We all have a dream at some age
And wait for our turn on the stage.
Dreams shy and untrained
Will remain unattained,
But risk and result turn the page.
____________________________
MPAA rating: PG-13
The Fanning sisters are quite the talented pair. Earlier this year, I was an advocate for Dakota Fanning’s Star Trek-themed Please Stand By, and I’ve been awaiting Elle Fanning’s musical drama Teen Spirit since I posted My Top Twelve 2018 Movies I Hope Are Good nearly two years ago. Teen Spirit is essentially Rocky but with a teenage girl and a singing competition. That’s the easiest way to describe it, yet it fills its familiar mold with catchy pop favorites and earnest performances and ends up being better than the sum of its parts.
Violet Valenski (Fanning) is a British girl of Polish descent whose bucolic life on the Isle of Wight offers her little future, but when the televised competition Teen Spirit comes to town looking for contestants, she finds her chance for success, with the help of washed-up former opera star Vlad (Zlatko Buric). Fanning’s performance is subdued, as if she expects nothing from the world, and joy and frustration are keenly felt when success or its opposite come her way. Her relationship with Vlad is an added source of heart as well, Vlad growing into a father figure and seeing her as a chance to contribute to someone else’s dreams, despite his flaws sabotaging his own. (She didn’t have much to do, but it was nice also to see Clara Rugaard, who was so good in this year’s I Am Mother.)
The best part and main draw for me, though, is the music, much of it performed by the talented Fanning herself, making me think it’s only a matter of time before she tries her hand at a solo album. The soundtrack is mostly pop staples, joined by some less widely known songs, including “Dancing on My Own” by Robyn, “Genesis” by Grimes, “Lights” by Ellie Goulding, and a stellar version of Sigrid’s “Don’t Kill My Vibe.” I can’t help but feel that Teen Spirit will serve as something of a time capsule film for the decade’s pop music, the way ‘80s films like Purple Rain and Footloose were.
As I said, there’s little in the plot that hasn’t been seen many times over, from the smile-worthy underdog story to the dangers of celebrity when Violet reaches her potential fifteen minutes of fame. Yet, despite an occasionally slow pace, it’s an example of a tried and true formula proving its feel-good value, and, while this particular film isn’t an awards magnet, it’s a sign that, between this and Please Stand By, it’s only a matter of time before one of the Fanning sisters ends up with an Oscar.
Here at last is another post I’ve been putting off for far too long, my annual Top Twelve of my favorite songs of the previous year. I’m always notoriously behind on catching up with movies, so a list of my top 2018 films will have to wait a bit, but songs are shorter and easier to rank (for me at least).
And boy, has 2018 been a banner year for music! And that’s despite songs that seem to indicate the end of good music as we know it, like “This Is America” or the dreadful rise of Cardi B. It was harder than usual paring down last year’s musical offerings to a mere twelve, so please forgive the excessive length of the Honorable Mentions. Honestly, most of the honorable mentions could have knocked off songs from my 2017 list if they’d had to compete, so I’d say 2018 easily outclassed its predecessor, though perhaps I’m just being exposed to more music lately.
Beyond specific songs, 2018 helped me to pin down exactly what my preferred kind of music is, which had always been rather vague and definitionless for me. It seems that it includes adjectives like “progressive,” “chill”, “tropical,” and “house”; as a fan of Kygo and Avicii, I suppose I should have known that, but it’s nice to have a label for it now. Don’t be discouraged, though, if those genres aren’t your cup of tea, since I think my list below has a fairly well-rounded mix of styles to appreciate.
On top of that, 2018 introduced me to artists that have become new instant favorites. Previous years have sort of been defined for me by one great discovery, an artist I listen to and love nearly every track of theirs (Florence and the Machine in 2016, Kygo in 2017), but 2018 had a record four! These favorites are Chvrches, Aurora, Tom Odell, and Rufus Du Sol, all of which blew me away with every song, and thankfully, they all put out new music this year. For anyone who hasn’t heard of them, do yourself a favor and check them out (perhaps in the list below), and for anyone who already loves them and is thinking “Boy, he’s late to the party,” at least I’ve finally come around to become a fellow fan. 2019 has already introduced me to other instant favorites like Sigma and Kensington, so I can’t wait to see what other discoveries await.
Do be aware that this list is entirely my personal preference, which could easily change based on my tastes and what songs I might stumble upon. (For instance, if I’d known of it, the awesome adrenaline shot that is Royal Republic’s “Getting Along” would have easily topped my list last year.) Also, I’m not including covers or rereleased songs, so my apologies to Morgxn’s “Home,” Lumidelic’s “Magic Garden,” and Bad Wolves’ version of “Zombie.” I’m aware too that this is only my personal slice of last year’s music; for a different top music list, check out Chris’s top 10 songs of 2018 at Movies and Songs 365. Lastly, if anyone has a personal favorite of their own, please share in the comments and widen my horizons further!
Thus and therefore, I present my Top Twelve Songs of 2018!
“Paradise” by George Ezra
This infectious pop tune was one of the first new songs I heard in 2018, and it’s still on this list a year later. I’ve been a bit overexposed to George Ezra, thanks to my workplace seemingly playing his entire discography on repeat, but, while “Shotgun” might have become more famous, “Paradise” is his irresistible best.
“Back Down” by Bob Moses (also “Don’t Hold Back”)
It took quite a few listens for me to fully appreciate “Back Down,” but now that I do, I can’t see why its inclusion on this list wasn’t an instant no-brainer. With vocals reminiscent of the Alan Parsons Project, it resides in a strange sweet spot between head-bopping catchiness and soothing coolness. This is the first song I’ve heard of theirs on the radio, so I hope it’s helping them reach a wider audience.
“Something Strange” by Vicetone, feat. Haley Reinhart
Oh, how I do love a heavy-handed piano! Reminiscent of Vicetone’s 2015 favorite “No Way Out,” “Something Strange” delivers an iconic piano riff that would be just as at home in an Avicii song, and it gets my head pumping every single time. Special mention also to Vicetone’s “Way Back” featuring Cozi Zuehlsdorff and “Walk Thru Fire” featuring Meron Ryan.
“Ride or Die” by The Knocks (feat. Foster the People)
It didn’t get nearly enough airplay on the radio, but “Ride or Die” is the essence of a summer hit IMO, easy to sing along to while cruising down the road. I’m still not entirely sure what the phrase “Ride or die” means, but it’s so cool that I don’t even care. (Plus, movie lovers will appreciate the music video.)
“Lucid Dream” by Owl City
Ethereal and dreamy in the best way, “Lucid Dream” is a return to the best of Owl City, conjuring imaginative mental images and a heavenly synth beat.
“Soul Train” by Just Loud, feat. Debbie Harry of Blondie (as well as “Electrified,” “Ghost,” and “Angels and Demons”)
Just Loud was yet another great discovery this year, and while it might be too soon with just one EP out, I’m tempted to label the Afro-wearing singer the new incarnation of Prince. “Electrified,” “Angels and Demons,” and “Ghost” are also solid tunes, but “Soul Train” has a uniquely funky and classic sound and jams like few rock songs have since the 1970s.
“Handyman” by AWOLNation
A subtly emotional anthem, “Handyman” was yet another early 2018 release with a memorable pensiveness that kept it popular on my playlist throughout the year. There’s something rich and satisfying about the lyrics, like “I’m not brittle; I’m just a riddle born of white, blue, and red,” but maybe that’s just the poet in me.
“Forgotten Love” by AURORA (and “Gentle Earthquakes”)
Here at last is the first member of the big four that became instant favorites this year, and despite this one coming in at #5, Norwegian singer Aurora Aksnes may be my favorite of the four. Her ballads are unlike any other music I’ve heard, and “Forgotten Love” is a prime example of the primal beauty her voice can summon, complete with a bridge in a supposedly made-up language that sounds like an ancient lost tongue. I could listen to this and all her songs on repeat . . . and often have.
TIE: “Lost in My Mind” and “Underwater” by RÜFÜS DU SOL
And here’s another discovery of mine, the Australian alternative dance band RÜFÜS DU SOL, formerly known as Rufus. Whereas other times that I mention more than one song by the same artist, anything but the main song are secondary recommendations, but this one is an outright tie, because I just couldn’t decide between the pounding, hypnotic electronica of “Lost in My Mind” and the mesmerizing, swelling beat and chant of “Underwater.” Put simply, this is my kind of music.
“Remind Me to Forget” by Kygo (and “Happy Now”)
At this point, I love these songs so much that the top 5 might as well be one massive tie, but I must give Kygo his due, as the one artist to make last year’s list and this year’s. He’s quickly become my favorite DJ, and “Remind Me to Forget” is a brilliant contribution to the genre of break-up songs. The happily bouncy “Happy Now” is also practically an undeclared tie for this spot.
“Body Talks” by The Struts
There are some songs that feel like instant rock ‘n’ roll classics, and “Body Talks” deserves a place alongside the work of artists like Queen and Joan Jett. This is energetic modern rock at its finest and has led to many a head-banging jam session in my car. The version with Kesha is good too, but I think I prefer the one with just The Struts, likely because I heard it first.
“Miracle” by Chvrches (as well as “Heaven/Hell,” “Graves,” and “Get Out”)
Chvrches was the first band I stumbled upon this year that made me wonder “Why have I not heard of this group yet?” Their synthpop style quickly captured my ears, and “Miracle” was my introduction. I’ve repeatedly second-guessed whether it should be #1 or not, but when I’m actually listening to it, the doubt disappears. The forceful drop, the chorus of “whoas,” the metaphorical single-take video – everything comes together into a luminous earworm I was glad to discover.
Now that the main list is through, here is the list of Runners-Up, listed in descending order as if the list were continuing (#13, #14, #15, etc.), and yes, I know there are a lot of them. All I can say is that this list could have been much longer; I just couldn’t post a best songs list without giving these lesser favorites a plug. Many of these are vastly underappreciated, so check them out if you’re looking for a potential new favorite.
“High Hopes” by Panic! At the Disco
“Just Got Paid” by Sigala, Ella Eyre, Meghan Trainor, feat. French Montana
“I’ll Be Gone” by Avicii, feat. Jocke Berg
“Lullaby” by Sigala, feat. Paloma Faith
“Something Human” by Muse
“Lash Out” by Alice Merton
“Gold Rush” and “Northern Lights” by Death Cab for Cutie
“Make Way” by Aloe Blacc
“It Might Get Dark” and “Sky Beaming” by White Denim
“She’s Kerosene” by The Interruptors
“If You Wanna Love Somebody” by Tom Odell
“High on Life” by Martin Garrix, feat. Bonn and “Burn Out” by Martin Garrix & Justin Mylo, feat. Dewain Whitmore
“Uh Huh” by Jade Bird
“The One” by Michael Christian & AMB (especially the Maratone Dub Remix)
“Celebration” by Lumidelic
“Quarter Past Midnight” by Bastille
“All Your Love” by Flight Facilities, featuring Dustin Tebbutt
“Electricity” by Silk City & Dua Lipa, featuring Diplo & Mark Ronson
“Promises” by Calvin Harris and Sam Smith
“Saturday Sun” by Vance Joy
“Open Doors” by Awolk
“One Thing Left to Try” by MGMT
“Shallow” and “Black Eyes” from the A Star Is Born soundtrack
“Get Up” by Shinedown
“Hunger” and “Sky Full of Song” by Florence and the Machine
“Blackout” by Frank Turner
“IJskoud” and “Diamant” by Nielson
“Guiding Light” by Mumford and Sons
“Head Above Water” by Avril Lavigne
“My Blood” by Twenty-One Pilots
“More Than I Am” by Mountain Heart
“POP/STARS” by K/DA
“Far Away Truths” by Albert Hammond, Jr.
“Without Me” by Halsey
“Ran Away” by Hollow Coves
“Somebody’s Daughter” by Tenille Townes
“Give a Little” by Maggie Rogers
“Rescue Me” by Thirty Seconds to Mars
“99” by Barns Courtney
“White Flag” by Bishop Briggs
“Missing U” by Robyn
“joy.” by for KING & COUNTRY
“I Know You Can Dance” by Chris James
“Your Side of the Bed” by Loote
“Right of Passage” and “Setting Sail” by Eastern Odyssey
“New Birth in New England” by Phosphorescent
“Last Lion of Albion” by Neko Case
“Bit Logic” by The Bottle Rockets
“Tangerines and Daffodils” by The Voodoo Children
“Apollo” by St. Paul and the Broken Bones
“A Trick of the Light” by Villagers
“Come Tomorrow” by Dave Matthews Band
“New Compassion” by Haerts
“The Somnambulist” by Echo and the Bunnymen
“In Betweenin’” by Austin Brown
“Girls” by AJ Mitchell
And as with the last two years, I wanted to end this post with a short tribute to the musical artists we lost in 2018, including Betty Willis, Ray Thomas, Dolores O’Riordan, Lari White, Leah LaBelle, Dennis Edwards, Johann Johannsson, Avicii, Bob Dorough, Yvonne Staples, Matt “Guitar” Murphy, Aretha Franklin, Ed King, Charles Aznavour, Tony Joe White, Marty Balin, Hugh McDowell, and Roy Clark. All of them will be sadly missed, but may they live on in the music they shared with the world.
Here’s to finding even more great music in the year to come!
When tragedies have run their course,
Demanding pity and remorse,
It’s easy wondering if they
Could end up any other way,
The fruit of foolishness and force.
Yet tragedies are not complete
Without some happiness’ retreat.
Contentment grief could not erase,
However brief, once offered grace
To take the bitter with the sweet.
The stars will fall one mournful night,
But only once they shed their light.
Those basking in it aren’t aware
Of pain that stars refuse to share,
Yet when they shine, oh, what a sight!
______________________
MPAA rating: R (for very frequent language and brief nudity)
Unfortunately, I haven’t been able to write or review much recently, not only because of Thanksgiving but because of the increasing demands of school. That will probably only get worse over the next two months (sorry!), but I wanted to make time for the latest version of A Star Is Born. Nearly two years ago, I did a Version Variations post comparing the three former incarnations of A Star Is Born– the 1937 original, the 1954 Judy Garland musical, and the 1976 Barbra Streisand musical – and I couldn’t help but notice the huge surge in views that post got when Bradley Cooper’s latest film hit theaters. Back then, I made a fleeting reference to another version in the works, and at last here it is, a heavy-hitting Oscar contender that deserves the same appraisal as its forerunners.
Bradley Cooper and Lady Gaga have been rightly lauded for this modern retelling of a decades-old story. It’s likely familiar to many: A big star discovers a budding talent, falls in love, and helps her own ascent to the top while crashing pitifully into drunken disgrace. In addition to producing and directing, Cooper plays Jackson Maine, the big name in country rock who is taken with an unknown singer named Ally (Lady Gaga) and whisks her into the limelight.
Cooper is almost unrecognizable next to previous roles like Silver Linings Playbook, bearded, singing admirably, and boasting a much deeper voice than usual, one that still doesn’t quite match that of Sam Elliott as his older brother/manager. By the time Ally reaches stardom, it’s easy to see why Cooper insisted on Lady Gaga’s casting, but she delivers more than just her distinctive voice, nailing the dramatic moments just as well as more established actresses. Stripped of her famously absurd costumes and style, it’s easier to see why she’s such a star, and it’s an interesting reversal that Ally balks at the prospect of being forced into changing her hair and adding background dancers, lest she lose herself in celebrity.
One of my coworkers wasn’t a fan of the characterization of the two leads, but I think most view the acting as close to beyond reproach, which is why Cooper and Gaga are both Oscar favorites at the moment, not unlike the main stars of the 1937 and 1954 versions. Likewise, the soundtrack is outstanding, with a blend of rockabilly and pop, headbangers and heartfelt elegies, that made me wonder which one might nab Best Original Song, since I could see most of them being worthy. (I will say that I think the 1976 film still has a more memorable soundtrack, but that might be due to my personal preferences.)
How then does this 2018 version compare with what came before? The story at its heart and conclusion is still the same, but this incarnation might have the least in common with its predecessors. The other versions (especially the 1954 one) had some scenes that were directly plucked from the one before, while the one constant that carries over into the latest version is the awards embarrassment, where Maine’s flaws are made painfully public at the Grammys. I suppose its rock ‘n’ roll context and final scene are closest in spirit to the 1976 Streisand version, but Cooper did a fine job at making this story his own.
That being said, it’s not above criticism. I personally think that the “meet-cute” between Jackson and Ally, which happens in a drag bar before they head out to a grocery store parking lot, is the weakest of the four. There’s clearly chemistry, but when Ally starts singing an impromptu song supposedly on the fly, I didn’t really buy it.
Luckily, the plot improves as it goes, putting some of the strongest scenes of any version in the second half. Jackson himself amid his addiction is especially portrayed well, particularly a heart-wrenching scene where he genuinely apologizes to Ally for embarrassing her. The 1976 version left me uncertain whether Kris Kristofferson’s character really loved Streisand’s, especially since it’s still the only version where he cheats on her; Cooper fixes that problem, painting Maine more clearly as a tragic failure of good intentions corrupted by substance abuse. The other versions were certainly sad, but Cooper’s truly embraces the story’s potential as a tearjerker.
As to be expected from an R-rated Oscar contender, the biggest problem I had with A Star Is Born is the nearly constant profanity. I know the F-word is getting more pervasive in today’s culture by the day, but when the script includes over a hundred of them, it just feels like a lazy placeholder word, ultimately without meaning. To be honest, it’s more annoying than offensive, especially when it’s hard to imagine how it could ever be cut enough to be shown on normal TV.
After much deliberation, I think I would rank this A Star Is Born second among the four, and not just because of the language complaint. The 1937 version remains the best in my opinion, thanks to its insightful script. (Plus, I love that Grandma Lettie!) Cooper’s version proves that there is still life in this story, especially when delivered with nuance and brilliant performances. It also disproves the law of diminishing returns with this tale being remade every few decades, making me wonder what the next remake thirty years from now might look like.
Best line: (Bobby, Jackson’s half-brother) “Jack talked about how music is essentially twelve notes between any octave. Twelve notes, and the octave repeats. It’s the same story told over and over, forever. All any artist can offer the world is how they see those twelve notes. That’s it. He loved how you see them.”
When it comes to specific artists, I tend to only do Top Twelve lists for my all-time favorites, such as Lindsey Stirling and Coldplay, and even without the sad news of Avicii’s death on April 20, he would have gotten a Top Twelve from me eventually. Due to his passing, though, now seems like the best time to honor this giant of EDM music. (That’s Electronic Dance Music, for the uninitiated.)
When celebrities die, it usually doesn’t hit me personally. It’s sad, and I have sympathy for those who are hit hard, but the grief that many showed over David Bowie or Chester Bennington wasn’t the same for me because I wasn’t a fan of theirs at the time. But in this case, I listen to Avicii’s songs on a daily basis so not since Robin Williams committed suicide has a celebrity death saddened my heart this much, and it’s even sadder that, after many health issues, Avicii reportedly took his own life as well, at only 28 years old no less. I’m not even the hard-partying type or one to go “clubbing,” but I know a jam when I hear it.
Avicii, or Tim Bergling, was a Swedish DJ and producer with a prolific discography of electronic hits. I’ve even turned my mom into an EDM fan thanks to his repertoire of electronic earworms. He had a talent for finding just the right combination of notes for a brilliantly catchy hook that gets the head bopping and that lives on in the memory. That’s where Avicii will live on through his music, and his talent will be sorely missed.
12. “Heaven”
Apparently one of Avicii’s last tracks, “Heaven” has still not been released officially, but it shows his talent certainly wasn’t waning at the end. The lyrics “I think I just died and went to heaven” make me suspect that he knew what he was going to do long before his death.
11. “Waiting For Love”
Avicii has a wealth of great lyrics, but I especially love singing/listing the days of the week in this toe-tapping jam.
10. “We Write the Story” (collaboration with Benny and Bjorn of ABBA, with choir)
When I heard this, I thought it sounded like the theme for an Olympic ceremony, and close enough, it boasted a unique rock opera grandeur as the opening anthem for the 2013 Eurovision Song Contest (which I hadn’t heard of till recently but is apparently a huge deal in Europe, having been televised for the last sixty-two years).
9. “I Could Be the One” (with Nicky Romero)
Sadly, the head-banging climax at the end isn’t nearly long enough.
8. “Without You” (featuring Sandro Cavazza)
This was #3 on my Top Twelve List of 2017 Songs, and it’s also special to Norwegian DJ Kygo (another favorite artist of mine), who played it recently at Coachella as a tribute to Avicii.
7. “Broken Arrows”
Between the inspirational music video, the endlessly catchy hook, and country-ish vocals from Zac Brown, this song should absolutely have earned more notice.
6. “The Days”
Sometimes Avicii’s songs end too soon, but with two verses and a climax, “The Days” feels like one of his most complete songs, at least to me.
5. “Lay Me Down”
Why the heck was this not all over the radio? Sung by Adam Lambert, it makes me want to find the nearest dance floor.
4. “Hey Brother”
I think I’ve come to realize that I really enjoy the genre mix called “folktronica,” and “Hey Brother” is an outstanding example. In 2014, it was Avicii’s last song to place in the U.S. Top 40 charts.
3. “Levels”
“Levels” is where Avicii and EDM as a whole started to earn some real notice outside their niche. Sampling “Something’s Got a Hold on Me” by Etta James (which has been sampled elsewhere as well), “Levels” boasts one of Avicii’s most recognizable riffs and my favorite video of his and is often ranked as his best work (and my mom’s favorite too). Except for “Sunshine” with David Guetta, it’s also his only song to warrant a Grammy nomination, which doesn’t say much for the Grammies if they can’t award a song and artist who clearly deserved more.
2. “Wake Me Up” (with Aloe Blacc)
Not too long ago, this folktronica hit would have been an effortless #1, but it’s been barely edged out, maybe because I’ve heard it so darn much. This is easily Avicii’s most played song on the radio and placed #1 on my Top Twelve List of Head-Banging Songs.
1. “The Nights”
The more I hear “The Nights,” the more I love it! Written with and sung by Nicholas Furlong, it’s more progressive house mixed with folktronica and just a little bit of a Celtic lilt. The lyrics put it over the edge for me and carry even more emotional weight now that Avicii is gone. “One day, you’ll leave this world behind, so live a life you will remember.” He did, and we’ll remember for him.
Runners-Up (from next to least favorite and not counting remixes):
“Fade into Darkness”
“For a Better Day”
“Sunset Jesus”
“I’ll Be Gone” (still unreleased)
“Last Dance”
“Lonely Together” (featuring Rita Ora)
“Seek Bromance”
“City Lights”
“You Make Me”
“Faster Than Light”
“Somewhere in Stockholm”
“Sunshine” (with David Guetta)
“Dear Boy”
“Friend of Mine”
“X You”
“Taste the Feeling” (with Conrad Sewell)
“Liar Liar”
“You Be Love (with Billy Raffoul)
“Heart Upon My Sleeve”
“Stay with You” (with Mike Posner)
“Addicted to You”
“Dancing in My Head” (with Eric Turner)
“Silhouettes”
Farewell, Avicii. May you rest in peace.
For the end, here’s one man’s brilliant remix of Avicii’s biggest songs, showing how he’s still inspiring his fans.
(Today’s NaPoWriMo prompt was for a poem based in sound, such as using a song lyric. So, thinking of this movie, I tried to incorporate a different song lyric, possibly altered, for each line or two and combine them together. It’s a little different, but hopefully it turned out okay.)
Am I part of the cure or am I part of the disease,
Or is that just how I feel? Am I wrong
For feeling so lonely, for feeling so blue?
It’s something to do.
All I know are sad songs.
There’s an old voice in my head that’s holding me back—
You said you loved me; you’re a liar.
There’s not much love to go around
Till I reach the highest ground.
We didn’t light the fire.
Some never pray, but tonight we’re on our knees;
Take my tears and that’s not nearly all.
There will be an answer, let it be;
One day, my father—he told me,
“A tiny rock can make a giant fall.”
(Songs used, in order: “Clocks” by Coldplay, “Am I Wrong” by Nico & Vinz, “Crazy” by Patsy Cline, “I Took a Pill in Ibiza” by Mike Posner (two lines), “Little Talks” by Of Monsters and Men, “Grenade” by Bruno Mars, “Land of Confusion” by Genesis, “Higher Ground” by Stevie Wonder, “We Didn’t Light the Fire” by Billy Joel, “Bittersweet Symphony” by The Verve, “Tainted Love” by Soft Cell, “Let it Be” by The Beatles, “The Nights” by Avicii, “Dream Small” by Josh Wilson)
___________________________
MPAA rating: PG-13
I wanted to hope that the Pitch Perfect series might avoid the slump that often comes with a third installment in a franchise, but Pitch Perfect 3 is what I would call a slump, not a total disaster but a slump nonetheless. I was in the minority in actually enjoying Pitch Perfect 2 more than the original, simply because I found it funnier, but Pitch Perfect 3 is undoubtedly the weakest of the three, though still fitfully entertaining.
Things seemed to be looking up for the Barden Bellas at the end of the second movie, but in order to make another sequel, this third film saddles all of the now-graduated a cappella singers with dead-end jobs and unfulfilling lives, also jettisoning their boyfriends. That way, they eagerly reunite for a new tour/competition, this time entertaining troops in Europe with the USO and vocally sparring against bands with actual instruments for the opportunity to open for DJ Khaled (who is apparently a big deal, though I’d never heard of him before this). That plot sounds too simple of a cut-and-paste from its predecessors, so there’s also a kidnapping spy plot thrown in involving Fat Amy’s conniving father (John Lithgow).
I will say that my enjoyment of Pitch Perfect 2 helped me to bring a lot of good will to this follow-up, and it was nice to see all the Bellas together again for the last(?) time. The colorful personalities are much the same, from Fat Amy’s (Rebel Wilson) boorish self-confidence (why was she so mean to Hailee Steinfeld?) to Lilly’s (Hana Mae Lee) soft-spoken weirdness, which gets an unexpected explanation/punchline near the end. Brittany Snow is still the prettiest of the Bellas (in my humble opinion), and Beca (Anna Kendrick) is still figuring out what she really wants out of the music industry. In fact, one Bella’s absence from the tour (sex-obsessed Stacy, played by Alexis Knapp) due to her pregnancy is a sign that they’re all getting older and indeed need to find their place in the world.
Aside from the characters, though, the plot is a bit of a mess, with the competition losing much of its weight by the end and Lithgow’s needless villain helming an over-the-top subplot that does feel like the franchise jumping the shark. As evidenced by the strained presence of Elizabeth Banks’ and John Michael Higgins’ aca-commentators, the jokes are also not as funny as in the other films, and the musical moments less memorable. Still, the ending felt like a fitting one for the series, even using one of my and my VC’s favorite songs (George Michael’s “Freedom”). It’s still amusing and I still liked Pitch Perfect 3, but unless they really bring new life to another reunion, I do hope it’s the last one.
Best line: (Calamity, introducing the members of the band Evermoist) “I’m Calamity. This is Serenity, Veracity, and Charity.” (Fat Amy) “If I joined your group, I could be obesity.”
I’m sure everyone’s been seeing end-of-year best-of lists everywhere they look, but I’m not quite ready for my own list of 2017 movies yet. There’s still more to catch up on, but songs are shorter and easier to appreciate, and dang, have there been some good ones this year! Ever since my 2016 song list, I’ve been trolling the radio and YouTube and carefully listening out for what might make it onto the 2017 edition. I must admit this list isn’t how I thought it would look earlier in the year, and I’m surprised that no Clean Bandit, Chainsmokers, or Lorde made the final cut.
I’ve heard all of these multiple times throughout the year, and despite agonizing over a few placements, I’m confident in my choices. Do keep in mind that music is highly subjective and dependent on taste and that these are my personal choices based on mine. There’s bound to be songs that I’ve missed in the past year, so feel free to comment on my picks or let me know your own favorites. Now, on to the list!
“The Castle on the Hill” by Ed Sheeran
Sheeran’s other hit “Shape of You” may have been the best-selling single of the year, but “The Castle on the Hill” is my favorite song of his yet. Built on an honest nostalgia for the past that is no more, it’s a wistful ballad for anyone who wishes they could go home.
“It Ain’t My Fault” by Brothers Osborne
Like last year, I had to include one great country song, and “It Ain’t My Fault” was the high point of the year for that genre. Full of guilty finger-pointing, a jamming guitar riff, and T.J. Osborne’s oh-so-deep voice, this is a perfect song for singing along to at a concert. Oh, and the video is like Point Break if it were slapstick and very politically incorrect.
“Walk on Water” by Thirty Seconds to Mars
Jared Leto and a choir may not be the most obvious combination, but they come together brilliantly for this rock anthem. I’d say he’s a better singer than actor. This is just the first of several alt-rock hits you’ll see on this list.
“No Roots” by Alice Merton
Alice Merton rocked the charts in Europe first, and when “No Roots” made its way across the Atlantic, America got to see why. I fell in love with the sound of Florence and the Machine last year, and the catchy simplicity of “No Roots” taps into a very similar Bohemian beat.
“Believer” and “Thunder” and “Whatever It Takes” by Imagine Dragons
As far as the airways at least, 2017 was a banner year for Imagine Dragons, who seemed to rule several radio stations with three separate hit singles. The #8 spot is technically for “Believer,” but all three get better the more I hear them, which says a lot considering “Believer” has been played to death all year. Reviews for the Evolve album have been mixed, but Imagine Dragons continues to deliver their unique brand of mainstream experimental rock. (Since I’m grouping the three, the video is a mashup by YouTuber Sam Tsui.)
“The Man” by The Killers
You know those jerk people who think they’re God’s gift to mankind? No one actually likes those people, but it can still be fun to sing with that kind of self-confidence. “The Man” is a perfect opportunity and quite a catchy one at that, with a different sound than I’d expect from The Killers. I hear this song a lot at work too, where one of my friends sings it to refer to me. Not that I let that go to my head….
“Love Is Mystical” by Cold War Kids
With its heavy piano riff in the background and a jazzy pulse, I can rarely stay still during this song. It just made its way onto the radio, and I hope they give it just as much airplay as all the vastly inferior songs.
“The Greatest Show,” written by Pasek and Paul, from The Greatest Showman
At least one movie cracked the Top Twelve. “This Is Me” has gotten all the attention with its Golden Globe win and Oscar nod, but “The Greatest Show” is the crown jewel of The Greatest Showman’s soundtrack, which the big finale should be. I haven’t actually seen it yet, but this song is so good that I can’t wait.
“Stranger Things” by Kygo, featuring OneRepublic
Not to be confused with the Netflix show of the same name or “Strangest Thing” by The War on Drugs. How interesting that the only two artists from last year’s song list (Kygo at #7, OneRepublic at #1) made it onto this one with a collaboration! I already liked Kygo’s tropical house style, but I’m now a huge fan after his latest album Kids in Love. I could have just as easily put “Sunrise,” “Kids in Love,” or “Stargazing” here, but I’m trying to keep it to one place for each artist and this was my favorite.
“Without You” by Avicii, featuring Sandro Cavazza
It’s pretty much a toss-up on whether Avicii or Kygo is my favorite DJ right now. Just when Kygo seems to be gaining ground, Avicii releases something like “Without You,” which ranks up there with his best work. The elusive goal for electronic music seems to be to find that rare combination of beats that feels iconic and designed to get stuck in your head, and Avicii achieved it here. (“Lonely Together” was also a good one from Avicii this year.)
“One Foot” by Walk the Moon
The #1 and #2 spots were tough. Like last year, I had a choice between an emotional anthem or an infectiously catchy dancefest. OneRepublic’s dancefest won last year, but even if Walk the Moon is only second this time, I still adore this song. I’ve gone nuts in my car to this song more than once, and it’s just one more example of Walk the Moon’s talent for upbeat awesomeness.
“Praying” by Kesha
“Praying” had to be #1 because of how honest and personal it is and how it changed the way I viewed Kesha, formerly Ke$ha. Before this, I thought of her as her “party girl” persona, but “Praying” showed a different side of her. After losing a messy court battle with her music producer Dr. Luke, whom she accused of sexual assault and emotional distress, she channeled her grief into this moving ballad of self-reempowerment. You can hear the raw emotion in her voice. Kesha’s trials predated the recent boom in sexual accusations and probably would have gone differently today, but her words of hope and prayer are the best possible response from such victims. I don’t really care about the Grammies airing later tonight, but I am rooting for “Praying” for Best Pop Solo Performance. (Update: Of course, it didn’t win. This is why I don’t care much about the Grammies.)
So that’s my Top Twelve, but there were plenty of other goodies in 2017. Below are the many runners-up, generally listed from favorite to least favorite (but still good):
“Dreamer” by Axwell Ʌ Ingrosso, feat. Trevor Guthrie
“Symphony” and “I Miss You” by Clean Bandit
“Let Me Go” by Hailee Steinfeld and Alesso, feat. Florida Georgia Line and Watt
“Tell Me You Love Me” by Galantis & Throttle
“Clap Your Hands” and “Not All Heroes Wear Capes” by Owl City
“Nobody Can Hear You” by ALIUS
“Lonesome” and “Too Much” by Shaed
“Strangest Thing” by The War on Drugs
“Good Thing” by Tritonal
“Suit and Jacket” by Judah and the Lion
“Green Light” and “Perfect Places” by Lorde
“Paris” by The Chainsmokers
“Road” by Bruno Martini and Timbaland, feat. Johnny Franco
“Something Just Like This” by The Chainsmokers and Coldplay
“Up All Night” by Beck
“Feels Like Summer” by Weezer
“Lay It on Me” by Vance Joy
“It Ain’t Me” by Kygo and Selena Gomez
“Hard Times” by Paramore
“The Spectre” and “All Falls Down” by Alan Walker
“No Such Thing As a Broken Heart” by Old Dominion
“The Heart Is a Muscle” and “The Deepest Sighs, the Frankest Shadows” by Gang of Youths
“No Promises” by Cheat Codes, feat. Demi Lovato
“Feel It Still” by Portugal. The Man (talk about played to death on the radio)
“The Cure” by Lady Gaga
“What Lovers Do” by Maroon 5
“Sober Up” by AJR
“All the Pretty Girls” by Kenny Chesney
“There’s Nothing Holdin’ Me Back” by Shawn Mendes
“Peace Sign” by The Front Bottoms
“Wolves” by Selena Gomez and Marshmello
“Every Day’s the Weekend” by Alex Lahey
“Remember Me” by Robert Lopez and Kristen Anderson-Lopez, from Coco
“Body Like a Back Road” by Sam Hunt
“Cameo” by Sam Tsui
“To Be Human” by Sia, feat. Labrinth (from Wonder Woman)
“You’re the Best Thing About Me” by U2
“Legends” by Sleeping with Sirens
“This Is My Time” by Amy Stroup
Hopefully, you’ll discover some gems among these as well, but let me know of any other favorites from last year you might have. Here’s hoping 2018 will be just as prolific!
As with last year, it seems fitting to finish off this musical recap of 2017 with a brief tribute to the musicians lost last year. Rest in peace, Gregg Allman, Walter Becker, Chester Bennington, Chuck Berry, Glen Campbell, David Cassidy, Chris Cornell, Fats Domino, Johnny Hallyday, Jon Hendricks, Tom Petty, Mel Tillis, John Wetton, Don Williams, and Malcolm Young. Let’s remember them at their best, like my favorite Tom Petty song.
I hope no one mistakes this post as a countdown of La La Land songs because there aren’t even twelve to pick from. No, this long overdue list is a follow-up to my old Top Twelve list of Na Na Na Songs, which still gets a good number of views to this day. I love how na nas can so easily take the place of actual lyrics, but la las are even more common, to the point that some songs just use them in place of a chorus. Not that I’m complaining, since it’s easier to learn that way.
After much exhaustive research, I have compiled a very long list of songs featuring the “La La La” and picked out my absolute favorites. There are so many that this kind of list is truly a matter of opinion. If you like hard rock, you might include “Dead!” by My Chemical Romance. If you’re into reggae, you might pick “Sweat (A La La La La Long)” by Inner Circle. And don’t get me started on how many are titled simply “La La La,” sometimes with commas or hyphens to tell them apart. So this list is strictly my personal preference, but I tried to include a good mix of genres and styles. Thus, here are my Top Twelve La La La Songs!
“Those Were the Days” by Mary Hopkin
To start things off, let’s go back to 1968, when Mary Hopkin repopularized a Russian folk tune as a chart-topping ballad with more than a few la las in the chorus. I first heard this song at the grocery store recently, and it quickly got stuck in my head, as la las tend to do. Since I always incorporate movie references in my lists, I must mention that the tune was used in the score for the anime drama Giovanni’s Island, giving it a wistful Russian flavor.
“My Cherie Amour” by Stevie Wonder
Stevie Wonder’s 1969 hit definitely features one of the more iconic la la sections out there, which I hear all the time at work. Right from the beginning, the Motown legend lets the la las bookend his R&B favorite. It’s an easy song to sing along to, isn’t it?
“Sleep When We’re Dead” by ItaloBrothers (Nightcore)
When it comes to club music, the German ItaloBrothers may be mainly known in Europe, but they’ve got some good stuff, such as this electronic jammer from 2015. The original is a little too slow for me, so I prefer the sped-up nightcore version, which makes it more of a head-banger and still retains the la las that earn “Sleep When We’re Dead” a place on the list.
“Brown-Eyed Girl” by Van Morrison
You could say I’m getting the older songs out of the way early, but I had to include this classic from 1967. “Brown-Eyed Girl” was a breakout hit for Van Morrison and remains popular as an often-covered golden oldie of rock. Oh, and it’s been in several movies, such as Sleeping with the Enemy.
“Crocodile Rock” by Elton John
A retrospective on the days of classic rock, “Crocodile Rock” was a huge 1972 hit for Elton John and his first #1 single in the United States. John’s falsetto la las in the chorus especially stick out, and a cover was used prominently in the film Gnomeo and Juliet.
“Y Brawd Houdini” by Meic Stevens
Unless you’re from Wales, you’ve probably never heard of this song or Meic Stevens, but neither had I till in my research I stumbled upon this earworm, which would be a perfect drinking song if I had any idea what the man was saying. Luckily, there are plenty of la las to sing along to as you clap and sway to this hidden gem.
“Deck the Halls”
I went back and forth about whether to include this perennial Christmas favorite since it seems like it’s in a separate category than these other songs, but no list of la la la songs would be complete without “Deck the Halls.” It’s the main reason I’m doing this list so close to Christmas, and who hasn’t sung along to “fa la la la la, la la la la”? Here’s the new version from Pentatonix:
“The Passenger” by Iggy Pop
This is another song I only discovered while researching this list, but how am I just now hearing this awesome 1977 tune, which has supposedly been used in several movies? Maybe I just never paid much attention to Iggy Pop, but “The Passenger” is a brilliantly catchy single that, like #7, is a song that had me swaying along with the la las.
“(Don’t Fear) The Reaper” by Blue Oyster Cult
Blue Oyster Cult’s biggest hit may not have as many la las as its competition, but I’ve always loved this rock classic from 1976. The la las still stand out to complement the memorably haunting guitar riff, and the song has appeared in the film Scream and the miniseries The Stand.
Now for the only song here to appear solely in a movie. “Kiss the Girl” doesn’t get as much attention as the more show-stopping tunes delivered by Alan Menken and Howard Ashman, but it’s oh so romantic for Ariel and Eric’s near-kiss. The “sha la la” part just adds to the mood set by Sebastian and his singing menagerie.
Around the World (La La La La La)” by ATC / “Pesenka” by Ruki Vverh! / “Magic Melody” by beFour
Time for the song with more la las than any other in the top twelve. (I’m just guessing.) I don’t get how, but this song’s indelible melody has been recycled numerous times. It was originally a 1998 song called “Pesenka” by Russian band Ruki Vverh!, then became more famous internationally in 2000 as “Around the World” by Eurodance band ATC (or A Touch of Class). Yet my favorite iteration is probably 2007’s “Magic Melody” by German group beFour, and it’s not just because the two female members are gorgeous. There are many many others, as you can see here. The words may change, but this is one la-la-filled song that seems designed to get stuck in your head.
“Don’t You (Forget about Me)” by Simple Minds
It’s been really hard ranking these songs, but I knew what #1 would be from the very beginning. The Breakfast Club made this 1985 chart-topper iconic, which is acknowledged in Pitch Perfect as well. Simple Minds is an often overlooked ‘80s band, but this is one hit that will live on for as long as brains, athletes, basket cases, princesses, and criminals watch movies.
And here is the ENORMOUS list of runners-up, or rather every la la song I could find, listed alphabetically by artist. I know it’s far from complete, so feel free to suggest any I missed. I’ve added a double star after the songs I actually like enough to consider true runners-up.
“If It Means a Lot to You” by A Day to Remember
“Pyramania” by The Alan Parsons Project**
“Potential Breakup Song” by Aly and AJ
“A Horse with No Name” by America**
“This Is My Time” by Amy Stroup**
“La, La, La” by Auburn (feat. Iyaz)
“La La La La” by Baby Rasta y Gringo
“I Can Walk on Water, I Can Fly” by Basshunter**
“I Care” by Beyonce
“The Man in Me” by Bob Dylan**
“Lala Song” by Bob Sinclar and Sugarhill Gang**
“If U Seek Amy” by Britney Spears
“Sing La La La” by Carolina Marquez (feat. Flo Rida and Dale Saunders)
“La La La” by Chris Webby
“You Make Me Feel…” by Cobra Starship & Sabi**
“Dreams” by Cranberries**
“Little Lies” by Dave Barnes**
“Hot Summer Night” by David Tavare
“I’m Leavin’” by Elvis Presley
“Ooh La La” by The Faces
“L.A. Love (La La)” by Fergie
“Killing Me Softly with His Song” (the Fugees version)
“Ooh La La” by Goldfrapp
“Paris (Ooh La La)” by Grace Potter and the Nocturnals**
“La La La I Love You” by Gummibär
“Venus in Flares” by Half Man Half Biscuit
“Carolina” by Harry Styles**
“All We Ever Knew” by The Head and the Heart**
“Tonight Tonight” by Hot Chelle Rae**
“Sweat (A La La La La Long)” by Inner Circle
“La La Love” by Ivi Adamou**
“That’s Entertainment,” “Going Underground,” “The Man in the Corner Shop” by The Jam**
“La-La-La” by Jay-Z (from Bad Boys II)
“On the Floor” by Jennifer Lopez and Pitbull
“Sing” by Joe Raposo **
“Fa La La” by Justin Bieber
“Can’t Get You Out of My Head” by Kylie Minogue
“La La La” by Lil Wayne
“Children” by Listenbee, feat. Cosmos & Creature
“La La La” by LMFAO
“Share My World” by Mary J. Blige
“He Gives Me Love (La La La)” by Massiel
“Teddy Bear” by Melanie Martinez
“Lovin’ You” by Minnie Riperton
“Dead!” and “Boy Division” (barely) by My Chemical Romance
“Kind & Generous” by Natalie Merchant**
“La La La” by Naughty Boy**
“I Drive Myself Crazy” by N’Sync**
“Mountain Sound” by Of Monsters and Men**
“Freedom” by Pharrell Williams**
“Russian Roulette” by Red Velvet**
“Only Girl (In the World)” by Rihanna
“La La La” by Shakira
“The Boxer” by Simon and Garfunkel (sort of)
“Sheila Take a Bow” by The Smiths
“Spice Up Your Life” by Spice Girls
“Stand Back” by Stevie Nicks**
“La La-La” by Sukshinder Shinda
“Head over Heels” by Tears for Fears**
“Ooh La La La” by Teena Marie**
“Freedom” by Tyrone Wells**
“Shalala Lala” by Vengaboys
“Himmelblau” by Wolfgang Riechmann
Wow, that was tiring! What could I do next? A list of “da da da” songs or maybe “whoo” or “oh oh oh”? That would probably take even longer so not for a while. As one last movie inclusion, I’ll end this list with the opening credits to The Big Lebowski, with Bob Dylan’s “The Man in Me.” And a Merry Christmas to everyone who got this far. Thanks for reading (and listening)!
As much as I enjoy compiling my periodic lists, it hit me that I didn’t actually have a page listing them. So, apart from the List of my Top 365 movies, with its incarnations at the top, here are the smaller lists I’ve posted thus far, including my Top Twelves, my Top 50 Movie Scores countdown, blogiversary lists, and special features like Cartoon Comparisons and Version Variations. I guarantee I’ll be adding to it with more lists to come, and at least now I have a central place to index them. I’m such a list nerd!
After a whole month of NaPoWriMo poems, I don’t want anyone to think I just sit around watching movies and thinking up words that rhyme with orange. Like everyone else, I have a wild side too, even if claiming I have a wild side probably means it’s rather tame, but the best way to manifest it for me is to listen to the head-banging goodness of rock and/or good pop music. These are songs that I can’t help but let loose and bash my cranium against the atmosphere. (Warning: Bashing one’s head against the atmosphere is a known cause of headaches, seeing spots, and other forms of dain bramage. Bash responsibly.)
I feel I should preface this list with a caveat, namely that my taste in what constitutes “head-banging” may be unconventional next to the definition of the hardcore metal-heads out there. For me, it’s a fine line between “head-banging” and just noise, so the majority of metal does not appeal to me, and the same goes for a lot of hard rock with those endless guitar solos. I think my list is actually pretty varied, but be aware that it’s unlikely to match the majority of similar lists. Because the head-banging quality is rather subjective, I’ll also be including my mom’s list at the end, which errs more on the side of classic rock. That will provide a different generation’s contrasting opinion and show where I got my head-banging genes; there’s an asterisk by my picks that would be runners-up for her list. I don’t know if anyone will agree with my picks here, but at least now I’ll have all of them compiled in one place anytime I feel like giving myself whiplash!
“Don’t Leave Me This Way” – Thelma Houston (1977) *
Written by Kenneth Gamble, Leon Huff, and Cary Gilbert, this catchy tune transitioned from soul to disco when Thelma Houston made it into a hit two years after its original recording by Harold Melvin and the Blue Notes. The Communards later 80s-fied it in the next decade, but, as good as all three incarnations are, Thelma Houston’s is the best, in my opinion. It killed me when her version was included in the soundtrack of The Martian but was cut off right before it really took off.
“Delilah” – Florence and the Machine (2015)
After discovering Florence and the Machine last year, I’ve become quite a fan of their unique sound and Florence Welch’s voice, and I think “Delilah” is the high point of their discography thus far. The way it builds and lets loose after those stark piano notes is genius, making this a good example for my idea of an unconventional head-banger.
“Bohemian Rhapsody” – Queen (1975) *
Well, I don’t think I’ll get much dissent on this one. Thanks to that classic scene from the beginning of Wayne’s World, Queen’s “Bohemian Rhapsody” is almost synonymous with head-banging (and singing along to weird lyrics). This one speaks for itself.
“One More Night” – Cascada (2004), Nightcore version
For those who don’t know what Nightcore is, it’s basically a lazy YouTube version of a remix which just speeds a song up and slaps a random anime picture on it; a side effect is that it sounds like Alvin and the Chipmunks, but the faster tempo often enhances the instrumental beats, especially in the Eurodance music of Cascada. Pretty much all of their songs sound even better sped up, but for some reason “One More Night” most gets my head jamming.
“Good Time” – Owl City and Carly Rae Jepsen (2012)
This little collaboration was one of the most feel-good summer hits in recent years, and it’s a shame that a now-defunct copyright lawsuit kept it off the airwaves for a time. I remember mowing the lawn to this wholesome headbanger back in 2012 and loving every minute of it.
“Flyers” – BRADIO (2015)
Have you ever seen an anime series called Death Parade? No? Neither have I, but boy, do I know its opening theme song. Beginning with possibly the greatest opening note of any song, this is upbeat funk at its finest, and I don’t even mind that it’s in Japanese. I especially love the guitar solo.
“Livin’ on a Prayer” – Bon Jovi (1986) *
Possibly Bon Jovi’s biggest hit, “Livin’ on a Prayer” doesn’t know when to culminate. The chorus just keeps building, and it’s head-banging glory.
“Timber” – Pitbull, featuring Ke$ha (2013)
As much as I usually detest rap, Pitbull actually has some decent songs to his name, though they’re usually good in spite of his rapping, as is the case with this country-ish dance hit. Leave out the rap entirely, and it’s infinitely better with just Ke$ha’s vocals and that harmonica. This is one I always crank up by the end.
“Shut Up and Dance” – Walk the Moon (2015)
Yes, perhaps my subconscious youthful bias for recent music is showing, but “Shut Up and Dance” has a strangely ‘80s vibe to it too. Its dance-floor exhilaration instantly made Walk the Moon one of my favorite modern bands. This song might also have fit on a list of songs I can’t stay still to, but that’s another list and shall be told another time.
“Free Bird” – Lynyrd Skynyrd (1974)
One of the quintessential staples of looooong rock ‘n roll, “Free Bird” isn’t just here to prove I do have a taste for classic rock. It’s simply an undeniably awesome rocker, and I’ll always associate it with that also awesome scene from Elizabethtown with the sprinklers and the flaming bird. There’s also a wistfulness to the tune, especially considering how several of the band members died.
“No Way Out” – Vicetone, featuring Kat Nestel (2015)
Oh, this song…this song is like a shot of adrenaline for me, making me wonder why I’d never heard it until recently. When the chorus builds to its climax with those heavy piano notes, I’m lucky if my head doesn’t go flying.
“Wake Me Up” – Avicii (2013) *
Like “Timber,” I’ve seen “Wake Me Up” described as folktronica so maybe I should explore that hybrid subgenre more. Sung by Aloe Blacc, this self-confidence anthem may have grown a little less “head-bangy” for me with repeated listens, but it had to be #1. I remember when I used to work late, this song would come on the radio while I was driving home, and I’d let out all the frustrations of the day by giving myself a concussion to this tune. Great stuff!
Mom’s List
She didn’t have the heart to rank them, so here are my mom’s personal favorite head-bangers in alphabetical order, all of which are runners-up of mine as well:
“Abacab” (Live version) – Genesis
“Don’t Fight It” – Kenny Loggins and Steve Perry
“Free Bird” – Lynryd Skynyrd
“Get It On (Bang a Gong)” – The Power Station
“Long Time” and the whole of the Boston album – Boston
TIE: “Panama” and “Jump” – Van Halen
TIE: “Rockin’ the Paradise” and “Come Sail Away” – Styx
“Roll with the Changes” – REO Speedwagon
“Rosalita” – Bruce Springsteen
“Roundabout” – Yes
“Thunderstruck” – AC/DC
“Who’s Behind the Door?” – Zebra
And here are my many runners-up, not including my mom’s list above, which also rank among my favorite head-bangers but just couldn’t quite crack the top 12:
“Angel” – angela, opening song to the anime series Coppelion
“Anytime” (Live version) – Journey *
“Carry On, My Wayward Son” – Kansas
“Cherry Pie” – Warrant
“Come with Me Now” – Kongos
“Done” – The Band Perry *
“Don’t Look Back” and “Let Me Take You Home Tonight” – Boston
“Drumming Song” – Florence and the Machine
“Every Teardrop Is a Waterfall” – Coldplay
“Get ‘em Up” and “Burn It to the Ground” – Nickelback
“Hell to Your Doorstep” – The Count of Monte Cristo musical
“Hot n Cold” – Katy Perry
“I Bet My Life” and “Believer” – Imagine Dragons
“It’s My Life” – Bon Jovi
“I Love Rock ‘n’ Roll” – Joan Jett & the Blackhearts version *
“Little Talks” – Of Monsters and Men (just one little part)
“Pour Some Sugar on Me” – Def Leppard
“Pyromania” and “Runaway” – Cascada (Nightcore versions)
“You’re Gonna Go Far, Kid” – The Offspring (preferably the clean version)
“You’re Not Ferb” – from Phineas and Ferb, episode “Invasion of the Ferb Snatchers”
And I have to end this post with the song that inspired it, Kansas’s “Carry On, My Wayward Son,” which is among my favorite rock songs ever (I remember exactly where I was the first time I heard it), but was sadly beaten off the list by stronger head-banging competition.
Thanks to anyone who banged their heads along with me for this list! (Sorry for any neck injuries.)
For centuries, great entertainers
Wowed the crowds and made them cheer,
With song and dance, speech, and romance,
Their famous names known far and near.
Yet soon they died, their plays and songs
Preserved in libraries and hearts;
We saved the page, but those on stage
Were soon forgotten from the arts.
Not till the novelty of film
Could actors prove their artistry
And ply their skill to awe and thrill
With hope of immortality.
_______________
MPAA rating for both: G
It’s hard enough trying to keep up with all the new releases that pass through the cinemas week after week, but what about the plethora of old classics stretching back to the 1920s? What about the hundreds of musicals that MGM churned out back in the days when contracted actors were assigned roles rather than offered them? Where does one start? Well, That’s Entertainment! is an excellent reference point, a star-studded documentary that also serves as a highlight reel of old musicals, famous and obscure.
Older musicals often seem to have just a thin plot meant solely to string together spectacular song-and-dance numbers, and That’s Entertainment! gets rid of the connective tissue to provide a musical tour of MGM’s forgotten pageantry. The early days of 1929’s The Broadway Melody may not be all that impressive, but within a few years, MGM had the musical extravaganzas down to a science. I’m well familiar with favorites like Singin’ in the Rain and The Wizard of Oz or famous scenes from On the Town (the three sailors singing “New York! New York!”) and Royal Wedding (Fred Astaire dancing on the ceiling), but there are boatloads more that I’d never even heard of, such as the series of suspiciously similar small-town romances starring Mickey Rooney and Judy Garland. Most of the clips are worth watching just as highlights, but a few have made me curious to check out the films themselves, such as the navy grandeur of Hit the Deck (1955) or the High School Musicalforerunner Good News (1947).
Sprinkled throughout the singing and dancing are introductions filmed by a variety of stars in 1974 as they wander the decaying MGM backlot where these musicals were filmed decades earlier. (The sets were torn down shortly after filming.) The star power is incredible, including Frank Sinatra, Gene Kelly, Elizabeth Taylor, Jimmy Stewart, Fred Astaire, Mickey Rooney, and the late Debbie Reynolds. Each screen legend introduces the work of one of their friends and costars, passing the baton as the film progresses. Old film buffs are sure to recognize the less widely known stars from the old film clips more than casual viewers like myself, but seeing some of these stars in action helped me appreciate the talents of performers whose reputations have waned over the decades. I wasn’t familiar with the incredible tap dancing of Ann Miller, the water-fountain displays of Esther Williams, or the impressive voice of Kathryn Grayson, but I’m glad I am now.
The film also features a few familiar faces in unexpected musical roles. Mainstream musicals may be anomalies these days, but back in the day, they were everywhere, and stars didn’t always have a choice of whether to sing or not. I never thought to see Jimmy Stewart trying to carry a tune, much less Clark Gable dancing to “Puttin’ on the Ritz” in 1939’s Idiot’s Delight. Let’s just say, there’s a reason they eventually left the dancing to Gene Kelly and Fred Astaire.
Speaking of Kelly and Astaire, they actually teamed up to host That’s Entertainment, Part II, proving that there was far too much material in MGM’s vault to fill only one documentary. (There’s also a Part III from 1994, but I didn’t get to see that one.) While it features the same retrospective montage of film clips, Part II feels even less like a documentary, thanks to the more sensational production values and the entertaining interludes of Kelly and Astaire as the sole hosts. In the first That’s Entertainment, Astaire admitted that his favorite dance partner was actually Gene Kelly, whom he had danced with only once in 1946’s Ziegfeld Follies. In Part II, the two reunite to dance together again, which was actually Astaire’s last dance on film, and they reportedly did so just to prove that they hadn’t lost their mojo, even in their sixties and seventies.
As with the first film, the musical moments are plentiful and dazzling, again with a few stunning dance numbers that are undoubtedly the centerpieces of their films. I won’t soon forget the operatic rebellion of New Moon, the athleticism of Kiss Me, Kate, or the amazing extended shot of a young Bobby Van literally hopping across town in Small Town Girl. Plus, the almost disturbing sight of Fred Astaire, Nanette Fabray, and Jack Buchanan singing on their knees dressed as babies in The Band Wagon. Plus, I did get to recognize a few familiar scenes, including one for Cabin in the Sky, an all-black older musical I happened to randomly watch last year. In addition, there are more than just musical scenes. Part II also has tributes to screen greats like Spencer Tracy and Katherine Hepburn and comedians like the Marx Brothers, including the famous packed stateroom scene from A Night at the Opera.
That’s Entertainment! and its sequel reveal just how much fabulous musical cinema is on the verge of being forgotten, and I’m quite glad that MGM kindly boiled down its heyday into these affectionately repackaged collections. I only knew of these films from my mom, who talks about how they opened her eyes to the Golden Age of Hollywood musicals, and in some ways, it did the same for me. The tunes are both new and familiar (I had no idea that the music to “Make ‘Em Laugh” predated Singin’ in the Rain and was used in The Pirate), the choreography and star power are staggering, and the whole package is, well, entertaining. I doubt I’ll ever get around to seeing all the films featured, but at least I know I’ve seen all the best parts.
Best line: (Liza Minnelli) “Thank God for film. It can capture a performance and hold it right there forever. And if anyone says to you, ‘Who was he?’ or ‘Who was she?’ or ‘What made them so good?’ I think a piece of film answers that question better than any words I know of.”
Since documentaries are ineligible for my List, it’s the return of the five-star system.
Rank for both: Five Stars out of Five
