Jonah Berger is a marketing professor and author who has extensively studied the psychology behind viral content and word-of-mouth influence. In his book, "Contagious: Why Things Catch On," he explores the concept of "magic words" and their impact on the likelihood of people sharing information or products with others. According to Berger, there are certain words and phrases that have a higher potential to ignite conversations and generate interest. These magic words have specific characteristics that make them more likely to be passed on from person to person. By understanding and utilizing these words effectively, businesses and individuals can increase their chances of creating contagious content that spreads like wildfire. One key characteristic of magic words is their practical value.
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Performing with bassist Ray Brown and drummer Ed Thigpen, Peterson runs through 12 instrumental versions of songs made popular by Ol Blue Eyes, including, naturally, faithful renditions of Sinatra signatures Witchcraft and I Get a Kick Out of You. Leigh s lyric for the verse makes it clear at the outset that Witchcraft is about seduction, seduction that is devilish, poisonous and untrustworthy, seduction that should not be submitted to but is irresistible Shades of old Lucretia Borgia.
One key characteristic of magic words is their practical value. People are more likely to talk about and share information that they find useful or helpful. Therefore, by incorporating words that convey practicality, such as "tips," "tricks," or "hacks," content creators can grab the attention of their audience and drive them to engage and share.
Witchcraft
Ed's. note: One needs to be cautious in suggesting that scholars like David Ewen as well as Robert Kimball and Robert Gottlieb (who in their book Reading Lyrics also state "Witchcraft" was introduced in Take Five) have made an error. If we are missing anything and someone has more information on this matter, please submit a comment.
. . . . the time was well spent. From Riddle's shimmering, downward spiraling string intro (We've definitely left Gordon Jenkins territory) to the sensual glance-over-the-shoulder flute outro, the tune is a finger-snapping dream of sound, the perfect marriage of music, lyric, arrangement, and vocal--and quite simply one of the sexiest numbers ever recorded. Sinatra could sing the hell out of a torch song; no one could make you feel love's ache quiet so piercingly. But "Witchcraft" was the perfect antidote to the melancholy of "Where Are You?" and to the tyranny of love songs in general. Proceed with what you're leadin' me to.
It was pure abandon: rapturous, guiltless. It was everything the 1950's wanted but couldn't have--all the fun that everyone knew Frank was having all the time (Kaplan, p. 152, hardcover Ed.) . "Witchcraft," as Kaplan notes was the song that became part of a Frank-Elvis duet on the occasion of Elvis's appearance on a Sinatra TV special, March 26, 1960. The former and current teenager heart-throbs sang "Witchcraft" (Elvis) and " Love Me Tender" (Frank) together. "In that moment," Kaplan writes, "Sinatra is welcoming Presley to the Great Showbiz Fraternity . . ." (p. 317-319). In 1963, on his post-Capitol label Reprise, Sinatra decided to reprise his career by presenting new versions of previous successful recordings. The resulting album was Sinatra's Sinatra with Nelson Riddle as arranger and conductor. It included a new "Witchcraft" about which James Kaplan writes:
He [Sinatra] genuinely wanted to make these remakes fresh and new, and to a minor extent he succeeded. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The new rendering of . . . "Witchcraft . . . is a good enough reading that goes south fast as Sinatra strains for novelty. . . .
Kaplan finds this straining in a couple of places where Sinatra plays with the lyric, e.g. changing "that wicked witchcraft" to "that coo-coo witchcraft," or adds some "jazzy melodic improv." He doesn't find this "horribly wrong" but for him (Kaplan) it does no more than "focus attention on the singer as a celebrity rather than on the song itself" (p. 511) .
1963 Sinatra version of Witchcraft" for his
Reprise label album Sinatra's Sinatra.
The Coleman-Leigh "collaboration was a volatile partnership that began in 1957 and ended, during the pre-Broadway Philadelphia run of their show Little Me . . . . According to Coleman, Leigh [a fellow native of The Bronx] had grown more emotional over the years, tried to have director Bob Fosse arrested for cutting a lyric without her permission; for Coleman that was the last straw. But while the collaboration lasted it produced smart, precise, up-to-date, honest haunting swinging, sexy songs. "It Amazes Me" like "I Walk a Little Faster," was a favorite of [Blossom] Dearie and of Tony Bennett, two performers of impeccable taste; Sinatra, whose ears weren't bad, either, chose "Witchcraft" and "The Best Is Yet to Come" for singles. Who would have thought that such one-off wonders could still emerge from the Brill Building? It was as if the clock had been turned back twenty years (Yagoda, p.237, hardcover Ed).
. . . the words seem to understand the tune like a perfect marriage. It figures, because the partnership between Cy and his fellow Bronxite Carolyn Leigh was artistically if not humanly perfect. Besides (or because of) being brilliant, Carolyn Leigh seems to have been a (thoroughly justified) perfectionist. She demanded the same from her writing partner in what may have struck the so-far single Cy as a shrill married sort of voice. Apparently she brought out the screamer in him too -- along with some of his best, jazziest work. Like Irving Berlin, Cy was never happier than when chopping up his rhythms and injecting a surprise kick into them. And Leigh could ride his choppiest beats like a bronco buster in such typical numbers as "Witchcraft" and "I've Got Your Number" (p.297, hardcover Ed.) .
Leigh's lyric for the verse makes it clear at the outset that "Witchcraft" is about seduction, seduction that is devilish, poisonous and untrustworthy, seduction that should not be submitted to but is irresistible: Shades of old Lucretia Borgia!
There's a devil in you tonight,
'N' although my heart adores ya,
My head says it ain't right.
Right to let you make advances, oh no!
Under normal circumstances, I'd go,
But oh! (Gottlieb and Kimball, p. 579)
Those fingers in my hair . . . .
Finally, the onus is removed when at the end of the song, the singer admits or rationalizes her inability to resist by asserting, "There's no nicer witch than you." --And don't forget to appreciate Leigh's wicked rhyme of "Borgia" with "adores Ya." To hear Leigh"s and Coleman's verse, listen to Ella Fitzgerald's live version on her album
Twelve Nights In Hollywood.
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Credits
- Frank Sinatra, 1957: MrJohnnyNumbers
- Harvie S and Kenny Barron: Harvie S
- Cy Coleman / Playboy's Penthouse: TheRecordChanger
- Elvis Presley and Frank Sinatra: John1948 FourB2
- Ella Fitzgerald: NuovaCanaria
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The Cafe Songbook
Record/Video Cabinet:
Selected Recordings of
"Witchcraft"
(All Record/Video Cabinet entries below
include a music-video
of this page's featured song.
The year given is for when the studio
track was originally laid down
or when the live performance was given.)
(*indicates accompanying music-video)
1957
Frank Sinatra
album: All the Way (1961)
Notes: Sinatra first released "Witchcraft" as a single (both 45 and 78 rpm) on Capitol (Capitol 3859 . Recorded May 20, 1957). Then In 1961, Capitol released an anthology album titled All the Way that included the 1957 track of "Witchcraft" and was the first album that included a Sinatra "Witchcraft." This album was released in April, 2016. Click here for the same track of "Witchcraft" on multiple Sinatra albums. The video above is that first recording and also includes photos of Sinatra and Riddle from the recording session.
For an account of Sinatra and "Witchcraft," see center column at left.
1959
Bill Evans Trio
album: Portrait in Jazz
1958 and 1961
Ella Fitzgerald
(three live performances)
albums: Live at Mr. Kelly's (1958), Ella Returns to Berlin (1961) and Twelve Nights in Hollywood (1961)
Ella Live at Mr. Kelly's (Chicago)
Ella Returns to Berlin
Notes: Ella includes the verse on both recordings.
Live at Mr. Kelly's (1958): " Ella Fitzgerald didn't lack for live recording opportunities in the late '50s, which on the surface, would make this first issue of a 1958 Chicago live club date an easy one to pass on. Verve label head Norman Granz recorded her often in the '50s with an eye to releasing live albums, which he did with her shows at Newport in 1957 and Los Angeles' Opera House in 1958 (not to mention another 1958 concert in Rome that was released 30 years later to wide acclaim). Those shows, however, differed widely from this one, which found her in front of a very small audience at Chicago's jazz Mecca Mister Kelly's (Sarah Vaughan's landmark At Mister Kelly's was recorded there four months earlier). Fitzgerald's artistry is basically a given in this situation, but much of the material recorded here was rare and obscure; "Your Red Wagon" had only been released as a single, her delightfully melodic "Across the Alley from the Alamo" never appeared elsewhere, and for a pair of Sinatra evergreens -- "In the Wee Small Hours of the Morning" and "Witchcraft" -- the former had never appeared, and the latter only appeared later, on a 1961 return to the site of her Berlin live landmark." ~ John Bush at CDUniverse.com. Ella is accompanied by Lou Levy (piano); Max Bennett (bass guitar); Gus Johnson (drums).
Returns to Berlin (1961): "T hough it was recorded in 1961, near the height of Cold War hostilities in Eastern Germany, Ella Fitzgerald Returns to Berlin is a magnificent performance of pure jazz bliss, free of sociopolitical subtext. or anyway, as free as jazz can ever be. Opening with a heartfelt, warm 'Give Me the Simple Life' that leads directly into a sassy take of Duke Ellington's classic 'Take the A Train,' Fitzgerald is in total control of both the band and the worshipful audience, and the adoration is well-founded. A medley of tunes from PORGY AND BESS is an early highlight, and a stretch of gorgeous standards, from a sprightly "Witchcraft" to a dazzling take on Juan Tizol's "Caravan," is topped by a wild version of the swing novelty "If You Can't Sing It You'll Have to Swing It (Mr. Paganini)" and a politically interesting take on Brecht and Weill's subversive 'Mack the Knife.' Outstanding stuff." from CDUniverse.com.
Ella is accompanied by Lou Levy, piano; Wilfred Middlebrooks, bass; Gus Johnson, drums; Herb Ellis, guitar, except on track 10 ("Anything Goes") on which Ella is accompanied by the Oscar Peterson Trio: Oscar on piano, Ed Thigpen on drums; Ray Brown on bass.
1959
Oscar Peterson Trio
album: Jazz Portrait of Frank Sinatra
Notes : "Master pianist Oscar Peterson works the ivories in typically impressive fashion on this 1959 tribute to Frank Sinatra. Performing with bassist Ray Brown and drummer Ed Thigpen, Peterson runs through 12 instrumental versions of songs made popular by Ol' Blue Eyes, including, naturally, faithful renditions of Sinatra signatures 'Witchcraft' and 'I Get a Kick Out of You.'
1979
Mark Murphy
album: Sings Mostly Dorothy Fields and Cy Coleman
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2006
John Pizzarelli with the Clayton-Hamilton Jazz Orchestra
album: Dear Mr. Sinatra
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2006
John Pizzarelli with the Clayton-Hamilton Jazz Orchestra
album: Dear Mr. Sinatra
Another characteristic of magic words is their ability to create curiosity and a sense of mystery. Words like "secret," "revealed," or "unveiled" can pique people's interest and make them more inclined to share the information with others. By leveraging this curiosity-inducing language, marketers can create a buzz and generate excitement around their product or content. Emotion is also a powerful driver of sharing. Certain words carry emotional weight that can enhance the impact of a message. For example, words that evoke positive emotions like "amazing," "awesome," or "unbelievable" can make people more likely to share, as they want to spread the joy and excitement they experienced. Similarly, negative emotions like "shocking," "outrageous," or "disgusting" can also drive sharing, as people feel compelled to express their disbelief or anger. Additionally, Berger highlights the importance of social currency when it comes to sharing. People are more likely to share content that makes them look good or enhances their social status. Words like "exclusive," "limited edition," or "insider" can create a sense of exclusivity and make people feel special for knowing and sharing the information. This psychological need for social validation can significantly increase the chances of content going viral. By understanding and applying the principles behind magic words, individuals and businesses can create content that is more likely to be shared and talked about. These powerful linguistic tools have the ability to evoke practical value, curiosity, emotion, and social currency, leading to increased word-of-mouth influence and the potential for content to go viral..
Reviews for "The Psychology of Marketing: Leveraging Jonah Berger's Magic Words for Success"
1. Jane - 1 star
I found Jonah Berger's book "Magic Words" to be extremely disappointing. The content felt repetitive and lacked any new or unique insights. The writing style was dry and lacked any creative flair, making it a chore to get through. Additionally, the examples provided in the book were outdated and didn't resonate with me. Overall, I wouldn't recommend this book as it didn't offer anything valuable or enjoyable.
2. Mike - 2 stars
I was really excited to read "Magic Words" by Jonah Berger, but it ultimately fell short of my expectations. While the idea of using words to influence others is intriguing, the book didn't delve deep enough into practical applications. The author seemed more focused on sharing anecdotes and stories rather than providing concrete strategies or techniques. This made the book feel more like a collection of random anecdotes rather than a cohesive guide. I was left wanting more actionable advice and felt disappointed by the lack of depth in the content.
3. Sarah - 2 stars
I had high hopes for "Magic Words" by Jonah Berger, but unfortunately, it didn't live up to the hype for me. The content felt very basic and lacked any real depth. Instead of providing practical tips, the author relied heavily on case studies and examples that felt superficial. I was looking for more specific guidance on how to use words effectively in various contexts, but the book failed to deliver. Overall, I was left feeling unsatisfied and wouldn't recommend this book to anyone looking for practical advice on communication.
4. Robert - 1 star
I found "Magic Words" by Jonah Berger to be a tedious read. The author failed to engage me with his writing style and the content felt repetitive. I was expecting more insights and actionable advice, but the book seemed to lack substance. It felt like a compilation of generic tips rather than offering any new or groundbreaking techniques. I was left disappointed and wouldn't recommend this book to anyone seeking valuable insights on persuasive communication.
5. Emily - 2 stars
"Magic Words" by Jonah Berger left me underwhelmed. While the concept of using language to influence others is fascinating, the book failed to provide practical strategies. The examples and case studies presented in the book were not relatable to me, and I struggled to see how I could apply the techniques in my own life. The writing style was also dry and lacked any real enthusiasm, making it hard to stay engaged. Overall, I found the book lacking in substance and wouldn't recommend it to others.