Readers and staffers recommend the most memorable use of songs in movie scenes. To submit your own, with a brief explanation of why it’s so effective and why you love it so much, please email firstname.lastname@example.org.
Might I suggest the use of the song “Mad World,” originally composed and performed by Tears for Fears [embedded above] but covered by Gary Jules in the film Donnie Darko. The pathos it evokes, while the camera shows faces stricken with grief and confusion, is almost unbearable. I thought the movie was good, but this scene is exceptional:
(The song ends here at the 3:00 mark, and beyond that the dialogue is in French. It’s the only video I could find that shows the scene with the music as it is in the film.)
Thanks for the Track of the Day feature, plus everything the Atlantic does.
(Track of the Day archive here. Access it through Spotify here. Submit via hello@)
Adam Feiges has a stellar selection for the new reader series on the best use of songs in cinema:
If you are willing to expand the definition to television, I nominate the scene from the pilot episode of Miami Vice that used Genesis’ “In the Air Tonight” to set the mood for the lead-up to the climax of the episode. [CB note: The pilot episode is feature length, so it counts I think.] The song starts about 45 seconds into this scene and it’s really haunting:
The scene has lingered in my memory for over 30 years because it was the first time (in my experience at least) that a popular song was used effectively in the plot of a television show. The mood building, the timing (Tubbs checking the loads in the shotgun and then snapping the breech closed in time with the music), and the fact that Genesis was one of the most popular bands of the era made a visceral impression that this show was something new and different. It has become a cliché to use popular music to advance the plot of a TV show, but in 1984 it was astonishing.
I had never watched that pilot episode until Adam’s email inspired me to, so when he suggested “In the Air Tonight,” I first thought of this scandalous scene from Risky Business, which came out a year before Miami Vice:
Somehow that song works exceptionally well juxtaposed with two very different themes: betrayal and imminent danger in Miami Vice, and sultry subway sex in Risky Business.
I don’t know what this song is about. When I was writing this I was going through a divorce. And the only thing I can say about it is that it's obviously in anger. It’s the angry side, or the bitter side of a separation.
In that sense, the song is closer to Crockett’s mindset in Miami Vice, who’s going through a marital separation and who just discovered his close colleague is a corrupt cop. And the refrain I can feel it coming in the air tonight / oh Lord / I’ve been waiting for this moment all my life is something you could be thinking if you suspect you might be driving to your death. To watch that perilous scene, the one that immediately follows the one above, start at the 31:20 mark here.
The scene that immediately springs to mind is the one in Lock, Stock and Two Smoking Barrels when Eddy loses all of his and his mate’s money to gangsters in a rigged card game. As the enormity of this loss sinks into a numbed Eddy, the droning guitar strains that kick off Iggy and the Stooges’ “I Wanna be Your Dog”match up perfectly with the disoriented camera perspective that stumbles out the door with him.
What Eddy feels might not be exactly what Iggy feels, but they share a bleak desperation that makes you really feel the gut-punch of his situation.
Have fun with this new sub-series, cheers!
(Track of the Day archive here. Access it through Spotify here. Submit via hello@)
Five years ago, the flight vanished into the Indian Ocean. Officials on land know more about why than they dare to say.
1. The Disappearance
At 12:42 a.m. on the quiet, moonlit night of March 8, 2014, a Boeing 777-200ER operated by Malaysia Airlines took off from Kuala Lumpur and turned toward Beijing, climbing to its assigned cruising altitude of 35,000 feet. The designator for Malaysia Airlines is MH. The flight number was 370. Fariq Hamid, the first officer, was flying the airplane. He was 27 years old. This was a training flight for him, the last one; he would soon be fully certified. His trainer was the pilot in command, a man named Zaharie Ahmad Shah, who at 53 was one of the most senior captains at Malaysia Airlines. In Malaysian style, he was known by his first name, Zaharie. He was married and had three adult children. He lived in a gated development. He owned two houses. In his first house he had installed an elaborate Microsoft flight simulator.
Two specialized muscles give them a range of expression that wolves’ eyes lack.
Dogs, more so than almost any other domesticated species, are desperate for human eye contact. When raised around people, they begin fighting for our attention when they’re as young as four weeks old. It’s hard for most people to resist a petulant flash of puppy-dog eyes—and according to a new study, that pull on the heartstrings might be exactly why dogs can give us those looks at all.
A paper published today in the Proceedings of the National Academy of Sciences found that dogs’ faces are structured for complex expression in a way that wolves’ aren’t, thanks to a special pair of muscles framing their eyes. These muscles are responsible for that “adopt me” look that dogs can pull by raising their inner eyebrows. It’s the first biological evidence scientists have found that domesticated dogs might have evolved a specialized ability used expressly to communicate better with humans.
Evolution might have played a trick on women’s immune systems.
About 65 million years ago, shortly after the time of the dinosaurs, a new critter popped up on the evolutionary scene. This “scampering animal,” as researchers described it, was likely small, ate bugs, and had a furry tail. It looked, according to artistic renderings, like an especially aggressive New York City rat. And it had a placenta, an organ that grows deep into the maternal body in order to nourish the fetus during pregnancy.
The rodentlike thing would become the common ancestor of the world’s placental mammals, with descendants that include whales, bats, dogs, and humans, among many other species. And today, the placenta might hold the key to one of the most enduring mysteries in human medicine: Why do women suffer much higher rates of autoimmune disease than men do?
Small schools across the United States are facing budget shortfalls and low enrollment—leading some to shut down in the middle of students’ higher-education experience.
Updated at 12:34 p.m. on June 18, 2019
Like most other colleges across the country, Newbury College, a small, private liberal-arts school in Brookline, Massachusetts, held classes through the end of this past spring semester and then bid farewell to cap-and-gown-wearing seniors. But unlike almost every other college, those classes, and that farewell, were the school’s last: Newbury officially ceased operations at the end of May.
One of the first sources to publicly confirm the long-rumored closure was the president’s blog, where the news was shared last December. “It is with a heavy heart,” the school’s president, Joseph Chillo, wrote, “that I announce our intention to commence the closing of Newbury College, this institution we love so dearly.”
The president appears committed to destroying the very idea of facts.
Like many writers I know, I’ve had a passion for words for almost as long as I can remember. I’ve admired those who use words well, who have shaped my imagination and given voice to things I wanted to express but didn’t feel like I adequately could. That is why they have to be protected against assault and degradation.
At an early age I recognized their power to convey deep emotions and longings, knowledge and understanding, hopes and fears. “Words can be polluted even more dramatically and drastically than rivers and land and sea,” one of my favorite writers, Malcolm Muggeridge, once wrote. “Their misuse is our undoing.”
Like many rich Americans, I used to think educational investment could heal the country’s ills—but I was wrong. Fighting inequality must come first.
Long ago, I was captivated by a seductively intuitive idea, one many of my wealthy friends still subscribe to: that both poverty and rising inequality are largely consequences of America’s failing education system. Fix that, I believed, and we could cure much of what ails America.
This belief system, which I have come to think of as “educationism,” is grounded in a familiar story about cause and effect: Once upon a time, America created a public-education system that was the envy of the modern world. No nation produced more or better-educated high-school and college graduates, and thus the great American middle class was built. But then, sometime around the 1970s, America lost its way. We allowed our schools to crumble, and our test scores and graduation rates to fall. School systems that once churned out well-paid factory workers failed to keep pace with the rising educational demands of the new knowledge economy. As America’s public-school systems foundered, so did the earning power of the American middle class. And as inequality increased, so did political polarization, cynicism, and anger, threatening to undermine American democracy itself.
The singer’s pro-gay single strangely compares her struggles with fame to more dangerous kinds of persecution.
Since it debuted Friday, Taylor Swift’s “You Need to Calm Down” has bounced around in my head for exactly the reason a pop song should: the way it sounds. I like that the beat’s something a great beast might march to, slowly from one side to another, rumbling with each footfall. I like that the “oh-oh” swell of the chorus takes yummy harmonies, typically the key side dish in pop, and makes them the main course. I like the dry, silly way Swift drawls the strongest punch line of the track: “Like, damn … it’s 7 a.m.”
But I’ve also been fixated on—uncalmed by, and maybe even losing sleep over!—what the lyrics say. Shout along with this brain bender: “Shade never made anybody less gay!”
“You Need to Calm Down” is Swift’s grand LGBTQ-rights statement, released in the middle of Pride Month with all the precision of a bank’s new credit-card rollout. The song’s second verse takes on homophobic demonstrators: “Sunshine on the street at the parade / But you would rather be in the dark ages.” The video, released today, has a legion of queer celebs doing famously queer things such as sipping tea, performing in drag, and getting married in matching baby-blue tuxes. It closes with a plug to sign a petition for the passage of the Equality Act, which would ban discrimination based on sexual orientation and identity.
The 18-year-old gun-rights activist and Parkland-shooting survivor is being touted by the right as the latest victim of “cancel culture.”
At 9 o’clock eastern time yesterday morning, Kyle Kashuv—a gun-rights activist and survivor of the 2018 shooting at Marjory Stoneman Douglas High School in Parkland, Florida—announced on Twitter that Harvard University had rescinded its offer of admission to him. One hour and 12 minutes later, Kashuv and his now-uncertain educational future had been officially declared victims of an overzealous progressive agenda that was either unwilling or unable to forgive.
“The progressive black balling of Kyle Kashuv is a reminder that there’s no concept of grace in the secular religion,” the conservative commentator Erick Erickson tweeted.
Erickson’s read on the situation turned out to be a popular one across social media. In the hours since Kashuv tweeted about Harvard’s decision, a number of conservative commentators and publications have weighed in. Many of them have situated Kashuv against the backdrop of what they perceive to be a larger problem on the left: “cancel culture.” When a public figure’s racist, sexist, or otherwise offensive behavior comes to light, widespread condemnation and calls to stop supporting that person tend to follow—especially on social media, where people often say that person is “canceled.” Some conservatives feel this shows an unwillingness to acknowledge a person’s growth and learning from mistakes.
At its annual meeting, the evangelical denomination initially declined to consider a statement of its opposition to the alt-right.
Updated at 6:10 p.m. EST on June 14
The Southern Baptist Convention’s annual meeting turned chaotic in Phoenix this week over a resolution that condemned white supremacy and the alt-right. On Tuesday, leaders initially declined to consider the proposal submitted by a prominent black pastor in Texas, Dwight McKissic, and only changed course after a significant backlash. On Wednesday afternoon, the body passed a revised statement against the alt-right. But the drama over the resolution revealed deep tension lines within a denomination that was explicitly founded to support slavery.
A few weeks before the meeting was slated to start, McKissic published his draft resolution on a popular Southern Baptist blog called SBC Voices. The language was strong and pointed.
As Trump focuses on disruption, Beijing is evidently operating on a higher level.
Lobster is Maine’s top export. Like many Americans with something to sell, Maine’s trappers benefited from positive turns in China’s economic development. The movement of tens of millions of people out of poverty and into the middle class increased demand for a source of protein—and a Chinese New Year delicacy—that Maine could happily provide.
Yet in the wake of President Donald Trump’s trade war, American lobster sales to China have decreased by 70 percent. China’s 25 percent retaliatory tariff on American lobster was only the start. Beijing has actively helped Chinese grocers and restaurants by also reducing the costs of their finding new, non-American suppliers. It has cut the Chinese tariff on lobster bought from Canada, Maine’s fierce rival in the lobster business. As a result, Canada has seen its lobster exports to China nearly double. Maine may never recover its previously dominant position in this export market.