This song, Black by the band Pearl Jam is seen among these graphs as both a bittersweet performance–in the studio, from their CD Ten–and then compared with a graceful, slower live performance from their live CD Live On Two Legs.
The bittersweet category is the Meanspeed defined: 77.459666… beats per minute. The square root of 60 seconds is 7.746 seconds. Divided this square root by 10, is .77459… seconds, the exact same amount of space when the tick of the clock speeds the “second” hand to the square root of 60 multiplied by 10: 77.459… beats per minute.
This central of central speeds points us to the space which provides a range where there seems to me a cluster of songs that literally hang in a languid way in the air. The love and confidence found in the category of grace turn bitter, to fear and languid introspection.
Bittersweet is defined as an adjective in Merriam Webster’s Collegiate Dictionary’s 11th Edition as simply: “1: something that is at once biter and sweet; esp.: pleasant but including or marked by elements of suffering or regret”. Thefreedictionary.com: “tinged with sadness”, “both bitter and sweet at the same.” Merriam-Webster Online dictionary provides “pleasure alloyed with pain”. Interesting definition there, because other dictionaries have the pain and the pleasure reversed, as in thefreedictionary.com’s “tinged with sadness”’. Dictionary.com offers this definition: “1. both bitter and sweet at the same time 2. Producing or expressing a mixture of pain and pleasure”.
Pearl Jam‘s mean speed=77.4 beats per minute performance–
in researching these songs, I was amazed at the number and depth of thought and imagination as to what the song “really” means. After reading about 50 or so reviews of the song, the consensus seems to be that this song is a story of a man in a young, deep all encompassing love that is coming to an end, and the woman in the song, who is not referred to personally, had an abortion. So: the song is a gut-wrenching expression of the beauty of the perfect young love that never was, the child that never was—all with the love for the lover in tact, but the relationship, as in Never A Time, “played out”—or here, Burned Out, as a steaming relationship seems to have turned to sex to conception to abortion to beak-up. Most of the abortion discussion comes from the lines; “I’m surrounded by kids at play/I can feel their laughter/so, why do I sear?” Those lyrics combined with vocalist Eddie Vedder’s pro-choice stand apparently based on this based-on-a-true-story experience. And though I am no social butterfly, I have heard more than one woman who has been open about having abortions, and this seems to be a song of comfort for them. And as a man, you basically must stop the conversation there out of respect of another person’s body. As for the singer, his “bitter hands cradle broken glass of what was everything…”
From personal experience, I know of at least one Should have been high school couple that play this in their cars at full volume, as they are married to other people, wondering of the grass was not greener on the other side—should she have married the first man? Was the first marriage better than the last romance before that marriage? The essays about this song are massively voluminous and emotional. iTunes alone has 10-20 versions of this song in live situations—which should give you an idea of the way this song struck a chord with so many people—generally people that are in a bitter mood and try to bring themselves back by memory to that state of original innocence and perfect love—which is always real, and 99.7 % of the time temporary. Moreover, we can all spot those 0.3% of couples that Neo-sublime love over their entire lives—a lucky crew indeed.
As you can see, all quarter notes in the version studio song average out to literally the numerical mean speed. There are 77.4 beats per minute, and between each beat the time interval is 0.774 seconds. I theorize, especially based on a problem academicians have usually called “the problem around 700 milliseconds” (Paul Fraisse, France) and linguists at the University of Indiana point to this: when you read, process thought and speech at this speed, it means only one thing: indecision and languishing, would have beens, could have beens.
In regard to the “speed around 700 milliseconds” being a source of confusion in all mental processing matters, please look at this article by Sandra Blakeslee of The New York Times, where she explains how the Hesitation and Tip of the Tongue effects are at a speed between 700 and 800 millliseconds. This is her short article, which is not edited, as I will not take anything out of context from “the Times”:
Traffic jams in Brain Networks May in Verbal Stumbles
To scientists who study the brain, this is a tip-of-the-tongue experience. It even crops up in a slightly different form among users of sign language. They call it a tip-of-the-finger experience.
“Humans love to talk,” says Dr. Willem Levelt, director of the Max Planck Institute for Psycholinguistics in Nijmegen, The Netherlands. “Most of us spend large parts of the day in conversation. If we are not talking to others, then we are talking to ourselves.”
Dr. Levelt’s interest is in the problem of how people go from thinking about something to actually saying it. In the course of studying the component systems involved in generating spoken words from thought, he has developed a theory about what is happening inside the brain when a speaker blocks on a rod.
The identification of these systems is base on advanced techniques for imaging the brain, he said. These two techniques allow the researchers to watch the process whereby thoughts are transformed into a seamless flow of words, to see where the process breaks down, and to show how people correct errors on the fly.
Dr. Levelt and his colleagues base their research on the assumption that the human brain contains distinct modules for processing thought into language. Dr. Gary Dell, a professor of psychology at the University of Illinois, said that this assumption is widely accepted among psycholinguists.
The exact anatomy of the proposed modules is not yet known, Dr. Levelt said in a telephone interview, but their existence can be demonstrated experimentally. They are not little boxes in the brain, he said, but widespread networks of interconnected neurons that cooperate, with precise timing, to carry out specific tasks.
Dr. Levelt calls the three modules the lexical network, the lemma network, and the lexeme network. Essentially, the lexical network handles thoughts, the lemma network handles syntax, and the lexeme network manages spoken sounds.
In speaking, the first module to be activated is the lexical network. “Conceptualizing is deciding what to express, given our intentions,” Dr. Levelt said. “As speakers, we spend most of our attention on these matters of content” and how to order thought sequentially.
Once a message is thought-out, he said, “we must capture it by some lexical concept.” To do so, we dip into our stored vocabulary — typically tens of thousands of words. Speakers can retrieve two to three words per second containing 10 to 15 speech sounds.
Imagine you want to say the word llama, Dr. Levelt said. Perhaps you saw a picture of a llama, or you thought of the animal while talking to a friend. The mind first activates the lexical node for llama, which contains everything you know about llamas. It is an ungulate with a long neck, it is used as a pack animal, and so forth.
When the lexical node for llama is activated, nodes for words of similar meaning are also stimulated. These might include the nodes for sheep and goats, nodes for beasts of burden in general, nodes for hoofed animals, and so forth. At this point, you still don’t have the word for llama. But you have activated a great deal of information about llamas and similar animals.
The next stage in processing is handled by the second module, the lemma network. When the lexical concept for llama and other activated concepts are passed to this level, two things happen.
First, the lemma assigns proper syntax to each incoming concept. These are the rules of the speaker’s language, including word order, gender if appropriate, case markings and other grammatical features. Also at the lemma level, verbs, nouns, and modifiers are put in their proper place in a word string.
Second, the various activated lexical concepts engage in a competition. Most of the time, the most highly activated concept (llama) will win. But sometimes there is interference from other lexical concepts. The more that are activated, the longer it takes to generate the desired word.
Timing experiments done in Dr. Levelt’s lab show how this works. Subjects are shown picture and asked to name them as fast as they can. The average naming time is 700 milliseconds. Then the experimenter adds a distraction — such as muttering the word horse when a picture of a cow is presented. People need 800 milliseconds on average to name cow when the lexical concept of a horse is also activated.
The third part of the process is to turn a chosen lexical concept into a spoken word. This is called the lexeme level. “Accessing the lexeme is harder than you think,” Dr. Levelt said. The mind has to find the correct sound and match them to the syntactic elements in the lemma network. This is where the process of generating thoughts into speech can fail, Dr. Levelt aid. Many things can go wrong.
One is the tip-of-the-tongue phenomenon. You are at the lemma level but the word refuses to come. You know a lot about it. You might even know it has two syllables with the stress on the first syllable, which suggests that part of the lexeme information is accessible.
People who speak languages with masculine and feminine words almost always know the correct gender of the missing word, said Dr. William Badecker, a research scientist at Johns Hopkins University who works with brain-damaged patients who have trouble naming things.
Why do words become blocked?
“We don’t know for certain,” Dr. Levelt said. But one idea is that a given lexical node is not sufficiently activated to spread to the lexeme level where speech sounds are stored. Thus llama might not win out over sheep and goats, leaving the speaker fumbling for the word. But as most people have discovered, waiting for a few minutes will help retrieve a word on the tip of your tongue.
Dr. Dell explains what happens: “Say you are trying to remember the name of that funny stuff inside a sperm whale, the stuff used in perfume. You may think it sounds like amber but you know it’s not. But you keep thinking amber, amber, which makes the amber part of your network activate. Eventually, you give up and think about something else. Later, when you think about it again, the word may suddenly appear — ambergris.”
Other kinds of speech errors can occur in the transition between the lemma network and the lexeme network, Dr. Dell said. Sometimes people exchange one word for another (Fill up my gas with car) or mix up speech sounds (queer old dean instead of dear old queen).
So-called Freudian slips of the tongue are also common. Freud thought that they represent deep sexual urges but they are more innocent. Dr. Levelt said. While talking, people are often thinking about other things, which can caue an unrelated lexical node to become activated.
But if all goes well and a word is retrieved correctly, it goes to the next level of processing which is articulation, Dr. Levelt said. This is the process whereby the syllables are mapped into motor patterns generated in the tongue. lips, mouth, larynx, and lungs.
(used with permission of the New York Times)
Literally the speed of the check swing in baseball, the speed at which Irrevocable Commitment is at a standstill. This speed, not only in music, but also by pure temporal sequencing in the brain, in my judgment, is, quite simply, the speed of indecision.
This song, recorded live, takes us on a fairly steep acceleration—approximately 8-10% from the beginning to end. So said, like The Boston rag, much of the first part of the song lies in or near the speed category of-grace. However, at beat 220, nearly 3 minutes into the song the 77-79 bpm performances dominates, and the end quarter of the song rises all the way to the category of lonely. I would call this: a brilliant emotional journey, expressed naturally and unconsciously by pearl jam, taking us from grace to bittersweet to loneliness is in a smooth yet rugged fashion, as you can see by the graphs.
The graphs are based on a spreadsheet generated with this method:
a) I calibrated groups of every single measure (four quarter-notes) ten times with Seiko 300-lap stopwatches;
b) Ten trials were averaged, coordinated and synthesized.
I the created the speed graph in Microsoft’s Excel for MacIntosh 2004 on an Apple iBook G4 as hardware. One of the graphs derived from the results, in a radar graph style was printed on an Epson CX4600, scanned on same printing device.
The numerical coordinates are available upon request.
Coffee courtesy of Meredith and United States Army Bronze Star Army Captain Jeff Schneider of TexasRoast.com.
Best, from the home of the New York Mets,
Ian Schneider
May 14, 2008
(this is an updated version of an article originally published on June 28, 2006)









