I’ve tried to choose songs from many different genres and years, so I hope there’s something that you like. Then this uplifting 1971 tribute to an L.A. lady comes on, and soon, everybody is singing along—including you.—David Fear, Rock & roll was the soundtrack to juvenile delinquency, so how better to kick off a film about high-school hoodlums than with a real poodle-skirt scorcher? The mythic stature of this pop magnum opus only increased when Francis Ford Coppola placed it over the trancelike prologue of his 1979 Vietnam war epic. Alternatively, for adult learners, who will probably have a more open approach to classes, use songs that are interesting to their age group. (Above is the trailer—brace yourself—and here's a link to the scene. I once used ‘You’re so vain’ by Carly Simon to introduce a text that looked at vain people. It's a punch line to the blackest joke imaginable. In another lesson, I used ‘In the air tonight’ as it uses the present perfect continuous tense.
It's a nightmare you never want to wake up from.—Keith Uhlich, It builds, softly, with three ascending notes...then an eruption of strings and woodwinds, punctuated by colossal timpani hits. Consider the audience and their sensibilities; even better, let them choose the songs that you use.
Cruise even jumps on a couch and it's okay.—Joshua Rothkopf, Download "Old Time Rock and Roll" on Amazon, John Hughes, that poet of teen-pop angst, was bound to appear on this list somewhere. A song tends to give you the perspective of the singer. In David Fincher's latest antiseptic thriller, the murderer has all the usual instruments of torture: poison gas, sharp scalpels, immobilizing slings. If you think it would help, make this your first step, i.e., before the initial listening. Write a response (this can be a paragraph, i.e., not necessarily in lyric form) from the point of view of the person the song is being sung about, or any other protagonist. Just try not smiling (devilishly) when you hear it.—Joshua Rothkopf, Buy, rent or watch Ferris Bueller's Day Off, David Naughton's lupine transformation is set to Cooke's crooning cover of the Rodgers and Hart standard, making it the most memorable (and jarring) of John Landis's wink-nudge musical choices. If Anderson's choices were always this restrained, he'd be a giant.—Joshua Rothkopf, This Oscar-winning drama about an American journalist and his captured Cambodian translator uses John Lennon's hit to end on a high note. In the piece's tinkling piano and synths, you can hear a premonition of the iconic soundtracks of John Carpenter to come. What kinds of things are generally unacceptable in the culture in which you teach? In a surprisingly large number of cases, this can lead to the enlightening discovery that rules can be broken! (This clip isn't the full sequence, but you get the vibe. )—David Fear, Download "Ride of the Valkyries" on Amazon, For a story about criminal lovers on the run, Terrence Malick's 1973 debut achieves a rare degree of innocence, largely due to this German composer's shimmering, percussive masterwork (also used in True Romance). It's a perfectly rendered Gen-Whatever moment, an interior mood that few filmmakers have nailed as expertly as Scotland's Lynne Ramsay.—Joshua Rothkopf, Zack Snyder's faithful-to-a-fault adaptation of Alan Moore and Dave Gibbons's influential graphic novel is a dud, save its mesmerizing, Bob Dylan–scored opening-credits sequence. Even as you watched the sequence for the first time, it felt like a classic—and still does. Remember, these are just suggestions so make sure to keep the profile of your learners in mind. Time Out New York ranks the coolest soundtrack moments of all time. Carefully examine what it is you want your class to learn in the lesson. Helicopters slide cagily through the frame, a forest is devastated in a slo-mo napalm bombing, and Martin Sheen's somnolent visage—caught somewhere between dream and reality—floats over it all. Using songsSongs provide a valuable source of authentic language and there are hundreds of ways to exploit them in the classroom. Here is a selection of ideas for you to try. It sends him from charmed to infatuated—and straight to the record store.—Keith Uhlich, Download "Didn't I (Blow Your Mind This Time)" on Amazon, This near-primal scene starts with two young adults flirting in a Corvair at a lovers' lane, until the headlights of a mysterious car pull up behind them. Songs provide a valuable source of authentic language and there are hundreds of ways to exploit them in the classroom. If you’re a teacher of young learners, you will probably want to use songs that are repetitive and very easy to understand. An embarrassed Ethan Hawke cringes on behalf of all involved.—Keith Uhlich, Spike Lee originally named his jazz film after John Coltrane's epic four-part suite, before the musician's widow asked him to change the title. Focus on a particular verb tense or aspect of grammar. Here are the most common song forms.
For instance, you might wish to use the song in question to exemplify a particular verb tense, and structure your lesson accordingly, but you might at the same time wish to take the opportunity to look at those interesting idioms in the lyrics!
Time Out is a registered trademark of Time Out America LLC. My favourite strategy is to give three or four words from the song and ask to them to listen out for the words that rhyme with them. © 2020 Time Out America LLC and affiliated companies owned by Time Out Group Plc. The keening voices of Frank Black and Kim Deal seal the mood.—Joshua Rothkopf, The classic opening of Tony Scott's horror film forever linked goth rock, smoky NYC clubs and vampires. Here are just five ways to use music in your classroom. Buildings fall, two hands clasp tenderly, and the future is uncertain. What makes music such a great teaching tool is its universal appeal, connecting all cultures and languages.
Songs for Learning English Vocabulary. Déjà vu!
The queasy scene became a pop-cultural touchstone, parodied by everyone from Kevin Smith to Family Guy.—Keith Uhlich, Buy, rent or watch The Silence of the Lambs, From the moment the wall-of-sound drums kick in to Harvey Keitel's head hitting his pillow, Martin Scorsese's 'hood opera takes personalized-jukebox cinema to a new level. In groups they decide the location, the characters, and what happens. The director was yoking pop music and images with a deftness no one could touch; for the sake of our list, we'll go with this montage of whacked comrades, set to the forlorn piano outro of Eric Clapton's early-'70s radio staple. Look out for your first newsletter in your inbox soon! Planning for the use of songs in class. (Here's the trailer, with a taste of Gang of Four at the 0:30 mark, along with other artists.
(The song kicks in at the 0:50-second mark. The process of selecting a song is one of the most difficult aspects of using music in a lesson. Songs often serve as really good contexts for phrases and idioms, but it’s good to make sure that the meaning is clear. )—Joshua Rothkopf, The most signature piece of music to ever grace a horror movie (and now an instant evocation of creeping doom), Mike Oldfield's prog-rock composition was selected for this 1973 blockbuster's opening theme after an entire original score was rejected by director William Friedkin. Listen to the song again, this time with lyrics. But kicking things off with Gang of Four's Marxist critique is inspired: The song immediately puts displays of conspicuous consumption within contextual air quotes. )—David Fear, Buy, rent or watch Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Jim Morrison's spellbinding 12-minute dirge was originally intended as a breakup song, but with its explicit evocations of patricide and incest (as well as the lead singer's animalistic vocalizations), the tune evolved into something more allegorical, a larger consideration of the violent beast inside us all. Fresh perspectives on education and culture from around the world. A drunk party girl sheds her clothes (and shame) in this, the most notorious scene of the director's career.—Joshua Rothkopf, In a terrific early scene from Richard Kelly's cult debut, Jake Gyllenhaal's depressive, time-traveling outcast takes a long walk down his high-school hallway. All meals should be like this, jumbo-shrimp bogeymen and all.—Keith Uhlich, Download "Day-O (The Banana Boat Song)" on Amazon, A black-clad Denis Lavant bursts into ecstatic dance with this 1994 club hit—and in one fell swoop, Claire Denis nudges her modern Billy Budd adaptation into the sublimely surreal, turning a cheesy Italian techno-disco song into an expression of repressed gay desire finally finding its form.
Then (after an unexpected cassette flip) the music shifts to Rick Springfield's puppy-eyed rocker, as our hero slips into a dangerous situation beyond his control. Have the learners plan a music video for the song.
Early in the film itself, you seen Ellen Burstyn strolling down a leaf-strewn Georgetown street. Christian Bale alternates gleeful critical assessments with grisly ax thwacks, making this superficially slick '80s tune emblematic of the ultimate Reagan-era hollow man.—David Fear, Of the many peppy, pop-culture-charged scenes in Quentin Tarantino's landmark crime comedy, few pack the giddy punch of this Jack Rabbit Slim's musical number, set to a Chuck Berry jaunt.
Even as we laugh, the song's chorus takes on dark overtones—someone's "gotten" indeed. All rights reserved. Using songs in films is a widely known practice, but no movie accomplished this with a hit soundtrack as perfectly as the infamous Footloose. Here are some things you probably need to think about to ensure you get the right song. Lace up a pair of platform shoes, hop atop the bar and get down to the horn-bleating cocktail-lounge staple, of course.—Keith Uhlich, Buy, rent or watch Pee-wee's Big Adventure, Francis Ford Coppola's hijacking of this operatic leitmotif to score a chopper attack is a stroke of demented genius: Wagner's German Romantic bombast mocks the notion of American militarism in Vietnam, even as it makes Col. Kilgore's air-calvary strike sound like a blow from the hammer of the gods. As with grammar, years of misunderstanding can come to light in this way! My suggestion is to start with questions such as these: This acts as a springboard for discussing the function of a specific tense, as well as examining its form. If a recent Muppets cover is any indication, this is the hit that keeps on giving.—Keith Uhlich, Whether Reed's tune is a direct reference to heroin has been long debated, but what isn't arguable is how effectively Danny Boyle employs it—as an overdosing Ewan McGregor imagines he's in a shag-carpeted coffin. Rick Baker's groundbreaking makeup work may bring on the howling, but this lunar ballad adds a dark dose of levity.—David Fear, Buy, rent or watch An American Werewolf in London, Never underestimate the healing power of Elton John: As the '70s rock band of Cameron Crowe's autobiographical drama piles into its tour bus, everyone's in a funk.
Everyone's faith is about to be tested.
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