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.
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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Aides on Capitol Hill fear that a dramatic government failure may be the only thing to force President Trump and the Democrats back to the table.
As the longest government shutdown in American history lurches toward its fifth week, a grim but growing consensus has begun to emerge on Capitol Hill: There may be no way out of this mess until something disastrous happens.
This is, of course, not a sentiment lawmakers are eager to share on the record. But in interviews this week with congressional staffers on both sides of the aisle (whom I granted anonymity in exchange for candor), I heard the same morbid idea expressed again and again.
The basic theory—explained to me between weary sighs and defeated shrugs—goes like this: Washington is at an impasse that looks increasingly unbreakable. President Donald Trump is dug in; so is Speaker Nancy Pelosi. Democrats have public opinion on their side, but the president is focused on his conservative base. For a deal to shake loose in this environment, it may require a failure of government so dramatic, so shocking, as to galvanize public outrage and force the two parties back to the negotiating table.
Starting the process will rein in a president who is undermining American ideals—and bring the debate about his fitness for office into Congress, where it belongs.
On January 20, 2017,Donald Trump stood on the steps of the Capitol, raised his right hand, and solemnly swore to faithfully execute the office of president of the United States and, to the best of his ability, to preserve, protect, and defend the Constitution of the United States. He has not kept that promise.
Instead, he has mounted a concerted challenge to the separation of powers, to the rule of law, and to the civil liberties enshrined in our founding documents. He has purposefully inflamed America’s divisions. He has set himself against the American idea, the principle that all of us—of every race, gender, and creed—are created equal.
A BuzzFeed report says President Trump directed Michael Cohen to lie to Congress, prompting the talk of impeachment even before the special counsel finishes his probe.
Late Thursday night, BuzzFeed News published a report that, if true, could prove historic: President Donald Trump allegedly directed his then–personal lawyer, Michael Cohen, to lie to Congress about a real-estate deal he was pursuing in Moscow during the 2016 election. Trump immediately denied the story, but for many Democrats, including those who had previously cautioned against impeaching the president before Special Counsel Robert Mueller produces his findings in the Russia investigation, the report was cause to consider proceeding with impeachment before the Russia probe is finished.
“If the @BuzzFeed story is true, President Trump must resign or be impeached,” Democratic Representative Joaquin Castro, a member of the House Intelligence Committee, wrote on Twitter. Democratic Senator Chris Murphy weighed in, too. “If Mueller does have multiple sources confirming Trump directed Cohen to lie to Congress, then we need to know this ASAP,” he wrote. “Mueller shouldn’t end his inquiry, but it’s about time for him to show Congress his cards before it’s too late for us to act.” Democratic Senator Jeff Merkley followed up on Friday morning: “If this report of Trump suborning false testimony is confirmed, then Trump committed a felony and must resign or be impeached,” he wrote. “This is obstruction of justice,” Democratic Representative David Cicilline, a member of the House Judiciary Committee, told CNN. “If the facts are true, this is suborning perjury. It’s an impeachable offense.” Representative Jamie Raskin, a member of House leadership, told CNN, “This is a completely impeachable offense, if this report is true.” He said Congress would need to hear from “everybody who was involved” in the alleged conspiracy before moving forward with impeachment.
Insights into the little-studied realm of last words
Mort Felix liked to say that his name, when read as two Latin words, meant “happy death.” When he was sick with the flu, he used to jokingly remind his wife, Susan, that he wanted Beethoven’s “Ode to Joy” played at his deathbed. But when his life’s end arrived at the age of 77, he lay in his study in his Berkeley, California, home, his body besieged by cancer and his consciousness cradled in morphine, uninterested in music and refusing food as he dwindled away over three weeks in 2012. “Enough,” he told Susan. “Thank you, and I love you, and enough.” When she came downstairs the next morning, she found Felix dead.
During those three weeks, Felix had talked. He was a clinical psychologist who had also spent a lifetime writing poetry, and though his end-of-life speech often didn’t make sense, it seemed to draw from his attention to language. “There’s so much so in sorrow,” he said at one point. “Let me down from here,” he said at another. “I’ve lost my modality.” To the surprise of his family members, the lifelong atheist also began hallucinating angels and complaining about the crowded room—even though no one was there.
An explosive report that Trump directed Michael Cohen to lie to Congress provides a straightforwardly impeachable offense.
It’s not just the collusion. It’s the conspiracy.
On Thursday evening, BuzzFeed Newsdropped a bombshell, reporting that President Donald Trump told Michael Cohen, his former personal attorney, to lie to Congress about the Trump Organization’s pursuit of a real-estate project in Moscow during the 2016 election, a period in which the Russian government was seeking to aid Trump’s presidential campaign.
“Assuming all the evidence adds up to the conclusion that the president asked Cohen to lie about the Russia deal, it’s evidence of conspiracy, of obstruction of justice, of suborning perjury,” said John Q. Barrett, a law professor at St. John’s and a former associate counsel in the Iran-Contra investigation. “It’s impeachment material.”
Seldom can one find so succinct a demonstration of the president’s anti-Muslim sentiments, reliance on right-wing media, and lack of interest in accuracy or truth.
Imagine you were charged with choosing an artifact to put in a time capsule so that future Americans could understand the current government shutdown. This is an unrealistic scenario, of course. No single item can explain the current moment, and moreover, there’s no reason to believe that the shutdown is actually going to end.
But playing along with the game, your best bet would be this Donald Trump tweet from Friday morning:
Border rancher: “We’ve found prayer rugs out here. It’s unreal.” Washington Examiner People coming across the Southern Border from many countries, some of which would be a big surprise.
It offers a succinct window into the president’s mind and his approach to the shutdown: an obsession with border security. A dubious anonymous source. Assertions that are unproven at best and likely bogus. A reliance on right-wing media. Anti-Muslim sentiments. Xenophobia. It is the total package; it’s just that the package is a booby trap.
Everyone’s winging it, but that’s not a bad thing.
Harvey Karp makes soothing babies look like a cinch. In the video that accompanies his best-selling book The Happiest Baby on the Block, he holds one screaming infant after another, deftly rolls them on their side, and bam!—the crying stops. “Side position” is just one of the techniques to calm a baby in Karp’s repertoire. He also uses swaddling, shushing, swinging, and sucking. Bleary-eyed parents ooh and aah over how Karp can instantly activate a baby’s calming reflex, or “automatic shut-off switch,” using his trademark “five S’s.”
I discovered the sixth S shortly after having my daughter nine years ago. A childbirth injury had left me bedridden with chronic pelvic pain, and for two months I lived on an air mattress in my living room because I couldn’t make it upstairs to my bedroom. I couldn’t sit in a comfortable position to nurse; I couldn’t stand to change my baby’s diaper or squat to bathe her; I couldn’t bounce her to calm her down. My husband stepped up, handling most things baby-related while I healed.
The president turns again to flimsy rumor to build support for his policies.
The president is tweeting again.
Three weeks into a government shutdown triggered when the president reneged on a deal to fund the government, insisting instead that any deal had to include money for a wall on the southern border, Donald Trump tweeted about a story from the Washington Examiner that cited an anonymous rancher who claimed that Muslim “prayer rugs” were found at the U.S. border. Although the president likely imagines that this strengthens the case for his border wall, it’s really just an example of how the president will say anything he thinks backs him up, regardless of whether it’s true.
“There’s a lot of people coming in not just from Mexico … People, the general public, just don’t get the terrorist threats of that,” the story quotes the rancher as saying. “That’s what’s really scary. You don’t know what’s coming across. We’ve found prayer rugs out here. It’s unreal. It’s not just Mexican nationals that are coming across.”
Dr. Sherman Hershfield woke up one morning and was surprised to find himself behind the wheel of his car. Somewhere between his Beverly Hills apartment and his practice in the San Fernando Valley, the silver-haired physician had blacked out. Somehow he’d avoided a crash, but this wasn’t the first time. “I didn’t know what was going on,” he admitted.
Apart from his frequent blackouts, Hershfield was in fine health for a man in his 50s. He was tall and lean, ran six miles a day, and was a strict vegetarian. “I believe a physician should provide exemplary motivation to patients,” he once wrote. “I don’t smoke and have cut out all alcohol.” Hershfield specialized in physical medicine and rehabilitation, and for decades had helped patients with brain injuries learn to walk again and rebuild their lives. Even with his experience, Hershfield didn’t know what was wrong inside his own head.
Corn lurks in so many surprising places, from table salt to apples to IV bags.
When Christine Robinson was first diagnosed with a corn allergy 17 years ago, she remembers thinking, “No more popcorn, no more tacos. I can do this.”
Then she tried to put salt on her tomatoes. (Table salt has dextrose, a sugar derived from corn.) She tried drinking bottled iced tea. (It contains citric acid, which often comes from mold grown in corn-derived sugar.) She tried bottled water. (Added minerals in some brands can be processed with a corn derivative.) She ultimately gave up on supermarket meat (sprayed with lactic acid from fermented corn sugars), bagged salads (citric acid, again), fish (dipped in cornstarch or syrup before freezing), grains (cross-contaminated in processing facilities), fruits like apples and citrus (waxed with corn-derived chemicals), tomatoes (ripened with ethylene gas from corn), milk (added vitamins processed with corn derivatives). And that’s not even getting to all the processed foods made with high-fructose corn syrup, modified food starch, xanthan gum, artificial flavorings, corn alcohol, maltodextrin—all of which are or contain derivatives of corn.