When I was in junior college, I took a class on psychology (specifically, I believe that it might have actually been biopsychology, but I’m not about to dig up those transcripts to find out, no offense!). One of the more interesting things that we learned within that class and the one thing that I have remembered to this day was that of all of your senses (seeing, hearing, tasting, touching, and smelling) only smell was directly linked to the memory processing area of your brain. While other senses can trigger memories and have memories attached to them, none travel quite the same direct route and therefore have a very different relationship.
The olfactory (smell) cortex has an uninterrupted neural connection to the hippocampus. Uh, what? Well, basically, the way your sense of smell works? It’s on a beeline path towards your hippocampus (which I always pictured as a mini-Hippopotamus with a cap and gown on, living inside your skull, but that’s because I’m silly like that) which happens to be the very center of transferring information into memory. Oh and where is this party going down? Inside the limbic system, which is totally a part of the emotion center of your brain.
This is your brain…This is your brain with all your senses pointed out…no graduating hippopotamus, sadly.
So here’s the way I’ve generally explained the chain of events and relationship between your senses and memory and why it makes such a huge difference. I use Chocolate Chip Cookies (if you’re vegan or hate chocolate or have other dietary restrictions…well, know what? Mentally substitute your own nostalgic food!). Due to the fact that we start developing our memories as soon as we ourselves begin developing, we are going to imagine that your grandmother was a hellova baker, and baked the hell out of some chocolate chip cookies. Every time you visited. And you visited on a very regular basis because your family was less dysfunctional than everyone else’s, so you have been smelling these morsels of sugary goodness since you were gumming mom’s nipples. You are now a grown person, and Grams has unfortunately left us, as happens with our elders. One day, you are visiting the family of a friend for *insert holiday here* and all of a sudden you are nearly knocked over by the scent of…what else…chocolate chip cookies baking. However, it is not the recognition that makes your knees practically buckle, it is the fact that it is so much like your grandmother’s house and it all rushes back to you in one intake of breath.
It is a mistaken assumption to make that when you breathe something in, you merely recognize it for what the scent is. Smells are complex relationships. And what may be simply some loudmouth douchebag in front of me in line wearing too much cologne may make the woman behind me start to cry due to the fact that this was the very same scent that her former husband wore. Each person has their own set of smell-relationships that has been created due to memory and their life. Fascinating, no? Fascinating YES!
So what does smelling chocolate chip cookies and getting nostalgic for grandma have to do with cinema? Actually, quite a bit. It’s something that I am calling the Chocolate Chip Cookie Syndrome. While cinema clearly cannot deal with the intricacies of smell (unless you count things like Smell-O-Vision or John Waters’ version, Odorama, neither of which should be included necessarily in today’s argument), that does not mean that it has not attempted to develop a very intense relationship of its own between memory and another sense aside from that which is visual. What I wish to discuss here is sound and not simply sound but musical sound, specifically of the soundtrack variety.
As film scholars and fans, we are all aware of the highly associative properties of a piece of music that is used in a film. But has it ever been something that you have given much thought to? Have you ever sat down and traced those associations throughout the world-at-large or, indeed, your own life?
Perhaps you have not. I have realized that I have to leave room for people who do not engage in aural stimuli as much or as passionately as I do or as my friends and associates do. Sometimes I need to step away, pull myself back, and realize that some people are just visual. And you know what? That’s totally fine. I probably will never have the same visual conception of certain things that they have. On the other hand, I will probably always feel that they are missing the film in its totality, the way it was intended. At least a little bit. This is something I will try to work on.
I think that people like Martin Scorsese, Quentin Tarantino, and Cameron Crowe have all created films that scream, from the first to the very last reel, Chocolate Chip Cookie Syndrome. Especially the first two directors. The key to Chocolate Chip Cookie Syndrome (or CCCS for short) within a film is the meticulous ability to texture the film with something, in this case music or certain songs, and make those items so damn iconic that you will forever remember the movie every time you re-experience them.
I will never ever be able to hear “Please, Mr. Postman” by The Marvelettes again without thinking of the bar fight scene in Mean Streets (1973). And while that film is arguably one of my favorite films ever made, that song doesn’t give me goosebumps. Does it please me to hear it in a random store while I’m buying detergent? HELL YES. All I can think about is the camerawork and the choreography that goes right along to the song.
Gone to a party or a club recently? OK, well even if you haven’t, there are kids out there who were not even born when Say Anything (1989) was released who are imitating the John-Cusack-with-boombox-posture when Peter Gabriel’s “In Your Eyes” is played. I’ve even seen it for Halloween costumes, and the kids run around playing the song (as though we were unsure which trenchcoat-wearing, boombox-wielding weirdo they might be dressed up as…there were OH SO MANY you know!).
For my money, however, Crowe will always have me from the opening strains of Mother Love Bone’s “Chloe Dancer/Crown of Thorns.” In my world it is the film Singles (1992). While the sequence that it is plays during and the song itself may not be quite as iconic as “In Your Eyes,” they will remain, for me, embossed upon my brain, images that are always there to be sparked every time I happen to hear the song in whatever context that may occur. I hear Mother Love Bone, and I have my Chocolate Chip Cookie moment, and no one knows that my knees are jelly and my heart is all kinds of achy inside my chest.
And…well…need we mention the numerous films and associated songs that Tarantino has blessed our ears with? Really, he is remarkable in that his musical obsession seems to rival his filmic one. I’m not trying to worship the man, but as far as musical accessorizing is concerned, Quentin Tarantino is almost a special case unto himself. Tarantino’s own CCCS is so multi-generational and multilayered that he draws incredibly rare and eccentric songs from the ether and makes them into communal property. He removes them from a place of musical obscurity and re-places them into a realm that no longer simply exists within the confines of his own memorial space. Not only that, but he has given each song a creative context for which it will now forever be associated.
He uses songs like “Across 110th Street” by Bobby Womack in Jackie Brown (1997), even though that song was the title song of its own film from 1972. OK, OK, so perhaps that song wasn’t as rare as, say, the entire Reservoir Dogs (1992) soundtrack but it did its part to re-member certain aspects of that film genre (blaxploitation) and that era. The song set up the film and within that set-up said to the viewer that there was history here. The casting choice of Pam Grier only reified that statement, as the entire film is about a past/present conflict.
Even more efficiently than Jackie Brown, I highly doubt that there is a single person who can even one song from the Reservoir Dogs soundtrack and not associate it with the matching scene in the film (unless of course they have not seen the film, but that’s a no-brainer). Tarantino was, perhaps, one of the more significant people in the last 30 years to utilize this relationship between aural recognition, visual enjoyment and memory to catalyze his own form of synergy (in the media economics definition- this soundtrack has sold insanely well and continues to do so). He did the exact same thing two years later with Pulp Fiction (1994), and made a killing.
Media economics aside, it is the cultural economics that Tarantino has managed to manipulate through the use of aural stimulation and historical association. We all have personal relationships with these films and the music/songs contained and yet, due to the medium of film itself, we have a communal experience as well. The CCCS that we develop from the musics that we hear within a filmic context CAN sometimes be just as complicated as the olfactory relationships that are imprinted upon us throughout our lives, just in a very different way. They are, most certainly, both stemming from the same memory center/hippocampus/limbic system that has been in development since we were children!
One of the best examples that I could possibly give you of the Chocolate Chip Cookie Syndrome would be a working one, therefore I have chosen a personal example and one that I currently experience on a regular basis. The central component of this is the musical figure: Leonard Cohen. If, while reading this, you get the feeling that it maps out quite like a kind of family tree, you would not be wrong. In a sense, I mapped out my relationship to Leonard Cohen by creating a media family tree that involved all the different branches (of which there are quite a few odd-seeming ones) that poked out when I thought of my relationship to the music of “Leonard Cohen.”
It is almost difficult to diagram my Cohen-lution, due to the fact that I knew his work before I knew his work. While that may seem convoluted, I promise, there is a method to my madness (or so the doctors have told me…). Therefore, instead of starting at the very first time I heard a Cohen song, I will start at the place where hearing a Cohen song connected me with my own version of CCCS.
Watching this clip again, even briefly, I am imagining myself back at 19 years old. I think I was probably blown to bits by this film, even though I didn’t know it. Altman seems to me to be that kind of director. When I saw M*A*S*H (1970) for the first time a short time later, I remember being overwhelmed by how great it was. But also having a delayed sense of its brilliance. Most of the truly good stuff didn’t hit me until waaay later! My experience has always been that a good Altman film, like a proper, well-made cocktail, sneaks up on you. You taste it, you know it’s extremely intoxicating, smooth and enjoyable but what you don’t realize is that a short time later, you get an additional kick. And all of a sudden, you’re thinking, “Oooo! My cheeks are warm, the room feels delightful! Goodness, what was IN THAT THING ANYWAYS???”
That is Altman to me. So what did I get out of McCabe and Mrs. Miller (1971)? A deeply obsessive voice that kept saying, “that damn soundtrack! I gotta have that soundtrack! Who is the guy on the soundtrack??” Mind you, I was living in Santa Cruz at the time, and therefore was pretty much in Hippietown, USA (there was a designated corner called “Hippie Corner” for kids to spare change and busk on). I had been surrounded by hippies for most of my childhood and yet I didn’t know who Cohen was. While I admit that it’s mildly unfair to associate his entire career with the hippie subculture, this particular singer-songwriter album was very much on that track, so my first impression was that was the genre that he was part of.
The album that I searched all of Santa Cruz for and listened to RELIGIOUSLY for….good grief. I have no idea how many weeks/months. I blame Robert Altman.
After rewatching that opening scene that I posted, I have had to reconsider my notion that all I received from McCabe was the soundtrack. I’m going with the Altman-as-killer-martini concept. There is a very distinct possibility that this film truly changed me for the better and used music as the catalytic agent. I’m not necessarily comfortable discussing the film content in any depth here, as the last time I saw it was the first time I saw it, but based upon that fact and revisiting the opening piece using “The Stranger,” I will have to say that this was a piece of cinema that struck me in a way no other movie ever had. When I posted it here on my blog, I heard the guitar, saw the visuals, and literally felt like I was being transported back to when I had first experienced the film. The feeling that washed over me? Indescribable. Needless to say, when I sat down to write this and planned on including that, I NEVER expected that to happen. The irony of this entertains me quite a bit and the experience itself only underscores my own relationship with this song and, thusly, this film. Clearly, it is something that I cannot escape as it is built into me and my memory just as strongly as Gram’s cookie sweetness might be.
As a more educated Leonard Cohen scholar these days, if you asked me where I first heard Leonard Cohen, I would give you an answer that a good chunk of women my age would give you: The film Pump Up the Volume (1990).Within the film narrative, Allan Moyle uses the original version. I remember being quite taken with it, and being pretty weirded out when a chick began to sing the song. So I fast-forwarded through the song at first, and moved on to the rest of the soundtrack.
That damn soundtrack. DEAR LORD, DID I LOVE THAT SOUNDTRACK.
Bad Brains. Peter Murphy. Rollins. Pixies. Sonic Youth. Concrete Blonde. Mutha-effin’ Soundgarden. Did you NEED more? If you did, I didn’t wanna know you. In fact, I may still hold to that rule…um, same bands too.
First of all, there was The Pixies. THAT was a major discovery in my life. I later learned that there was a different version of The Pixies’ “Wave of Mutilation,” but not having any friends at the time who were into that kind of music really (we were all more or less Hollywood metalheads with braces and Catholic school girl uniforms…danger, Will Robinson!), I just listened to the soundtrack repeatedly. Soon after, I met a friend at summer camp who made me a tape that had The Pixies’ Doolittle on one side and Bauhaus’ Burning From the Inside on the other. I may still have that cassette tape somewhere. I hope I do. I don’t think I took it out of my bright yellow Sony Walkman for the rest of the summer…and then some.
After my initial shock and disappointment at not having the actual song from the movie on my tape, I got incredibly attached to Concrete Blonde’s version of “Everybody Knows.” Lord knows this was not the first time someone had “switched it up” on a soundtrack I had bought before (and it wouldn’t be the last) but I was a bit miffed. However, as I listened to it more, the song became more ingrained upon me than the one in the film. So much so, that I barely remembered that Moyle had even used Cohen’s version in the first place!
I believe that this version became the more powerful one to me for three main reasons. First of all, it’s a brilliant song in general, no matter who is singing it. Secondly, its use in the film is critical and striking, and for a girl who was as attached to both the message and the story of that film, I was, literally hanging on EVERY frame, visually and aurally. Thirdly, as far as cover songs go, this is a really decent one. Johnette Napolitano can belt it out but…she can also emote. Within the strains of this song, she sounds exhausted, worn out and bitter as a $2 whore, but that only serves to give the song the depth it needs.
To switch a singer’s gender can be tricky for the outcome of a given song. It changes the meaning and can give it an unreasonable amount of complications. But here, it works perfectly. In fact, it worked so effortlessly and seamlessly that few people knew that this was, indeed, a cover song. I’ve never been ignorant of things, but at that age I wasn’t exactly paying attention. Here is what I did know:
The song was amazing. It rocked me. I was hooked. I couldn’t say for sure if the other girls I knew/hung out with listened to the soundtrack with as much joy and spirited pleasure as I did, but there was something about that song. It had to do with the film, it had to do with the music, it had to do with the filmmaker making the right choice and hooking me in like the little adolescent goldfish that I was. And I remained hooked for life. The first clue came a precious few months after the August, 1990 release of the film and its soundtrack.
January, 1991. I watch the “One Man and a Baby” episode of Beverly Hills, 90210. There it was. There was the VOICE. Concrete Blonde’s “Joey” was on that episode and I nearly had a heart attack. I was thrilled to pieces. I joined one of those CD clubs and bought the album Bloodletting specifically due to these events. Between Allan Boyle’s Pump Up The Volume and Aaron Spelling’s television, um, “piece,” I became a Concrete Blonde fan.
But nothing ever hit home the same way that “Everybody Knows” had. I didn’t find out until years later why: Leonard Cohen. Due to the fact that his version was only on the film and not on the soundtrack (issues of access!), my familiarity was almost entirely with her version. Thus, “Everybody Knows” has always been, more or less, associated with female vocals rather than Cohen’s own.
When I hear “Everybody Knows,” I have a very complicated response. In essence, it is the Chocolate Chip Cookie Syndrome, as it leads me directly back to the film I associate it with, Pump Up The Volume. However, when I hear Leonard Cohen sing it, I become very mixed up in my synthesis. Do I hear Johnette? Leonard? Do I hear a man weaving the tale? A woman? Does it matter? Is the end result the same? How do gender issues enter into a song so very complex and soaked in social politics? And how to translate the cynicism, especially through the person that I am today, versus the person that I was 21 years ago?
I don’t have an answer for those questions. And I’m very happy to tell you that I do not. If I did, then I would no longer be able to think critically about the relationship I have with these very diverse memories that all seem to share the same base camp, even if they do reside in different tents. I enjoy being able to think about this song and what it means for each person to sing it and also what it meant to me then…and now. Playing the compare/contrast game is part and parcel of my appreciation of the music. Really, this isn’t far from the experience of finding that it wasn’t simply Leonard Cohen’s “The Stranger” and other songs in Altman’s McCabe and Mrs. Miller that rocked me, but the entire damn film! This is why music in film is important. It inspires memory. Personal and otherwise.
The association of music and film has always been a crucial one for me. From the musicals of yesteryear to the films of today that utilize music in such a way that song could not be torn from image without destroying the whole piece, the match of sound and visual is more powerful than if it were just simply one media or the other.
Film is essentially about transmogrification, anyway. If one leaves a film completely unchanged, even if it is for the worse (I hated Hangover 2, I am sorry that I saw it, but I was still altered in that I will TRY never to see such a terrible movie AGAIN), there is something dearly wrong. One of the most efficient ways in which to permanently conduct change in your audience is to associate certain things with your piece. Music can do that forever. Currently, due to the film Waltzing With Bashir (2008), I am pretty certain that I will never be able to go to any club and hear O.M.D.’s “Enola Gay” without being utterly devastated. That is power. I really loved that song, man. And…I still do. But in an entirely different WAY. If you are able to completely translate someone’s conceptions of a piece of music and forge them around your creative image, I applaud you. And I want to see your film.
It may sound silly but I am proud of having Chocolate Chip Cookie Syndrome. I would be a terrible audience member without it. Right now, I am your ideal audience member, even after far too many classes in film and television theory. I greatly appreciate the filmmakers who work hard to give me those “chips” so that I can TOTALLY GEEK out by myself when I’m out and I hear something like “Down in the Park” by Gary Numan and remember it not from the album Replicas or even Urgh! A Music War! (1982) but from another Allan Moyle movie entitled Times Square (1980).
We all have our own memories. Hell, we all have our own limbic systems! But let’s face it, folks- the fact that you remember that Huey Lewis contributed music to Back to the Future (1985) is no accident and no small feat. Laugh all you want, but it was creatively negotiated to match those tunes up with the film and to make damn sure that this many years later…someone remembers it- and that someone is you. The other memories surrounding Back to the Future? Where you saw it, who you saw it with, what theater or whose house? All of those things are your business, and yours alone, which is a beautiful thing.
And as some great writers once wrote in a great script, that’s the way it crumbles…cookiewise.