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 email@example.com.
So I’m going to step out on an unpopular limb with Cliff Martinez’s sublime composition and arrangement for Traffic. His film work is prolific and selections impeccable. Traffic would be a completely different film without Martinez’s score. Even “Helicopter” as an ambient track takes on an almost lyrical quality. Each of the tracks convey a distinct idea and emotion.
But I think his use of Brian Eno’s “An Ending (Ascent)” at the end of the film is the best of the best [full version above]:
You’d be forgiven at this point in the film if you mistake this for Martinez’s work. But it’s a testament to the rest of the original score and getting melody (almost pop) out of three-minute ambient music. Using Eno here is no coincidence; the score is Eno’s progeny. Martinez’s selection elevates the scene and the brutal and violent cynicism that came before it, but he also pays tribute to Eno’s influence.
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Danny Boyle selected some great tracks for Trainspotting. You mentioned Lou Reed’s “Perfect Day” playing when Renton shoots up and survives an overdose. Yet Boyle makes an arguably better pairing when he plays Underworld’s “Born Slippy .NUXX” in the final scene, both for how the song draws you into the scene and how the lyrics reflect the protagonist’s story:
Begbie sleeps, passed out from drinking the night before, hugging the bag containing the profits from a heroin deal. Renton wakes early with “Born Slippy”playing quietly at first. He walks over to the bed, and as he begins to gently move Begbie’s arms off the bag, the drumbeat kicks in. It quickens and syncs with your heartbeat as you watch, building the suspense, as the song and the beat grow louder. Will Begbie wake? Will Spud raise the alarm? Will Renton rip off his friends and escape with the cash?
The song continues as he walks out of the hotel with the money into the open fresh air. Darkness pervades most of the movie, but now we are in the light. Renton speaks his soliloquy promising to grow up and clean up. He promises to achieve a bright, boring, middle-class life. Yet the lyrics do not match Renton’s uplifting statements.
Karl Hyde, who wrote the song, told The Guardian he was recreating how “a drunk sees the world in fragments” and described it as a cry for help when he “was still deep into alcoholism.” Although written about alcohol, the manic lyrics stand in for heroin abuse in Trainspotting. And the song’s refrain of “boy” echoes Renton’s nickname “Rent Boy,” making it sound as if the song is speaking to Renton about his struggles with heroin. It leaves you wondering whether Renton will make a clean break or whether the addiction, like the lyrics, will continue to follow him.
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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!
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As 23 candidates struggle for attention, one name stands out.
Barack Obama is literally more popularthan Jesus among Democrats. Unfortunately, neither the former president nor any of the party’s 23 candidates currently seeking the 2020 nomination know quite what to do with that information.
Of course, before any serious endorsement conversation can commence, Obama has to finish his book (between rounds of golf and raising millions for his foundation). The writing has been going more slowly than he’d expected, and according to several people who have spoken with him, the 44th president is feeling competitive with his wife, whose own book, Becoming, was the biggest release of 2018 and is on track to be the best-selling memoir in history. Speaking on the condition of anonymity, like others in this story, these sources note he’ll occasionally point out in conversation that he’s writing this book himself, while Michelle used a ghostwriter. He’s also trying to balance the historical and political needs of a project that will be up to his standards as a writer, and not 1,000 pages long. Obama’s research process has been intense and convoluted, and it’s still very much ongoing, from the legal pads he had shipped to Marlon Brando’s old island in French Polynesia, where he spent a month in March 2017, to the interviews that aides have been conducting with former members of his administration to jog and build out memories.
Its members were once champions of ideological purity. But as their treatment of Justin Amash suggests, they’re now whatever the president wants them to be.
Back in February 2018, I sat down with two leaders of the House Freedom Caucus to discuss, among other things, whether fiscal conservatism had gone extinct.
A few days earlier, with encouragement from his budget director, Mick Mulvaney, President Donald Trump had signed a budget deal boosting federal spending by nearly $300 billion. I told the leaders, Mark Meadows and Jim Jordan, that it seemed precisely the kind of deal that Mulvaney, a self-professed fiscal hawk and a founding member of the Freedom Caucus, would have railed against during his time in Congress.
Meadows shrugged. “He wouldn’t have been supportive of it,” the North Carolina congressman told me. But “he’s got a different boss now.”
As their goosebumps have long suggested, women perform better on tests of cognitive function at toastier room temperatures.
If “I told you so” had a sensation, it would be the sweet cocoon of an 80-degree workspace. For years, women have been saying that the AC is on too damn high. We’ve dragged not one but two sweaters to the office in the summer: one for our slowly numbing legs, and one for our shivering shoulders. Scientific studies have already shown that offices are set for men’s frostier preferred temperatures.
Now a new paper confirms what many of us have long suspected. Women don’t just prefer warmer office temperatures. They perform better in them, too.
For the study, published today in the journal PLOS One, the researchers Tom Chang and Agne Kajackaite had 543 college students in Berlin take different types of tests in a room set to various temperatures between 61 and 91 degrees Fahrenheit. First, the participants had to answer logic problems, like the one about a bat costing $1 more than a ball. Then, the students were asked to add up two-digit numbers without a calculator. Finally, they had to form German words out of the letter scramble ADEHINRSTU.
The outcome of a U.S.–South Korea defense negotiation could transform America’s global footprint.
SEOUL, South Korea—“If the United States believes that it doesn’t need an alliance with the Republic of Korea, I would say it’s okay. If the United States doesn’t want the alliance, we don’t have to beg for it.”
It was a stunning statement to hear in Seoul from one of South Korea’s highest-ranking officials, considering it was in regard to a nearly 70-year partnership forged by American and Korean soldiers who fought and died together during the Korean War. And it was a sign that well beyond South Korea, the United States’ system of alliances is buckling under pressure from President Donald Trump’s campaign to renegotiate the terms of America’s involvement with the world—to turn what used to be a basic tenet of U.S. grand strategy into a blunt question of financial grand totals. Seated in his ornate chambers in April, the speaker of the National Assembly, Moon Hee-sang, was answering my question about Trump’s demand for South Korea to shell out more money to keep American troops in the country, and his threats to impose tariffs on South Korean goods.
An ancient faith is disappearing from the lands in which it first took root. At stake is not just a religious community, but the fate of pluralism in the region.
he call came in 2014, shortly after Easter. Four years earlier, Catrin Almako’s family had applied for special visas to the United States. Catrin’s husband, Evan, had cut hair for the U.S. military during the early years of its occupation of Iraq. Now a staffer from the International Organization for Migration was on the phone. “Are you ready?” he asked. The family had been assigned a departure date just a few weeks away.
“I was so confused,” Catrin told me recently. During the years they had waited for their visas, Catrin and Evan had debated whether they actually wanted to leave Iraq. Both of them had grown up in Karamles, a small town in the historic heart of Iraqi Christianity, the Nineveh Plain. Evan owned a barbershop near a church. Catrin loved her kitchen, where she spent her days making pastries filled with nuts and dates. Their families lived there: her five siblings and aging parents, his two brothers.
Their support for Republican officials has been key to the GOP’s strength in the South.
It’s common for critics of the new wave of state laws severely limiting access to abortion to say the measures are part of a Republican “war on women.”
But strong support from most white women, especially those who identify as evangelical Christians, has helped Republicans dominate local government in the states passing the most restrictive measures, from Alabama and Georgia to Kentucky and Missouri. In some of those states, polling shows that opposition to legal abortion is higher among white women than among white men.
These attitudes underscore why it’s too simplistic to forecast that the renewed push against abortion will uniformly drive women away from the GOP. There’s no question that abortion-rights supporters everywhere are mobilizing in opposition to the highly restrictive new laws, which range from bans starting at six weeks of pregnancy to total prohibition. Activists held some 500 events in all 50 states on Tuesday to protest the new laws—a preview, they say, of the energy the measures will ignite in the 2020 presidential and congressional elections, particularly among the roughly 60 percent majority of women who support legalized abortion. “We will power this movement into 2020,” NARAL Pro-Choice America President Ilyse Hogue insisted in a conference call on Wednesday. “There will be political consequences.”
One in five weddings now takes place during the workweek (and not just because it’s cheaper).
Enter the phrase weekday wedding into a Google search, and the always revealing “People also ask” feature will serve up an especially telling pair of questions. A hefty portion of people who Google for more information on getting married during the workweek seem to be wondering two things: Do people have weekday weddings? And is it okay to have one?
Apparently, more American couples than ever have decided the answers are yes and yes (or, at the very least, yes and “Well, we think so”). According to data from the 2018 Real Weddings study, conducted by the wedding-planning website The Knot, approximately one in five weddings has taken place on a Monday through Friday for the past seven years. Kristen Maxwell Cooper, the editor in chief of The Knot, believes weekday weddings—the whole-enchilada kinds of weddings, with a ceremony, dinner, and reception, but held on a weekday—are much more popular now than they were a decade or so ago. And despite what many assume, that’s not just because they’re cheaper (though frequently they are); American weddings are transforming to reflect the individual tastes of brides and grooms, and when they take place is just one variable that engaged couples today feel empowered to customize.
Taking action against Trump is a rejection of the idea that nothing matters.
In 1838, Abraham Lincoln gave a speech on “the perpetuation of our political institutions“—better known today as the Lyceum Address. Dwelling on the threats facing the American political structure, he argued that the United States was protected from foreign invasion. “At what point, then,” Lincoln asked, “is the approach of danger to be expected?”
“I answer: If it ever reach us, it must spring up amongst us; it cannot come from abroad. If destruction be our lot, we must ourselves be its author and finisher. As a nation of freemen, we must live through all time, or die by suicide.”
The description of the United States as a “nation of freemen” three decades before emancipation was a bit of a stretch. But there is wisdom in Lincoln’s warning. It has been on my mind lately, as the country debates the question of impeachment in the wake of Special Counsel Robert Mueller’s report.
The American jihadist thanked me for my interest in the Islamic State.
Updated at 10:14 a.m. ET on May 23, 2019.
Four years ago, I wrote a letter to John Walker Lindh, then–inmate number 45426-083 in the Terre Haute penitentiary, to ask for advice about jihadism, Islamic law, and the Islamic State. Lindh is the most famous jihadist America has ever produced. In December 2001, he was pulled, half-dead, from a cellar full of fellow al-Qaeda fighters in northern Afghanistan, and 10 months later he was sentenced to 20 years in U.S. prison for terror-related crimes. He is scheduled to be freed today, with three years off for good behavior, and many—including Donald Trump—have objected to his release.
If mothers and fathers speak openly about child-care obligations, their colleagues will adapt.
I’m an economist. I love data and evidence. I love them so much that I write books about data-based parenting. When questions arise about how to support parents at work (for example, from Alexandria Ocasio-Cortez on Twitter), my first impulse is to endorse paid parental leave. Mountains of data and evidence show that paid leave is good for children’s health, and for mothers in particular. I am more than comfortable making a data-based case for this policy.
But experience, rather than pure data, leads me to believe that what happens after paid leave is nearly as crucial—that is to say, what happens when Mom and Dad return to the office. We need to normalize the experience of parenting while working.