The Odd Couple After it first premiered in 1970, viewers had some questions about the sexuality of Felix and Oscar, as the two men living as roommates in New York City. Felix, played by Tony Randall, raised the most eyebrows for his flamboyant mannerisms and interest in the arts. Worried that viewers would be turned off due to the continuous speculation, ABC executives made it a point in the show’s intro to state that the roommates were “divorced men.” 4. The Ed Sullivan Show In 1953 when Broadway director Joshua Logan asked to speak about his struggles with mental illness, what ensued was one of Ed Sullivan’s proudest TV moments. Worries about CBS’s reaction, Sullivan hesitantly allowed Logan to change the running order of the show to address his mental breakdown, recovery, and the stigma surrounding mental illness. It was met with momentary silence followed by a very big applause. In the weeks that followed, CBS was sent oodles of letters of appreciation. 5. Hogan’s Heroes CBS’s Hogan’s Heroes, which ran from 1965 to 1971, was set in an actual German POW camp during World War II. Despite being successful, the sitcom was heavily criticised, given the actual atrocities that were committed during the war. Surprisingly, many of the actors portraying the dim-witted German Nazis were Jewish, too. Image credit: Shutterstock

20 classic movie quotes you’ll love

From James Bond to Robin Williams in Dead Poets Society, these classic movie quotes are sure to bring a smile to your face. 1. "Bond. James Bond." Sean Connery in Dr No (1962) 2. “Carpe diem. Seize the day, boys. Make your lives extraordinary.” Robin Williams in Dead Poets Society (1989) 3. "ET phone home." Drew Barrymore in ET the Extra-terrestrial (1982) 4. "Frankly, my dear, I don't give a damn!" Clark Gable in Gone with the Wind (1939) 5. "Get busy living, or get busy dying." Tim Robbins in The Shawshank Redemption (1994) 6. "Go ahead, make my day." Clint Eastwood in Sudden Impact (1983) 7. "Here's looking at you, kid." Rick Blaine/Humphrey Bogart in Casablanca (1942) 8. "I never had any friends later on like the ones I had when I was 12. Jesus, does anyone?" Richard Dreyfuss in Stand By Me (1986) 9. "If you build it, he will come." Ray Liotta in Field of Dreams (1989) 10. "I'll be back." Arnold Schwarzenegger in The Terminator (1984) 11. "I'll have what she's having." Estelle Reiner in When Harry Met Sally (1989) 12. "I'm also just a girl standing in front of a boy asking him to love her." Julia Roberts in Notting Hill (1999) 13. "I'm gonna make him an offer he can't refuse." Marlon Brando in The Godfather (1972) 14. "Life is a box of chocolates, Forrest. You never know what you're gonna get." Sally Field in Forrest Gump (1994) 15. "Louis, I think this is the beginning of a beautiful friendship." Humphrey Bogart in Casablanca (1942) 16. "May the Force be with you." Harrison Ford in Star Wars (1977) 17. "Oh, Jerry, don't ask for the moon. We have the stars." Bette Davis in Now, Voyager (1942) 18. "Say hello to my little friend." Al Pacino in Scarface (1983) 19. "You had me at hello." Renee Zellweger in Jerry Maguire (1996) 20. “You're only supposed to blow the bloody doors off!” Michael Caine in The Italian Job (1969) Images: Getty

Movies

Readers respond: What's a cover song that's better than the original?

Just because a particular version of a song came first, doesn't necessarily mean it's better than a cover. We asked our readers what their favourite cover tracks are, and the response was overwhelming. Here's what they said. Moses Serugo - All Whitney Houston covers! Glen Crawford - Johnny Cash’s cover of Trent Reznor’s ‘Hurt’. It was one of the last songs Johnny recorded, and is awesome! Vicki Hunt - Torn by Natalie Imbruglia. Apparently someone recorded it before she did, although I've only heard her version, which was a major hit for her. Bruce Winther - Fields of Gold by Eva Cassidy. Sheila Schmidt - Bette Midler’s version of Beast of Burden is better than the Rolling Stones. Ken Jacob - Simply the Best by Tina Turner better than the original by Bonnie Tyler. Harold Hanlon - Elton John doing Lucy in the Sky with Diamonds. Judi Nicholls - U2 doing Unchained Melody. Michael Zoellner - Blinded By The Light by Manfred Mann. Much better than Bruce Springsteen who originally did the song. Jennifer Mitchell - Hallelujah by Lucy Thomas is absolutely beautiful. Leanne Guthrie - We've gotta get out of this place, The Angels. Best version ever!! Weeze Aitch - Horses by Darryl Braithwaite. Originally by Ricki Lee Jones. Noelene Braidwood - The Wonder Of You, by Elvis Presley. Michael Pemberton - All Along the Watchtower (Dylan) cover by the Jimi Hendrix Experience. Rick Graham - The Sound of Silence by Disturbed. Steve Pullan - Smooth Criminal by Alien Ant Farm. Deirdre Dee O'Hanlon McGregor - Dear Prudence Beatles song covered by Doug Parkinson, he does a great job, better than the Beatles. Graham Anderson - Can't think of one. The originals are the best. Image credits: Getty Images

Music

Happy songs: these are the musical elements that make us feel good

Music has a unique power <a href="https://www.researchgate.net/profile/Daniel-Vaestfjaell/publication/258173113_Emotion_Induction_through_Music_A_Review_of_the_Musical_Mood_Induction_Procedure/links/02e7e527c81174366e000000/Emotion-Induction-through-Music-A-Review-of-the-Musical-Mood-Induction-Procedure.pdf">to affect the way people feel</a> and many people use music to enhance or change their mood, channel emotions and for psychological support. The strong emotional impact of music is derived from its profound physical and psychological effects. For example, listening to relaxing music often has a positive impact on the <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1959222/">autonomic nervous system</a> (which regulates many key bodily functions), by slowing breathing, regulating heart rate, lowering blood pressure and reducing muscle tension. Listening to music also affects us at a deep physiological level, as it has a strong impact on the <a href="http://www.downloads.imune.net/medicalbooks/Neurochemistry%20of%20music.pdf">endocrine system</a>, which is responsible for hormone production. Music can stimulate the release of the neurotransmitters which affect experiences of pleasure by increasing the production of dopamine (the reward hormone), reducing levels of cortisol (the stress hormone) and increasing salivary immunoglobulin A – an antibody responsible for strengthening the immune system. Of course, these benefits are only experienced if we listen to music that we enjoy. <a href="http://www.brainvitge.org/papers/Science-2013-Salimpoor-216-9.pdf">Familiarity</a> also affects enjoyment, but even new music can stimulate positive physical and psychological responses if it is similar to other music that we like. Music we don’t like can have a strong adverse effect upon mood and wellbeing. Individual differences mean emotional <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">reactions to songs differ</a> depending on the participant’s preferences and associations they might have with the music. If we don’t like the song (or it brings back negative memories), it won’t make us happy, regardless of the quality. <h2>Creating a personal soundscape</h2> Portable listening devices and music streaming platforms have made it possible to choose from an unprecedented selection of musical styles. People can now listen to their favourite music any time, anywhere. This means music can be used to create a personal soundscape. This is common when using public transport, for example, as many passengers use headphones to create an individualised sonic environment as a distraction from the less pleasant aspects of travelling on crowded and noisy transport systems. In a <a href="https://www.prnewsblog.com/news/health-wellbeing/15034/music-psychologist-reveals-the-formula-for-the-happiest-song-ever/">recent survey</a>, 71% of 2,000 participants reported that music was the strongest influence on their mood and almost 75% regularly listened to music to cheer themselves up. In response to these findings, I conducted a review of published research, to find out which musical features tend to be present in “happy” songs. It should be remembered that musical preferences and expectations are culture dependent. For example, some Asian cultures have different associations between positive/negative emotions and major/minor chords, so <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">western “happy songs” may not be globally interpreted as such.</a> Within western cultures, there are certain components of popular music which are commonly linked with positive emotions. Music that is perceived as “happy” is usually written in a major key with a bright tone, featuring instruments with a bright timbre, such as trumpets or electric guitars. “Happy” music usually adds <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">the seventh note of the scale</a> to the main three notes in the chord. This creates a brief feeling of tension – or pleasurable expectation – followed by relief or resolution when the harmonic progression proceeds as our previous listening experience predicts. For many people, listening to music becomes an immersive <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00906/full">flow experience</a> which can distract from everyday concerns. Active musical participation through dancing or singing along brings additional enjoyment. A simple, consistent rhythm based on two or four beats in a bar increases a song’s “<a href="https://mashable.com/ad/feature/science-of-pop-music">danceability</a>”, while a binary structure – verse-chorus-verse-chorus – helps to establish familiarity so the song quickly becomes “<a href="https://www.york.ac.uk/news-and-events/features/pop-science/">sing-alongable</a>”. People generally <a href="https://mashable.com/ad/feature/science-of-pop-music">prefer familiar music</a>, or music which quickly becomes memorable. The most enjoyable songs are likely to be those which strike a satisfying <a href="https://www.sciencedirect.com/science/article/pii/S0960982219312588">balance between predictability and surprise</a>, providing an experience familiar enough to be pleasurable while avoiding being too simplistic or formulaic. Unexpected changes can intensify emotional responses. Listeners often derive the most pleasure from music when they are fairly sure about what will happen next but then an unexpected chord progression or key change provides a surprise. Based on previous experiences, listeners develop expectations about a piece of music. While familiar music tends to give the most pleasure, it also needs to contain enough “surprise” elements to retain enough interest to create a state of flow. This explains the use of a bridge or the middle eight (a section which is different from the verse and chorus) in many songs. Although “happy songs” are usually written in a <a href="https://www.researchgate.net/publication/301724912_Beyond_Happiness_and_Sadness_Affective_Associations_of_Lyrics_with_Modality_and_Dynamics">major key</a>, they sometimes include a section in a minor key to add interest. Good Vibrations by the Beach Boys begins with a verse in a minor key and then creates a strong emotional uplift as it switches into a bright major key for the chorus. <h2>The speed of happiness</h2> Faster music tends to induce more positive emotions than slower music. Research suggests that music that is perceived as happy is usually performed at a tempo between <a href="https://mymodernmet.com/10-happy-songs/">140 and 150 beats per minute (BPM)</a>. Songs people have said they use to <a href="https://open.spotify.com/playlist/7k00dawKjXgBBuq2nZyHmO">improve their mood</a> include Queen’s Don’t Stop Me Now at 156 BPM. Tempo is a confounding variable because <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">faster music increases arousal/excitement</a>, but this may not always be associated with happiness. There may also be <a href="https://www.anderson.ucla.edu/documents/areas/fac/marketing/mogilner/Mogilner_Shifting_Meaning_of_Happiness_SPPS_2011.pdf">age-related differences</a> in interpretation. What is certain is that music can have a profound effect on our sense of wellbeing. Just stick on <a href="https://www.youtube.com/watch?v=pTdihu-mp90">James Brown’s I Got You</a> (or whatever might tempt you to do a happy dance) and start to feel good. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/happy-songs-these-are-the-musical-elements-that-make-us-feel-good-201342" target="_blank" rel="noopener">The Conversation</a>.

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Happy songs: these are the musical elements that make us feel good