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Earworm

An earworm, also known as involuntary musical imagery or stuck song syndrome, refers to the spontaneous and repetitive mental playback of a catchy song fragment or melody that persists uncontrollably in a person's mind, often engaging the auditory cortex as a form of inner singing.^[1]^[2]^[3] The term "earworm" is a direct calque of the German word Ohrwurm, which has been used to describe this intrusive experience since at least the late 19th century in literary contexts, though its English adoption gained prominence in the late 20th century through popular science and psychology.^[4]^[2] Earworms are widespread, affecting over 90% of the population, with many experiencing them at least once a week; episodes typically lasting from seconds to hours but occasionally extending to days; they are more frequent and intense among individuals with higher musical training or appreciation.^[3]^[2]^[4] Psychological research identifies key musical features that predispose songs to become earworms, including faster tempos, simple and repetitive structures with common melodic contours (such as rising and falling pitches), and distinctive intervals like large leaps or syncopation, as seen in examples like Lady Gaga's "Bad Romance" or Journey's "Don't Stop Believin'."^[5]^[5] Recent or repeated exposure to a tune significantly increases the likelihood of it triggering an earworm, as familiarity enhances its activation in working memory and auditory processing networks.^[1]^[6] While generally benign, earworms can disrupt concentration and cognitive tasks by occupying working memory, akin to rumination, and may be more persistent in people with obsessive-compulsive tendencies or anxiety, though they rarely exceed 24 hours in duration for most individuals.^[1]^[2] Strategies to alleviate them include engaging in distracting verbal tasks like chewing gum or completing the song mentally, rather than forceful suppression, which can paradoxically prolong the experience due to ironic process theory in cognitive control.^[2] Neurologically, earworms illuminate how the brain stores and retrieves musical memories, involving overlapping regions for perception, emotion, and spontaneous cognition, offering insights into broader phenomena like hallucinations or creativity.^[3]^[5]

Definition and Characteristics

Definition

An earworm, also known as involuntary musical imagery (INMI), refers to a conscious mental experience in which a tune, song fragment, or melody spontaneously and repetitively plays in one's mind without deliberate effort or external auditory stimulus.^[7] This phenomenon involves a short, looping segment of music that intrudes into cognition, often persisting for minutes to hours, and is classified as a form of spontaneous, involuntary cognition.^[8] Alternative terms include stuck song syndrome, sticky music, and brain itch, reflecting its catchy and persistent nature.^[3]^[9] The term "earworm" is a direct calque from the German word Ohrwurm, literally meaning "ear worm," which originated in German in the late 1950s to early 1960s to describe an irresistibly catchy piece of music that "burrows" into the listener's mind.^[10] It entered English usage in the late 20th century as a translation of this concept, gaining popularity to denote the psychological experience rather than its earlier entomological meanings related to ear-invading pests.^[10] Earworms differ from voluntary musical recall, where one intentionally retrieves and replays a melody, and from auditory hallucinations, which are often perceived as external sounds and may indicate underlying neurological conditions.^[11] In contrast, earworms are typically recognized as internal, self-generated thoughts that are repetitive and somewhat intrusive yet non-pathological for the majority of individuals. This distinction underscores earworms as a normal aspect of everyday cognition, experienced widely across the population.^[12]

Key Characteristics

Earworms typically exhibit distinct musical traits that enhance their memorability and propensity to loop involuntarily in the mind. These include repetitive structures, often consisting of short, looping segments such as choruses or hooks that repeat without variation.^[3] Simple and catchy melodies are common, characterized by straightforward contours that are easy to hum or sing along to, facilitating their persistence.^[5] Faster tempos, generally in the range of 100-120 beats per minute (BPM), contribute to their upbeat quality, making them more engaging and rhythmic.^[13] Additionally, melodic intervals like leaps or chromatics introduce subtle surprises that stand out against otherwise generic patterns, increasing catchiness.^[12] Easy-to-remember lyrics or hooks further reinforce these traits, often featuring rhyme or alliteration that aids recall.^[14] From a cognitive perspective, earworms usually manifest as brief loops lasting 15-30 seconds, allowing the fragment to replay seamlessly without requiring full song recall.^[14] They frequently involve familiar music or tunes recently encountered, as prior exposure strengthens mental encoding and retrieval.^[12] Non-musical elements, such as jingles or advertising tunes, can also trigger earworms due to their designed simplicity and repetition, blurring the line between pure music and mnemonic devices.^[3] Typical examples of earworms include pop songs with prominent hooks, like the brief, repeating choruses in tracks such as "Bad Romance" by Lady Gaga, which leverage repetition and intervallic leaps.^[15] Children's songs, such as "Twinkle, Twinkle, Little Star," exemplify simple melodies and repetitive phrasing that embed easily in memory.^[16] TV themes, like the upbeat motif from "The Simpsons," often qualify due to their concise, familiar structures optimized for quick recognition.^[5] A 2016 study published by the American Psychological Association analyzed over 3,000 earworm reports and found that they favor generic melodies with specific intervallic surprises, such as leaps or chromatics, alongside faster tempos and high popularity, confirming these as key predictors of involuntary musical imagery.^[12]

Causes and Susceptibility

Incidence and Prevalence

Earworms, or involuntary musical imagery (INMI), are a highly prevalent phenomenon, with surveys indicating that 90% to 98% of individuals experience them at least once a week.^[17] A large-scale Finnish study of over 12,000 participants found that 92% reported weekly occurrences, while a UK-based survey via the Earwormery project reported similar rates of 91.7% among respondents.^[18] Frequency varies by occupation and context, with musicians experiencing earworms more often—up to 99% in some samples—due to greater engagement with music. They also tend to occur more during periods of low cognitive demand, such as commuting, showering, or other idle moments when the mind is unoccupied.^[19] Demographic factors show no strong gender differences in overall prevalence, though some studies note slightly longer episodes in females.^[7] Earworms are more frequent among younger adults, particularly those aged 18-30, with age negatively correlating to occurrence rates.^[20] Cross-cultural surveys in Europe, North America, and Asia demonstrate comparable prevalence, underscoring the phenomenon's universality across diverse populations.^[7]^[21] Most earworm episodes last from a few seconds to several minutes, though the same tune may recur over the course of 12-24 hours or longer in some cases, resolving naturally.^[2]^[22]

Psychological Causes

One prominent cognitive theory explaining earworms invokes the Zeigarnik effect, where incomplete or interrupted tasks persist in memory more strongly than completed ones, leading the brain to replay unfinished musical segments to resolve the sense of incompleteness.^[23] This mechanism applies to songs truncated mid-phrase, as experimental evidence shows that hearing catchy tunes cut off partway increases phonological interference in working memory tasks, mimicking the involuntary rehearsal of earworms.^[23] Additionally, the brain may engage in gap-filling processes within the auditory cortex, where brief silences or pauses in familiar music prompt automatic mental completion of the sequence, sustaining the loop through predictive coding. Neurologically, earworms arise from activation patterns in the auditory and motor cortices that closely resemble those during actual music perception and production. Functional magnetic resonance imaging (fMRI) studies reveal heightened activity in the left primary auditory cortex even during silent intervals after music exposure, indicating that mental imagery reactivates sound-processing regions without external input. This overlaps with speech processing areas via the phonological loop in working memory, where subvocal articulation—silent "singing"—maintains the musical fragment, engaging shared neural substrates for verbal rehearsal and auditory simulation.^[24] Common triggers for earworms include recent exposure to a song, which primes memory traces for spontaneous reactivation, as well as states of emotional arousal, boredom, or stress that lower cognitive inhibition and facilitate mind wandering. These conditions heighten susceptibility by diverting attention from ongoing tasks, allowing intrusive musical thoughts to dominate. Furthermore, earworms show associations with obsessive-compulsive disorder (OCD)-like compulsions, as a 2023 study linked their frequency to habitual behaviors through dysregulation in habit-formation neural circuits.^[25]

Susceptibility Traits

Individuals with greater musical aptitude, particularly superior pitch perception and singing accuracy, exhibit heightened susceptibility to more vivid and persistent earworms. A 2025 study conducted by researchers at the University at Buffalo demonstrated that participants who sang more accurately in response to familiar songs reported significantly more vivid involuntary musical imagery, suggesting that precise auditory memory enhances the intensity of these experiences.^[26] This correlation underscores how innate musical skills can amplify the cognitive replay of melodies in the mind. Certain personality traits also increase vulnerability to earworms, including obsessive-compulsive tendencies, anxiety proneness, and vivid mental imagery. Individuals with higher obsessive-compulsive traits experience earworms more frequently and perceive them as more intrusive, as evidenced by surveys linking these traits to elevated rates of involuntary musical imagery.^[27] Similarly, neuroticism—a key dimension of anxiety—positively predicts earworm frequency, with experience sampling studies showing that those scoring higher on this trait encounter spontaneous musical loops more often during daily activities.^[28] People with strong vividness in mental imagery, often tied to broader sensory imagination abilities, report earworms that feel more lifelike and harder to dismiss.^[29] Behavioral factors further modulate susceptibility, notably frequent engagement with music and robust working memory capacity. Regular music listeners, as measured by self-reported listening habits and musical sophistication, encounter earworms at higher rates due to greater exposure and familiarity with tunes that readily activate memory loops.^[29] Additionally, individuals with superior working memory capacity sustain earworm episodes for longer durations, as their cognitive resources allow prolonged rehearsal of musical fragments without rapid decay.^[30] Emerging research also explores variations in earworm experiences among neurodiverse individuals, such as those with ADHD, potentially linked to differences in attention and working memory.^[31] Although earworms are typically benign and transient, they can rarely escalate into more severe musical hallucinations among those with clinical conditions such as obsessive-compulsive disorder (OCD) or epilepsy. In OCD, persistent earworms may manifest as musical obsessions, causing significant distress and interfering with daily functioning when accompanied by compulsive responses.^[32] Similarly, in epilepsy, earworms can progress to auditory hallucinations, often linked to temporal lobe activity, though such cases represent an extreme end of the spectrum.^[33]

Remedies and Management

Common Antidotes

One effective antidote for interrupting an earworm involves listening to the full song to complete the repetitive musical fragment, thereby resolving the cognitive itch created by its unfinished loop. This approach leverages the brain's tendency to seek closure in incomplete auditory patterns, allowing the earworm to dissipate once the sequence is satisfied. A qualitative interview study of individuals experiencing involuntary musical imagery (INMI) identified completing the song through listening or singing as a primary self-reported strategy for relief, with participants describing it as fulfilling an unconscious desire to finish the tune.^[34] Distraction techniques target the phonological loop of working memory, where earworms often loop due to their repetitive nature, by introducing competing cognitive or motor demands. Engaging in intellectually challenging activities, such as solving puzzles or anagrams, can redirect attention and reduce the earworm's persistence. Similarly, articulatory distractions like chewing gum interfere with subvocal rehearsal processes essential for maintaining the mental replay. Experiments demonstrated that gum-chewing significantly lowered the incidence of earworms, with a main effect showing reduced conscious experiences of tunes (F(1,43)=9.23, p=0.004) compared to no-chewing conditions, and further reductions in auditory imagery (F(1,17)=16.73, p=0.001) across multiple trials.^[35]^[36] Substitution strategies replace the intrusive tune with an alternative auditory stimulus to overwrite the phonological loop. This can involve selecting a "cure song"—a simpler or less repetitive melody, such as the British national anthem "God Save the Queen" or Culture Club's "Karma Chameleon," which were frequently named in surveys as effective replacements. Alternatively, verbal shadowing, where one repeats neutral or unrelated words aloud (e.g., a list of numbers or foreign vocabulary), occupies the articulatory resources needed for the earworm's repetition. The aforementioned interview study reported substitution via another song or verbal interference as a common antidote, with over half of participants endorsing it for breaking the cycle.^[34]

Prevention Strategies

Preventing earworms, or involuntary musical imagery (INMI), involves proactive strategies to minimize triggers and enhance cognitive resilience. One key approach is limiting exposure to catchy media during vulnerable periods, such as bedtime, where listening to music shortly before sleep has been shown to increase the incidence of persistent earworms that interfere with rest.^[37] For instance, individuals with higher overall music listening habits report more frequent nighttime INMI, suggesting that curbing such exposure in the evening can reduce occurrence.^[38] Habitual practices can also play a role in building resistance. Mindfulness meditation promotes greater mental control over spontaneous intrusions by training attention and reducing mind-wandering, which is a common precursor to earworms.^[22] Although direct studies on INMI are limited, Lifestyle adjustments further support prevention by addressing underlying vulnerabilities. Since anxiety positively correlates with earworm frequency,^[39] Additionally, avoiding partial exposure to songs—such as by skipping tracks, which leaves fragments looping in memory—helps prevent the formation of earworms, as these typically arise from incomplete musical snippets rather than full pieces.^[40] Research on long-term efficacy remains sparse, with few controlled trials specifically targeting INMI prevention; however, interventions like mindfulness show promise in pilot contexts for curbing similar auditory intrusions through sustained practice.^[22]

Research and Study

Data Gathering Tools

Researchers employ a variety of surveys and questionnaires to empirically investigate earworms, also known as involuntary musical imagery (INMI). The Earwormery project, initiated in 2010 by psychologist Victoria Williamson, utilizes an online platform and mobile-compatible interface for real-time self-reporting of earworm occurrences, allowing participants to log details such as the triggering song, duration, and context immediately upon experiencing the phenomenon.^[41] This approach facilitates the collection of naturalistic data on the spontaneous nature of INMI episodes. Complementing such tools, the Involuntary Musical Imagery Scale (IMIS), developed by Floridou and Williamson in 2015, is a validated 15-item self-report questionnaire that assesses multiple dimensions of INMI, including its frequency, duration, intrusiveness, and emotional impact, based on responses from over 2,600 participants across three studies.^[42] Experimental paradigms in earworm research often involve diary studies and controlled laboratory tasks to track and induce occurrences. Diary studies, such as those conducted by Beaman and Williams in 2010, require participants to maintain daily logs of INMI episodes over extended periods, capturing patterns in frequency, content, and associated activities without retrospective bias.^[2] In laboratory settings, researchers induce earworms through repeated exposure to musical stimuli followed by recall tasks; for instance, Pfordresher and Killingly (2021) used serial recall paradigms where participants listened to song excerpts and then mentally rehearsed them, measuring subsequent involuntary repetition and cognitive interference.^[23] Neuroimaging techniques provide insights into the neural correlates of earworms by examining brain activity during involuntary versus voluntary musical imagery. Functional magnetic resonance imaging (fMRI) has been applied to identify structural and functional differences associated with INMI proneness; Farrugia et al. (2015) found that higher INMI frequency correlates with decreased cortical thickness in auditory and motor-related regions, such as the right Heschl’s Gyrus and right inferior frontal gyrus, using structural MRI scans on 44 participants who completed the IMIS.^[43] Electroencephalography (EEG) captures temporal dynamics, particularly in sleep-related contexts; Scullin et al. (2021) recorded overnight EEG in 50 participants after bedtime music exposure, revealing enhanced slow-wave activity linked to persistent earworms, indicating memory reactivation processes.^[37] Digital tools, including mobile applications, enable ongoing monitoring through ecological momentary assessment (EMA) protocols. EMA involves smartphone-based prompts to report INMI in real-time during daily life; Floridou et al. (2015) implemented an experience sampling method (a form of EMA) via mobile devices, prompting 40 participants multiple times daily to note environmental triggers and mental states preceding earworm onset, yielding data on situational predictors over a week. Such apps, like those integrated into broader research platforms, allow for timestamped logging of tunes and symptoms, enhancing the ecological validity of findings compared to lab-based methods.

Key Findings and Theories

Research on earworms, or involuntary musical imagery (INMI), has identified several core theoretical frameworks explaining their occurrence and persistence. One prominent model posits that earworms arise from an unconscious desire to engage in musical rehearsal, leveraging the phonological loop of working memory to sustain subvocal singing, which generates auditory predictions that loop involuntarily.^[44] This aligns with views framing earworms as ordinary involuntary memories, where the phenomenon's uniqueness stems from emotional reactions rather than the memory process itself, organized through information processing stages like cueing and maintenance.^[44] A 2023 study supported the role of repeated exposure in enhancing earworm development, finding that presenting novel song choruses up to four times significantly increased serial recall interference—a proxy for earworm persistence—due to heightened familiarity and desire to sing along, with effects moderated by song-specific catchiness.^[1] Recent findings have illuminated connections between earworms and musical abilities. A 2025 University at Buffalo study of 226 participants revealed that individuals with higher singing pitch accuracy experience more vivid earworms, rated higher on intensity and closeness to the original melody, though earworm frequency remains unrelated to accuracy.^[45] Complementing this, a 2024 University of California, Santa Cruz study analyzed participant recordings of spontaneous earworms, showing that 44.7% matched the original song's pitch exactly and 68.9% were within one semitone, indicating widespread automatic encoding of absolute pitch memory without deliberate effort.^[46] These results suggest earworms reflect latent musical precision, potentially aiding in brain function assessments post-injury.^[45] Earworm persistence is also linked to working memory dynamics, where involuntary subvocal rehearsal co-opts cognitive resources, leading to overload and failure in dislodging the imagery, as demonstrated in experiments where repeated exposures disrupted recall tasks more than single presentations.^[1] A 2025 study further linked frequent earworms to broader tendencies for habitual and compulsive behaviors, suggesting they may reflect a general proneness to mental habits.^[8] Despite advances, gaps persist in understanding why certain tunes—often those with repetitive structures, small pitch intervals, and familiarity—stick more readily than others, with antecedents like mind wandering and low cognitive load identified but not fully mechanized.^[44] Emerging research highlights potential therapeutic applications, particularly for memory preservation in dementia. A 2021 UC Davis study across three experiments with 25–31 participants per group found that earworms enhance retention of musical details and associated life events, achieving near-perfect recall after one week through repeated involuntary replay, suggesting nonpharmaceutical music interventions could bolster episodic memory in neurological disorders.^[47] Evolutionary theories propose that earworms serve an adaptive role in cultural transmission by facilitating memory rehearsal of music, a behavior that may have supported social bonding and knowledge sharing in early human groups.^[44]

Examples and Cultural Impact

Notable Cases

In the 1950s, neurosurgeon Wilder Penfield conducted groundbreaking brain surgeries on epilepsy patients at the Montreal Neurological Institute, where electrical stimulation of the temporal lobe often elicited experiential responses, including the vivid replay of previously heard songs or musical fragments in the patient's mind, resembling involuntary musical imagery.^[48] These "experiential phenomena" provided early insights into how specific brain regions could trigger persistent auditory memories, with patients reporting full tunes emerging unbidden during stimulation.^[49] Reports of persistent musical intrusions date back to 19th-century literature, where authors depicted experiences akin to modern earworms as nagging, inescapable tunes. For instance, Mark Twain described in his 1876 short story "A Literary Nightmare" a jingle from a political campaign that lodged in his mind and tormented him relentlessly, spreading to others like a contagious affliction. Such accounts highlighted the disruptive potential of repetitive music in everyday life long before the term "earworm" gained traction. Celebrity anecdotes have illuminated the personal impact of earworms, particularly among musicians. In 2010, Lady Gaga's "Bad Romance" emerged as a quintessential earworm, topping surveys of songs that persistently replay in listeners' minds due to its repetitive chorus and melodic hooks, as noted in psychological analyses of involuntary musical imagery.^[5] Similarly, Pharrell Williams' 2013 hit "Happy" was identified in a 2016 University of St Andrews study as one of the most potent earworms, with its simple, repetitive structure causing widespread reports of involuntary replays; Williams himself reflected on its creation as an intentionally catchy tune designed for memorability during promotional interviews.^[50] Extreme cases of prolonged earworms have been documented in clinical settings, often overlapping with auditory conditions like tinnitus. A 2015 case study described individuals experiencing "long-term earworms" lasting days to weeks, where a single tune dominated their inner auditory experience, intermittently masking or mimicking tinnitus sounds and causing significant distress.^[51] In one reported instance from a 2018 psychiatric evaluation, a patient endured episodes of a commercial jingle replaying obsessively for up to two weeks, part of a 12-year pattern of musical obsessions that interfered with daily functioning and required cognitive-behavioral intervention.^[52] During World War II, soldiers frequently whistled marching tunes such as the "Colonel Bogey March" as a morale booster. American GIs similarly used military cadences and anthems like "The Caissons Go Rolling Along."^[53]

Representations in Popular Culture

In literature and film, earworms are often portrayed as humorous or frustrating intrusions into daily life, emphasizing their inescapable nature. Douglas Coupland's 1991 novel Generation X: Tales for an Accelerated Culture evokes the experience through characters grappling with persistent cultural echoes that symbolize the accelerated pace of modern existence.^[54] In film, the 2001 comedy Rat Race directed by Jerry Zucker is amplified by its soundtrack's inclusion of the infectious Baha Men track "Rat Race," contributing to the comedic chaos.^[55] Music and advertising frequently exploit earworms intentionally to enhance memorability and brand recall. The Kit Kat jingle "Give me a break, give me a break, break me off a piece of that Kit Kat bar," introduced in 1986, exemplifies this strategy, becoming one of the most enduring advertising earworms due to its simple, repetitive structure that embeds the product in listeners' minds.^[56] Similarly, The Avalanches' 2000 track "Frontier Psychiatrist" from the album Since I Left You is a surreal collage of samples and repeated phrases, designed to create a hypnotic, looping effect that mirrors the persistence of earworms in popular music.^[57] Television and internet culture have amplified earworms through parody and viral memes. In the 1991 Simpsons episode "Stark Raving Dad," a Michael Jackson parody introduces the song "Happy Birthday Lisa," which became a widespread earworm among viewers, blending celebrity imitation with the trope of inescapable tunes.^[58] The rickrolling meme, originating in the mid-2000s, weaponizes Rick Astley's 1987 hit "Never Gonna Give You Up" by tricking users into watching its video, turning the song's catchy chorus into a digital earworm that has persisted as a cornerstone of online pranks.^[59] In the 2020s, social media platforms like TikTok have fostered trends that deliberately induce earworms, such as duet challenges where users layer vocals over viral snippets, intensifying repetition and shareability to create collective loops.^[60] Podcasts have explored these "song curses" as modern afflictions, with episodes dissecting strategies to combat persistent melodies, like NPR's 2024 discussion of an "earworm eraser" technique using neutral sounds to disrupt loops.^[61]

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Jul 8, 2022 · This was presumably the first example of what Penfield was later to describe as an “experiential phenomenon” elicited by direct electric brain ...Missing: earworm 1950s
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Scientists name the ultimate earworm and explain what makes ...
Sep 2, 2016 · Recommended. The Top 20 earworms named by the University of St Andrews are: 1) Queen – 'We Will Rock You' 2) Pharrell Williams – 'Happy' 3 ...
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When an everyday-phenomenon becomes clinical: the case of long ...
Dec 12, 2019 · Sometimes, the tinnitus is suspended for a short period of time. The subjects' long-term 'earworms' frequently occur in betwe ...Missing: prolonged | Show results with:prolonged
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The Stuck Song Syndrome: A Case of Musical Obsessions - PMC
Nov 7, 2018 · The symptoms led her to introduce compulsive behaviors such as listening to the song that matched with the obsessive song. Treatment with ...
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Colonel Bogey March - Wikipedia
The melody is often whistled. During the Second World War, British soldiers sang the lyrics "Hitler Has Only Got One Ball" to accompany the tune.
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WWII Post-Traumatic Stress | New Orleans
Jun 27, 2020 · A look at the psychological strain of combat and its long lasting effects on our nation's warriors.Missing: marching tunes earworm
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Douglas Coupland on Generation X at 30 - The Guardian
Jun 19, 2021 · It has been entertaining for me over the last 15 years to see the exact same venom that was thrown at Gen X being thrown at Gen Y (millennials): ...
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Rat Race (2001) - Soundtracks - IMDb
Rat Race written by David Forman, Jon Carin & Rick Chertoff. Performed by Baha Men. Produced by Rick Chertoff & Jon Carin. Baha Men perform courtesy of S-Curve ...Missing: earworm | Show results with:earworm
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The Secret Jewish History Of The Kit Kat Jingle - The Forward
Feb 28, 2018 · ... earworms of all time: the “Gimme a Break!” Kit Kat jingle. The ad first aired in 1986, and we have been collectively compelled to sing it ...
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'I'm looking for a man in finance': how a sampled sound bite can turn ...
May 21, 2024 · Another memorable example is The Avalanches' hugely acclaimed song Frontier Psychiatrist, with its surreal mix of samples and repeated ...
[58]
'The Simpsons' is pulling its Michael Jackson episode - CNN
Mar 8, 2019 · The episode has been a fan favorite since it debuted, giving the world an earworm in the form of a birthday song Jackson sings to the Lisa ...
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Never Gonna Give You Up — how Rick Astley's 1987 hit became a ...
May 23, 2022 · Rick Astley describes the “Rickrolling” phenomenon that has transformed his 1987 debut single into the most unstoppable meme of the 21st century.
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How TikTok Songs Make the Most Intense Earworms Ever - CNET
Apr 6, 2022 · That repetition could be another important factor in the potency of TikTok earworms. No one has studied TikTok earworms yet. But, Killingly said ...Missing: challenges | Show results with:challenges
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How to get rid of an earworm — those songs that get stuck in ... - NPR
a song on repeat circling around and around in your ...