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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In an extraordinary condemnation, the former defense secretary backs protesters and says the president is trying to turn Americans against one another.
James Mattis, the esteemed Marine general who resigned as secretary of defense in December 2018 to protest Donald Trump’s Syria policy, has, ever since, kept studiously silent about Trump’s performance as president. But he has now broken his silence, writing an extraordinary broadside in which he denounces the president for dividing the nation, and accuses him of ordering the U.S. military to violate the constitutional rights of American citizens.
“I have watched this week’s unfolding events, angry and appalled,” Mattis writes. “The words ‘Equal Justice Under Law’ are carved in the pediment of the United States Supreme Court. This is precisely what protesters are rightly demanding. It is a wholesome and unifying demand—one that all of us should be able to get behind. We must not be distracted by a small number of lawbreakers. The protests are defined by tens of thousands of people of conscience who are insisting that we live up to our values—our values as people and our values as a nation.” He goes on, “We must reject and hold accountable those in office who would make a mockery of our Constitution.”
Why have Republican leaders abandoned their principles in support of an immoral and dangerous president?
On a cold March afternoon in 1949, Wolfgang Leonhard slipped out of the East German Communist Party Secretariat, hurried home, packed what few warm clothes he could fit into a small briefcase, and then walked to a telephone box to call his mother. “My article will be finished this evening,” he told her. That was the code they had agreed on in advance. It meant that he was escaping the country, at great risk to his life.
Though only 28 years old at the time, Leonhard stood at the pinnacle of the new East German elite. The son of German Communists, he had been educated in the Soviet Union, trained in special schools during the war, and brought back to Berlin from Moscow in May 1945, on the same airplane that carried Walter Ulbricht, the leader of what would soon become the East German Communist Party.
Our fellow citizens are not the enemy, and must never become so.
It sickened me yesterday to see security personnel—including members of the National Guard—forcibly and violently clear a path through Lafayette Square to accommodate the president's visit outside St. John's Church. I have to date been reticent to speak out on issues surrounding President Trump's leadership, but we are at an inflection point, and the events of the past few weeks have made it impossible to remain silent.
Whatever Trump's goal in conducting his visit, he laid bare his disdain for the rights of peaceful protest in this country, gave succor to the leaders of other countries who take comfort in our domestic strife, and risked further politicizing the men and women of our armed forces.
As Americans continue to protest and Trump calls for “domination,” the former president felt compelled to intervene.
Updated at 9:26 a.m. ET on June 4, 2020.
Barack Obama didn’t want to outshine Joe Biden. He never wants to be seen as speaking for all black Americans.
But the former president was too worried about the condition of the country to stay silent about George Floyd’s death and the protests that have followed. It was going to take more than the statement he put out on Friday, writing that Floyd’s killing “shouldn’t be ‘normal’ in America in 2020,” for him to feel that he’d done his duty. The essay he published on Monday, urging reforms? One hundred and ninety-four thousand “claps” on Medium, for whatever that’s worth. The tweet he sent as the sun went down on Monday night, a few minutes after Donald Trump returned from gassing protesters to make way for his Bible photo op, with a video of Floyd’s brother saying, “Let’s do this another way”? It has 650,000 likes and counting. He still had more to say, and his closest advisers believed that he needed to say it. Tuesday morning, the former president and his aides started scrambling to set up an event for him to host yesterday afternoon—and to arrange the sit-down Zoom speech that CNN and MSNBC carried live.
In the time that U.S. deaths have increased from 100 to more than 100,000, the S&P 500 has gone up 20 percent.
In an age punctuated with almost biblical chaos—plague, brutality, and surreal images of the president posing with a holy book he fumbles like a strange cut of meat—there has been one queasy and bizarre constant: “... and stocks rose.” On Wednesday, U.S. deaths from COVID-19 officially surpassed 100,000, and stocks rose. On Friday, the Commerce Department reported that GDP plummeted nearly 5 percent in the first three months of the year, and stocks rose. Over the weekend, Americans took to the streets of large cities and small towns to protest the killing of George Floyd and call for an end to years of police brutality and systemic racism against black Americans, as their mostly peaceful movements were often attacked by police and beset by chaos tourists smashing the windows of local stores. And stocks rose.
Two hundred fifty years of slavery. Ninety years of Jim Crow. Sixty years of separate but equal. Thirty-five years of racist housing policy. Until we reckon with our compounding moral debts, America will never be whole.
Clyde Ross was born in 1923, the seventh of 13 children, near Clarksdale, Mississippi, the home of the blues. Ross’s parents owned and farmed a 40-acre tract of land, flush with cows, hogs, and mules. Ross’s mother would drive to Clarksdale to do her shopping in a horse and buggy, in which she invested all the pride one might place in a Cadillac. The family owned another horse, with a red coat, which they gave to Clyde. The Ross family wanted for little, save that which all black families in the Deep South then desperately desired—the protection of the law.
In the 1920s, Jim Crow Mississippi was, in all facets of society, a kleptocracy. The majority of the people in the state were perpetually robbed of the vote—a hijacking engineered through the trickery of the poll tax and the muscle of the lynch mob. Between 1882 and 1968, more black people were lynched in Mississippi than in any other state.
The president’s photo op outside St. John’s Church was emblematic of his appeal to the religious right.
He wielded the Bible like a foreign object, awkwardly adjusting his grip as though trying to get comfortable. He examined its cover. He held it up over his right shoulder like a crossing guard presenting a stop sign. He did not open it.
“Is that your Bible?” a reporter asked.
“It’s a Bible,” the president replied.
Even by the standards of Donald Trump’s religious photo ops, the dissonance was striking. Moments earlier, he had stood in the Rose Garden and threatened to unleash the military on unruly protesters. He used terms such as anarchy and domestic terror, and vowed to “dominate the streets.” To clear the way for his planned post-speech trip to St. John’s Church, police fired tear gas and rubber bullets into a crowd of peaceful demonstrators.
To be black and conscious of anti-black racism is to stare into the mirror of your own extinction.
Ibram X. Kendi and Yoni Appelbaum will discuss policing, protests, and this moment in history, live at 2 p.m. ET on June 4. Register for The Big Story EventCast here.
It happened three months before the lynching of Isadora Moreley in Selma, Alabama, and two months before the lynching of Sidney Randolph near Rockville, Maryland.
On May 19, 1896, TheNew York Times allocated a single sentence on page three to reporting the U.S. Supreme Court’s Plessy v. Ferguson decision. Constitutionalizing Jim Crow hardly made news in 1896. There was no there there. Americans already knew that equal rights had been lynched; Plessy was just the silently staged funeral.
American conspiracy theories are entering a dangerous new phase.
If you were an adherent, no one would be able to tell. You would look like any other American. You could be a mother, picking leftovers off your toddler’s plate. You could be the young man in headphones across the street. You could be a bookkeeper, a dentist, a grandmother icing cupcakes in her kitchen. You may well have an affiliation with an evangelical church. But you are hard to identify just from the way you look—which is good, because someday soon dark forces may try to track you down. You understand this sounds crazy, but you don’t care. You know that a small group of manipulators, operating in the shadows, pull the planet’s strings. You know that they are powerful enough to abuse children without fear of retribution. You know that the mainstream media are their handmaidens, in partnership with Hillary Clinton and the secretive denizens of the deep state. You know that only Donald Trump stands between you and a damned and ravaged world.
The president didn’t cause America’s policing crisis, but he deliberately made it worse.
When the Minneapolis police officer Derek Chauvin dug his knee into the back of George Floyd’s neck for nine minutes while Floyd pleaded for help, he was merely following the president’s advice.
“Please don’t be too nice,” Donald Trump told an audience of police officers on Long Island in 2017, in a speech largely focused on the MS-13 gang. The audience laughed. “When you see these thugs being thrown into the back of a paddy wagon, you just see them thrown in, rough. I said, ‘Please don’t be too nice.’”
Floyd’s killing has sparked nationwide protests, despite the fact that the coronavirus outbreak, which has killed more than 100,000 Americans and left 40 million without work, is still killing about 1,000 people a day in the United States. Those Americans who were disproportionately dying from a plague came out in force to protest being murdered by their government.Trump, who ran as the “law and order” candidate, now presides over the very “American carnage” he vowed to end.