I was listening to Lindsay Ellis’ blog on Nostalgia and the movies and began thinking about nostalgia and its place in society.
Schoolboy days are no happier than the days after life, but we look back upon them regretfully because a we have forgotten our punishments at school and how we grieved when our marbles were lost and our kites destroyed. Because we have forgotten all the sorrows and privations of the canonized ethic and remember only its orchard robberies , its wooden – sword pageants, and its fishing holidays.
Mark Twain
Nostalgia is a seductive liar.
George Ball
Nostalgia is a file that removes the rough edges from the good old days.
The most powerful force in American politics is not anger, it’s nostalgia.
Pete Hamill
My brother and I have a profound nostalgia for our youth, and I think people need to come to terms with things leaving and being gone.
Cole Sprouse
Nostalgia is a feeling that permeates our country and appears in music, film, TV, literature, and in politics. It is defined as sentimentality for the past , a period, or a place. It comes from the Greek, nostes for homecoming and algos for pain or ache. In the book of Ecclesiastes the Bible warns against nostalgia, it says in chapter 7, verse 10: Do not say,” Why were the old days better than these?” For it is not wise to ask such questions. Why would this be said? Look to Psalm 137 that begins with a nostalgic look at Jerusalem by those exiled in Babylon.
Psalm 137
1 By the rivers of Babylon we sat and wept
when we remembered Zion.
2 There on the poplars
we hung our harps,
3 for there our captors asked us for songs,
our tormentors demanded songs of joy;
they said, “Sing us one of the songs of Zion!”
4 How can we sing the songs of the Lord
while in a foreign land?
5 If I forget you, Jerusalem,
may my right hand forget its skill.
6 May my tongue cling to the roof of my mouth
if I do not remember you,
if I do not consider Jerusalem
my highest joy.
The Psalm goes on in the end to proclaim:
7 Remember, Lord, what the Edomites did
on the day Jerusalem fell.
“Tear it down,” they cried,
“tear it down to its foundations!”
8 Daughter Babylon, doomed to destruction,
happy is the one who repays you
according to what you have done to us.
9 Happy is the one who seizes your infants
and dashes them against the rocks.
Thus this emotion that begins with exiles longing for an old homeland ends with them wishing to smash the children of those native to the land they have been exiled to being killed by throwing them on rocks. It pictures the emotion as a destructive emotion that can lead people to committing great crimes and murders. The word first appeared in 1688 and coined by the Swiss student Johannes Hofer in his medical dissertation describing the condition of the many Swiss mercenaries fighting in the many religious wars of the time. The solders were longing for their homes as they fought in the many nations of Europe and it was see as a disease of melancholy and they were not allowed to play any Swiss music as generals feared it would bring on the condition and impair their effectiveness on the battle field. It was also called mal du pays (homesick) of mal de Swiss (the Swiss illness) and the Germans labeled it, Schweizerheimweh (Swiss homesickness) Hofer also suggested the name monomnia and philopatridomania for the disease he considered as curable as the common cold. Doctors of the time prescribed leeches, opium, and a trip to the Swiss Alps as the best cure for this malady. Their attempts at cured failed and the the disease was seen as incurable by the end of the 18th century, many calling it hypochondria of the heart. In an article for Psychology Today, Neel Burten defines it as, “Nostalgia is sentimentality for the past, typically for a particular period or place with positive associations, but sometimes also for the past in general, ‘The good old days’ of yore.” (Neel Burton, MD. “The Meaning of Nostalgia. The Psychology and Philosophy of Nostalgia.” Psychology Today, online. Nov 27, 2014)
Svetlana Boym of Harvard, in an article in Atlas of Transformation, say this about the word, “I would describe it as a longing for a home that no longer exits or has ever existed. Nostalgia is a sentiment of loss and displacement, but it is also a romance with one’s own phantasy. Nostalgic love can only exist in a long-distance relationship. A cinematic image of nostalgia is a double exposure, or a superimposition of two images – of home and abroad, of past and present, of dream and everyday life. The moment we try to force it into a single image, it breaks the frame or burns the surface.” (Svetlana Boym. “Nostalgia.” Atlas of Transformation) Boym goes on to argue that it is a symptom of our age or as she describes it, “a historical emotion.” She argues that it is not anti-modern, but coeval with it. She calls nostalgia the Jekyll and Hyde of progress, the double and mirror image of each other. That it is not just a longing for a place, but a different time, such as out childhood, a time of the slower rhythms of our dreams. She says, “In a broader sense, nostalgia is a rebellion against the modern idea of time, the time of history and progress.” It is a desire to obliterate history and turn it into a private or collective mythology and revisit time as space, rejecting the irreversibly of time that is a plague on the human condition. She argues that. “It could be merely another time, or slower time. Time out of time, not encumbered by appointment books.”
She argues that it is not always retrospective, but prospective as well, that the fantasies of the past are determined by the realities of the present and have a direct impact on the future. She argues that the future will make one take responsibility for the nostalgic tales. She separates it from melancholia, which is confined to the individual, nostalgia is about the relationship between an individual biography and that of the group or nation, a combination of the personal and collective memory. She asserts, “While futuristic utopias might be out of fashion, nostalgia it self has an utopian dimension, only it is no longer directed toward the future. Sometimes it is not directed towards the past either, but rather sideways. The nostalgic feels stifled within the conventional confines of time and space.” She asserts that it can be used to examine the many other routs that progress may take, and allow the society to divorce itself from the deterministic narrative of the twentieth century. It can be a critique on and the modern fascination with newness and the reinvention of tradition and the combination of reflection and longing, as well as estrangement and affection. It may bring people together as universal longing can make for a more empathetic feeling towards fellow humans. But it like the force in Star Wars, there is a dark side.
Boym puts it this way:
Modern nostalgia is paradoxical in the sense that the universally of longing can make us more empathetic toward fellow humans, yet the moment we try to repair “longing” with a particular “belonging” – the apprehension of loss with a rediscovery of identity and especially of a national community and unique and pure homeland- we often part was and put an end to mutual understanding. Algos (longing) in what we share, yet nostos (the return home) is what divides us. It is the promise to rebuild the ideal home that lies at the core of many powerful ideologies of today, tempting us to relinquish critical thinking for emotional bonding. The danger of nostalgia is that it tends to confuse the actual home with an imaginary one. In extreme cases, it can create a phantom homeland, for the sake of which one is ready to die or kill. Unelected nostalgia breeds monsters. Yet the sentimental itself, the mourning of displacement and temporal irreversibly, is at the core of the modern condition.
(Boym)
Boym point out that periods of revolution or great change are often followed by times of nostalgia, such as the present Russian state looking back on the old Soviet Union as a glorious time of stability, national strength, and normalcy. The upheavals of the First World War led Warren Harding to proclaim he was going to return the United States to normalcy after the bloody conflict. Boym argues that “The 20th century began with a futuristic utopia and ended with nostalgia. The optimistic belief in the future has become outmoded while nostalgia, for better or worse, never went out of fashion., remaining uncannily contemporary.” (Boym) Arthur Dudden said of this belief in progress and the future, “It was once held by philosophers of progress that ‘civilization has moved, is moving, and will move in a desirable direction.’ Yet today, writes Guy Caldwell, ‘the idea of progress, thought of in this deterministic way, is almost every where dead. Progress is no longer a law; it has shrunken to a word. Its inevitability is scarcely thinkable; its possibility in one may in optimistic hope for, provided the ideals of the theorist of the Enlightenment may be made to conform to the current views of man and nature.” (Arthur P. Dudden. “Nostalgia and the American.” Journal of the History of Ideas. Vol. 22 No. 4 (October 1961) 515) This belief in progress was behind the creation of the Whig view of history in Hebert Butterfield’s book, The Whig Interpretation of History (1931). In it it was proclaimed that all of history was leading the world to a great Parliamentary, constitutional monarchy that existed in Great Britain, or the constitutional republic of the United States. This is the futuristic utopia that Boym spoke of in the early twentieth century, it would be destroyed by two world wars and the other various conflicts of the bloody century.
The upheavals of the twentieth century have brought on a period of nostalgia, of which Herman Gray, a professor at University of California, Santa Cruz, says, “Nostalgia makes a lie go down a little bit easier.” Or as writer Marc LeSueur. of the California College of Arts and Crafts, explains. “Indications that nostalgia has been seriously underrated as a force in history is found in the article, “Nostalgia and the American,” Arthur P. Duddon asserts that a wistful longing for a previous age has often been an effective American answer to the unwarranted “faith in progress” idea which is so embedded in our mystic structure. It contradicts the assumption that the future will be superior to the present as the present is desirable to the past.” (Marc Le Sueur. “Theory Number Five: Anatomy of Nostalgia Films: Heritage and Methods.” Journal of Popular Films. vol 6 1977 Issue 2. 187)
Boym describes two kinds of nostalgia, both deeply personal and reflective, treasured moments, that can be used by those seeking political power. The first is reflective, which thrives in the longing itself, or the algos. This nostalgic feeling delays the homecoming in a wistful, and ironically desperate way. In this state one dose not follow a single plot but explores and imagines many different times and places. It loves the details of these things and not the symbols. Boym argues that “Reflective nostalgia dwells on the ambivalences of human longing and belonging and dose not shy away from the contradictions of modernity.” She goes on to affirm that reflective nostalgia, “At best, it can present an ethical and creative challenge, not merely a pretext for midnight melancholies.” It can also be ironic and funny, a shows that longing and critical thinking are not opposites ,”just as effective memories do not absolve one from compassion, judgement, or critical thinking.” As Krystine Batcho of Le Moyne College has said, “Nostalgic memories can serve as reminders that life wasn’t always so difficult (and) restores a sense of being grounded and able to survive during difficult times.” Thus, reflective nostalgia can be a force of good, the light side of the force.
The other type of nostalgia Boym called restorative, which is deadly serous and restorative uses the emblems and rituals of the home and homeland to conquer and specialize time. Reflective, on the other hand, cherished the shattered fragments of memory and demoralizes space. Boym says that, “Restorative nostalgia is at the core of recent national and religious revivals. It knows two main plots – the return to origins and the conspiracy.” Boym ends her essay on nostalgia with this:
The 20th century began with a futuristic utopia and ended with nostalgia. The optimistic belief in the future has become outmoded while nostalgia, for better or for worse, never went out of fashion, remaining uncannily contemporary.2 Contrary to what the great actress Simone Signore—who entitled her autobiography Nostalgia Is Not What It Used to Be—thought, the structure of nostalgia is in many respects what it used to be, in spite of changing fashions and advances in digital technology. In the end, the only antidote for the dictatorship of nostalgia might be nostalgic dissidence. Nostalgia can be a poetic creation, an individual mechanism of survival, a countercultural practice, a poison, and a cure. It is up to us to take responsibility of our nostalgia and not let others “prefabricate” it for us. The prepackaged “usable past” may be of no use to us if we want to cocreate our future. Perhaps dreams of imagined homelands cannot and should not come to life. Sometimes it is preferable (at least in the view of this nostalgic author) to leave dreams alone, let them be no more and no less than dreams, not guidelines for the future. While restorative nostalgia returns and rebuilds one’s homeland with paranoid determination, reflective nostalgia fears return with the same passion. Home, after all, is not a gated community. Paradise on earth might turn out to be another Potemkin village with no exit. The imperative of a contemporary nostalgic: to be homesick and to be sick of being at home—occasionally at the same time.
(Svetlana Boym. “Nostalgia.” Atlas of Transformation. Adaptation and elaboration from Svetlana Boym, The Future of Nostalgia, Basic Books, New York 2001.)
Herman Gray summed it up in another way, “Nostalgia elides history — it’s a way of not having to confront the historical realities of how that moment was and how it produced inequalities and marginalization,” Media critic Lindsay Ellis says of the nostalgic view of the past, “Once you frame a history, a culture or even a story in a certain way it can be really hard to unframe it.” She goes on, “And that is the problem with rooting so much of your brand in nostalgia; when ever you point out that maybe some part of the thing you’re consuming might be unethical, people take it as an assault on their childhood.” She goes on, using the Disney mythology as an example, “Sometimes this kind of identity branding mythology can be about reclaiming former glory and scapegoating the other, but Disney brand of mythology was all about feeling good about what you already had and ignoring the bad parts.”
In an article in Psychology Today, Neel Burton (Neel Burton. “The Meaning of Nostalgia.” Psychology Today. Nov. 27, 2014) explains that while nostalgia is helpful at times, giving one a context, perspective, and direction in times of trouble, and may have an adaptive function in our evolution. This would be the reflective type of nostalgia, and the good side of the force. He goes on to describe the restorative side of nostalgia, “On the other hand, it could be argued that nostalgia is a form of self deception in that it invariably involves distortion and idealization of the past, not the least because the bad or boring bits fade from memory more quickly than the peak experiences. The Romans had a tag for the phenomenon that psychologist have come to call ‘rosy retrospection’: memoria praeteritorum bonorum, ‘the past is always well remembered.’ If overindulged.” (Ibid) Burton uses a quote to wrap up his argument:
In The Weight of Glory, Lewis illustrates this from the age-old quest for beauty:
The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshipers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have not visited.
(Ibid)
This might explain why many TV and movies many see in their youth are remembered many times as better than they actually were. it may also be true of times and places. It is known that music, which is one of the strongest inducers of nostalgia and memory, are set in boys between 13 and 16 and in girls between 11-14. Mark Joseph Stern says of this, “Musical nostalgia, in other words, isn’t just a cultural phenomenon: It’s a neurotic command. And no matter how sophisticated our taste might otherwise grow to be, our brains may stay jammed on those songs we obsessed over during the high drama of adolescence.” (Mark Joseph Stern. “Neural Nostalgia: Why do we love the music we heard as teenagers?” Science. August 12, 2014) Music first heard begins in the auditory cortex where it is converted into a coherent whole. Combined with personal memories the parietal cortex and the prefrontal cortex combine to create the memory around the song and the memories of the time and place where first heard. Favorite songs will stimulate the pleasure centers of the brain and cause the release of dopamine, serotonin, oxytocin, and the other chemicals that make one feel good. It stimulates many of the same reactions cocaine does in the brain. Stern goes on:
Music lights these sparks of neural activity in everybody. But in young people, the spark turns into a fireworks show. Between the ages of 12 and 22, our brains undergo rapid neurological development – and the music we love during that decade seems to get wired into our lobes for good. When we make neural connections to a song, we also create a strong memory trace that becomes laden with heightened emotion, thanks partly to a surfeit of pubertal growth hormones. These hormones tell our brains that everything is incredibly important – especially the songs that form the soundtrack to our teenage dreams (and embarrassments).
(Ibid)
Daniel Levitin in his book, This is Your Brain on Music: The Science of Human Obsession, (2007) argues that music and our social lives intertwine in our teen years. He says, “We are discovering music on our own for the first item when we’re young, often through our friends. We listen to the music they listen to as a badge, as a way of belonging to a certain social group. That melds the music to our sense of identity. ” (Ibid) This combined with the factor of the reminiscence bump, a phenomenon that has one remembering the events of our young adult years more vividly than other years and they will last into our senescence. The reminiscence bump occurs during the period of life between 12 and 22, we we basically become our selves. The memories of this time do not just contribute to the self image of a person, they become part of that self image. According to the reminiscence bump theory, we develop a conditioned “life script” that serves as the narrative of one’s life.
Political, social, and cultural things are developed in this way through nostalgic images, many formed in the young adult period of a person’s life. Patrick Metzger examines this in his article The Nostalgia Pendulum, and points out, “The pattern is this: pop culture is forever obsessed with a nostalgia pendulum that regularly resurfaces things from 30 years ago. There are a number of reasons why the nostalgia pendulum shows up, but the driving factor seems to be that it takes about 30 years for a critical mass of people who were consumers of culture when they were young to become the creators of culture in their adulthood.” (Patrick Metzger. “The Nostalgia Pendulum: A Rolling 30 Year Cycle of Pop Culture.” The Pattering. February 13, 2017) He goes on to point out, “The nostalgia pendulum also matches up nicely with Walter Dean Burnham’s theory of critical realignment in U.S. elections. Building on previous theories of realigning elections, he posits that, due to demographic changes like the ones described above, every 30-38 years, a critical election occurs that drastically changes the dominant political framework.” (Ibid) The nostalgia of one period is formed by the culture that one lives in their young adulthood, thus in the eighties, the mythological fifties was looked back on as a quiet time of American exceptionalism ruled over by the grandfatherly Dwight Eisenhower and the young and charismatic John Kennedy. Today many movies and TV looks back to the eighties as a time of prosperity and Ronald Reagan, ignoring the many cultural conflicts and problems in both. Both came after time of upheaval and conflict, the cultural wars of the sixties with Vietnam and Watergate in the eighties and in our present time with terrorist, school shootings and racial violence has moved many to look back in restorative nostalgia to a time seen as better. Much as many Russians look back on the Soviet Union as a time of world power and stability.
But that is not the only time nostalgia has affect America, one period may have its affects still being felt today. It developed in the Colonial South in Virginia and the Carolinas. It came from the south of England and was a society based on rank and privilege. Here the sons of old English nobles, many of the were royalist in the English Civil War, looked to recreate the old manor style life that they had known in their youth. In the book, Albion’s Seed, it is described this way, “In both England and Virginia gentility was normally defined in terms of ancient and worthy decent, virtue and valor, reputation and fame. Most of all, gentility was a matter of honor.” ( David Hackett Fischer. Albion’s Seed: Four British Folkways in America. Oxford: Oxford University Press. 1989. 383-384) Well versed in the ideas of the Great Chain of Being, these people saw themselves as placed on the top of society, by God himself, to rule society. Because of this they had the right to take the liberty of others, in what is called hegemonic liberty. It is the idea that, as the elite of England, they had the right to rule and not be ruled. (Ibid. 422) In their restorative nostalgic view, in this wasteland of America, they were set here to form the society of the old English medieval manor, a view of their mythical roots in southern England.
In their minds, the old manor was a time of peace and stability in which the paternal lord of the manor oversaw, in a kindly fatherly way, his land and while the contented serfs worked them, all under God’s laws. These elites, most who were royalist and beholden to the social caste system of Stuart England, had the goal of recreating this society in the New World. “For its social purposes, it required an underclass that would remain firmly fixed in its condition of subordination. The culture of the English countryside could not be reproduced in the New World without this rural proletariat. In short, slavery in Virginia had a cultural imperative.” (Ibid. 388) The entire society in the South had this mindset so ingrained that even during ht Civil War, the poor whites gave their lives in the effort to protect and keep this society. (for a full discussion of this see David Hackett Fischer. Albion’s Seed, 207-418) In the aftermath of the Civil War, the this restorative nostalgic view would reemerge in the segregation of the Jim Crow South. (see Douglas A. Blackmon. Slavery by Another Name: The Re-Enslavement of Black Americans from the Civil War to World War II. New York: Anchor Books. 2008) This mindset would also enjoy a rebirth in the aftershocks of the cultural wars of the sixties in the Reagan Revolution of the eighties.
Shirley Temple provided another example of nostalgic relief from tough times in the 1930s. Her films were seldom set in real life, in fact her first films called Baby Burlesque may boarder on child pornography, and usually involved the cute young girl saving the day in a respite from the troubles of the Depression. Actress Jeannette McCurdy says of the woman, “Shirley Temple peaked in entertainment before the age of 10. her rise and fall is an early example of the fickleness preset in entertaining our nation. America chewed her up and, as soon as her hair couldn’t hold a curl;, spit her out.” (Jeannette McCurdy. “Nickelodeon’s Jeannette McCurdy on Why America Drank Up Shirley Temple.” Speakeasy. February 12, 2014) Despite all of her accomplishments later in life, Temple is always remembered as the curly haired girl in black and white. Like so many in entertainment, nostalgia over some maybe iconic role would define the individual for the rest of their life, even it they were later the Ambassador to Czechoslovakia.
Nostalgia can color the lives of athletes and actors, as well as the culture of the a nation. It can cause one to reflect on the past and provide insights into current problems, and maybe offer solutions. But like the force in Star Wars, it has a dark side. Adolph Hitler used nostalgia to seduce Germany in the thirties, and many have followed in his footsteps. Painting a picture or image of some glorious past is a common theme in many political campaigns. It also a great driver in advertisement. why does this work, in an article for Start Up Mindset, Sadia Sarwar explains:
Old is Gold: Why Nostalgia Works So Well
It can be understood why companies would want to use a tried-and-tested formula, but why do we, as human beings fall for the gimmick? In the age of innovation, why do we like things that are retro?
The explanation might be two-fold. First, we tend to romanticize our past because we have no control of our present and most of all our future. However, the past is something we already know about. The past is an epoch that we can look back on and know for certainty what the outcomes were. We can pick and choose what we want to remember, and that is the control we have and crave, since it is control over our destinies that we really seek. Our views of the past are distorted to our own liking, and we can mold it to our own biased outlooks to suit us. Any revisiting of the past usually takes us back to the joyous memories we hold it in esteem, and who doesn’t want a warm fuzzy feeling?
Secondly, we all have a “grass is greener” outlook, which is why we think back to lower bus fares and lower movie ticket prices, and reminisce about past times when juxtaposed with the present. We always regard a past decade or era as something that is novel or serene – we imagine times were simpler then because technology wasn’t as revolutionary or integral. A lot of us even want to think of those past eras to reconnect with their ancestors. On the episode of the philosophical chef, Jeong Kwan of the brilliant chef docu-series, Chef’s Table on Netflix, she says that every time she cooks, she reconnects with her ancestors. She uses old recipes and cooking techniques to prepare food that was once eaten by them and cooked by them. Who wouldn’t want this ephemeral connection?
(Sadia Sarwar. “13 Brands That Are using “Nostalgia Marketing” And Why its Working Brilliantly.” Start Up Mindset. 2018)
Nostalgia is a major force in our lives, and people must deal with it daily. Whether if it just a smell or a song, or the memory of a childhood event, it surrounds us every day. A whiff of Clove gum, may remind one of a grandfather, a song, maybe special night or an emotion long ago suppressed. It can shape the political landscape of a notion, or the self image of a person sitting on a parch at night. It paints a picture of a past that often did not exist, except in our minds and memories. Many times a person will review a film, TV show, or play from a cherished memory, only to not find it as funny or good as remembered. That person may also find that his or her younger friends do not see it in any positive way. Like a song or movie one might, as the old TV character Alf would say, one had to have been there. This is especially true of comedy, and many of the old comedy comedians and routines of old. Lindsay Ellis says of comedy, “Comedy is the quickest to age and the most likely to age poorly. Yes, some of it, even a lot of it, is problematic.” This is also true of our nostalgia of films, but drama holds up better than comedy. Still even in drama, many times the show just does not resonate as well today, or not resonate at all with those younger than the one remembering it, as it did in that long ago time when one first saw the film. Thus the old Christmas song White Christmas may to a baby boomer remind him or her of Christmases long ago, but a Millennial may find the idea of longing to be home for Christmas a little hard to understand.
The question is how to handle it, how to tell the difference from a sad or happy memory or a destructive image of a time that never was? It can cause warm feelings or make for an awkward experience. Once while announcing a baseball game in Atlanta, Jon Miller commentated on a parade of old Southern bells by saying it might have been a wonderful time in the antebellum South, his partner Joe Morgan respectfully disagreed. When on is approached by the old fellow nostalgia it might be best to remember a scene in the old PBS show, I Claudius, at a banquet a young man approached an old actor who has just done a reading of an old play. They begin to discuss the state of the theater of the day. the young man sighs and proclaims that the theater is not what it was in the good old days. To which the old man responds, “No, it is not like it was in the good old days, and you know what, it never was.”
We tend to forget the bad things of the good old days and only remember the best. That is how a kid can not wait for his or her high school days to end and spend every reunion wishing they were back in high school. It might be best said in a Maroon Five song:
Here’s to the ones that we got
Cheers to the wish you were here, but you’re not
‘Cause the drinks bring back all the memories
Of everything we’ve been through
Toast to the ones here today
Toast to the ones that we lost on the way
‘Cause the drinks bring back all the memories
And the memories bring back, memories bring back youThere’s a time that I remember, when I did not know no pain
When I believed in forever, and everything would stay the same
Now my heart feel like December when somebody say your name
‘Cause I can’t reach out to call you, but I know I will one day, yeahEverybody hurts sometimes
Everybody hurts someday, aye aye
But everything gon’ be alright
Go and raise a glass and say, ayeHere’s to the ones that we got
Cheers to the wish you were here, but you’re not
‘Cause the drinks bring back all the memories
Of everything we’ve been through
Toast to the ones here today
Toast to the ones that we lost on the way
‘Cause the drinks bring back all the memories
And the memories bring back, memories bring back you(Adam Levine. Memories. Interscope. 2019)
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