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!
(Track of the Day archive here. Access it through Spotify here. Submit via hello@)
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?
To raise doubts about the Democratic nominee, right-wing-media smears don’t even need to make sense.
On Tuesday, Fox News’ Laura Ingraham broke some news: An “investigative journalist” named Matthew Tyrmand had uncovered a cache of 26,000 emails belonging to Hunter Biden’s disgraced business partner Bevan Cooney, who is now in jail. Tyrmand claimed that he had gotten hold of the emails via a person in the same facility as Cooney (a “federal work camp for white-collar infractions,” is how Tyrmand put it). Tyrmand explained that Cooney felt stiffed by Biden, the son of the Democratic presidential nominee, Joe Biden, and implied that Cooney had handed over his own Gmail password in an act of revenge.
Perhaps that’s what happened. Or perhaps not: I have good reason to doubt the reliability of the source. The last time I saw Tyrmand was in October 2017. I was speaking at the Harvard Ukrainian Research Institute and he was in the audience. Security guards were keeping an eye on him after I warned them that he might show up: He’d come to another public lecture of mine the previous day in New York City, then had turned up in Boston and announced on Twitter that he was following me to Cambridge. His goal, I think, was to shout at me and draw attention to himself while waving a cellphone camera in the air, which is what he’d done in the past. But the lecture went off smoothly; afterward, a very gentle and very tall Harvard professor stood firmly between us, engaging Tyrmand in vigorous conversation so that I could slip away unharassed. I didn’t hear directly from Tyrmand after that—I block the social-media accounts of tiresome trolls. But I gather that, year in and year out, he continues to post obsessively about me and my husband, a Polish politician, including photographs taken surreptitiously in public places. I have no idea why.
“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.
America survived one Trump term. It wouldn’t survive a second.
Updated at 11:14 a.m. ET on October 14, 2020.
The most important ballot question in 2020 is not Joe Biden versus Donald Trump, or Democrat versus Republican. The most important question is: Will Trump get away with his corruption—will his crooked and authoritarian tactics succeed?
If the answer is yes, be ready for more. Much more.
Americans have lavished enormous powers on the presidency. They have also sought to bind those powers by law. Yet the Founders of the republic understood that law alone could never eliminate the risks inherent in the power of the presidency. They worried ceaselessly about the prospect of a truly bad man in the office—a Caesar or a Cromwell, as Alexander Hamilton fretted in “Federalist No. 21.” They built restraints: a complicated system for choosing the president, a Congress to constrain him, impeachment to remove him. Their solutions worked for two and a half centuries. In our time, the system failed.
How anti-Trump women in America’s suburbs are ushering in a new era of political activism
To say that Susan Polakoff Shaw is a delight is to say nothing particularly controversial. The 61-year-old Ohioan’s charm is an objective fact, like snow being cold or a square having four equal sides. She laughs loudly and swears often. Her strawberry-blond curls are piled on the top of her head, like Ms. Frizzle, and she wears jean jackets, chunky jewelry, and blue plastic-framed glasses, like the kooky aunt you wish you had. She is also, importantly, a woman of action—“a mover and a shaker,” as one of her friends put it to me. Her one-woman communications firm, which she founded in 1991, has been hired by the International Olympic Committee to work press operations for 15 Olympic Games.
So naturally, when Shaw attended her first meeting of a local Democratic club in 2018, she saw it as her next big project. The gathering was fairly dull, a handful of older people seated around tables in an echoey ballroom on Cleveland’s west side. There was pizza, sure, and a lineup of local speakers. But there was no attendance-taking, no callouts for volunteers, no planning for weekend projects—even though the midterm-primary season was under way. Things have got to change if we’re going to beat Donald Trump, Shaw thought to herself as the meeting wrapped. And things did.
The president of the United States poses a threat to our collective existence. The choice voters face is spectacularly obvious.
In 1973, a United States Air Force officer, Major Harold Hering, asked a question that the Air Force did not want asked. Hering, a decorated Vietnam War veteran, was then in training to become a Minuteman-missile crewman. The question he asked one of his instructors was this: “How can I know that an order I receive to launch my missiles came from a sane president?”
The writer Ron Rosenbaum would later call this the “forbidden question.” Missile officers are allowed to ask certain sorts of questions—about the various fail-safe systems built to prevent the accidental launching of nuclear weapons, for instance. But the Air Force would not answer Hering’s question, and it moved to discharge him after determining that officers responsible for launching nuclear weapons did not “need to know” the answer. “I have to say I feel I do have a need to know because I am a human being,” Hering said in response.
As society gets richer, people chase the wrong things.
“How to Build a Life” is a biweekly column by Arthur Brooks, tackling questions of meaning and happiness.
One of the greatest paradoxes in American life is that while, on average, existence has gotten more comfortable over time, happiness has fallen.
According to the United States Census Bureau, average household income in the U.S., adjusted for inflation, was higher in 2019 than has ever been recorded for every income quintile. And although income inequality has risen, this has not been mirrored by inequality in the consumption of goods and services. For example, from 2008 to 2019, households in the lowest income quintile increased spending on eating out by an average of about 22 percent after correcting for inflation; the top quintile increased spending on eating out by an average of just under 8 percent. Meanwhile, domestic government services have increased significantly: For example, federal spending on education, training, employment, and social services increased from 2000 to 2019 by about 30 percent in inflation-adjusted terms.
The bumbling provocateur who stormed the United States in 2006 has now become an unlikely voice of reason.
By now, you’ve probably heard about the already infamous climax of Borat Subsequent Moviefilm, the Amazon sequel that heralds the return of the titular Kazakh journalist and agent of chaos played by Sacha Baron Cohen. Borat’s daughter, Tutar, is interviewing Rudy Giuliani in a hotel room when the situation takes an alarming turn: The former Mayor of New York, and current lawyer to the president, is shown reclining on a bed and reaching his hand into his pants. The whole scene is so cringe-inducing that it’s a relief when Borat himself bursts into the room, interrupting the encounter and jolting the tone from creepy dread back to zany confusion.
“She’s 15. She’s too old for you,” Borat tells Giuliani, a typically tasteless rejoinder from America’s favorite faux-foreign mischief-maker. (While Tutar, the character, is 15, the actor playing her is 24.) As absurd and embarrassing as the hotel meeting is for Giuliani, who called the scene “a complete fabrication,” it underlines the accidental premise of the movie, which was shot surreptitiously over the course of this year. When Borat first rampaged through the United States for his 2006 cinematic debut, he held up a fun-house mirror to Americans’ views of outsiders, capturing real people nodding and smiling politely at this supposed journalist and his provocations. But in 2020, Borat has become the peacekeeper rather than the agitator.
Cases are rising in all but nine states. Unlike the past two waves, this one has no epicenter.
Updated at 9:20 p.m. ET on October 22, 2020
The United States is sleepwalking into what could become the largest coronavirus outbreak of the pandemic so far. In the past week alone, as voters prepare to go to the ballot box, about one in every 1,000 Americans has tested positive for the virus, and about two in every 100,000 Americans have died of it. Today, the United States reported 73,103 new cases, the third-highest single-day total since the pandemic began, according to the COVID Tracking Project at The Atlantic.
This third surge is far more geographically dispersed than what the country saw in the spring or summer: The virus can now be found in every kind of American community, from tiny farm towns to affluent suburbs to bustling border cities. This is the first of the American surges with no clear epicenter: From North Carolina to North Dakota, and Colorado to Connecticut, more Americans are contracting COVID-19.
Where the desperation of late-stage meritocracy is so strong, you can smell it
Photo illustrations by Pelle Cass
Updated at 6:01 p.m. ET on October 22, 2020.
To make the images that appear in this story, the photographer Pelle Cass locked his camera onto a tripod for the duration of an event, capturing up to 1,000 photographs from one spot. The images were then layered and compiled into a single digital file to create a kind of time-lapse still photo.
Image above: Cornell versus Dartmouth, women’s lacrosse, October 2019
On paper, Sloane, a buoyant, chatty, stay-at-home mom from Fairfield County, Connecticut, seems almost unbelievably well prepared to shepherd her three daughters through the roiling world of competitive youth sports. She played tennis and ran track in high school and has an advanced degree in behavioral medicine. She wrote her master’s thesis on the connection between increased aerobic activity and attention span. She is also versed in statistics, which comes in handy when she’s analyzing her eldest daughter’s junior-squash rating—and whiteboarding the consequences if she doesn’t step up her game. “She needs at least a 5.0 rating, or she’s going to Ohio State,” Sloane told me.