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.
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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@)
If you hate wokeness, you should vote for Joe Biden.
A number of influential commentators who firmly opposed Donald Trump in 2016 recently announced their intention to vote for him in 2020. Nearly all of them, including James Lindsay, Danielle Pletka, and Ben Shapiro, blamed illiberalism on the left. As Shapiro said on his popular show, he is planning to vote for Trump because “Democrats have lost their fucking minds.”
The pandemic has broken Americans’ understanding of what to fear.
On a normal day, the White House is one of the safest buildings in the world. Secret Service snipers stand guard on the roof, their aim tested monthly to ensure their accuracy up to 1,000 feet. Their heavily armed colleagues patrol the ground below and staff security checkpoints. Belgian Malinois guard dogs lie in wait for anyone who manages to jump the property’s massive iron fence.
But safety means something different in a pandemic. Over the past few days, several aides to Vice President Mike Pence, including his chief of staff, have tested positive for the coronavirus. The outbreak is the second in the White House in a month, after dozens of people, including President Donald Trump himself, tested positive following the apparent super-spreader event hosted by the administration to celebrate the Supreme Court nominee Amy Coney Barrett.
The Constitution should be the sturdy vessel of our ideals and aspirations, not a derelict sailing ship locked in the ice of a world far from our own.
During her confirmation hearings, Amy Coney Barrett argued that the judicial philosophy known as “originalism” should guide judges in their interpretation and application of constitutional principles. Most famously associated with the late Justice Antonin Scalia (for whom Judge Barrett clerked), this idea sounds simple and sensible: In determining what the Constitution permits, a judge must first look to the plain meaning of the text, and if that isn’t clear, then apply what was in the minds of the 55 men who wrote it in 1787. Period. Anything else is “judicial lawmaking.”
In some cases, interpreting the Constitution with an originalist lens is pretty easy; for example, the Constitution says that the president must be at least 35 years old (“35” means, well, 35), that each state has two senators (not three and not one), and that Congress is authorized to establish and support an Army and a Navy. But wait a minute. What about the Air Force? Is it mentioned in the text? Nope. Is there any ambiguity in the text? Again, no. It doesn’t say “armed forces”; it explicitly says “Army” and “Navy.” Did the Framers have in mind the Air Force 115 years before the Wright brothers? Not likely.
What the happiest Springsteen album in decades can teach us about Joe Biden, the wisdom of maturity, and the meaning of life
I recently saw a photo of Lyndon B. Johnson in the first year of his presidency. He looked like a classic old guy—wrinkled, mature, in the late season of life. It was a shock to learn that he was only 55 at the time, roughly the same age as Chris Rock is now. He left the presidency, broken, and beaten, at 60, the same age as, say, Colin Firth is now.
Something has happened to aging. Whether because of better diet or health care or something else, a 73-year-old in 2020 looks like a 53-year-old in 1935. The speaker of the House is 80 and going strong. The presidential candidates are 77 and 74. Even our rock stars are getting up there. Bob Dylan produced a remarkable album this year at 79. Bruce Springsteen released an album today at 71. “Active aging” is now a decades-long phase of life. As the nation becomes a gerontocracy, it’s worth pondering: What do people gain when they age, and what do they lose? What does successful aging look like?
Our persuasion rate is much higher than that of traditional electioneering efforts.
Last year, before the pandemic, I stood on the front porch of a house near Harrisburg, Pennsylvania, while the homeowner, a former military man, heaved pro-Trump talking points at me. His anger was palpable. He was upset about the state of health care. He blamed immigrants. With a clipboard in my hand, I listened carefully to everything he had to say.
I am the director of People’s Action, an organization of working-class and low-income people. I was in Pennsylvania as part of deep-canvass efforts targeting rural and small-town voters, testing whether patient, nonjudgmental conversations about race, immigration, health care, and the economy can help people reexamine their views, and perhaps even lead them to vote for Joe Biden instead of Donald Trump.
“Our boyfriends, our significant others, and our husbands are supposed to be No. 1. Our worlds are backward.”
Kami West had been dating her current boyfriend for a few weeks when she told him that he was outranked by her best friend. West knew her boyfriend had caught snatches of her daily calls with Kate Tillotson, which she often placed on speaker mode. But she figured that he, like the men she’d dated before, didn’t quite grasp the nature of their friendship. West explained to him, “I need you to know that she’s not going anywhere. She is my No. 1.” Tillotson was there before him, and, West told him, “she will be there after you. And if you think at any point that this isn’t going to be my No. 1, you’re wrong.”
If West’s comments sound blunt, it’s because she was determined not to repeat a distressing experience from her mid-20s. Her boyfriend at that time had sensed that he wasn’t her top priority. In what West saw as an attempt to keep her away from her friend, he disparaged Tillotson, calling her a slut and a bad influence. After the relationship ended, West, 31, vowed to never let another man strain her friendship. She decided that any future romantic partners would have to adapt to her friendship with Tillotson, rather than the other way around.
I am incredibly worried that he’s not on the same page as me about moving our relationship forward.
My boyfriend and I have been together for nearly two years now. It’s overall a wonderful relationship that brings us both so much happiness. We’re very well suited for each other—similar interests, similar outlooks, but with enough differences to ensure that we’re still our own individuals. It is by far the happiest and healthiest relationship I’ve ever had.
At the beginning of the pandemic, I moved into his apartment, and a few weeks ago we made this a permanent living situation. However, this latter step was not without its issues. My roommates all decided that they were moving out, so the decision not to renew my lease was actually not mine. When I brought up living together officially, my boyfriend immediately went on the defensive and asked for time to think about it.
The vocalist flaunted her personality, not her pipes—in an assertion that her stardom is bigger than singing.
It’s been almost five years since Adele Adkins released new music. Her last album, 25, delivered emotional, vocally masterful, classicist pop just in time to soothe listeners during taxing election seasons in the U.S. and U.K. An excellent Saturday Night Live sketch back then even posited that her hit “Hello” could be the one thing to bring together feuding family members at Thanksgiving dinners. Continuing Adele’s streak of blazing commercial success, 25 ended up being the best-selling album in the world that year.
With campaign stress—and the melancholic chill of sweater weather—in the air again, now would seem an ideal time for listeners to be comforted by her voice once more. Earlier this year, Adele told congregants at a wedding that 25’s follow-up would arrive in September, but that month came and went without any new music from her. There was, however, one tantalizing bit of news: Adele was booked to play last night’s SNL. Today, her status as the queen of heartbreak remains intact; the role she played was not musical guest but teasing, affable, yet ultimately unmemorable host.
Many Americans who brand Trump and his allies as fascists are paying too little attention to abuses in Hong Kong and cultural genocide in Xinjiang.
How do Americans decide what to be outraged about? It seems like ancient history now, but that was one of the questions TheNew York Times inadvertently raised in June when it appended an editor’s note to an op-ed by Senator Tom Cotton—a piece that some on the Times staff saw as presenting a physical danger not only to the country but to themselves.
The op-ed called for American troops to be sent to “restore order” to cities experiencing violent protests. Outside and inside the Times, it was widely condemned as “fascist” or fascist-adjacent. More recently, though, the Times published an op-ed of a similar vein, except this time readers had the opportunity to glimpse what actual fascism looks like. Fascism, in today’s context, isn’t mere authoritarianism, but the attempt to suppress all dissent, public or private, in the name of the nation; it is the expression of a regimented society that elevates order as both the means and end of all political life.
The Republican Party wants to shield itself from the growing Democratic coalition.
Nothing better explains the Republican rush to confirm Amy Coney Barrett to the Supreme Court than the record crowds that thronged polling places for the first days of early voting this week in Georgia and Texas.
The historic number of Americans who stood in long lines to cast their ballot in cities from Atlanta to Houston symbolizes the diverse, urbanized Democratic coalition that will make it very difficult for the GOP to win majority support in elections through the 2020s. That hill will get only steeper as Millennials and Generation Z grow through the decade to become the largest generations in the electorate.
Every young conservative judge that the GOP has stacked onto the federal courts amounts to a sandbag against that rising demographic wave. Trump’s nominations to the Supreme Court of Brett Kavanaugh, Neil Gorsuch, and Barrett—whom a slim majority of Republican senators appears determined to seat by Election Day—represent the capstone of that strategy. As the nation’s growing racial and religious diversity limits the GOP’s prospects, filling the courts with conservatives constitutes what the Princeton University historian Sean Wilentz calls “the right-wing firewall” against a country evolving electorally away from the party.