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"content": "\u003cp>What scares teenagers?\u003c/p>\n\u003cp>The question has haunted horror movie producers ever since scaring teenagers became its own cottage industry, and the answer usually involves finding them where they live. Decades ago, the idea of psycho killers infiltrating suburbs (\u003cem>Halloween\u003c/em>), dreams (\u003cem>A Nightmare On Elm Street\u003c/em>), summer camps (\u003cem>Friday The 13th\u003c/em>), or video stores (\u003cem>Scream\u003c/em>) was enough to send jaded adolescents over the edge. So it was inevitable a new shocker, in this case the MTV film \u003cem>Unfriended\u003c/em>, would find today’s teens where they live: the Internet.\u003c/p>\n\u003cp>Set entirely on a desktop, with characters only visible via webcam, the film takes 82 minutes of real time to deliver its simple premise: It’s the anniversary of a high-school girl’s suicide. Six of her classmates are hanging out on a group Skype chat, each sequestered in their own house, their parents nowhere to be found. But there’s an unknown figure on the call, represented by that spooky blue ghost Skype profile. The deceased, named Laura, is haunting their social media as one part virus, one part \u003ca href=\"http://www.onthemedia.org/story/managing-monster/\" target=\"_blank\" rel=\"noopener\">Slender Man\u003c/a>, and one part I Know What You Did Last Summer. She sends taunting messages from her own Facebook account, commandeers the Spotify playlists, and forces the kids to play the ultimate form of torture, Never Have I Ever. Insult her or try to hang up on her call, and she compels you to commit real-life suicide with a speed that would put Uber to shame. Call it the \u003ca href=\"http://www.npr.org/tags/260268002/internet-of-things\" target=\"_blank\" rel=\"noopener\">Internet of spooky things\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Unfriended\u003c/em>, which was originally titled \u003cem>Cybernatural\u003c/em>, isn’t the first film to take place entirely over the Internet. Some previous tech horror, including the Elijah Wood-starring \u003cem>Open Windows\u003c/em>, already popped that bubble. But it is the first to so accurately depict the way today’s youth piece together their online lives. The girl whose desktop we are peering at is Blaire (Shelley Hennig), whose life unfolds onscreen—a digital collage as character sketch. By peering at her Facebook page, YouTube videos, and browsing history, we know she’s a hard partier with a goober boyfriend (Moses Jacob Storm), a checkered history with Laura, and a \u003cem>Teen Wolf\u003c/em> obsessive (Hennig’s recurring role on the show might explain that one). The efficient exposition is entirely composed of a LiveLeak video and half a YouTube clip. It’s supremely goofy and not scary in the slightest, but the movie is speaking the right language.\u003c/p>\n\u003cp>Made for a dirt-cheap $1 million, the film gets by with built-in laptop webcams, terrible sound, and “buffering” at all effects-heavy moments. Of course the digitized lo-fi look is unpleasant on a big screen, but no more so than the \u003ca href=\"http://www.npr.org/2012/03/01/147503590/project-x-one-party-every-parents-nightmare\" target=\"_blank\" rel=\"noopener\"> found footage trend\u003c/a> has been for the past several years. Having to follow the measured pace of chat forums does force the filmmakers into some degree of patience, though they can’t escape the horror-film curse of cheap gotcha moments and idiotic, needless gore. But give credit where credit is due: The film was shot in a single take. Your move, \u003ca href=\"http://www.npr.org/2014/10/17/356461767/birdman-tracks-a-comeback-in-seemingly-one-long-take\" target=\"_blank\" rel=\"noopener\"> Birdman\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In between the silliness, director Levan Gabriadze and writer Nelson Greaves manage a message about the dangers of cyberbullying that’s like a less preachy version of the 2011 documentary \u003cem>\u003ca href=\"http://www.npr.org/2012/03/29/149629170/bully-a-provocative-and-essential-documentary\" target=\"_blank\" rel=\"noopener\"> Bully\u003c/a>\u003c/em>. Not the ghost-glitch business (a disappearing “Unfriend” button on Facebook isn’t that spooky), but rather the more subtle touches: the way the friends spread gossip about one of their own mere seconds before she joins their group chat, the uploading of compromising media without permission, and the casual nastiness of that common “kill yourself” refrain supposedly only meant as “a joke.” By immersing us so thoroughly in this world, Gabriadze has made it easy to understand why words that only exist online can hurt so deep.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A communication system built by today’s best and brightest minds has become a swamp of callous and evil behavior. That’s what should really keep teens up at night. That, and the fear of going outside.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What scares teenagers?\u003c/p>\n\u003cp>The question has haunted horror movie producers ever since scaring teenagers became its own cottage industry, and the answer usually involves finding them where they live. Decades ago, the idea of psycho killers infiltrating suburbs (\u003cem>Halloween\u003c/em>), dreams (\u003cem>A Nightmare On Elm Street\u003c/em>), summer camps (\u003cem>Friday The 13th\u003c/em>), or video stores (\u003cem>Scream\u003c/em>) was enough to send jaded adolescents over the edge. So it was inevitable a new shocker, in this case the MTV film \u003cem>Unfriended\u003c/em>, would find today’s teens where they live: the Internet.\u003c/p>\n\u003cp>Set entirely on a desktop, with characters only visible via webcam, the film takes 82 minutes of real time to deliver its simple premise: It’s the anniversary of a high-school girl’s suicide. Six of her classmates are hanging out on a group Skype chat, each sequestered in their own house, their parents nowhere to be found. But there’s an unknown figure on the call, represented by that spooky blue ghost Skype profile. The deceased, named Laura, is haunting their social media as one part virus, one part \u003ca href=\"http://www.onthemedia.org/story/managing-monster/\" target=\"_blank\" rel=\"noopener\">Slender Man\u003c/a>, and one part I Know What You Did Last Summer. She sends taunting messages from her own Facebook account, commandeers the Spotify playlists, and forces the kids to play the ultimate form of torture, Never Have I Ever. Insult her or try to hang up on her call, and she compels you to commit real-life suicide with a speed that would put Uber to shame. Call it the \u003ca href=\"http://www.npr.org/tags/260268002/internet-of-things\" target=\"_blank\" rel=\"noopener\">Internet of spooky things\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Unfriended\u003c/em>, which was originally titled \u003cem>Cybernatural\u003c/em>, isn’t the first film to take place entirely over the Internet. Some previous tech horror, including the Elijah Wood-starring \u003cem>Open Windows\u003c/em>, already popped that bubble. But it is the first to so accurately depict the way today’s youth piece together their online lives. The girl whose desktop we are peering at is Blaire (Shelley Hennig), whose life unfolds onscreen—a digital collage as character sketch. By peering at her Facebook page, YouTube videos, and browsing history, we know she’s a hard partier with a goober boyfriend (Moses Jacob Storm), a checkered history with Laura, and a \u003cem>Teen Wolf\u003c/em> obsessive (Hennig’s recurring role on the show might explain that one). The efficient exposition is entirely composed of a LiveLeak video and half a YouTube clip. It’s supremely goofy and not scary in the slightest, but the movie is speaking the right language.\u003c/p>\n\u003cp>Made for a dirt-cheap $1 million, the film gets by with built-in laptop webcams, terrible sound, and “buffering” at all effects-heavy moments. Of course the digitized lo-fi look is unpleasant on a big screen, but no more so than the \u003ca href=\"http://www.npr.org/2012/03/01/147503590/project-x-one-party-every-parents-nightmare\" target=\"_blank\" rel=\"noopener\"> found footage trend\u003c/a> has been for the past several years. Having to follow the measured pace of chat forums does force the filmmakers into some degree of patience, though they can’t escape the horror-film curse of cheap gotcha moments and idiotic, needless gore. But give credit where credit is due: The film was shot in a single take. Your move, \u003ca href=\"http://www.npr.org/2014/10/17/356461767/birdman-tracks-a-comeback-in-seemingly-one-long-take\" target=\"_blank\" rel=\"noopener\"> Birdman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In between the silliness, director Levan Gabriadze and writer Nelson Greaves manage a message about the dangers of cyberbullying that’s like a less preachy version of the 2011 documentary \u003cem>\u003ca href=\"http://www.npr.org/2012/03/29/149629170/bully-a-provocative-and-essential-documentary\" target=\"_blank\" rel=\"noopener\"> Bully\u003c/a>\u003c/em>. Not the ghost-glitch business (a disappearing “Unfriend” button on Facebook isn’t that spooky), but rather the more subtle touches: the way the friends spread gossip about one of their own mere seconds before she joins their group chat, the uploading of compromising media without permission, and the casual nastiness of that common “kill yourself” refrain supposedly only meant as “a joke.” By immersing us so thoroughly in this world, Gabriadze has made it easy to understand why words that only exist online can hurt so deep.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A communication system built by today’s best and brightest minds has become a swamp of callous and evil behavior. That’s what should really keep teens up at night. That, and the fear of going outside.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Soul singer \u003ca href=\"http://www.npr.org/artists/15406033/percy-sledge\" target=\"_blank\" rel=\"noopener\">Percy Sledge\u003c/a> epitomized Southern soul in ballads like “When A Man Loves A Woman,” which became a massive international hit when it came out in 1966. Sledge died Tuesday morning of natural causes in East Baton Rouge, La. He was 74.\u003c/p>\n\u003cp>When he was inducted into the Rock and Roll Hall of Fame in 2005, Sledge told the audience about having been born in tiny Leighton, Ala., in 1940, and about growing up working in the cotton fields.\u003c/p>\n\u003cp>“[I was] 10 years old, singing my songs in the fields, picking and chopping cotton. And my boss man tells me one day, he said, ‘Perce?’ He said, ‘That voice that you use comin’ out of your throat, the whole world is gonna hear one day.’ ”\u003c/p>\n\u003cp>Later, as a hospital orderly, Sledge continued singing for his patients, who made the same prediction. On weekends, he sang with a group called the Esquires Combo. One night in 1966, he was performing at an Elks Club, where DJ and record producer Quinn Ivy happened to be in the audience. Sledge \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=3930799\" target=\"_blank\" rel=\"noopener\">told NPR in 2004\u003c/a> that he hummed a melody for Ivy, who told him to go home and turn it into a song.\u003c/p>\n\u003cp>“So I went home and stayed home for two or three weeks,” Sledge said, “and came back and he asked me, he said, ‘Percy, have you come up with any lyrics on “Why’d You Leave Me Baby”?’\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I said, ‘No, Quinn, you know how it is, when a man loves a woman, he can’t think anyway.’\u003c/p>\n\u003cp>“So he said, ‘That’s it. If you could write lyrics around that title, I think you’d have a smash.’ And that’s how it began.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EYb84BDMbi0\u003c/p>\n\u003cp>Sledge recorded his song in 1966 at the Muscle Shoals Sound Studio, giving songwriting credit to his organist and bassist. The song shot to the top of the pop and R&B charts and, over the years, became an iconic soul anthem. “When A Man Loves A Woman” has been used in countless film soundtracks and commercials, inspired a film by the same name and earned Michael Bolton a Grammy for his cover years later. It was Sledge’s most well-known song. But he did have others, like 1968’s “Take Time To Know Her,” which put him in the Top 20 again.\u003c/p>\n\u003cp>Sledge’s ballads had a lot of country music in them. It was the kind of music he’d heard growing up, and he mixed it with blues and soul.\u003c/p>\n\u003cp>“Guys like me and \u003ca href=\"http://www.npr.org/artists/14951033/ray-charles\" target=\"_blank\" rel=\"noopener\">Ray Charles\u003c/a>, when we was coming up through our days, country music and soul music was just a very thin line between the two,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sledge continued to make albums, and was performing until just a few years ago — always including his signature song. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Percy+Sledge+Had+A+Voice+The+Whole+World+Heard&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soul singer \u003ca href=\"http://www.npr.org/artists/15406033/percy-sledge\" target=\"_blank\" rel=\"noopener\">Percy Sledge\u003c/a> epitomized Southern soul in ballads like “When A Man Loves A Woman,” which became a massive international hit when it came out in 1966. Sledge died Tuesday morning of natural causes in East Baton Rouge, La. He was 74.\u003c/p>\n\u003cp>When he was inducted into the Rock and Roll Hall of Fame in 2005, Sledge told the audience about having been born in tiny Leighton, Ala., in 1940, and about growing up working in the cotton fields.\u003c/p>\n\u003cp>“[I was] 10 years old, singing my songs in the fields, picking and chopping cotton. And my boss man tells me one day, he said, ‘Perce?’ He said, ‘That voice that you use comin’ out of your throat, the whole world is gonna hear one day.’ ”\u003c/p>\n\u003cp>Later, as a hospital orderly, Sledge continued singing for his patients, who made the same prediction. On weekends, he sang with a group called the Esquires Combo. One night in 1966, he was performing at an Elks Club, where DJ and record producer Quinn Ivy happened to be in the audience. Sledge \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=3930799\" target=\"_blank\" rel=\"noopener\">told NPR in 2004\u003c/a> that he hummed a melody for Ivy, who told him to go home and turn it into a song.\u003c/p>\n\u003cp>“So I went home and stayed home for two or three weeks,” Sledge said, “and came back and he asked me, he said, ‘Percy, have you come up with any lyrics on “Why’d You Leave Me Baby”?’\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I said, ‘No, Quinn, you know how it is, when a man loves a woman, he can’t think anyway.’\u003c/p>\n\u003cp>“So he said, ‘That’s it. If you could write lyrics around that title, I think you’d have a smash.’ And that’s how it began.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EYb84BDMbi0'\n title='//www.youtube.com/embed/EYb84BDMbi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sledge recorded his song in 1966 at the Muscle Shoals Sound Studio, giving songwriting credit to his organist and bassist. The song shot to the top of the pop and R&B charts and, over the years, became an iconic soul anthem. “When A Man Loves A Woman” has been used in countless film soundtracks and commercials, inspired a film by the same name and earned Michael Bolton a Grammy for his cover years later. It was Sledge’s most well-known song. But he did have others, like 1968’s “Take Time To Know Her,” which put him in the Top 20 again.\u003c/p>\n\u003cp>Sledge’s ballads had a lot of country music in them. It was the kind of music he’d heard growing up, and he mixed it with blues and soul.\u003c/p>\n\u003cp>“Guys like me and \u003ca href=\"http://www.npr.org/artists/14951033/ray-charles\" target=\"_blank\" rel=\"noopener\">Ray Charles\u003c/a>, when we was coming up through our days, country music and soul music was just a very thin line between the two,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sledge continued to make albums, and was performing until just a few years ago — always including his signature song. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Percy+Sledge+Had+A+Voice+The+Whole+World+Heard&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Australian crime caper \u003cem>Kill Me Three Times\u003c/em> feels like a throwback to the country’s “Ozploitation” genre films of the 1970s: bloody, low-budget romps through the commonwealth’s seedier side. But in its half-hearted attempt to weave a tricky narrative structure, the film also has shades of the mid-’90s \u003cem>Pulp Fiction \u003c/em>knockoffs that soured the landscape of bloody, low-budget romps. Director Kriv Stenders (\u003cem>Red Dog\u003c/em>) and first-time screenwriter James McFarland have divided their tale of murder, infidelity, and insurance fraud into three distinct parts (“Kill Me Once,” “Twice,” etc.). They loop back on each other, so that we first see events unfold without explanation, and later get the context.\u003c/p>\n\u003cp>This twisty structure is the movie’s hook, though after two decades of similar narrative games in cinema, the gambit feels overly familiar. The danger is that such a device will feel like an artificial means of stretching out a thin story, instead of a mechanism that complements it in a satisfying way (example: Samuel L. Jackson’s concluding speech in \u003cem>Pulp Fiction\u003c/em> resonates more strongly because we already know, chronologically, what happens next). Sadly, \u003cem>Kill Me Three Times\u003c/em> is the former more than the latter case. When all is said and done, the technique feels a bit desperate.\u003c/p>\n\u003cp>The movie’s chief advantage is that it was filmed along the coast of Western Australia, allowing ample opportunities to admire the scenery with its jagged cliffs and lush wilderness. In between, there is the story, which involves a seedy hitman played by cult movie hero Simon Pegg, clad in leather jacket and horseshoe mustache. The hitman lies dying at a beach house in the opening scene, before flashing back to show how he entered the lives of two financially misbehaving dentists (Teresa Palmer and Sullivan Stapleton), an alcoholic rage-prone bar owner (Callan Mulvey), and the bar owner’s wife (Alice Braga) who becomes everyone’s primary target. Some of the interconnections between characters feel superfluous, including the way Braga’s young woman, at a moment of extreme distress, winds up at the dentist’s office in the first place.\u003c/p>\n\u003cp>Pegg, who begins the movie as the dispassionate observer and audience surrogate before taking center stage, is fun to watch even when he isn’t given much to work with. He shows off his natural charisma while doing something as simple as playing with cigarettes. (The actor’s Britishness, by the way, is explained by calling him a “tourist,” despite the fact that he heads what appears to be a thriving private-eye business.) Pegg is surrounded by a cast of mostly Aussie ringers, including Palmer and Luke Hemsworth (brother to Chris and Liam), who can’t seem to decide how seriously to take their roles.\u003c/p>\n\u003cp>\u003cem>Kill Me Three Times\u003c/em> has elements that would seem to peg it (no pun intended) as a fun genre exercise, including pitch-black humor, corrupt law enforcement, a love of rural settings, and a desperately bloody climax. But the film isn’t enough fun to recommend on its own terms, with its sloppy construction and so little in the way of stylistic flourishes. The pacing is way off: there’s endless, needless footage of characters getting into cars and driving to new locations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s more, the story itself is frustrating, taking forever to communicate the stakes. That’s part of the film’s design, but without much incentive to follow the mystery, it’s a design that can’t quite work. Without the three-way punch of more panache, more Pegg, and more panoramic views of Australian landscapes, \u003cem>Three Times\u003c/em> stops short of being a killer time.\u003c/p>\n\n",
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"excerpt": "Andrew Lapin says the bloody Australian black comedy wants to be a genre caper, but can't quite hit the right notes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Australian crime caper \u003cem>Kill Me Three Times\u003c/em> feels like a throwback to the country’s “Ozploitation” genre films of the 1970s: bloody, low-budget romps through the commonwealth’s seedier side. But in its half-hearted attempt to weave a tricky narrative structure, the film also has shades of the mid-’90s \u003cem>Pulp Fiction \u003c/em>knockoffs that soured the landscape of bloody, low-budget romps. Director Kriv Stenders (\u003cem>Red Dog\u003c/em>) and first-time screenwriter James McFarland have divided their tale of murder, infidelity, and insurance fraud into three distinct parts (“Kill Me Once,” “Twice,” etc.). They loop back on each other, so that we first see events unfold without explanation, and later get the context.\u003c/p>\n\u003cp>This twisty structure is the movie’s hook, though after two decades of similar narrative games in cinema, the gambit feels overly familiar. The danger is that such a device will feel like an artificial means of stretching out a thin story, instead of a mechanism that complements it in a satisfying way (example: Samuel L. Jackson’s concluding speech in \u003cem>Pulp Fiction\u003c/em> resonates more strongly because we already know, chronologically, what happens next). Sadly, \u003cem>Kill Me Three Times\u003c/em> is the former more than the latter case. When all is said and done, the technique feels a bit desperate.\u003c/p>\n\u003cp>The movie’s chief advantage is that it was filmed along the coast of Western Australia, allowing ample opportunities to admire the scenery with its jagged cliffs and lush wilderness. In between, there is the story, which involves a seedy hitman played by cult movie hero Simon Pegg, clad in leather jacket and horseshoe mustache. The hitman lies dying at a beach house in the opening scene, before flashing back to show how he entered the lives of two financially misbehaving dentists (Teresa Palmer and Sullivan Stapleton), an alcoholic rage-prone bar owner (Callan Mulvey), and the bar owner’s wife (Alice Braga) who becomes everyone’s primary target. Some of the interconnections between characters feel superfluous, including the way Braga’s young woman, at a moment of extreme distress, winds up at the dentist’s office in the first place.\u003c/p>\n\u003cp>Pegg, who begins the movie as the dispassionate observer and audience surrogate before taking center stage, is fun to watch even when he isn’t given much to work with. He shows off his natural charisma while doing something as simple as playing with cigarettes. (The actor’s Britishness, by the way, is explained by calling him a “tourist,” despite the fact that he heads what appears to be a thriving private-eye business.) Pegg is surrounded by a cast of mostly Aussie ringers, including Palmer and Luke Hemsworth (brother to Chris and Liam), who can’t seem to decide how seriously to take their roles.\u003c/p>\n\u003cp>\u003cem>Kill Me Three Times\u003c/em> has elements that would seem to peg it (no pun intended) as a fun genre exercise, including pitch-black humor, corrupt law enforcement, a love of rural settings, and a desperately bloody climax. But the film isn’t enough fun to recommend on its own terms, with its sloppy construction and so little in the way of stylistic flourishes. The pacing is way off: there’s endless, needless footage of characters getting into cars and driving to new locations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s more, the story itself is frustrating, taking forever to communicate the stakes. That’s part of the film’s design, but without much incentive to follow the mystery, it’s a design that can’t quite work. Without the three-way punch of more panache, more Pegg, and more panoramic views of Australian landscapes, \u003cem>Three Times\u003c/em> stops short of being a killer time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A (Nearly) Comprehensive Guide to the Music of 'Mad Men'",
"headTitle": "A (Nearly) Comprehensive Guide to the Music of ‘Mad Men’ | KQED",
"content": "\u003cp>Pay a visit to New York City’s Museum of the Moving Image to see its blockbuster show \u003cem>Matthew Weiner’s Mad Men\u003c/em>, and toward the end of the exhibit you will find a lonely kiosk. It’s easy to overlook — by the time you’ve waded through the throngs of museumgoers, and snaked your way through the \u003ca href=\"http://www.wnyc.org/story/how-mad-men-got-its-style/\" target=\"_blank\" rel=\"noopener\">lovingly preserved costumes\u003c/a> and \u003ca href=\"http://untappedcities.com/2015/03/11/step-onto-set-of-mad-men-in-exhibit-matthew-weiners-mad-men-at-museum-of-moving-image/\" target=\"_blank\" rel=\"noopener\">meticulously recreated sets\u003c/a> of Don Draper’s office and Betty Draper’s kitchen, this standee with a screen and two sets of dangling headphones feels like an afterthought.\u003c/p>\n\u003cp>This modest display commemorates the music of \u003cem>Mad Men\u003c/em> — touch the screen and pick a song. Show creator Matthew Weiner will tell you why Mr. Acker Bilk’s “\u003ca href=\"https://www.youtube.com/watch?v=8QXiSBeP0jQ\" target=\"_blank\" rel=\"noopener\">Stranger on the Shore\u003c/a>,” a strangely sultry instrumental by a British clarinetist that happened to be \u003cem>Billboard\u003c/em>‘s No. 1 song of 1962, appeared on the show. Twice.\u003c/p>\n\u003cp>Given how much bric-a-brac is packed into the MOMI exhibit, it’s understandable that they couldn’t devote more space to \u003cem>Mad Men\u003c/em>‘s music — but really, this forlorn kiosk should be a surround-sound amphitheater. The music that Weiner has employed over seven seasons of his acclaimed AMC advertising-industry melodrama, which began its final half-season of episodes Sunday night, has been every bit as integral to the show’s thesis about 1960s America as its actors, costumes and production design. Especially if you’re a pop-chart nerd like me, the music of \u003cem>Mad Men\u003c/em> has felt smart, iconoclastic and (mostly) right on.\u003c/p>\n\u003cp>In telling the story of the fictional ad agency Sterling Cooper, Weiner has strived to capture the 1960s as they were lived, not the decade many selectively remember — \u003ca href=\"https://www.youtube.com/watch?v=CUh5bMjfBtE\" target=\"_blank\" rel=\"noopener\">the hagiographic “Sixties”\u003c/a> from countless documentaries and public-TV pledge drives — and that extends to the songs. \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>‘s “The Times They Are a-Changin'” hasn’t appeared once, nor has his “Blowin’ in the Wind.” There’s been no “For What It’s Worth” by the Buffalo Springfield, no “A Change Is Gonna Come” from \u003ca href=\"http://www.npr.org/artists/15402012/sam-cooke\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a>, nor even the Kingsmen’s “Louie, Louie.” \u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles\u003c/a> made a (\u003ca href=\"http://artsbeat.blogs.nytimes.com/2012/05/07/how-mad-men-landed-the-beatles-all-you-need-is-love-and-250000/?_r=0\" target=\"_blank\" rel=\"noopener\">very expensive\u003c/a>) appearance in one episode, but it had nothing to do with \u003cem>Sgt. Pepper\u003c/em> or the Summer of Love; another time, when the Fabs’ “I Want to Hold Your Hand” was featured, it was only briefly whistled by lead character Don Draper. You’d think the Lovin’ Spoonful’s “Summer in the City” would have been a gimme, since the show is set in the dirty streets of pre–fiscal crisis New York, but nope.\u003c/p>\n\u003cp>Avoiding these great but overused songs would just be contrarianism by Weiner if he weren’t so exacting about the songs he \u003cem>does\u003c/em> include. Though they are unlikely to pop up on oldies radio today, many of \u003cem>Mad Men\u003c/em>‘s songs were megasmashes in their day. The fact is, on the radio and the charts, the ’60s was generally a pretty schmaltzy decade, not the nonstop Boomer-rock paradise of repute. (Yes, even the late ’60s.) Pick up any \u003ca href=\"http://www.amazon.com/The-Billboard-Book-Number-Hits/dp/0823076776\" target=\"_blank\" rel=\"noopener\">\u003cem>Billboard\u003c/em> book\u003c/a> commemorating the \u003ca href=\"http://www.npr.org/blogs/therecord/2013/08/16/207879695/how-the-hot-100-became-americas-hit-barometer\" target=\"_blank\" rel=\"noopener\">Hot 100\u003c/a> hits of yesteryear, and as you leaf through the ’60s you’ll be presented less with classics by Jimi Hendrix or The Who than by curios like the Singing Nun, The Tornados, Kyu Sakamoto, Paul Mauriat and Jeannie C. Riley. All of these one-hit-wonder acts have been showcased on \u003cem>Mad Men\u003c/em>, alongside a handful of undeniable classics by the Stones, The Beach Boys and Frank Sinatra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s fans have noticed, and appreciated, Weiner’s attention to musical minutiae — they have crowdsourced \u003ca href=\"http://www.tunefind.com/show/mad-men\" target=\"_blank\" rel=\"noopener\">lists of every detectable song in every episode\u003c/a>. One time, just before the show’s fifth-season premiere, some attentive critics even got Weiner to swap a Dusty Springfield song that was anachronistic to the season’s 1966 timeline by just a few months; \u003ca href=\"http://www.ew.com/article/2012/03/19/mad-men-song-change\" target=\"_blank\" rel=\"noopener\">he changed it\u003c/a> just before the episode aired, thanking the critics and attesting to his “deep appreciation for details.” (You don’t say, Matt.)\u003c/p>\n\u003cp>Below, I’ve collected a bunch of the show’s cleverest song choices since its 2007 premiere and, where applicable, run down some \u003cem>Billboard\u003c/em> chart stats. I’ve stuck to original recordings (so there’s no \u003ca href=\"https://www.youtube.com/watch?v=ngf2zHq4FEI\" target=\"_blank\" rel=\"noopener\">Megan Draper cooing “Zou Bisou Bisou”\u003c/a> here, captivating as that is) and grouped them by theme, to help try to answer to question of why the music in this show is so rewarding. As critic Hanna Rosin astutely \u003ca href=\"http://www.slate.com/articles/arts/tv_club/features/2015/mad_men_season_7_part_2/episode_1/mad_men_season_7_recapped_slate_s_tv_club_dissects_each_new_episode_1.html\" target=\"_blank\" rel=\"noopener\">notes\u003c/a> this week in \u003cem>Slate\u003c/em>, “Weiner has a genius for making scenes that are stagey and mannered yet nonetheless emotionally affecting, by capturing the small moments.” Indeed, the music of \u003cem>Mad Men\u003c/em> is often the stagiest thing about the show, and yet these small musical moments, many under a minute long, consistently pay off with delight and satisfaction — even when the song is as obvious as “Satisfaction.”\u003c/p>\n\u003ch3>\u003cstrong>Hit Instrumentals\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Percy Faith and His Orchestra, “\u003ca href=\"https://www.youtube.com/watch?v=BaXzeQoWTko\" target=\"_blank\" rel=\"noopener\">Theme from \u003cem>A Summer Place\u003c/em>\u003c/a>\u003cem>,\u003c/em>” No. 1, 1960 (\u003cem>Mad Men\u003c/em> season 2, episode 5, “The New Girl”)\u003c/li>\n\u003cli>The Tornados, “\u003ca href=\"https://www.youtube.com/watch?v=eBYdp84AwuU\" target=\"_blank\" rel=\"noopener\">Telstar\u003c/a>,” No. 1, 1962 (\u003cem>MM\u003c/em> season 2, episode 10, “The Inheritance”)\u003c/li>\n\u003cli>Mr. Acker Bilk, “\u003ca href=\"https://www.youtube.com/watch?v=8QXiSBeP0jQ\" target=\"_blank\" rel=\"noopener\">Stranger on the Shore\u003c/a>,” No. 1, 1962 (\u003cem>MM\u003c/em> season 2, episode 13, “Meditations in an Emergency” and season 6, episode 11, “Favors”)\u003c/li>\n\u003cli>Herb Alpert & The Tijuana Brass, “\u003ca href=\"https://www.youtube.com/watch?v=dgcV8PrCLcs\" target=\"_blank\" rel=\"noopener\">Casino Royale\u003c/a>,” No. 27, 1967 (\u003cem>MM\u003c/em> season 5, episode 13, “The Phantom”)\u003c/li>\n\u003cli>Paul Mauriat and His Orchestra, “\u003ca href=\"https://www.youtube.com/watch?v=QTo9-lmZ6oE\" target=\"_blank\" rel=\"noopener\">Love Is Blue\u003c/a>,” No. 1, 1968 (\u003cem>MM\u003c/em> season 6, episode 5, “The Flood”)\u003c/li>\n\u003c/ul>\n\u003cp>Sure, the ’60s had Motown, British Invasion, psychedelia — but the pop instrumental was a greater chart presence than many remember. \u003cem>Billboard\u003c/em>‘s No. 1 song of 1960 was Percy Faith’s “Theme from \u003cem>A Summer Place\u003c/em>,” and the aforementioned “Stranger on the Shore” was tops for 1962; both have appeared on \u003cem>Mad Men\u003c/em>. Trumpeter Herb Alpert and his Tijuana Brass also make a brief appearance — they were the \u003ca href=\"http://soundcheck.wnyc.org/story/315007-was-hit-chris-molanphy-herb-alperts-surprising-success/\" target=\"_blank\" rel=\"noopener\">second-biggest album-chart act of the ’60s\u003c/a>, after the Beatles.\u003c/p>\n\u003cp>So while most of \u003cem>Mad Men\u003c/em>‘s orchestral soundtrack is provided by the show’s longtime composer \u003ca href=\"http://strongplacemusic.com\" target=\"_blank\" rel=\"noopener\">David Carbonara\u003c/a>, Weiner has also seeded the show with instrumentals that were the aural wallpaper of their day. In 1962 alone, three instrumentals topped \u003cem>Billboard\u003c/em>‘s Hot 100 — the most ever in a single year — and in season two, set in ’62, two of these songs make appearances: Bilk’s “Stranger on the Shore,” and the short-lived British band the Tornados, with their \u003ca href=\"http://soundcheck.wnyc.org/story/that-was-hit-telstar/\" target=\"_blank\" rel=\"noopener\">space-age ode to a communications satellite\u003c/a> “Telstar.” (Oddly, the only ’62 instrumental chart-topper left untouched by Weiner is David Rose’s bawdy “\u003ca href=\"https://www.youtube.com/watch?v=5bLX06yR3wY\" target=\"_blank\" rel=\"noopener\">The Stripper\u003c/a>.”) “Telstar” is a particularly clever Easter egg, playing at the end of an \u003ca href=\"http://madmen.wikia.com/wiki/The_Inheritance\" target=\"_blank\" rel=\"noopener\">episode\u003c/a> in which adman Don Draper strong-arms his way into a West Coast aerospace conference.\u003c/p>\n\u003cp>Even as the show enters the politically charged late ’60s, soothing instrumental hits keep on coming — Weiner juxtaposes heavy events with frilly mass culture to depict how America’s \u003ca href=\"http://chnm.gmu.edu/hardhats/silent.html\" target=\"_blank\" rel=\"noopener\">Silent Majority\u003c/a> pacified itself. In the season five \u003ca href=\"http://madmen.wikia.com/wiki/The_Phantom\" target=\"_blank\" rel=\"noopener\">finale\u003c/a>, as Draper visits a local movie palace, Alpert’s suave “Casino Royale” plays over the opening credits of the 1967 James Bond spoof of the same name; its appearance is incidental but also plays wittily off of Draper’s status as the show’s faux-Bond and serial \u003ca href=\"http://www.javasbachelorpad.com/whippedcream.html\" target=\"_blank\" rel=\"noopener\">bachelor\u003c/a>. By 1968 — the year of fiery protest, national tragedy and blues-rock — French orchestra leader Paul Mauriat was atop the charts with his baroque \u003ca href=\"http://www.wsj.com/articles/SB10001424052702304200804579163670969242120\" target=\"_blank\" rel=\"noopener\">harpsichord jam\u003c/a> “Love Is Blue.” It’s the closing song of the \u003ca href=\"http://madmen.wikia.com/wiki/The_Flood\" target=\"_blank\" rel=\"noopener\">episode\u003c/a> dealing with the Martin Luther King Jr., assassination, the same episode that finds Don \u003ca href=\"http://blogs.artinfo.com/spotlight/2013/04/30/%E2%80%9Cmad-men%E2%80%9D-an-obsessive%E2%80%99s-guide-to-cultural-references-season-6-ep-5/\" target=\"_blank\" rel=\"noopener\">back at the movies with his son\u003c/a>, taking in \u003cem>Planet of the Apes\u003c/em>.\u003c/p>\n\u003ch3>\u003cstrong>Easy Listening\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Vic Damone, “\u003ca href=\"https://www.youtube.com/watch?v=dJ4yJM-vquw\" target=\"_blank\" rel=\"noopener\">On the Street Where You Live\u003c/a>,” No. 4, 1956 (MM season 1, episode 1, “Smoke Gets in Your Eyes”)\u003c/li>\n\u003cli>Jack Jones, “\u003ca href=\"https://www.youtube.com/watch?v=9EAELtJgD6A\" target=\"_blank\" rel=\"noopener\">Lollipops and Roses\u003c/a>,” No. 66, 1962 (\u003cem>MM\u003c/em> season 2, episode 3, “The Benefactor”)\u003c/li>\n\u003cli>Brenda Lee, “\u003ca href=\"http://www.dailymotion.com/video/x1140a2_brenda-lee-break-it-to-me-gently_music\" target=\"_blank\" rel=\"noopener\">Break It to Me Gently\u003c/a>,” No. 4, 1962 (\u003cem>MM\u003c/em> season 2, episode 7, “The Gold Violin”)\u003c/li>\n\u003cli>Patti Page, “\u003ca href=\"https://www.youtube.com/watch?v=HT2ao0rcxoA\" target=\"_blank\" rel=\"noopener\">Old Cape Cod\u003c/a>” No. 3, 1957 (\u003cem>MM\u003c/em> season 4, episode 3, “The Good News”)\u003c/li>\n\u003cli>Jim Reeves, “\u003ca href=\"https://www.youtube.com/watch?v=tOCCvN8YDuc\" target=\"_blank\" rel=\"noopener\">Welcome to My World\u003c/a>” No. 2 Country, 1964 (\u003cem>MM\u003c/em> season 4, episode 11, “Chinese Wall”)\u003c/li>\n\u003cli>Blood, Sweat & Tears, “\u003ca href=\"https://www.youtube.com/watch?v=VKuqaZ0DQtk\" target=\"_blank\" rel=\"noopener\">You’ve Made Me So Very Happy\u003c/a>,” No. 2, 1969 (MM season 7, episode 5, “The Runaways”)\u003c/li>\n\u003c/ul>\n\u003cp>Central to the premise of \u003cem>Mad Men\u003c/em> is that it is told through the eyes of pre–Baby Boomers, for whom the 1960s’ folkways and cultural uprisings come less as shocks than as irritants. The character of Don Draper was born in the 1920s, Roger Sterling in the 1910s; even young copywriter Peggy Olson’s birthdate precedes America’s entry into World War II. While some of the show’s sharpest moments find Draper, at the cusp of his forties, confronted by rock (we’ll get to that Beatles moment in a minute), Weiner also cossets Draper’s generation with songs they might find appealing — and not all of them were, at that point, oldies.\u003c/p>\n\u003cp>Scenes involving Don’s first wife Betty are often soundtracked with prerock songs, starting right with \u003cem>Mad Men\u003c/em>‘s premiere episode: As Don returns home to the suburbs after one of his urban assignations to an unaware Betty, the show concludes with a mid-’50s hit by crooner Vic Damone, “On the Street Where You Live” (taken from a musical, \u003cem>My Fair Lady\u003c/em>, that was still commanding Broadway in 1960). Or in season two, after a tense client dinner, Don and Betty drive home with the radio playing the syrupy 1962 ballad “Roses and Lollipops” — bitterly ironic as the alienated Betty weeps. And not all of these easy-listening chestnuts involve the show’s older characters. In season four, as Don gently flirts with (and is rebuffed by) the niece of his California secret-keeper Anna, he dances with the young woman to a Patti Page song that was a hit when he was 30 and she perhaps 12 — reinforcing the yawning generation gap between them.\u003c/p>\n\u003cp>One of my favorite musical moments of the entire series came in the first half of this final season, at a party thrown by Don’s second wife Megan in her new L.A. home. It’s the summer of ’69 — the dresses are short, the party guests stoned. And what edgy, street-fightin’ record is spinning on the hi-fi? The blowsy AM-radio staple “You’ve Made Me So Very Happy” by Blood Sweat & Tears, a nominal “rock” song with a schmaltz core that spent much of the prior spring parked in the \u003cem>Billboard\u003c/em> Top 10. It is exactly the kind of unhip song that would be playing at a party in 1969 (and exactly the kind of record no other TV show or movie set in the ’60s would have put on its soundtrack). As if knowing the song isn’t quite cool enough for her party, Megan pulls the record off and implores her musician friends to play.\u003c/p>\n\u003ch3>\u003cstrong>Quirky Smashes\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Bob Newhart, “\u003ca href=\"https://www.youtube.com/watch?v=BBMm00P3QT0\" target=\"_blank\" rel=\"noopener\">Driving Instructor\u003c/a>,” No. 1 album, 1960 (\u003cem>MM\u003c/em> season 1, episode 4, “New Amsterdam”)\u003c/li>\n\u003cli>Kyo Sakamoto, “\u003ca href=\"https://www.youtube.com/watch?v=jxIxX7mnsso\" target=\"_blank\" rel=\"noopener\">Sukiyaki\u003c/a>” No. 1, 1963 (\u003cem>MM\u003c/em> season 2, episode 2, “Flight 1”)\u003c/li>\n\u003cli>The Singing Nun, “\u003ca href=\"https://www.youtube.com/watch?v=n295hjktHD0\" target=\"_blank\" rel=\"noopener\">Dominique\u003c/a>,” No. 1, 1963 (\u003cem>MM\u003c/em> season 3, episode 10, “The Color Blue”)\u003c/li>\n\u003cli>Nashville Teens, “\u003ca href=\"https://www.youtube.com/watch?v=eGuZY6NVXqU\" target=\"_blank\" rel=\"noopener\">Tobacco Road\u003c/a>,” No. 14, 1964 (\u003cem>MM\u003c/em> season 4, episode 1, “Public Relations”)\u003c/li>\n\u003cli>Petula Clark, “\u003ca href=\"https://www.youtube.com/watch?v=ws-dbq0CDtc\" target=\"_blank\" rel=\"noopener\">I Know a Place\u003c/a>,” No. 3, 1965 (\u003cem>MM\u003c/em> season 4, episode 9, “The Beautiful Girls”)\u003c/li>\n\u003cli>Shirley Ellis, “\u003ca href=\"https://www.youtube.com/watch?v=5MJLi5_dyn0\" target=\"_blank\" rel=\"noopener\">The Name Game\u003c/a>,” No. 3, 1964–65 (\u003cem>MM\u003c/em> season 4, episode 13, “Tomorrowland”)\u003c/li>\n\u003cli>Jeannie C. Riley, “\u003ca href=\"https://www.youtube.com/watch?v=aOZPBUu7Fro\" target=\"_blank\" rel=\"noopener\">Harper Valley P.T.A.\u003c/a>,” No. 1, 1968 (MM season 6, episode 10, “A Tale of Two Cities”)\u003c/li>\n\u003c/ul>\n\u003cp>In a season one episode, four junior Sterling Cooper admen gather in oily executive Pete Campbell’s office to listen to a comedy album. Not just any album — it’s \u003ca href=\"http://stolendress.com/comedyonvinyl/Episode%202%20-%20Bob%20Newhart%20-%20The%20Button-Down%20Mind/expand-news_1.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Button-Down Mind of Bob Newhart\u003c/em>\u003c/a>, 1960’s top-selling LP and the first comedy disc to win the Grammy for Album of the Year (a feat repeated only one more time by a comedy disc, Vaughn Meader’s Kennedy-spoofing \u003cem>The First Family\u003c/em>). Here again is a side of the ’60s that Weiner unearths and celebrates — the curiosities, the detritus, the cheese, some of it surprisingly enduring. It takes a puckish sense of humor to feature a song by peppy British hitmaker Petula Clark, and then choose not her enduring smash “\u003ca href=\"https://www.youtube.com/watch?v=Zx06XNfDvk0\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” but rather its soundalike followup hit, “\u003ca href=\"https://www.youtube.com/watch?v=ws-dbq0CDtc\" target=\"_blank\" rel=\"noopener\">I Know a Place\u003c/a>.”\u003c/p>\n\u003cp>Many of these quirky hits are strategically placed for period-accurate ambience — and gentle commentary. When Don arrives at the apartment of his season three mistress, schoolteacher Suzanne Farrell, spinning on her turntable is the late-’63 French-language smash “Dominique” by the Singing Nun — a perfect encapsulation, for Don, of her alluring innocence. In season four, Shirley Ellis’s tongue-twisting, banana-fanna-fo-fanning hit “The Name Game” plays on the jukebox of a diner where Don brings his kids. In season six, when the too-old-to-be-hip Sterling Cooper men visit L.A. and attend a house party filled with poseurs and hangers-on, in the background is Jeannie C. Riley’s sassy, poseur-destroying 1968 chart-topper “Harper Valley P.T.A.”\u003c/p>\n\u003cp>TV bloggers did catch one apparent anachronism in the episode that features Kyo Sakamoto’s smash “Sukiyaki.” This \u003ca href=\"http://www.songfacts.com/detail.php?id=1230\" target=\"_blank\" rel=\"noopener\">mistitled\u003c/a>, \u003ca href=\"http://soundcheck.wnyc.org/story/298161-was-hit-many-lives-sukiyaki/\" target=\"_blank\" rel=\"noopener\">oft-covered\u003c/a> hit became the only all-Japanese song to top the U.S. charts in 1963. However, it appears in \u003cem>Mad Men\u003c/em>‘s season two premiere, set in the spring of 1962. Leave it to detail-oriented Weiner to find an escape hatch: The song was in fact first released in Japan in 1961, under its original title “Ue o Muite Arukō,” and in the episode, it’s playing as Don breaks up with a client at … a Japanese restaurant, one that could maybe, plausibly have had the record in its original pressing. As the Singing Nun might say, \u003cem>touché\u003c/em>.\u003c/p>\n\u003ch3>\u003cstrong>Deep Cuts\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Peter, Paul & Mary, “\u003ca href=\"https://www.youtube.com/watch?v=jE8NSvD7LSE\" target=\"_blank\" rel=\"noopener\">Early in the Morning\u003c/a>,” No. 1 album, 1962 (\u003cem>MM\u003c/em> season 2, episode 8, “A Night to Remember”)\u003c/li>\n\u003cli>Bob Dylan, “\u003ca href=\"https://www.youtube.com/watch?v=UL4vZMFYXZk\" target=\"_blank\" rel=\"noopener\">Don’t Think Twice, Its All Right\u003c/a>,” 1963 (\u003cem>MM\u003c/em> season 1, episode 13, “The Wheel”)\u003c/li>\n\u003cli>Roy Orbison, “\u003ca href=\"https://www.youtube.com/watch?v=DyK5ew4m6JU\" target=\"_blank\" rel=\"noopener\">Shahdaroba\u003c/a>,” 1963 (MM season 3, episode 13, “Shut the Door. Have a Seat.”)\u003c/li>\n\u003cli>Simon & Garfunkel, “\u003ca href=\"https://www.youtube.com/watch?v=kIlHdCpY4Kw\" target=\"_blank\" rel=\"noopener\">Bleecker Street\u003c/a>,” 1964 (\u003cem>MM\u003c/em> season 4, episode 7, “The Suitcase”)\u003c/li>\n\u003cli>The Crystals, “\u003ca href=\"https://www.youtube.com/watch?v=f20Oz9Yr_So\" target=\"_blank\" rel=\"noopener\">He Hit Me (It Felt Like a Kiss)\u003c/a>,” 1962 (\u003cem>MM\u003c/em> season 5, episode 4, “Mystery Date”)\u003c/li>\n\u003cli>The Beach Boys, “\u003ca href=\"https://www.youtube.com/watch?v=NR7_TbMIVnA\" target=\"_blank\" rel=\"noopener\">I Just Wasn’t Made For These Times\u003c/a>” 1966 (MM season 5, episode 6, “Far Away Places”)\u003c/li>\n\u003cli>The Beatles, “\u003ca href=\"https://www.youtube.com/watch?v=5tV0l62RZ80\" target=\"_blank\" rel=\"noopener\">Tomorrow Never Knows\u003c/a>,” 1966 (\u003cem>MM\u003c/em> season 5, episode 8, “Lady Lazarus”)\u003c/li>\n\u003cli>Nancy Sinatra, “\u003ca href=\"https://www.youtube.com/watch?v=UY9kzLL2zD0\" target=\"_blank\" rel=\"noopener\">You Only Live Twice\u003c/a>,” No. 44, 1967 (\u003cem>MM\u003c/em> season 5, episode 13, “The Phantom”)\u003c/li>\n\u003cli>Serge Gainsbourg & Brigitte Bardot, “\u003ca href=\"https://www.youtube.com/watch?v=dY9PY4r83p8\" target=\"_blank\" rel=\"noopener\">Bonnie and Clyde\u003c/a>,” 1968 (\u003cem>MM\u003c/em> season 6, episode 4, “To Have and to Hold”)\u003c/li>\n\u003cli>The Monkees, “\u003ca href=\"https://www.youtube.com/watch?v=mdd5xI9l7Ns\" target=\"_blank\" rel=\"noopener\">Porpoise Song (Theme from \u003cem>Head\u003c/em>)\u003c/a>,” No. 62, 1968 (\u003cem>MM\u003c/em> season 6, episode 12, “The Quality of Mercy”)\u003c/li>\n\u003cli>The Zombies, “\u003ca href=\"https://www.youtube.com/watch?v=kI2lTwY0Jx8\" target=\"_blank\" rel=\"noopener\">This Will Be Our Year\u003c/a>,” 1968 (\u003cem>MM\u003c/em> season 7, episode 2, “A Day’s Work”)\u003c/li>\n\u003c/ul>\n\u003cp>It would be nuts for Weiner to avoid totemic ’60s artists fully. Generally, when he has decided to invoke the decade’s folkie bards and pop eminences, he makes his song choices count — at least half the time, he chooses non-hits, invoking everyone from Roy Orbison to The Zombies without the accompanying \u003cem>duh\u003c/em> moment.\u003c/p>\n\u003cp>Peter, Paul and Mary’s 1962 debut album was a huge seller, but \u003cem>Mad Men\u003c/em> avoids its campfire hits (“If I Had a Hammer,” “Lemon Tree”) for the more definitive opener “Early in the Morning.” Speaking of PPM, they had the hit with “Don’t Think Twice, It’s All Right,” not Dylan, but it’s Bob’s version that closes the show’s first season, \u003ca href=\"http://www.pastemagazine.com/blogs/lists/2012/03/tonight-after-nearly-a-year.html\" target=\"_blank\" rel=\"noopener\">very memorably\u003c/a>. Hall of Fame producer Phil Spector is represented not by the Ronettes’ “Be My Baby” or the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling” but rather the \u003ca href=\"http://www.songfacts.com/detail.php?id=2790\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a>, radio-banned and brutally ironic Crystals single “He Hit Me (It Felt Like a Kiss).” The Beach Boys and the Monkees, each band a prolific hitmaker, are represented by two of their trippiest non-hits. And since “You Only Live Twice” was actually one of Nancy Sinatra’s smaller ’60s hits, the song may now be more associated with Don Draper — how great was \u003ca href=\"https://www.youtube.com/watch?v=YocBfe1N598\">that season five finale montage\u003c/a>? — than James Bond.\u003c/p>\n\u003cp>As for the Fab Four, Weiner \u003ca href=\"http://blogs.courant.com/roger_catlin_tv_eye/2010/09/mad-men-going-to-the-beatles.html\" target=\"_blank\" rel=\"noopener\">telegraphed\u003c/a> the Beatles’ influence on the show (Don buying his daughter Sally’s affection with tickets to their 1965 Shea Stadium gig) long before he had the budget to license their music. When he finally did in 2012, he went with an especially heady Lennon cut — “Tomorrow Never Knows,” the closing track on the quite literally pivotal album \u003cem>Revolver\u003c/em> — and has an exasperated, unimpressed Draper lift the needle off the record before the song even finishes. NPR’s own Ann Powers \u003ca href=\"http://www.npr.org/blogs/therecord/2012/05/08/152287119/mad-mens-beatles-coup-misses-the-mark\" target=\"_blank\" rel=\"noopener\">questioned\u003c/a> Weiner’s use of the song, and whether it would ever have alienated a savvy ad man like Don. But let’s pause and admire Weiner’s chutzpah one more time: You have one quarter-million-dollar budget to devote to licensing one Beatles song — the very act is guaranteed media attention — and you choose one of their thorniest and least radio-friendly (albeit one of their greatest)? Talk about meta: Weiner’s “Tomorrow Never Knows” scene was his own \u003ca href=\"https://www.flickr.com/photos/sophieh/5534736604/\" target=\"_blank\" rel=\"noopener\">tobacco letter\u003c/a>, an advertisement for its own daring that became more about the show’s influence than about the show’s content. If it wasn’t one of \u003cem>Mad Men\u003c/em>‘s best musical moments, it was perhaps the show’s most savvy — Don Draper himself could have dreamed it up.\u003c/p>\n\u003ch3>\u003cstrong>Iconic Signposts\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Chubby Checker, “\u003ca href=\"https://www.youtube.com/watch?v=pHGXwQeUk7M\">The Twist\u003c/a>,” No. 1, 1960 and No. 1, 1962 (\u003cem>MM\u003c/em> season 1, episode 8, “The Hobo Code”)\u003c/li>\n\u003cli>The Rolling Stones, “\u003ca href=\"https://www.youtube.com/watch?v=HoxRFOr_sQ0\" target=\"_blank\" rel=\"noopener\">(I Can’t Get No) Satisfaction\u003c/a>,” No. 1, 1965 (\u003cem>MM\u003c/em> season 4, episode 8, “The Summer Man”)\u003c/li>\n\u003cli>Sonny & Cher, “\u003ca href=\"https://www.youtube.com/watch?v=BERd61bDY7k\" target=\"_blank\" rel=\"noopener\">I Got You Babe\u003c/a>,” No. 1, 1965 (\u003cem>MM\u003c/em> season 4, episode 13, “Tomorrowland”)\u003c/li>\n\u003cli>Dusty Springfield, “\u003ca href=\"https://www.youtube.com/watch?v=QR4vE9xL3yk\" target=\"_blank\" rel=\"noopener\">You Don’t Have to Say You Love Me\u003c/a>,” No. 4, 1966 (\u003cem>MM\u003c/em> season 5, episode 1–2, “A Little Kiss”)\u003c/li>\n\u003cli>The Kinks, “\u003ca href=\"https://www.youtube.com/watch?v=dk3Ei_yoI4c\" target=\"_blank\" rel=\"noopener\">You Really Got Me\u003c/a>,” No. 7, 1964 (\u003cem>MM\u003c/em> season 5, episode 11, “The Other Woman”)\u003c/li>\n\u003cli>Big Brother and the Holding Company, “\u003ca href=\"https://www.youtube.com/watch?v=9hcxbIln3sc\" target=\"_blank\" rel=\"noopener\">Piece of My Heart\u003c/a>,” No. 12, 1968 (\u003cem>MM\u003c/em> season 6, episode 10, “A Tale of Two Cities”)\u003c/li>\n\u003cli>Judy Collins, “\u003ca href=\"https://www.youtube.com/watch?v=A7Xm30heHms\" target=\"_blank\" rel=\"noopener\">Both Sides Now\u003c/a>” No. 8, 1968 (\u003cem>MM\u003c/em> season 6, episode 13, “In Care Of”)\u003c/li>\n\u003cli>The Spencer Davis Group, “\u003ca href=\"https://www.youtube.com/watch?v=POCUgBSVENQ\" target=\"_blank\" rel=\"noopener\">I’m a Man\u003c/a>,” No. 10, 1967 (\u003cem>MM\u003c/em> season 7, episode 1, “Time Zones”)\u003c/li>\n\u003cli>Waylon Jennings, “\u003ca href=\"https://www.youtube.com/watch?v=CPv5NZR_Wtk\" target=\"_blank\" rel=\"noopener\">Only Daddy That’ll Walk the Line\u003c/a>,” No. 2 Country, 1968 (\u003cem>MM\u003c/em> season 7, episode 5, “The Runaways”)\u003c/li>\n\u003cli>Frank Sinatra, “\u003ca href=\"https://vimeo.com/30105597\" target=\"_blank\" rel=\"noopener\">My Way\u003c/a>,” No. 27, 1969 (\u003cem>MM\u003c/em> season 7, episode 6, “The Strategy”)\u003c/li>\n\u003cli>Peggy Lee, “\u003ca href=\"https://www.youtube.com/watch?v=LCRZZC-DH7M\" target=\"_blank\" rel=\"noopener\">Is That All There Is?\u003c/a>” No. 11, 1969 (\u003cem>MM\u003c/em> season 7, episode 8, “Severance”)\u003c/li>\n\u003c/ul>\n\u003cp>Here’s the other half of the “totemic” category — the dozen or so of times \u003cem>Mad Men\u003c/em> has gone straight for the jugular, choosing songs that were not only huge hits but still clearly read as ’60s iconography. One of the very best came early: flirty Peggy Olson \u003ca href=\"https://www.youtube.com/watch?v=NJy8pZ5T0kQ\" target=\"_blank\" rel=\"noopener\">sidling up\u003c/a> to \u003ca href=\"http://petecampbellsbitchface.tumblr.com\" target=\"_blank\" rel=\"noopener\">bitch-faced\u003c/a> Pete Campbell to the strains of the 1960 über-smash “The Twist.” Super-obvious, right? But for those of us with \u003cem>Billboard\u003c/em> mojo, it’s a clever moment — Chubby Checker’s smash hit No. 1 twice (the only Hot 100 hit ever to do so), catching on first with teenagers before finding a toehold with club-going adults and topping the chart all over again. Peggy, \u003cem>Mad Men\u003c/em>‘s ultimate liminal character, is a one-woman representation of both audiences, twisting her arrival into self-assured adulthood. No wonder the petty, controlling Pete doesn’t want to dance with her.\u003c/p>\n\u003cp>“The Twist” is a rare early–\u003cem>Mad Men\u003c/em> example of a signpost hit. Most of these expensive-to-license smashes appeared after season four, suggesting Weiner was more hamstrung by his fledgling show’s budget early on than by any deliberate artistic choice. But even over the last few seasons, Weiner has spent his newfound clout on coveted songs just infrequently enough to make their appearance feel indelible rather than inevitable. If you’ve watched the show devotedly, I barely need to detail these killer scenes: Don “Summer Man” Draper \u003ca href=\"http://blogs.pioneerlocal.com/entertainment/madmen-summerman.jpg\" target=\"_blank\" rel=\"noopener\">roaming the streets\u003c/a> to the Stones’ “Satisfaction”; Peggy \u003ca href=\"https://www.youtube.com/watch?v=8i5SpIxx_A4#t=5m1s\" target=\"_blank\" rel=\"noopener\">ditching Sterling Cooper\u003c/a> with a sassy smirk to the Kinks’ “You Really Got Me”; Pete \u003ca href=\"https://www.youtube.com/watch?v=jTHg2ApnkO8\" target=\"_blank\" rel=\"noopener\">toking up\u003c/a> to the liberating yowl of Janis’s “Piece of My Heart”; Megan \u003ca href=\"https://www.youtube.com/watch?v=-qfYmNHyX80\" target=\"_blank\" rel=\"noopener\">picking up\u003c/a> Don at LAX in a convertible as Steve Winwood bleats Spencer Davis’s “I’m a Man”; Don and Peggy \u003ca href=\"https://www.youtube.com/watch?v=7Zp3qMGN-8U\" target=\"_blank\" rel=\"noopener\">slow-dancing\u003c/a> to Frank’s definitive “My Way.”\u003c/p>\n\u003cp>Most of these songs are not used \u003ca href=\"http://filmsound.org/terminology/diegetic.htm\" target=\"_blank\" rel=\"noopener\">diegetically\u003c/a> — “My Way” is playing on an on-screen radio, but otherwise it’s debatable whether, say, Peggy is thinking about the Kinks at her moment of freedom. But the fact that these songs were all big hits is essential to these scenes — they define the background of the characters’ lives. If Sunday’s first episode of season 7.2 is any indication, Weiner plans to keep deploying iconic tunes on his way to the exit. Peggy Lee’s immortal late-1969 single “Is That All There Is?” bookended the episode, an \u003ca href=\"http://www.vulture.com/2015/04/is-that-all-there-is-mad-men-peggy-lee.html\" target=\"_blank\" rel=\"noopener\">inevitable\u003c/a>, none-too-subtle evocation of the exhaustion of the ’60s and the protagonists’ emotional voids, even after getting everything they thought they wanted.\u003c/p>\n\u003cp>For me, though, none of these moments tops the most moving use of music in \u003cem>Mad Men\u003c/em>‘s history, the \u003ca href=\"https://www.youtube.com/watch?v=B4uXj5cB_I8\" target=\"_blank\" rel=\"noopener\">finale of season six\u003c/a>. Don has just been released by Sterling Cooper for self-immolating during a Hershey pitch, picking the worst possible moment to reveal his unhappy childhood and fraudulent biography to a key client. It’s Thanksgiving Day 1968, and Don picks up his kids — but before driving them to dinner, the confessional and newly unfettered Don brings them to a derelict, abandoned Victorian house now surrounded by projects: the seedy brothel from his childhood. “This,” Don tells the kids, “is where I grew up” — and up pops Judy Collins’s achingly beautiful cover of Joni Mitchell’s “Both Sides Now,” its \u003ca href=\"http://jonimitchell.com/music/song.cfm?id=83\" target=\"_blank\" rel=\"noopener\">lyrics\u003c/a> a dreamy fantasia pierced with self-lacerating regret (a Mitchell trademark). It’s the dialogue in Don’s head, in song.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One final detail: The week before Thanksgiving 1968, Collins’s “Both Sides Now” \u003ca href=\"http://books.google.com/books?id=vQoEAAAAMBAJ&lpg=PA1&pg=PA80#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">leapt into the Top 20 on the Hot 100\u003c/a>, on its way to a Top 10 peak just before Christmas. Teenage Sally Draper — or better yet, pubescent Bobby Draper — may well have owned the 45. Like every great musical moment over \u003cem>Mad Men\u003c/em>‘s seven seasons, it’s true to the story, true to the characters and true to life. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+%28Nearly%29+Comprehensive+Guide+To+The+Music+Of+%27Mad+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "From \"The Twist\" to \"Is That All There Is?,\" the songs that \u003cem>Mad Men \u003c/em>uses to depict the 1960s are perfect — but often unpredictable — representations of the decade's slow evolution.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pay a visit to New York City’s Museum of the Moving Image to see its blockbuster show \u003cem>Matthew Weiner’s Mad Men\u003c/em>, and toward the end of the exhibit you will find a lonely kiosk. It’s easy to overlook — by the time you’ve waded through the throngs of museumgoers, and snaked your way through the \u003ca href=\"http://www.wnyc.org/story/how-mad-men-got-its-style/\" target=\"_blank\" rel=\"noopener\">lovingly preserved costumes\u003c/a> and \u003ca href=\"http://untappedcities.com/2015/03/11/step-onto-set-of-mad-men-in-exhibit-matthew-weiners-mad-men-at-museum-of-moving-image/\" target=\"_blank\" rel=\"noopener\">meticulously recreated sets\u003c/a> of Don Draper’s office and Betty Draper’s kitchen, this standee with a screen and two sets of dangling headphones feels like an afterthought.\u003c/p>\n\u003cp>This modest display commemorates the music of \u003cem>Mad Men\u003c/em> — touch the screen and pick a song. Show creator Matthew Weiner will tell you why Mr. Acker Bilk’s “\u003ca href=\"https://www.youtube.com/watch?v=8QXiSBeP0jQ\" target=\"_blank\" rel=\"noopener\">Stranger on the Shore\u003c/a>,” a strangely sultry instrumental by a British clarinetist that happened to be \u003cem>Billboard\u003c/em>‘s No. 1 song of 1962, appeared on the show. Twice.\u003c/p>\n\u003cp>Given how much bric-a-brac is packed into the MOMI exhibit, it’s understandable that they couldn’t devote more space to \u003cem>Mad Men\u003c/em>‘s music — but really, this forlorn kiosk should be a surround-sound amphitheater. The music that Weiner has employed over seven seasons of his acclaimed AMC advertising-industry melodrama, which began its final half-season of episodes Sunday night, has been every bit as integral to the show’s thesis about 1960s America as its actors, costumes and production design. Especially if you’re a pop-chart nerd like me, the music of \u003cem>Mad Men\u003c/em> has felt smart, iconoclastic and (mostly) right on.\u003c/p>\n\u003cp>In telling the story of the fictional ad agency Sterling Cooper, Weiner has strived to capture the 1960s as they were lived, not the decade many selectively remember — \u003ca href=\"https://www.youtube.com/watch?v=CUh5bMjfBtE\" target=\"_blank\" rel=\"noopener\">the hagiographic “Sixties”\u003c/a> from countless documentaries and public-TV pledge drives — and that extends to the songs. \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>‘s “The Times They Are a-Changin'” hasn’t appeared once, nor has his “Blowin’ in the Wind.” There’s been no “For What It’s Worth” by the Buffalo Springfield, no “A Change Is Gonna Come” from \u003ca href=\"http://www.npr.org/artists/15402012/sam-cooke\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a>, nor even the Kingsmen’s “Louie, Louie.” \u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles\u003c/a> made a (\u003ca href=\"http://artsbeat.blogs.nytimes.com/2012/05/07/how-mad-men-landed-the-beatles-all-you-need-is-love-and-250000/?_r=0\" target=\"_blank\" rel=\"noopener\">very expensive\u003c/a>) appearance in one episode, but it had nothing to do with \u003cem>Sgt. Pepper\u003c/em> or the Summer of Love; another time, when the Fabs’ “I Want to Hold Your Hand” was featured, it was only briefly whistled by lead character Don Draper. You’d think the Lovin’ Spoonful’s “Summer in the City” would have been a gimme, since the show is set in the dirty streets of pre–fiscal crisis New York, but nope.\u003c/p>\n\u003cp>Avoiding these great but overused songs would just be contrarianism by Weiner if he weren’t so exacting about the songs he \u003cem>does\u003c/em> include. Though they are unlikely to pop up on oldies radio today, many of \u003cem>Mad Men\u003c/em>‘s songs were megasmashes in their day. The fact is, on the radio and the charts, the ’60s was generally a pretty schmaltzy decade, not the nonstop Boomer-rock paradise of repute. (Yes, even the late ’60s.) Pick up any \u003ca href=\"http://www.amazon.com/The-Billboard-Book-Number-Hits/dp/0823076776\" target=\"_blank\" rel=\"noopener\">\u003cem>Billboard\u003c/em> book\u003c/a> commemorating the \u003ca href=\"http://www.npr.org/blogs/therecord/2013/08/16/207879695/how-the-hot-100-became-americas-hit-barometer\" target=\"_blank\" rel=\"noopener\">Hot 100\u003c/a> hits of yesteryear, and as you leaf through the ’60s you’ll be presented less with classics by Jimi Hendrix or The Who than by curios like the Singing Nun, The Tornados, Kyu Sakamoto, Paul Mauriat and Jeannie C. Riley. All of these one-hit-wonder acts have been showcased on \u003cem>Mad Men\u003c/em>, alongside a handful of undeniable classics by the Stones, The Beach Boys and Frank Sinatra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s fans have noticed, and appreciated, Weiner’s attention to musical minutiae — they have crowdsourced \u003ca href=\"http://www.tunefind.com/show/mad-men\" target=\"_blank\" rel=\"noopener\">lists of every detectable song in every episode\u003c/a>. One time, just before the show’s fifth-season premiere, some attentive critics even got Weiner to swap a Dusty Springfield song that was anachronistic to the season’s 1966 timeline by just a few months; \u003ca href=\"http://www.ew.com/article/2012/03/19/mad-men-song-change\" target=\"_blank\" rel=\"noopener\">he changed it\u003c/a> just before the episode aired, thanking the critics and attesting to his “deep appreciation for details.” (You don’t say, Matt.)\u003c/p>\n\u003cp>Below, I’ve collected a bunch of the show’s cleverest song choices since its 2007 premiere and, where applicable, run down some \u003cem>Billboard\u003c/em> chart stats. I’ve stuck to original recordings (so there’s no \u003ca href=\"https://www.youtube.com/watch?v=ngf2zHq4FEI\" target=\"_blank\" rel=\"noopener\">Megan Draper cooing “Zou Bisou Bisou”\u003c/a> here, captivating as that is) and grouped them by theme, to help try to answer to question of why the music in this show is so rewarding. As critic Hanna Rosin astutely \u003ca href=\"http://www.slate.com/articles/arts/tv_club/features/2015/mad_men_season_7_part_2/episode_1/mad_men_season_7_recapped_slate_s_tv_club_dissects_each_new_episode_1.html\" target=\"_blank\" rel=\"noopener\">notes\u003c/a> this week in \u003cem>Slate\u003c/em>, “Weiner has a genius for making scenes that are stagey and mannered yet nonetheless emotionally affecting, by capturing the small moments.” Indeed, the music of \u003cem>Mad Men\u003c/em> is often the stagiest thing about the show, and yet these small musical moments, many under a minute long, consistently pay off with delight and satisfaction — even when the song is as obvious as “Satisfaction.”\u003c/p>\n\u003ch3>\u003cstrong>Hit Instrumentals\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Percy Faith and His Orchestra, “\u003ca href=\"https://www.youtube.com/watch?v=BaXzeQoWTko\" target=\"_blank\" rel=\"noopener\">Theme from \u003cem>A Summer Place\u003c/em>\u003c/a>\u003cem>,\u003c/em>” No. 1, 1960 (\u003cem>Mad Men\u003c/em> season 2, episode 5, “The New Girl”)\u003c/li>\n\u003cli>The Tornados, “\u003ca href=\"https://www.youtube.com/watch?v=eBYdp84AwuU\" target=\"_blank\" rel=\"noopener\">Telstar\u003c/a>,” No. 1, 1962 (\u003cem>MM\u003c/em> season 2, episode 10, “The Inheritance”)\u003c/li>\n\u003cli>Mr. Acker Bilk, “\u003ca href=\"https://www.youtube.com/watch?v=8QXiSBeP0jQ\" target=\"_blank\" rel=\"noopener\">Stranger on the Shore\u003c/a>,” No. 1, 1962 (\u003cem>MM\u003c/em> season 2, episode 13, “Meditations in an Emergency” and season 6, episode 11, “Favors”)\u003c/li>\n\u003cli>Herb Alpert & The Tijuana Brass, “\u003ca href=\"https://www.youtube.com/watch?v=dgcV8PrCLcs\" target=\"_blank\" rel=\"noopener\">Casino Royale\u003c/a>,” No. 27, 1967 (\u003cem>MM\u003c/em> season 5, episode 13, “The Phantom”)\u003c/li>\n\u003cli>Paul Mauriat and His Orchestra, “\u003ca href=\"https://www.youtube.com/watch?v=QTo9-lmZ6oE\" target=\"_blank\" rel=\"noopener\">Love Is Blue\u003c/a>,” No. 1, 1968 (\u003cem>MM\u003c/em> season 6, episode 5, “The Flood”)\u003c/li>\n\u003c/ul>\n\u003cp>Sure, the ’60s had Motown, British Invasion, psychedelia — but the pop instrumental was a greater chart presence than many remember. \u003cem>Billboard\u003c/em>‘s No. 1 song of 1960 was Percy Faith’s “Theme from \u003cem>A Summer Place\u003c/em>,” and the aforementioned “Stranger on the Shore” was tops for 1962; both have appeared on \u003cem>Mad Men\u003c/em>. Trumpeter Herb Alpert and his Tijuana Brass also make a brief appearance — they were the \u003ca href=\"http://soundcheck.wnyc.org/story/315007-was-hit-chris-molanphy-herb-alperts-surprising-success/\" target=\"_blank\" rel=\"noopener\">second-biggest album-chart act of the ’60s\u003c/a>, after the Beatles.\u003c/p>\n\u003cp>So while most of \u003cem>Mad Men\u003c/em>‘s orchestral soundtrack is provided by the show’s longtime composer \u003ca href=\"http://strongplacemusic.com\" target=\"_blank\" rel=\"noopener\">David Carbonara\u003c/a>, Weiner has also seeded the show with instrumentals that were the aural wallpaper of their day. In 1962 alone, three instrumentals topped \u003cem>Billboard\u003c/em>‘s Hot 100 — the most ever in a single year — and in season two, set in ’62, two of these songs make appearances: Bilk’s “Stranger on the Shore,” and the short-lived British band the Tornados, with their \u003ca href=\"http://soundcheck.wnyc.org/story/that-was-hit-telstar/\" target=\"_blank\" rel=\"noopener\">space-age ode to a communications satellite\u003c/a> “Telstar.” (Oddly, the only ’62 instrumental chart-topper left untouched by Weiner is David Rose’s bawdy “\u003ca href=\"https://www.youtube.com/watch?v=5bLX06yR3wY\" target=\"_blank\" rel=\"noopener\">The Stripper\u003c/a>.”) “Telstar” is a particularly clever Easter egg, playing at the end of an \u003ca href=\"http://madmen.wikia.com/wiki/The_Inheritance\" target=\"_blank\" rel=\"noopener\">episode\u003c/a> in which adman Don Draper strong-arms his way into a West Coast aerospace conference.\u003c/p>\n\u003cp>Even as the show enters the politically charged late ’60s, soothing instrumental hits keep on coming — Weiner juxtaposes heavy events with frilly mass culture to depict how America’s \u003ca href=\"http://chnm.gmu.edu/hardhats/silent.html\" target=\"_blank\" rel=\"noopener\">Silent Majority\u003c/a> pacified itself. In the season five \u003ca href=\"http://madmen.wikia.com/wiki/The_Phantom\" target=\"_blank\" rel=\"noopener\">finale\u003c/a>, as Draper visits a local movie palace, Alpert’s suave “Casino Royale” plays over the opening credits of the 1967 James Bond spoof of the same name; its appearance is incidental but also plays wittily off of Draper’s status as the show’s faux-Bond and serial \u003ca href=\"http://www.javasbachelorpad.com/whippedcream.html\" target=\"_blank\" rel=\"noopener\">bachelor\u003c/a>. By 1968 — the year of fiery protest, national tragedy and blues-rock — French orchestra leader Paul Mauriat was atop the charts with his baroque \u003ca href=\"http://www.wsj.com/articles/SB10001424052702304200804579163670969242120\" target=\"_blank\" rel=\"noopener\">harpsichord jam\u003c/a> “Love Is Blue.” It’s the closing song of the \u003ca href=\"http://madmen.wikia.com/wiki/The_Flood\" target=\"_blank\" rel=\"noopener\">episode\u003c/a> dealing with the Martin Luther King Jr., assassination, the same episode that finds Don \u003ca href=\"http://blogs.artinfo.com/spotlight/2013/04/30/%E2%80%9Cmad-men%E2%80%9D-an-obsessive%E2%80%99s-guide-to-cultural-references-season-6-ep-5/\" target=\"_blank\" rel=\"noopener\">back at the movies with his son\u003c/a>, taking in \u003cem>Planet of the Apes\u003c/em>.\u003c/p>\n\u003ch3>\u003cstrong>Easy Listening\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Vic Damone, “\u003ca href=\"https://www.youtube.com/watch?v=dJ4yJM-vquw\" target=\"_blank\" rel=\"noopener\">On the Street Where You Live\u003c/a>,” No. 4, 1956 (MM season 1, episode 1, “Smoke Gets in Your Eyes”)\u003c/li>\n\u003cli>Jack Jones, “\u003ca href=\"https://www.youtube.com/watch?v=9EAELtJgD6A\" target=\"_blank\" rel=\"noopener\">Lollipops and Roses\u003c/a>,” No. 66, 1962 (\u003cem>MM\u003c/em> season 2, episode 3, “The Benefactor”)\u003c/li>\n\u003cli>Brenda Lee, “\u003ca href=\"http://www.dailymotion.com/video/x1140a2_brenda-lee-break-it-to-me-gently_music\" target=\"_blank\" rel=\"noopener\">Break It to Me Gently\u003c/a>,” No. 4, 1962 (\u003cem>MM\u003c/em> season 2, episode 7, “The Gold Violin”)\u003c/li>\n\u003cli>Patti Page, “\u003ca href=\"https://www.youtube.com/watch?v=HT2ao0rcxoA\" target=\"_blank\" rel=\"noopener\">Old Cape Cod\u003c/a>” No. 3, 1957 (\u003cem>MM\u003c/em> season 4, episode 3, “The Good News”)\u003c/li>\n\u003cli>Jim Reeves, “\u003ca href=\"https://www.youtube.com/watch?v=tOCCvN8YDuc\" target=\"_blank\" rel=\"noopener\">Welcome to My World\u003c/a>” No. 2 Country, 1964 (\u003cem>MM\u003c/em> season 4, episode 11, “Chinese Wall”)\u003c/li>\n\u003cli>Blood, Sweat & Tears, “\u003ca href=\"https://www.youtube.com/watch?v=VKuqaZ0DQtk\" target=\"_blank\" rel=\"noopener\">You’ve Made Me So Very Happy\u003c/a>,” No. 2, 1969 (MM season 7, episode 5, “The Runaways”)\u003c/li>\n\u003c/ul>\n\u003cp>Central to the premise of \u003cem>Mad Men\u003c/em> is that it is told through the eyes of pre–Baby Boomers, for whom the 1960s’ folkways and cultural uprisings come less as shocks than as irritants. The character of Don Draper was born in the 1920s, Roger Sterling in the 1910s; even young copywriter Peggy Olson’s birthdate precedes America’s entry into World War II. While some of the show’s sharpest moments find Draper, at the cusp of his forties, confronted by rock (we’ll get to that Beatles moment in a minute), Weiner also cossets Draper’s generation with songs they might find appealing — and not all of them were, at that point, oldies.\u003c/p>\n\u003cp>Scenes involving Don’s first wife Betty are often soundtracked with prerock songs, starting right with \u003cem>Mad Men\u003c/em>‘s premiere episode: As Don returns home to the suburbs after one of his urban assignations to an unaware Betty, the show concludes with a mid-’50s hit by crooner Vic Damone, “On the Street Where You Live” (taken from a musical, \u003cem>My Fair Lady\u003c/em>, that was still commanding Broadway in 1960). Or in season two, after a tense client dinner, Don and Betty drive home with the radio playing the syrupy 1962 ballad “Roses and Lollipops” — bitterly ironic as the alienated Betty weeps. And not all of these easy-listening chestnuts involve the show’s older characters. In season four, as Don gently flirts with (and is rebuffed by) the niece of his California secret-keeper Anna, he dances with the young woman to a Patti Page song that was a hit when he was 30 and she perhaps 12 — reinforcing the yawning generation gap between them.\u003c/p>\n\u003cp>One of my favorite musical moments of the entire series came in the first half of this final season, at a party thrown by Don’s second wife Megan in her new L.A. home. It’s the summer of ’69 — the dresses are short, the party guests stoned. And what edgy, street-fightin’ record is spinning on the hi-fi? The blowsy AM-radio staple “You’ve Made Me So Very Happy” by Blood Sweat & Tears, a nominal “rock” song with a schmaltz core that spent much of the prior spring parked in the \u003cem>Billboard\u003c/em> Top 10. It is exactly the kind of unhip song that would be playing at a party in 1969 (and exactly the kind of record no other TV show or movie set in the ’60s would have put on its soundtrack). As if knowing the song isn’t quite cool enough for her party, Megan pulls the record off and implores her musician friends to play.\u003c/p>\n\u003ch3>\u003cstrong>Quirky Smashes\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Bob Newhart, “\u003ca href=\"https://www.youtube.com/watch?v=BBMm00P3QT0\" target=\"_blank\" rel=\"noopener\">Driving Instructor\u003c/a>,” No. 1 album, 1960 (\u003cem>MM\u003c/em> season 1, episode 4, “New Amsterdam”)\u003c/li>\n\u003cli>Kyo Sakamoto, “\u003ca href=\"https://www.youtube.com/watch?v=jxIxX7mnsso\" target=\"_blank\" rel=\"noopener\">Sukiyaki\u003c/a>” No. 1, 1963 (\u003cem>MM\u003c/em> season 2, episode 2, “Flight 1”)\u003c/li>\n\u003cli>The Singing Nun, “\u003ca href=\"https://www.youtube.com/watch?v=n295hjktHD0\" target=\"_blank\" rel=\"noopener\">Dominique\u003c/a>,” No. 1, 1963 (\u003cem>MM\u003c/em> season 3, episode 10, “The Color Blue”)\u003c/li>\n\u003cli>Nashville Teens, “\u003ca href=\"https://www.youtube.com/watch?v=eGuZY6NVXqU\" target=\"_blank\" rel=\"noopener\">Tobacco Road\u003c/a>,” No. 14, 1964 (\u003cem>MM\u003c/em> season 4, episode 1, “Public Relations”)\u003c/li>\n\u003cli>Petula Clark, “\u003ca href=\"https://www.youtube.com/watch?v=ws-dbq0CDtc\" target=\"_blank\" rel=\"noopener\">I Know a Place\u003c/a>,” No. 3, 1965 (\u003cem>MM\u003c/em> season 4, episode 9, “The Beautiful Girls”)\u003c/li>\n\u003cli>Shirley Ellis, “\u003ca href=\"https://www.youtube.com/watch?v=5MJLi5_dyn0\" target=\"_blank\" rel=\"noopener\">The Name Game\u003c/a>,” No. 3, 1964–65 (\u003cem>MM\u003c/em> season 4, episode 13, “Tomorrowland”)\u003c/li>\n\u003cli>Jeannie C. Riley, “\u003ca href=\"https://www.youtube.com/watch?v=aOZPBUu7Fro\" target=\"_blank\" rel=\"noopener\">Harper Valley P.T.A.\u003c/a>,” No. 1, 1968 (MM season 6, episode 10, “A Tale of Two Cities”)\u003c/li>\n\u003c/ul>\n\u003cp>In a season one episode, four junior Sterling Cooper admen gather in oily executive Pete Campbell’s office to listen to a comedy album. Not just any album — it’s \u003ca href=\"http://stolendress.com/comedyonvinyl/Episode%202%20-%20Bob%20Newhart%20-%20The%20Button-Down%20Mind/expand-news_1.jpg\" target=\"_blank\" rel=\"noopener\">\u003cem>The Button-Down Mind of Bob Newhart\u003c/em>\u003c/a>, 1960’s top-selling LP and the first comedy disc to win the Grammy for Album of the Year (a feat repeated only one more time by a comedy disc, Vaughn Meader’s Kennedy-spoofing \u003cem>The First Family\u003c/em>). Here again is a side of the ’60s that Weiner unearths and celebrates — the curiosities, the detritus, the cheese, some of it surprisingly enduring. It takes a puckish sense of humor to feature a song by peppy British hitmaker Petula Clark, and then choose not her enduring smash “\u003ca href=\"https://www.youtube.com/watch?v=Zx06XNfDvk0\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” but rather its soundalike followup hit, “\u003ca href=\"https://www.youtube.com/watch?v=ws-dbq0CDtc\" target=\"_blank\" rel=\"noopener\">I Know a Place\u003c/a>.”\u003c/p>\n\u003cp>Many of these quirky hits are strategically placed for period-accurate ambience — and gentle commentary. When Don arrives at the apartment of his season three mistress, schoolteacher Suzanne Farrell, spinning on her turntable is the late-’63 French-language smash “Dominique” by the Singing Nun — a perfect encapsulation, for Don, of her alluring innocence. In season four, Shirley Ellis’s tongue-twisting, banana-fanna-fo-fanning hit “The Name Game” plays on the jukebox of a diner where Don brings his kids. In season six, when the too-old-to-be-hip Sterling Cooper men visit L.A. and attend a house party filled with poseurs and hangers-on, in the background is Jeannie C. Riley’s sassy, poseur-destroying 1968 chart-topper “Harper Valley P.T.A.”\u003c/p>\n\u003cp>TV bloggers did catch one apparent anachronism in the episode that features Kyo Sakamoto’s smash “Sukiyaki.” This \u003ca href=\"http://www.songfacts.com/detail.php?id=1230\" target=\"_blank\" rel=\"noopener\">mistitled\u003c/a>, \u003ca href=\"http://soundcheck.wnyc.org/story/298161-was-hit-many-lives-sukiyaki/\" target=\"_blank\" rel=\"noopener\">oft-covered\u003c/a> hit became the only all-Japanese song to top the U.S. charts in 1963. However, it appears in \u003cem>Mad Men\u003c/em>‘s season two premiere, set in the spring of 1962. Leave it to detail-oriented Weiner to find an escape hatch: The song was in fact first released in Japan in 1961, under its original title “Ue o Muite Arukō,” and in the episode, it’s playing as Don breaks up with a client at … a Japanese restaurant, one that could maybe, plausibly have had the record in its original pressing. As the Singing Nun might say, \u003cem>touché\u003c/em>.\u003c/p>\n\u003ch3>\u003cstrong>Deep Cuts\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Peter, Paul & Mary, “\u003ca href=\"https://www.youtube.com/watch?v=jE8NSvD7LSE\" target=\"_blank\" rel=\"noopener\">Early in the Morning\u003c/a>,” No. 1 album, 1962 (\u003cem>MM\u003c/em> season 2, episode 8, “A Night to Remember”)\u003c/li>\n\u003cli>Bob Dylan, “\u003ca href=\"https://www.youtube.com/watch?v=UL4vZMFYXZk\" target=\"_blank\" rel=\"noopener\">Don’t Think Twice, Its All Right\u003c/a>,” 1963 (\u003cem>MM\u003c/em> season 1, episode 13, “The Wheel”)\u003c/li>\n\u003cli>Roy Orbison, “\u003ca href=\"https://www.youtube.com/watch?v=DyK5ew4m6JU\" target=\"_blank\" rel=\"noopener\">Shahdaroba\u003c/a>,” 1963 (MM season 3, episode 13, “Shut the Door. Have a Seat.”)\u003c/li>\n\u003cli>Simon & Garfunkel, “\u003ca href=\"https://www.youtube.com/watch?v=kIlHdCpY4Kw\" target=\"_blank\" rel=\"noopener\">Bleecker Street\u003c/a>,” 1964 (\u003cem>MM\u003c/em> season 4, episode 7, “The Suitcase”)\u003c/li>\n\u003cli>The Crystals, “\u003ca href=\"https://www.youtube.com/watch?v=f20Oz9Yr_So\" target=\"_blank\" rel=\"noopener\">He Hit Me (It Felt Like a Kiss)\u003c/a>,” 1962 (\u003cem>MM\u003c/em> season 5, episode 4, “Mystery Date”)\u003c/li>\n\u003cli>The Beach Boys, “\u003ca href=\"https://www.youtube.com/watch?v=NR7_TbMIVnA\" target=\"_blank\" rel=\"noopener\">I Just Wasn’t Made For These Times\u003c/a>” 1966 (MM season 5, episode 6, “Far Away Places”)\u003c/li>\n\u003cli>The Beatles, “\u003ca href=\"https://www.youtube.com/watch?v=5tV0l62RZ80\" target=\"_blank\" rel=\"noopener\">Tomorrow Never Knows\u003c/a>,” 1966 (\u003cem>MM\u003c/em> season 5, episode 8, “Lady Lazarus”)\u003c/li>\n\u003cli>Nancy Sinatra, “\u003ca href=\"https://www.youtube.com/watch?v=UY9kzLL2zD0\" target=\"_blank\" rel=\"noopener\">You Only Live Twice\u003c/a>,” No. 44, 1967 (\u003cem>MM\u003c/em> season 5, episode 13, “The Phantom”)\u003c/li>\n\u003cli>Serge Gainsbourg & Brigitte Bardot, “\u003ca href=\"https://www.youtube.com/watch?v=dY9PY4r83p8\" target=\"_blank\" rel=\"noopener\">Bonnie and Clyde\u003c/a>,” 1968 (\u003cem>MM\u003c/em> season 6, episode 4, “To Have and to Hold”)\u003c/li>\n\u003cli>The Monkees, “\u003ca href=\"https://www.youtube.com/watch?v=mdd5xI9l7Ns\" target=\"_blank\" rel=\"noopener\">Porpoise Song (Theme from \u003cem>Head\u003c/em>)\u003c/a>,” No. 62, 1968 (\u003cem>MM\u003c/em> season 6, episode 12, “The Quality of Mercy”)\u003c/li>\n\u003cli>The Zombies, “\u003ca href=\"https://www.youtube.com/watch?v=kI2lTwY0Jx8\" target=\"_blank\" rel=\"noopener\">This Will Be Our Year\u003c/a>,” 1968 (\u003cem>MM\u003c/em> season 7, episode 2, “A Day’s Work”)\u003c/li>\n\u003c/ul>\n\u003cp>It would be nuts for Weiner to avoid totemic ’60s artists fully. Generally, when he has decided to invoke the decade’s folkie bards and pop eminences, he makes his song choices count — at least half the time, he chooses non-hits, invoking everyone from Roy Orbison to The Zombies without the accompanying \u003cem>duh\u003c/em> moment.\u003c/p>\n\u003cp>Peter, Paul and Mary’s 1962 debut album was a huge seller, but \u003cem>Mad Men\u003c/em> avoids its campfire hits (“If I Had a Hammer,” “Lemon Tree”) for the more definitive opener “Early in the Morning.” Speaking of PPM, they had the hit with “Don’t Think Twice, It’s All Right,” not Dylan, but it’s Bob’s version that closes the show’s first season, \u003ca href=\"http://www.pastemagazine.com/blogs/lists/2012/03/tonight-after-nearly-a-year.html\" target=\"_blank\" rel=\"noopener\">very memorably\u003c/a>. Hall of Fame producer Phil Spector is represented not by the Ronettes’ “Be My Baby” or the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling” but rather the \u003ca href=\"http://www.songfacts.com/detail.php?id=2790\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a>, radio-banned and brutally ironic Crystals single “He Hit Me (It Felt Like a Kiss).” The Beach Boys and the Monkees, each band a prolific hitmaker, are represented by two of their trippiest non-hits. And since “You Only Live Twice” was actually one of Nancy Sinatra’s smaller ’60s hits, the song may now be more associated with Don Draper — how great was \u003ca href=\"https://www.youtube.com/watch?v=YocBfe1N598\">that season five finale montage\u003c/a>? — than James Bond.\u003c/p>\n\u003cp>As for the Fab Four, Weiner \u003ca href=\"http://blogs.courant.com/roger_catlin_tv_eye/2010/09/mad-men-going-to-the-beatles.html\" target=\"_blank\" rel=\"noopener\">telegraphed\u003c/a> the Beatles’ influence on the show (Don buying his daughter Sally’s affection with tickets to their 1965 Shea Stadium gig) long before he had the budget to license their music. When he finally did in 2012, he went with an especially heady Lennon cut — “Tomorrow Never Knows,” the closing track on the quite literally pivotal album \u003cem>Revolver\u003c/em> — and has an exasperated, unimpressed Draper lift the needle off the record before the song even finishes. NPR’s own Ann Powers \u003ca href=\"http://www.npr.org/blogs/therecord/2012/05/08/152287119/mad-mens-beatles-coup-misses-the-mark\" target=\"_blank\" rel=\"noopener\">questioned\u003c/a> Weiner’s use of the song, and whether it would ever have alienated a savvy ad man like Don. But let’s pause and admire Weiner’s chutzpah one more time: You have one quarter-million-dollar budget to devote to licensing one Beatles song — the very act is guaranteed media attention — and you choose one of their thorniest and least radio-friendly (albeit one of their greatest)? Talk about meta: Weiner’s “Tomorrow Never Knows” scene was his own \u003ca href=\"https://www.flickr.com/photos/sophieh/5534736604/\" target=\"_blank\" rel=\"noopener\">tobacco letter\u003c/a>, an advertisement for its own daring that became more about the show’s influence than about the show’s content. If it wasn’t one of \u003cem>Mad Men\u003c/em>‘s best musical moments, it was perhaps the show’s most savvy — Don Draper himself could have dreamed it up.\u003c/p>\n\u003ch3>\u003cstrong>Iconic Signposts\u003c/strong>\u003c/h3>\n\u003cul>\n\u003cli>Chubby Checker, “\u003ca href=\"https://www.youtube.com/watch?v=pHGXwQeUk7M\">The Twist\u003c/a>,” No. 1, 1960 and No. 1, 1962 (\u003cem>MM\u003c/em> season 1, episode 8, “The Hobo Code”)\u003c/li>\n\u003cli>The Rolling Stones, “\u003ca href=\"https://www.youtube.com/watch?v=HoxRFOr_sQ0\" target=\"_blank\" rel=\"noopener\">(I Can’t Get No) Satisfaction\u003c/a>,” No. 1, 1965 (\u003cem>MM\u003c/em> season 4, episode 8, “The Summer Man”)\u003c/li>\n\u003cli>Sonny & Cher, “\u003ca href=\"https://www.youtube.com/watch?v=BERd61bDY7k\" target=\"_blank\" rel=\"noopener\">I Got You Babe\u003c/a>,” No. 1, 1965 (\u003cem>MM\u003c/em> season 4, episode 13, “Tomorrowland”)\u003c/li>\n\u003cli>Dusty Springfield, “\u003ca href=\"https://www.youtube.com/watch?v=QR4vE9xL3yk\" target=\"_blank\" rel=\"noopener\">You Don’t Have to Say You Love Me\u003c/a>,” No. 4, 1966 (\u003cem>MM\u003c/em> season 5, episode 1–2, “A Little Kiss”)\u003c/li>\n\u003cli>The Kinks, “\u003ca href=\"https://www.youtube.com/watch?v=dk3Ei_yoI4c\" target=\"_blank\" rel=\"noopener\">You Really Got Me\u003c/a>,” No. 7, 1964 (\u003cem>MM\u003c/em> season 5, episode 11, “The Other Woman”)\u003c/li>\n\u003cli>Big Brother and the Holding Company, “\u003ca href=\"https://www.youtube.com/watch?v=9hcxbIln3sc\" target=\"_blank\" rel=\"noopener\">Piece of My Heart\u003c/a>,” No. 12, 1968 (\u003cem>MM\u003c/em> season 6, episode 10, “A Tale of Two Cities”)\u003c/li>\n\u003cli>Judy Collins, “\u003ca href=\"https://www.youtube.com/watch?v=A7Xm30heHms\" target=\"_blank\" rel=\"noopener\">Both Sides Now\u003c/a>” No. 8, 1968 (\u003cem>MM\u003c/em> season 6, episode 13, “In Care Of”)\u003c/li>\n\u003cli>The Spencer Davis Group, “\u003ca href=\"https://www.youtube.com/watch?v=POCUgBSVENQ\" target=\"_blank\" rel=\"noopener\">I’m a Man\u003c/a>,” No. 10, 1967 (\u003cem>MM\u003c/em> season 7, episode 1, “Time Zones”)\u003c/li>\n\u003cli>Waylon Jennings, “\u003ca href=\"https://www.youtube.com/watch?v=CPv5NZR_Wtk\" target=\"_blank\" rel=\"noopener\">Only Daddy That’ll Walk the Line\u003c/a>,” No. 2 Country, 1968 (\u003cem>MM\u003c/em> season 7, episode 5, “The Runaways”)\u003c/li>\n\u003cli>Frank Sinatra, “\u003ca href=\"https://vimeo.com/30105597\" target=\"_blank\" rel=\"noopener\">My Way\u003c/a>,” No. 27, 1969 (\u003cem>MM\u003c/em> season 7, episode 6, “The Strategy”)\u003c/li>\n\u003cli>Peggy Lee, “\u003ca href=\"https://www.youtube.com/watch?v=LCRZZC-DH7M\" target=\"_blank\" rel=\"noopener\">Is That All There Is?\u003c/a>” No. 11, 1969 (\u003cem>MM\u003c/em> season 7, episode 8, “Severance”)\u003c/li>\n\u003c/ul>\n\u003cp>Here’s the other half of the “totemic” category — the dozen or so of times \u003cem>Mad Men\u003c/em> has gone straight for the jugular, choosing songs that were not only huge hits but still clearly read as ’60s iconography. One of the very best came early: flirty Peggy Olson \u003ca href=\"https://www.youtube.com/watch?v=NJy8pZ5T0kQ\" target=\"_blank\" rel=\"noopener\">sidling up\u003c/a> to \u003ca href=\"http://petecampbellsbitchface.tumblr.com\" target=\"_blank\" rel=\"noopener\">bitch-faced\u003c/a> Pete Campbell to the strains of the 1960 über-smash “The Twist.” Super-obvious, right? But for those of us with \u003cem>Billboard\u003c/em> mojo, it’s a clever moment — Chubby Checker’s smash hit No. 1 twice (the only Hot 100 hit ever to do so), catching on first with teenagers before finding a toehold with club-going adults and topping the chart all over again. Peggy, \u003cem>Mad Men\u003c/em>‘s ultimate liminal character, is a one-woman representation of both audiences, twisting her arrival into self-assured adulthood. No wonder the petty, controlling Pete doesn’t want to dance with her.\u003c/p>\n\u003cp>“The Twist” is a rare early–\u003cem>Mad Men\u003c/em> example of a signpost hit. Most of these expensive-to-license smashes appeared after season four, suggesting Weiner was more hamstrung by his fledgling show’s budget early on than by any deliberate artistic choice. But even over the last few seasons, Weiner has spent his newfound clout on coveted songs just infrequently enough to make their appearance feel indelible rather than inevitable. If you’ve watched the show devotedly, I barely need to detail these killer scenes: Don “Summer Man” Draper \u003ca href=\"http://blogs.pioneerlocal.com/entertainment/madmen-summerman.jpg\" target=\"_blank\" rel=\"noopener\">roaming the streets\u003c/a> to the Stones’ “Satisfaction”; Peggy \u003ca href=\"https://www.youtube.com/watch?v=8i5SpIxx_A4#t=5m1s\" target=\"_blank\" rel=\"noopener\">ditching Sterling Cooper\u003c/a> with a sassy smirk to the Kinks’ “You Really Got Me”; Pete \u003ca href=\"https://www.youtube.com/watch?v=jTHg2ApnkO8\" target=\"_blank\" rel=\"noopener\">toking up\u003c/a> to the liberating yowl of Janis’s “Piece of My Heart”; Megan \u003ca href=\"https://www.youtube.com/watch?v=-qfYmNHyX80\" target=\"_blank\" rel=\"noopener\">picking up\u003c/a> Don at LAX in a convertible as Steve Winwood bleats Spencer Davis’s “I’m a Man”; Don and Peggy \u003ca href=\"https://www.youtube.com/watch?v=7Zp3qMGN-8U\" target=\"_blank\" rel=\"noopener\">slow-dancing\u003c/a> to Frank’s definitive “My Way.”\u003c/p>\n\u003cp>Most of these songs are not used \u003ca href=\"http://filmsound.org/terminology/diegetic.htm\" target=\"_blank\" rel=\"noopener\">diegetically\u003c/a> — “My Way” is playing on an on-screen radio, but otherwise it’s debatable whether, say, Peggy is thinking about the Kinks at her moment of freedom. But the fact that these songs were all big hits is essential to these scenes — they define the background of the characters’ lives. If Sunday’s first episode of season 7.2 is any indication, Weiner plans to keep deploying iconic tunes on his way to the exit. Peggy Lee’s immortal late-1969 single “Is That All There Is?” bookended the episode, an \u003ca href=\"http://www.vulture.com/2015/04/is-that-all-there-is-mad-men-peggy-lee.html\" target=\"_blank\" rel=\"noopener\">inevitable\u003c/a>, none-too-subtle evocation of the exhaustion of the ’60s and the protagonists’ emotional voids, even after getting everything they thought they wanted.\u003c/p>\n\u003cp>For me, though, none of these moments tops the most moving use of music in \u003cem>Mad Men\u003c/em>‘s history, the \u003ca href=\"https://www.youtube.com/watch?v=B4uXj5cB_I8\" target=\"_blank\" rel=\"noopener\">finale of season six\u003c/a>. Don has just been released by Sterling Cooper for self-immolating during a Hershey pitch, picking the worst possible moment to reveal his unhappy childhood and fraudulent biography to a key client. It’s Thanksgiving Day 1968, and Don picks up his kids — but before driving them to dinner, the confessional and newly unfettered Don brings them to a derelict, abandoned Victorian house now surrounded by projects: the seedy brothel from his childhood. “This,” Don tells the kids, “is where I grew up” — and up pops Judy Collins’s achingly beautiful cover of Joni Mitchell’s “Both Sides Now,” its \u003ca href=\"http://jonimitchell.com/music/song.cfm?id=83\" target=\"_blank\" rel=\"noopener\">lyrics\u003c/a> a dreamy fantasia pierced with self-lacerating regret (a Mitchell trademark). It’s the dialogue in Don’s head, in song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One final detail: The week before Thanksgiving 1968, Collins’s “Both Sides Now” \u003ca href=\"http://books.google.com/books?id=vQoEAAAAMBAJ&lpg=PA1&pg=PA80#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">leapt into the Top 20 on the Hot 100\u003c/a>, on its way to a Top 10 peak just before Christmas. Teenage Sally Draper — or better yet, pubescent Bobby Draper — may well have owned the 45. Like every great musical moment over \u003cem>Mad Men\u003c/em>‘s seven seasons, it’s true to the story, true to the characters and true to life. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+%28Nearly%29+Comprehensive+Guide+To+The+Music+Of+%27Mad+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Salt of the Earth\u003c/em>, a documentary about famed photographer Sebastiao Salgado, ends with tranquil images of his family farm in Brazil, a leafy earthly paradise restored from the ravages of severe drought. That’s where Salgado went to recover from his experiences in war-torn Rwanda, and, perhaps, a life spent bringing back pictures of the self-inflicted horrors of mankind: genocide, drought, famine and the unspeakable suffering they bring to those caught in their wake.\u003c/p>\n\u003cp>Now 71 years old, the Franco-Brazilian photographer has roamed jungles, deserts, ravaged cities and fiery battle zones, where he used a knack for rapport with his subjects to create in-depth visual essays on how they try to survive under impossible conditions. Until he could bear it no longer, Salgado documented the cumulative miseries of global displacement following civil and foreign wars that devastated nations in Europe, Africa, and the Middle East.\u003c/p>\n\u003cp>Emaciated refugees lining up for food or trudging past piles of bodies abandoned or shoveled en masse into makeshift pits. Traumatized Bosnian women, children and old men packed into trucks, minus their murdered menfolk. It’s the stuff of the nightly news, but Salgado’s black-and-silvery photographs are also impeccably composed art objects, his signature lowering clouds adding to their melodramatic beauty. In one of his best-known images, thousands of Brazilians from all walks of life scurry half-naked up and down a vast quarry, shoving one another aside as they prospect for gold.\u003c/p>\n\u003cp>Yet for some, among them the influential late cultural critic Susan Sontag, Salgado’s poetically realized scenes of destruction aestheticize human suffering, and so diminish it. I’m not sure I agree, but that critique deserves at least a mention in the \u003cem>The Salt of the Earth\u003c/em>, which German filmmaker Wim Wenders directed with Salgado’s son, Juliano Ribeiro Salgado. It’s not hard to see why Wenders, who made \u003cem>Paris, Texas\u003c/em> and the swoony \u003cem>Wings of Desire\u003c/em> and is no mean photographer himself, is so taken with Salgado. Wenders, too, is an arty romantic who shoots Salgado’s heroically stately talking head against a black background or super-imposed onto his own images. It looks lovely, yet Wenders’ worshipful account of Salgado the man feels like a tale half told.\u003c/p>\n\u003cp>The only boy in a brood of eight, Salgado met his wife, Lelia, when both were student activists in the 1960s. When Brazil fell into dictatorship, the couple left for France, where Salgado soon abandoned his plan to become an economist, and with his wife’s support, set up in business as a photographer. Much is made of their idyllic marriage. We’re left wondering what life was like for his son, who’s not much more than a diplomatic presence in the movie, and for Lelia, a shadowy figure for much of the film who was left to care for their two boys (their younger son has Down syndrome) every time her husband vanished for months at a time into an unknown world. Only at the end does Lelia come into her own when she’s credited with an idea to reforest the parched land of the family farm to which Salgado retreated, depleted and “sick in my soul” from bearing witness to Rwanda’s collapse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It worked. Salgado’s final, hopeful project, \u003cem>Genesis\u003c/em>, is a photographic tribute to places on Earth where the ecology has remained relatively undisturbed or where destruction had been reversed. In the end, perhaps, the vindication of Salgado’s work lies in the eye of the beholder. When you look at a Salgado image of a dead family piled in the back of a truck you don’t think, “My, what a lovely photo of death!” You are floored by the tragedy. When you look at the family farm, now made over to the public and a gorgeous stretch of waving greenery as far as the eye can see, you see hope for the planet. When Salgado looks, he sees “the whole cycle of my life.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Salt of the Earth\u003c/em>, a documentary about famed photographer Sebastiao Salgado, ends with tranquil images of his family farm in Brazil, a leafy earthly paradise restored from the ravages of severe drought. That’s where Salgado went to recover from his experiences in war-torn Rwanda, and, perhaps, a life spent bringing back pictures of the self-inflicted horrors of mankind: genocide, drought, famine and the unspeakable suffering they bring to those caught in their wake.\u003c/p>\n\u003cp>Now 71 years old, the Franco-Brazilian photographer has roamed jungles, deserts, ravaged cities and fiery battle zones, where he used a knack for rapport with his subjects to create in-depth visual essays on how they try to survive under impossible conditions. Until he could bear it no longer, Salgado documented the cumulative miseries of global displacement following civil and foreign wars that devastated nations in Europe, Africa, and the Middle East.\u003c/p>\n\u003cp>Emaciated refugees lining up for food or trudging past piles of bodies abandoned or shoveled en masse into makeshift pits. Traumatized Bosnian women, children and old men packed into trucks, minus their murdered menfolk. It’s the stuff of the nightly news, but Salgado’s black-and-silvery photographs are also impeccably composed art objects, his signature lowering clouds adding to their melodramatic beauty. In one of his best-known images, thousands of Brazilians from all walks of life scurry half-naked up and down a vast quarry, shoving one another aside as they prospect for gold.\u003c/p>\n\u003cp>Yet for some, among them the influential late cultural critic Susan Sontag, Salgado’s poetically realized scenes of destruction aestheticize human suffering, and so diminish it. I’m not sure I agree, but that critique deserves at least a mention in the \u003cem>The Salt of the Earth\u003c/em>, which German filmmaker Wim Wenders directed with Salgado’s son, Juliano Ribeiro Salgado. It’s not hard to see why Wenders, who made \u003cem>Paris, Texas\u003c/em> and the swoony \u003cem>Wings of Desire\u003c/em> and is no mean photographer himself, is so taken with Salgado. Wenders, too, is an arty romantic who shoots Salgado’s heroically stately talking head against a black background or super-imposed onto his own images. It looks lovely, yet Wenders’ worshipful account of Salgado the man feels like a tale half told.\u003c/p>\n\u003cp>The only boy in a brood of eight, Salgado met his wife, Lelia, when both were student activists in the 1960s. When Brazil fell into dictatorship, the couple left for France, where Salgado soon abandoned his plan to become an economist, and with his wife’s support, set up in business as a photographer. Much is made of their idyllic marriage. We’re left wondering what life was like for his son, who’s not much more than a diplomatic presence in the movie, and for Lelia, a shadowy figure for much of the film who was left to care for their two boys (their younger son has Down syndrome) every time her husband vanished for months at a time into an unknown world. Only at the end does Lelia come into her own when she’s credited with an idea to reforest the parched land of the family farm to which Salgado retreated, depleted and “sick in my soul” from bearing witness to Rwanda’s collapse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Withdrawn and inarticulate, the heroine of \u003cem>Kumiko, The Treasure Hunter\u003c/em> lives primarily inside her own imagination. And during at least two crucial scenes, this deadpan comedy seems to crawl in there with her.\u003c/p>\n\u003cp>Director David Zellner’s film (co-written by brother Nathan Zellner) riffs on an urban legend. In 2001, a young Japanese woman was found dead in frigid northern Minnesota. She almost certainly committed suicide, but the story arose that she was searching for the loot buried in the Coen brothers’ \u003cem>Fargo\u003c/em>, which begins with the winking assertion that “this is a true story.”\u003c/p>\n\u003cp>The Zellners’ movie opens with the same line, glimpsed through the visual noise of a badly decomposed VHS copy of \u003cem>Fargo\u003c/em>. Then the filmmakers rewind to show, allegedly, how Kumiko got the tape: during a sort of Minnesota Jones adventure in a cave.\u003c/p>\n\u003cp>Cut to workaday life, which is considerably less antic. Kumiko (\u003cem>Pacific Rim\u003c/em>‘s Rinko Kikuchi) is a uniformed OL (office lady) for an imperious boss at a midsize Tokyo company. He says she should be married by now — she’s 29 — which is the same thing her mother insists when Kumiko takes her phone calls. As much as possible, the young woman avoids everyone except her pet rabbit, Bunzo, and the residents of \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>Kumiko speaks so little, in either Japanese or English, that her character seems partly modeled on the deaf teenager the versatile Kikuchi played in \u003cem>Babel\u003c/em>. The Zellners have even worked a deaf character into their fable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Japanese traveler also recalls the headstrong newcomer played by Eszter Balint in Jim Jarmusch’s \u003cem>Stranger than Paradise\u003c/em>. Both are strangers in strange lands, and each has a moment when she impulsively dumps an item of clothing in the trash. That Jarmusch film and another one, \u003cem>Dead Man\u003c/em>, are closer to the spirit of \u003cem>Kumiko\u003c/em> than anything in the Coen brothers’ filmography. (Werner Herzog fans may think as well of \u003cem>Stroszek\u003c/em>, in which three German eccentrics head for the dark heart of Wisconsin.)\u003c/p>\n\u003cp>For the movie’s first 45 minutes, Kumiko plots her quest. She steals a map of Minnesota from a library and embroiders a treasure map on a piece of fabric. But Kumiko has no hope of reaching Fargo until a corporate credit card falls into her hands. Then she lurches into action, sending Bunzo away — literally — before flying to Minneapolis.\u003c/p>\n\u003cp>A moment at the airport, showing an airplane in a swirling red mist of de-icing fluid, is unexpectedly lovely. The Zellners don’t find much beauty in back-streets Tokyo, but in Minnesota they put the film’s widescreen format to picturesque use. Kumiko’s north woods visions include a psychedelic nighttime scene, illuminated by only a flashlight, and a new morning of transcendent sunshine.\u003c/p>\n\u003cp>A series of bus, taxi and police-car rides move Kumiko across a snowy landscape for which her little-red-riding-hood jacket is clearly inadequate. Several good-natured locals offer assistance, although they’re as clueless as the naif they’re trying to help. For some translation help, a small-town sheriff played by the director takes the Japanese woman to a Chinese restaurant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, though, this journey must conclude alone. And exactly how it ends will likely divide viewers. Is the story, and its heroine’s fate, a fairy tale or a delusion? If the former, the movie is as sweet as a Disney-inspired anime. If the latter, \u003cem>Kumiko\u003c/em> is deeply sad. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Withdrawn and inarticulate, the heroine of \u003cem>Kumiko, The Treasure Hunter\u003c/em> lives primarily inside her own imagination. And during at least two crucial scenes, this deadpan comedy seems to crawl in there with her.\u003c/p>\n\u003cp>Director David Zellner’s film (co-written by brother Nathan Zellner) riffs on an urban legend. In 2001, a young Japanese woman was found dead in frigid northern Minnesota. She almost certainly committed suicide, but the story arose that she was searching for the loot buried in the Coen brothers’ \u003cem>Fargo\u003c/em>, which begins with the winking assertion that “this is a true story.”\u003c/p>\n\u003cp>The Zellners’ movie opens with the same line, glimpsed through the visual noise of a badly decomposed VHS copy of \u003cem>Fargo\u003c/em>. Then the filmmakers rewind to show, allegedly, how Kumiko got the tape: during a sort of Minnesota Jones adventure in a cave.\u003c/p>\n\u003cp>Cut to workaday life, which is considerably less antic. Kumiko (\u003cem>Pacific Rim\u003c/em>‘s Rinko Kikuchi) is a uniformed OL (office lady) for an imperious boss at a midsize Tokyo company. He says she should be married by now — she’s 29 — which is the same thing her mother insists when Kumiko takes her phone calls. As much as possible, the young woman avoids everyone except her pet rabbit, Bunzo, and the residents of \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>Kumiko speaks so little, in either Japanese or English, that her character seems partly modeled on the deaf teenager the versatile Kikuchi played in \u003cem>Babel\u003c/em>. The Zellners have even worked a deaf character into their fable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Japanese traveler also recalls the headstrong newcomer played by Eszter Balint in Jim Jarmusch’s \u003cem>Stranger than Paradise\u003c/em>. Both are strangers in strange lands, and each has a moment when she impulsively dumps an item of clothing in the trash. That Jarmusch film and another one, \u003cem>Dead Man\u003c/em>, are closer to the spirit of \u003cem>Kumiko\u003c/em> than anything in the Coen brothers’ filmography. (Werner Herzog fans may think as well of \u003cem>Stroszek\u003c/em>, in which three German eccentrics head for the dark heart of Wisconsin.)\u003c/p>\n\u003cp>For the movie’s first 45 minutes, Kumiko plots her quest. She steals a map of Minnesota from a library and embroiders a treasure map on a piece of fabric. But Kumiko has no hope of reaching Fargo until a corporate credit card falls into her hands. Then she lurches into action, sending Bunzo away — literally — before flying to Minneapolis.\u003c/p>\n\u003cp>A moment at the airport, showing an airplane in a swirling red mist of de-icing fluid, is unexpectedly lovely. The Zellners don’t find much beauty in back-streets Tokyo, but in Minnesota they put the film’s widescreen format to picturesque use. Kumiko’s north woods visions include a psychedelic nighttime scene, illuminated by only a flashlight, and a new morning of transcendent sunshine.\u003c/p>\n\u003cp>A series of bus, taxi and police-car rides move Kumiko across a snowy landscape for which her little-red-riding-hood jacket is clearly inadequate. Several good-natured locals offer assistance, although they’re as clueless as the naif they’re trying to help. For some translation help, a small-town sheriff played by the director takes the Japanese woman to a Chinese restaurant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, though, this journey must conclude alone. And exactly how it ends will likely divide viewers. Is the story, and its heroine’s fate, a fairy tale or a delusion? If the former, the movie is as sweet as a Disney-inspired anime. If the latter, \u003cem>Kumiko\u003c/em> is deeply sad. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Get Hard\u003c/em>, a new Will Ferrell-Kevin Hart buddy comedy about a white-collar investor about to enter prison, is funnier than the poster image of a white man in cornrows makes it appear. In an era where most comedies are either obsessed with genre self-awareness (think Phil Lord and Chris Miller) or still running on a male-id algorithm programmed in the ’90s (think Adam Sandler. . . or don’t), it’s refreshing to see one tuned into a present day that exists beyond the movies.\u003c/p>\n\u003cp>Ferrell plays James King, a pompous Bel Air one-percenter who practices capoeira on his mansion’s manicured front lawn and has sex with his young fiancée (Alison Brie) on top of floor plans for an even bigger mansion. On the eve of being made partner at his firm, and shortly after soloing over John Mayer during a house party performance, James is arrested for embezzlement and fraud and sentenced to ten years in San Quentin State Prison. Meanwhile, his car washer, Darnell (Hart), is fighting to get his family out of the troubled L.A. neighborhood of Crenshaw and into the middle class. A racially motivated misunderstanding leads to a business opportunity: hiding his squeaky-clean record, Darnell will train James in the way of prison culture so he can survive on the inside.\u003c/p>\n\u003cp>Give credit where credit is due: This is a great concept for a comedy in 2015. It allows the filmmakers to play hot-button bingo with race, class, and the prison-industrial complex in ways that feel dangerous without being crass. Take the funny bit where Darnell, trying to demonstrate his faux-toughness, refers to his wife in a derogatory manner and is immediately punished for it. The joke sides with his wife. And James’ assumption that Darnell went to prison raises questions, obviously, about the ideas he carries, which are hardly unique to his fictional self. Later, Darnell enlists James’s underpaid groundskeepers—clad in hand-me-downs like a “Too Big To Fail-Palooza” business retreat T-shirt—to assist the “hardening” process. The movie walks a fine line, but it never goes sour, because it keeps punching up.\u003c/p>\n\u003cp>\u003cem>Get Hard \u003c/em>is the feature directorial debut of Etan Cohen, whose name has appeared on many a comedy screenplay, from the meta-referential silliness of \u003cem>Tropic Thunder\u003c/em> to the cult dystopia \u003cem>Idiocracy\u003c/em>. His approach here is lo-fi, mostly confined to a couple of sets and simple static shots of Ferrell and Hart riffing. Cohen plays up their real-life height differentials, often returning to medium shots of the very short Hart successfully intimidating the very tall Ferrell (Hart often outshines his co-star with his hilarious physicality).\u003c/p>\n\u003cp>It could be mistaken for one of those cheap, grungy films aspiring comics shoot in their backyards, were it not for the script’s four credited writers and cushy story arc—the latter half, featuring rapper T.I. as a gang leader, is more plot-driven and less funny. Other comedy directors should take note not to surround charismatic stars with excess story fat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In what’s sure to be the movie’s most-discussed set piece, James trains himself to perform a sexual act he expects to encounter in prison and gets closer to the deed than the male hero of any other studio comedy in recent memory. Is this the latest iteration of that most dreaded style of humor, the gay-panic joke? Not really; the scene is about James’ specific desperation, his fear of uncharted waters, and, believe it or not, his can-do spirit.\u003c/p>\n\u003cp>After breaking out with stand-up specials, Hart has so far mostly played the ringer in ensemble films (\u003cem>About Last Night\u003c/em>,\u003cem> \u003c/em>the \u003cem>Think Like A Man\u003c/em> series). But his film career has been on a huge upswing, with last year’s buddy comedy \u003cem>Ride Along\u003c/em> a smash. He brings a fresh manic presence that helps enliven Ferrell, who’s been making variations on the same movie for his decade-plus of stardom. \u003cem>Get Hard \u003c/em>largely sheds the situational absurdity of Ferrell’s recent output like \u003cem>Anchorman 2\u003c/em> and \u003cem>Casa De Mi Padre\u003c/em>, which were more about outrageous concepts than the comic potential of their star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s still ultimately a disposable work, but at least while it’s going, it hits hard. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Get Hard\u003c/em>, a new Will Ferrell-Kevin Hart buddy comedy about a white-collar investor about to enter prison, is funnier than the poster image of a white man in cornrows makes it appear. In an era where most comedies are either obsessed with genre self-awareness (think Phil Lord and Chris Miller) or still running on a male-id algorithm programmed in the ’90s (think Adam Sandler. . . or don’t), it’s refreshing to see one tuned into a present day that exists beyond the movies.\u003c/p>\n\u003cp>Ferrell plays James King, a pompous Bel Air one-percenter who practices capoeira on his mansion’s manicured front lawn and has sex with his young fiancée (Alison Brie) on top of floor plans for an even bigger mansion. On the eve of being made partner at his firm, and shortly after soloing over John Mayer during a house party performance, James is arrested for embezzlement and fraud and sentenced to ten years in San Quentin State Prison. Meanwhile, his car washer, Darnell (Hart), is fighting to get his family out of the troubled L.A. neighborhood of Crenshaw and into the middle class. A racially motivated misunderstanding leads to a business opportunity: hiding his squeaky-clean record, Darnell will train James in the way of prison culture so he can survive on the inside.\u003c/p>\n\u003cp>Give credit where credit is due: This is a great concept for a comedy in 2015. It allows the filmmakers to play hot-button bingo with race, class, and the prison-industrial complex in ways that feel dangerous without being crass. Take the funny bit where Darnell, trying to demonstrate his faux-toughness, refers to his wife in a derogatory manner and is immediately punished for it. The joke sides with his wife. And James’ assumption that Darnell went to prison raises questions, obviously, about the ideas he carries, which are hardly unique to his fictional self. Later, Darnell enlists James’s underpaid groundskeepers—clad in hand-me-downs like a “Too Big To Fail-Palooza” business retreat T-shirt—to assist the “hardening” process. The movie walks a fine line, but it never goes sour, because it keeps punching up.\u003c/p>\n\u003cp>\u003cem>Get Hard \u003c/em>is the feature directorial debut of Etan Cohen, whose name has appeared on many a comedy screenplay, from the meta-referential silliness of \u003cem>Tropic Thunder\u003c/em> to the cult dystopia \u003cem>Idiocracy\u003c/em>. His approach here is lo-fi, mostly confined to a couple of sets and simple static shots of Ferrell and Hart riffing. Cohen plays up their real-life height differentials, often returning to medium shots of the very short Hart successfully intimidating the very tall Ferrell (Hart often outshines his co-star with his hilarious physicality).\u003c/p>\n\u003cp>It could be mistaken for one of those cheap, grungy films aspiring comics shoot in their backyards, were it not for the script’s four credited writers and cushy story arc—the latter half, featuring rapper T.I. as a gang leader, is more plot-driven and less funny. Other comedy directors should take note not to surround charismatic stars with excess story fat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In what’s sure to be the movie’s most-discussed set piece, James trains himself to perform a sexual act he expects to encounter in prison and gets closer to the deed than the male hero of any other studio comedy in recent memory. Is this the latest iteration of that most dreaded style of humor, the gay-panic joke? Not really; the scene is about James’ specific desperation, his fear of uncharted waters, and, believe it or not, his can-do spirit.\u003c/p>\n\u003cp>After breaking out with stand-up specials, Hart has so far mostly played the ringer in ensemble films (\u003cem>About Last Night\u003c/em>,\u003cem> \u003c/em>the \u003cem>Think Like A Man\u003c/em> series). But his film career has been on a huge upswing, with last year’s buddy comedy \u003cem>Ride Along\u003c/em> a smash. He brings a fresh manic presence that helps enliven Ferrell, who’s been making variations on the same movie for his decade-plus of stardom. \u003cem>Get Hard \u003c/em>largely sheds the situational absurdity of Ferrell’s recent output like \u003cem>Anchorman 2\u003c/em> and \u003cem>Casa De Mi Padre\u003c/em>, which were more about outrageous concepts than the comic potential of their star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s still ultimately a disposable work, but at least while it’s going, it hits hard. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Two Men in Town\u003c/em> opens with a brutal bludgeoning as the sun rises over the desolate New Mexico desert. The man receiving the beating goes unidentified, but the man providing it with a hefty rock is William (Forest Whitaker). A couple of scenes later, we watch as he gets released from prison, on parole after serving an 18-year prison stint for murdering the deputy sheriff of his border town.\u003c/p>\n\u003cp>Stepping out into the free world, William seems like a reformed man. He’s a Muslim now, hoping to start a new life, as he explains repeatedly later, with a regular job, “a little house, a little lawnmower, wife, kids, neighbors.” The violence from the opening scene seems to belong to a different person, though the cautious manner in which William walks, talks, and holds his body suggests an anger that’s now bottled up, not evaporated.\u003c/p>\n\u003cp>The parole officer assigned to William, a recent arrival named Emily (Brenda Blethyn), is sympathetic to his apparent rehabilitation. Unfortunately, the town’s sheriff, Bill (Harvey Keitel), hasn’t left the job since William’s imprisonment, hasn’t forgiven William for the murder of his deputy and only wants to see him put back behind bars.\u003c/p>\n\u003cp>There’s much about \u003cem>Two Men in Town\u003c/em>'s hardened-criminal-goes-straight story, adapted from a 1973 film of the same name, that’s unsurprising. Once back in town, William quickly runs into his old partner-in-crime, Terence (Luis Guzmán), who refuses to accept William’s change of heart, thus putting William’s freedom and his future with his new girlfriend, Teresa (Dolores Heredia), at risk.\u003c/p>\n\u003cp>Each character receives a stock set of motivations—personal vendetta disguised as moral outrage for Bill, altruistic social justice for Emily. A half-hearted attempt to provide Bill some depth by showing his sympathy toward immigrants who are in the U.S. illegally never quite goes anywhere. In fact, while the movie hints at plenty of political themes, Bouchareb doesn’t actually seem too concerned with any of them. For instance, William’s conversion to Islam almost never becomes a point of conflict, as you might expect it to. Bouchareb mines it more for blunt symbolism—the hand-washing, the carefully-arranged clothing—than social studies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Any nuance the film finds, it finds in the landscape. After its opening burst of violence, the film settles into a languid pace. There are substantial stretches where the camera rests quietly on the isolated town and bleak surrounding desert, hemmed in by a mountainous backdrop. The film’s small New Mexico town gets cast as purgatorial—its residents somehow both confined and transient—and the feeling that dominates as William encounters repeated obstacles to his desired life isn’t heightened tension but resignation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bouchareb lays it on a bit thick here as well—a side story of an dying man who’s denied permission to spend his last year on parole with his family in Ohio makes the messaging difficult to ignore. Nevertheless, it’s this mood, this sense of constriction in open spaces, of characters stuck in their ways, stuck in their small towns, and stuck in their grudges, that most stayed with me afterward. Such questions about fate and destiny are, like so much else in the film, exactly what you would expect from \u003cem>Two Men in Town\u003c/em>'s story. But in this case, the movie’s melancholic, atmospheric tone, coupled with a muted performance from Whitaker, offers a new way into the material. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Two Men in Town\u003c/em> opens with a brutal bludgeoning as the sun rises over the desolate New Mexico desert. The man receiving the beating goes unidentified, but the man providing it with a hefty rock is William (Forest Whitaker). A couple of scenes later, we watch as he gets released from prison, on parole after serving an 18-year prison stint for murdering the deputy sheriff of his border town.\u003c/p>\n\u003cp>Stepping out into the free world, William seems like a reformed man. He’s a Muslim now, hoping to start a new life, as he explains repeatedly later, with a regular job, “a little house, a little lawnmower, wife, kids, neighbors.” The violence from the opening scene seems to belong to a different person, though the cautious manner in which William walks, talks, and holds his body suggests an anger that’s now bottled up, not evaporated.\u003c/p>\n\u003cp>The parole officer assigned to William, a recent arrival named Emily (Brenda Blethyn), is sympathetic to his apparent rehabilitation. Unfortunately, the town’s sheriff, Bill (Harvey Keitel), hasn’t left the job since William’s imprisonment, hasn’t forgiven William for the murder of his deputy and only wants to see him put back behind bars.\u003c/p>\n\u003cp>There’s much about \u003cem>Two Men in Town\u003c/em>'s hardened-criminal-goes-straight story, adapted from a 1973 film of the same name, that’s unsurprising. Once back in town, William quickly runs into his old partner-in-crime, Terence (Luis Guzmán), who refuses to accept William’s change of heart, thus putting William’s freedom and his future with his new girlfriend, Teresa (Dolores Heredia), at risk.\u003c/p>\n\u003cp>Each character receives a stock set of motivations—personal vendetta disguised as moral outrage for Bill, altruistic social justice for Emily. A half-hearted attempt to provide Bill some depth by showing his sympathy toward immigrants who are in the U.S. illegally never quite goes anywhere. In fact, while the movie hints at plenty of political themes, Bouchareb doesn’t actually seem too concerned with any of them. For instance, William’s conversion to Islam almost never becomes a point of conflict, as you might expect it to. Bouchareb mines it more for blunt symbolism—the hand-washing, the carefully-arranged clothing—than social studies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Any nuance the film finds, it finds in the landscape. After its opening burst of violence, the film settles into a languid pace. There are substantial stretches where the camera rests quietly on the isolated town and bleak surrounding desert, hemmed in by a mountainous backdrop. The film’s small New Mexico town gets cast as purgatorial—its residents somehow both confined and transient—and the feeling that dominates as William encounters repeated obstacles to his desired life isn’t heightened tension but resignation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bouchareb lays it on a bit thick here as well—a side story of an dying man who’s denied permission to spend his last year on parole with his family in Ohio makes the messaging difficult to ignore. Nevertheless, it’s this mood, this sense of constriction in open spaces, of characters stuck in their ways, stuck in their small towns, and stuck in their grudges, that most stayed with me afterward. Such questions about fate and destiny are, like so much else in the film, exactly what you would expect from \u003cem>Two Men in Town\u003c/em>'s story. But in this case, the movie’s melancholic, atmospheric tone, coupled with a muted performance from Whitaker, offers a new way into the material. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a golden rule of movie plans that goes double for con and heist films: When the characters spell out their playbook ahead of time for the audience (“I’ll pose as a dot-com billionaire while you rewire the security cameras”), something will inevitably go wrong. But when the audience is kept in the dark, the plan will go off without a hitch.\u003c/p>\n\u003cp>The new con movie \u003cem>Focus \u003c/em>— not to be confused with Focus Features, although someone really should have noticed how similar the logos looked — works this rule overtime, layering blueprints on top of blueprints, spelling out one operation only to pivot into a different one at the last second. Writer-directors Glenn Ficarra and John Requa \u003cem>(Crazy, Stupid, Love.)\u003c/em> keep us only just abreast enough of the proceedings to sense that slippery games are afoot, thus building a fun if forgettable romp through a charismatic criminal underworld.\u003c/p>\n\u003cp>The always-charming Will Smith is back on solid ground with this starring role, his first since 2013’s already infamous father-son sci-fi bomb \u003cem>After Earth\u003c/em>. \u003cem>Focus\u003c/em> finds Smith in full \u003cem>Hitch\u003c/em> mode as small-time grifter Nicky, a man in his element with a swagger in his step. Nicky leads a team of thieves into crowded public spaces for tightly choreographed pickpocket operations, and not even those wallets chained to pants are safe. He’s as emotionally distant as he is great at his job, which is a natural side effect of the “when people get too close to you, snatch their watches” line of work. It falls to a fellow thief coming in from the cold named Jess (Margot Robbie, an Australian beauty 22 years Smith’s junior) to soften him up.\u003c/p>\n\u003cp>Robbie has a rising profile, fresh off her role as the tart high-life wife in \u003cem>The Wolf Of Wall Street\u003c/em>, and she’s quite likable here, even though she has little more to do than seem like she’s up to something. The early scenes where Nicky shows Jess the ropes are lithe, breezy fun in the vein of \u003cem>The Sting\u003c/em>: She swipes a mark’s credit card, an associate buys up a storm, then they return it to his wallet before he’s the wiser. Grifter terminology is in abundance, like the “Toledo Panic Button” (taking down a partner to avoid being caught in a lie). This being a genre film in the 2010s, the movie also attempts some meta-referential winkery. Nicky mocks the idea that the gang is preparing for a big score “where we all make so much money we retire and get boob jobs.” An editing sequence seems to mimic the famous love scene from \u003cem>Out of Sight,\u003c/em> until it doesn’t.\u003c/p>\n\u003cp>The trouble with movies about con artists is that because every character is duplicitous, we know they all have tricks up their sleeves and we’re constantly guessing the big reveal. The film fails if it’s not thinking too far ahead, if the unspoken plan isn’t elaborate enough. In \u003cem>Focus,\u003c/em> once the team pulls off a ludicrous stunt at a football stadium, suddenly we’re in \u003cem>Ocean’s\u003c/em> territory and the small-time rules no longer apply. The movie is trying to go big, and this is where it stumbles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without spoiling too much: A big time and location jump at the halfway mark would, at first, seem to signal a much larger game, a long con, especially when two characters cross paths somewhere too absurd to be a coincidence. But the meager payoff dashes those hopes, so the second half feels like Ficarra and Requa ran out of ideas and just hit restart. As Nicky said, there is no big score — or at least, not one that feels like a satisfying capper to the previous 100 minutes. And the fact that the con artist was telling the truth is the kind of plan it’s better to not see coming. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Focus%2C%27+A+Con+Movie+Without+Enough+Of+A+Con&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a golden rule of movie plans that goes double for con and heist films: When the characters spell out their playbook ahead of time for the audience (“I’ll pose as a dot-com billionaire while you rewire the security cameras”), something will inevitably go wrong. But when the audience is kept in the dark, the plan will go off without a hitch.\u003c/p>\n\u003cp>The new con movie \u003cem>Focus \u003c/em>— not to be confused with Focus Features, although someone really should have noticed how similar the logos looked — works this rule overtime, layering blueprints on top of blueprints, spelling out one operation only to pivot into a different one at the last second. Writer-directors Glenn Ficarra and John Requa \u003cem>(Crazy, Stupid, Love.)\u003c/em> keep us only just abreast enough of the proceedings to sense that slippery games are afoot, thus building a fun if forgettable romp through a charismatic criminal underworld.\u003c/p>\n\u003cp>The always-charming Will Smith is back on solid ground with this starring role, his first since 2013’s already infamous father-son sci-fi bomb \u003cem>After Earth\u003c/em>. \u003cem>Focus\u003c/em> finds Smith in full \u003cem>Hitch\u003c/em> mode as small-time grifter Nicky, a man in his element with a swagger in his step. Nicky leads a team of thieves into crowded public spaces for tightly choreographed pickpocket operations, and not even those wallets chained to pants are safe. He’s as emotionally distant as he is great at his job, which is a natural side effect of the “when people get too close to you, snatch their watches” line of work. It falls to a fellow thief coming in from the cold named Jess (Margot Robbie, an Australian beauty 22 years Smith’s junior) to soften him up.\u003c/p>\n\u003cp>Robbie has a rising profile, fresh off her role as the tart high-life wife in \u003cem>The Wolf Of Wall Street\u003c/em>, and she’s quite likable here, even though she has little more to do than seem like she’s up to something. The early scenes where Nicky shows Jess the ropes are lithe, breezy fun in the vein of \u003cem>The Sting\u003c/em>: She swipes a mark’s credit card, an associate buys up a storm, then they return it to his wallet before he’s the wiser. Grifter terminology is in abundance, like the “Toledo Panic Button” (taking down a partner to avoid being caught in a lie). This being a genre film in the 2010s, the movie also attempts some meta-referential winkery. Nicky mocks the idea that the gang is preparing for a big score “where we all make so much money we retire and get boob jobs.” An editing sequence seems to mimic the famous love scene from \u003cem>Out of Sight,\u003c/em> until it doesn’t.\u003c/p>\n\u003cp>The trouble with movies about con artists is that because every character is duplicitous, we know they all have tricks up their sleeves and we’re constantly guessing the big reveal. The film fails if it’s not thinking too far ahead, if the unspoken plan isn’t elaborate enough. In \u003cem>Focus,\u003c/em> once the team pulls off a ludicrous stunt at a football stadium, suddenly we’re in \u003cem>Ocean’s\u003c/em> territory and the small-time rules no longer apply. The movie is trying to go big, and this is where it stumbles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without spoiling too much: A big time and location jump at the halfway mark would, at first, seem to signal a much larger game, a long con, especially when two characters cross paths somewhere too absurd to be a coincidence. But the meager payoff dashes those hopes, so the second half feels like Ficarra and Requa ran out of ideas and just hit restart. As Nicky said, there is no big score — or at least, not one that feels like a satisfying capper to the previous 100 minutes. And the fact that the con artist was telling the truth is the kind of plan it’s better to not see coming. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Focus%2C%27+A+Con+Movie+Without+Enough+Of+A+Con&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Leonard Nimoy, best known for his role as Mr. Spock, the logical half-Vulcan, half-human in the original \u003cem>Star Trek\u003c/em> series and several movies, has died at his home in Los Angeles, his granddaughter, Madeleine, told NPR. Nimoy was 83.\u003c/p>\n\u003cp>The cause was end-stage chronic obstructive pulmonary disease, she said.\u003c/p>\n\u003cp>NPR’s Neda Ulaby, who is reporting on the story, tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“Leonard Nimoy started acting as a teenager at a settlement house theater in Boston where he grew up. His father was a barber, a Jewish refugee from Ukraine. Nimoy felt stifled by Spock at times during his career. He also appeared on Broadway, wrote poetry and plays and directed a few blockbuster movies, including \u003cem>Star Trek 4\u003c/em>. He eventually made peace with the character. Spock could have been just pointy ears and punch lines. Leonard Nimoy gave him gravitas.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nimoy reprised the role he is most famous for in the J.J. Abrams’ reboot of the franchise. He told NPR’s Guy Raz in 2009: “I know why they wanted me in this last film, which was to create a bridge between the original cast and the new. But that’s been done. So I would suspect that there’s no need for my presence again.”\u003c/p>\n\u003cp>Actor Zachary Quinto, who took over as Mr. Spock in the reboot and its sequel, told NPR in 2013 that Nimoy “was very supportive from the beginning, and we became incredibly good friends.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>For an extra bit of fun, here’s Nimoy singing his song, “Ballad of Bilbo Baggins,” from 1967.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AGF5ROpjRAU\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Leonard+Nimoy%2C+Mr.+Spock+On+%27Star+Trek%2C%27+Dies+At+83+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Leonard Nimoy, best known for his role as Mr. Spock, the logical half-Vulcan, half-human in the original \u003cem>Star Trek\u003c/em> series and several movies, has died at his home in Los Angeles, his granddaughter, Madeleine, told NPR. Nimoy was 83.\u003c/p>\n\u003cp>The cause was end-stage chronic obstructive pulmonary disease, she said.\u003c/p>\n\u003cp>NPR’s Neda Ulaby, who is reporting on the story, tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“Leonard Nimoy started acting as a teenager at a settlement house theater in Boston where he grew up. His father was a barber, a Jewish refugee from Ukraine. Nimoy felt stifled by Spock at times during his career. He also appeared on Broadway, wrote poetry and plays and directed a few blockbuster movies, including \u003cem>Star Trek 4\u003c/em>. He eventually made peace with the character. Spock could have been just pointy ears and punch lines. Leonard Nimoy gave him gravitas.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nimoy reprised the role he is most famous for in the J.J. Abrams’ reboot of the franchise. He told NPR’s Guy Raz in 2009: “I know why they wanted me in this last film, which was to create a bridge between the original cast and the new. But that’s been done. So I would suspect that there’s no need for my presence again.”\u003c/p>\n\u003cp>Actor Zachary Quinto, who took over as Mr. Spock in the reboot and its sequel, told NPR in 2013 that Nimoy “was very supportive from the beginning, and we became incredibly good friends.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>For an extra bit of fun, here’s Nimoy singing his song, “Ballad of Bilbo Baggins,” from 1967.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AGF5ROpjRAU'\n title='//www.youtube.com/embed/AGF5ROpjRAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Leonard+Nimoy%2C+Mr.+Spock+On+%27Star+Trek%2C%27+Dies+At+83+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Oscars: What People are Saying the Day After",
"headTitle": "The Oscars: What People are Saying the Day After | KQED",
"content": "\u003cp>Along with learning who won an Oscar at last night’s Academy Awards, we learned a lot more: Who to call (your parents), and what women should be paid (the same as men). From civil rights to immigration and health issues such as Alzheimer’s and Lou Gehrig’s diseases, advocacy was a big part of last night’s show. Here’s a quick rundown of what people are saying Monday.\u003c/p>\n\u003cp>\u003cstrong>Update at 12:45 p.m. ET: Low Ratings, And Stephen Hawking’s Reaction\u003c/strong>\u003c/p>\n\u003cp>Compared to last year’s show hosted by Ellen DeGeneres, not as many people watched this year. \u003ca href=\"http://deadline.com/2015/02/oscar-ratings-2015-academy-awards-show-abc-1201379351/\" target=\"_blank\" rel=\"noopener\">Deadline Hollywood \u003c/a>reports:\u003c/p>\n\u003cp>“Viewershipwise, the 87\u003csup>th\u003c/sup> Academy Awards were watched by 34.6 million between 8:30 and 11 PM in the early results. That’s down almost 14 percent from the 40.2 million who watched the show over the same time period last year.”\u003c/p>\n\u003cp>In another update, Stephen Hawking used \u003ca href=\"https://www.facebook.com/stephenhawking\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>to cheer a win by the actor who portrayed him: “Congratulations to Eddie Redmayne for winning an \u003ca href=\"https://www.facebook.com/hashtag/oscar?source=feed_text&story_id=787167211370378\" target=\"_blank\" rel=\"noopener\">#Oscar\u003c/a> for playing me in \u003ca href=\"https://www.facebook.com/TheoryofEverythingMovie\" target=\"_blank\" rel=\"noopener\">The Theory of Everything Movie\u003c/a>. Well done Eddie, I’m very proud of you. –SH.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Our original post continues:\u003c/em>\u003c/p>\n\u003cp>After winning a best supporting actress Oscar for \u003cem>Boyhood\u003c/em>, Patricia Arquette addressed every mother and every American: “We have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all — and equal rights for women in the United States of America.”\u003c/p>\n\u003cp>Loud cheers rose as Arquette spoke, with Meryl Streep repeatedly pointing at Arquette as she applauded her alongside Jennifer Lopez. As NPR’s Linda Holmes notes \u003ca href=\"http://www.npr.org/blogs/monkeysee/2015/02/23/388291018/birdman-wins-big-on-a-soggy-night-at-the-oscars\" target=\"_blank\" rel=\"noopener\">in her recap post\u003c/a> for of the Monkey See blog, “This moment was The Jubilation That \u003ca href=\"http://31.media.tumblr.com/5b5d50376ec092f6d318aea3c85535dd/tumblr_nk7eysuwpJ1qiavcao1_400.gif\" target=\"_blank\" rel=\"noopener\">Launched A Thousand GIFs\u003c/a>.”\u003c/p>\n\u003cp>Race was also a topic at an Oscars in which all 20 of the nominees in the acting categories were white, and the Martin Luther King Jr. film \u003cem>Selma \u003c/em>wasn’t picked to vie for any of the high-profile awards besides best picture.\u003c/p>\n\u003cp>“There had been some talk about a protest outside the ceremony from civil rights groups,” NPR’s Mandalit del Barco reports. “Reportedly the director of \u003cem>Selma\u003c/em>, Ava DuVernay, convinced them to begin a dialogue with the Academy instead of protesting.”\u003c/p>\n\u003cp>After winning for best original song for \u003cem>Selma’s \u003c/em>“Glory\u003cem>,\u003c/em>” John Legend and Common outlined a struggle that’s still continuing. In a performance and acceptance speech, they reflected how fully politics were intertwined with this Oscars show, leading to \u003ca href=\"http://www.politico.com/story/2015/02/john-legend-common-oscars-115414.html\" target=\"_blank\" rel=\"noopener\">a story by Politico\u003c/a>.\u003c/p>\n\u003cp>“We know that right now the struggle for freedom and justice is real,” Legend said from the podium. “We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850.”\u003c/p>\n\u003cp>\u003cem>Birdman\u003c/em> best picture winner Alejandro Gonzalez Inarritu used his speech to discuss immigration and the current atmosphere in the U.S.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-oscars-birdman-main-20150223-story.html#page=1\" target=\"_blank\" rel=\"noopener\">Los Angeles Times\u003c/a>\u003c/em> reports, Inarritu told the audience, “I want to dedicate this award for my fellow Mexicans, the ones who live in Mexico.”\u003c/p>\n\u003cp>Discussing immigrants in the U.S. at the end of his speech, Inarritu said, “I pray that they can be treated with the same dignity and respect as the ones who came before and built this incredible immigrant nation.”\u003c/p>\n\u003cp>Another important theme of the night was suicide.\u003c/p>\n\u003cp>From \u003cem>New York\u003c/em> magazine’s \u003ca href=\"http://www.vulture.com/2015/02/oscars-2015-highs-lows.html\" target=\"_blank\" rel=\"noopener\">culture blog, Vulture\u003c/a>: “Earlier in the night,\u003cem> Crisis Hotline\u003c/em> director Ellen Goosenberg Kent and producer Dana Perry said ‘we should talk about suicide out loud’ in their Oscars speech. Graham Moore, winner of Best Adapted Screenplay for \u003cem>The Imitation Game\u003c/em>, answered their call, \u003ca href=\"http://www.vulture.com/2015/02/graham-moores-oscars-speech-will-make-you-cry.html\" target=\"_blank\" rel=\"noopener\">speaking candidly\u003c/a> of his own suicide attempt at age 16.”\u003c/p>\n\u003cp>Moore told young people in the audience “to stay different, stay weird.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.bbc.com/news/entertainment-arts-31585943\" target=\"_blank\" rel=\"noopener\">The BBC\u003c/a> notes that best actress nominee Reese Witherspoon backed the #AskHerMore campaign, urging the media to ask women about their lives and challenges, instead of focusing only on who made the dress they’re wearing.\u003c/p>\n\u003cp>Of that campaign, Linda tweeted: “On red carpet questions: Liking fashion is an okay thing! Dresses are creative work and not shameful! Just ask other stuff also.”\u003c/p>\n\u003cp>For a show that’s all about the movies, the broadcast brought several memorable musical performances, such as:\u003c/p>\n\u003cp>Tegan and Sara and The Lonely Island performing a raucous version of “Everything Is Awesome” from \u003cem>The LEGO Movie …\u003c/em>\u003c/p>\n\u003cp>Legend and Common performing the moving \u003cem>Glory \u003c/em>from\u003cem> Selma …\u003c/em>\u003c/p>\n\u003cp>Lady Gaga’s tribute to \u003cem>The Sound of Music …\u003c/em>\u003c/p>\n\u003cp>And Tim McGraw performing Glen Campbell’s “I’m Not Gonna Miss You,” a moment that sparked tears for many, including Julianne Moore, who later won best actress for her portrayal of a professor with Alzheimer’s. Here’s the original version, from Campbell:\u003c/p>\n\u003cp>And then there was the show’s length, which is often indirectly proportional to another element — viewer interest. By the end, even host Neil Patrick Harris’ buoyantly impish approach (including an appearance in his underwear, in a nod to best picture winner \u003cem>Birdman\u003c/em>) wasn’t much help to some, including Slate’s Dana Stevens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While praising Harris for his opening monologue and song, \u003ca href=\"http://variety.com/2015/tv/reviews/oscars-tv-review-2015-academy-awards-broadcast-1201439003/\">\u003cem>Variety\u003c/em> critic Brian Lowry\u003c/a> writes, “whether his performance warrants an encore is difficult to divorce from the general malaise of the evening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscars%3A+What+People+Are+Saying+The+Day+After&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Along with learning who won an Oscar at last night’s Academy Awards, we learned a lot more: Who to call (your parents), and what women should be paid (the same as men). From civil rights to immigration and health issues such as Alzheimer’s and Lou Gehrig’s diseases, advocacy was a big part of last night’s show. Here’s a quick rundown of what people are saying Monday.\u003c/p>\n\u003cp>\u003cstrong>Update at 12:45 p.m. ET: Low Ratings, And Stephen Hawking’s Reaction\u003c/strong>\u003c/p>\n\u003cp>Compared to last year’s show hosted by Ellen DeGeneres, not as many people watched this year. \u003ca href=\"http://deadline.com/2015/02/oscar-ratings-2015-academy-awards-show-abc-1201379351/\" target=\"_blank\" rel=\"noopener\">Deadline Hollywood \u003c/a>reports:\u003c/p>\n\u003cp>“Viewershipwise, the 87\u003csup>th\u003c/sup> Academy Awards were watched by 34.6 million between 8:30 and 11 PM in the early results. That’s down almost 14 percent from the 40.2 million who watched the show over the same time period last year.”\u003c/p>\n\u003cp>In another update, Stephen Hawking used \u003ca href=\"https://www.facebook.com/stephenhawking\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>to cheer a win by the actor who portrayed him: “Congratulations to Eddie Redmayne for winning an \u003ca href=\"https://www.facebook.com/hashtag/oscar?source=feed_text&story_id=787167211370378\" target=\"_blank\" rel=\"noopener\">#Oscar\u003c/a> for playing me in \u003ca href=\"https://www.facebook.com/TheoryofEverythingMovie\" target=\"_blank\" rel=\"noopener\">The Theory of Everything Movie\u003c/a>. Well done Eddie, I’m very proud of you. –SH.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Our original post continues:\u003c/em>\u003c/p>\n\u003cp>After winning a best supporting actress Oscar for \u003cem>Boyhood\u003c/em>, Patricia Arquette addressed every mother and every American: “We have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all — and equal rights for women in the United States of America.”\u003c/p>\n\u003cp>Loud cheers rose as Arquette spoke, with Meryl Streep repeatedly pointing at Arquette as she applauded her alongside Jennifer Lopez. As NPR’s Linda Holmes notes \u003ca href=\"http://www.npr.org/blogs/monkeysee/2015/02/23/388291018/birdman-wins-big-on-a-soggy-night-at-the-oscars\" target=\"_blank\" rel=\"noopener\">in her recap post\u003c/a> for of the Monkey See blog, “This moment was The Jubilation That \u003ca href=\"http://31.media.tumblr.com/5b5d50376ec092f6d318aea3c85535dd/tumblr_nk7eysuwpJ1qiavcao1_400.gif\" target=\"_blank\" rel=\"noopener\">Launched A Thousand GIFs\u003c/a>.”\u003c/p>\n\u003cp>Race was also a topic at an Oscars in which all 20 of the nominees in the acting categories were white, and the Martin Luther King Jr. film \u003cem>Selma \u003c/em>wasn’t picked to vie for any of the high-profile awards besides best picture.\u003c/p>\n\u003cp>“There had been some talk about a protest outside the ceremony from civil rights groups,” NPR’s Mandalit del Barco reports. “Reportedly the director of \u003cem>Selma\u003c/em>, Ava DuVernay, convinced them to begin a dialogue with the Academy instead of protesting.”\u003c/p>\n\u003cp>After winning for best original song for \u003cem>Selma’s \u003c/em>“Glory\u003cem>,\u003c/em>” John Legend and Common outlined a struggle that’s still continuing. In a performance and acceptance speech, they reflected how fully politics were intertwined with this Oscars show, leading to \u003ca href=\"http://www.politico.com/story/2015/02/john-legend-common-oscars-115414.html\" target=\"_blank\" rel=\"noopener\">a story by Politico\u003c/a>.\u003c/p>\n\u003cp>“We know that right now the struggle for freedom and justice is real,” Legend said from the podium. “We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850.”\u003c/p>\n\u003cp>\u003cem>Birdman\u003c/em> best picture winner Alejandro Gonzalez Inarritu used his speech to discuss immigration and the current atmosphere in the U.S.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-oscars-birdman-main-20150223-story.html#page=1\" target=\"_blank\" rel=\"noopener\">Los Angeles Times\u003c/a>\u003c/em> reports, Inarritu told the audience, “I want to dedicate this award for my fellow Mexicans, the ones who live in Mexico.”\u003c/p>\n\u003cp>Discussing immigrants in the U.S. at the end of his speech, Inarritu said, “I pray that they can be treated with the same dignity and respect as the ones who came before and built this incredible immigrant nation.”\u003c/p>\n\u003cp>Another important theme of the night was suicide.\u003c/p>\n\u003cp>From \u003cem>New York\u003c/em> magazine’s \u003ca href=\"http://www.vulture.com/2015/02/oscars-2015-highs-lows.html\" target=\"_blank\" rel=\"noopener\">culture blog, Vulture\u003c/a>: “Earlier in the night,\u003cem> Crisis Hotline\u003c/em> director Ellen Goosenberg Kent and producer Dana Perry said ‘we should talk about suicide out loud’ in their Oscars speech. Graham Moore, winner of Best Adapted Screenplay for \u003cem>The Imitation Game\u003c/em>, answered their call, \u003ca href=\"http://www.vulture.com/2015/02/graham-moores-oscars-speech-will-make-you-cry.html\" target=\"_blank\" rel=\"noopener\">speaking candidly\u003c/a> of his own suicide attempt at age 16.”\u003c/p>\n\u003cp>Moore told young people in the audience “to stay different, stay weird.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.bbc.com/news/entertainment-arts-31585943\" target=\"_blank\" rel=\"noopener\">The BBC\u003c/a> notes that best actress nominee Reese Witherspoon backed the #AskHerMore campaign, urging the media to ask women about their lives and challenges, instead of focusing only on who made the dress they’re wearing.\u003c/p>\n\u003cp>Of that campaign, Linda tweeted: “On red carpet questions: Liking fashion is an okay thing! Dresses are creative work and not shameful! Just ask other stuff also.”\u003c/p>\n\u003cp>For a show that’s all about the movies, the broadcast brought several memorable musical performances, such as:\u003c/p>\n\u003cp>Tegan and Sara and The Lonely Island performing a raucous version of “Everything Is Awesome” from \u003cem>The LEGO Movie …\u003c/em>\u003c/p>\n\u003cp>Legend and Common performing the moving \u003cem>Glory \u003c/em>from\u003cem> Selma …\u003c/em>\u003c/p>\n\u003cp>Lady Gaga’s tribute to \u003cem>The Sound of Music …\u003c/em>\u003c/p>\n\u003cp>And Tim McGraw performing Glen Campbell’s “I’m Not Gonna Miss You,” a moment that sparked tears for many, including Julianne Moore, who later won best actress for her portrayal of a professor with Alzheimer’s. Here’s the original version, from Campbell:\u003c/p>\n\u003cp>And then there was the show’s length, which is often indirectly proportional to another element — viewer interest. By the end, even host Neil Patrick Harris’ buoyantly impish approach (including an appearance in his underwear, in a nod to best picture winner \u003cem>Birdman\u003c/em>) wasn’t much help to some, including Slate’s Dana Stevens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While praising Harris for his opening monologue and song, \u003ca href=\"http://variety.com/2015/tv/reviews/oscars-tv-review-2015-academy-awards-broadcast-1201439003/\">\u003cem>Variety\u003c/em> critic Brian Lowry\u003c/a> writes, “whether his performance warrants an encore is difficult to divorce from the general malaise of the evening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscars%3A+What+People+Are+Saying+The+Day+After&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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