Galleria: ‘Sinatra: An American Icon’ @ The New York Public Library for The Performing Arts

e5bd2275264607f95fe81aa861d71a8bHow hot is Frank Sinatra? White hot, assuming America’s zeitgeist is to be believed. In addition to rumors that Martin Scorsese will direct a feature-length biopic about Sinatra, Alex Gibney recently assembled a two-part, four-hour HBO documentary about the singer. Two months prior, Bob Dylan released an entire album worth of Sinatra covers, having recorded enough material to release two. Given most trends are cyclical in nature, recurring every 20 years or so, Frank Sinatra’s legacy is now, gearing toward a climax during the Summer of 2018 (the two-decade anniversary of his passing).

In conjunction with the build, New York’s Public Library for The Performing Arts (located in Lincoln Center) offers up this free, career-spanning exhibition. Here one might find memorabilia from Sinatra’s 1939 residency at the Rustic Cabin (located in Englewood Cliffs, New Jersey); there, an original mugshot of the idol being booked on criminal charges of Seduction. Here one might find Sinatra’s concept albums; there, an original poster for Dirty Dingus Magee.

Here one might find an ample remembrance of the swagger, the voice; of a man so suave and lean apparent mob ties piqued his aura. For Sinatra was a crossover, an early champion of civil rights. To say he did it his way represents an obfuscation of thinking. The more impressive feat – on blatant display throughout this installation – is that Frank Sinatra did it. And in so doing, he left behind an inconceivable measure of work. The library’s walk-through, which celebrates the centennial of Frank Sinatra’s birth, does a commendable job of showcasing an entire century worth of talent.

(Sinatra: An American Icon continues at the New York Public Library for the Performing Arts through September 4th, Free, 40 Lincoln Center Plaza.)

Five More For The Offing:

Francis Ford Coppola’s Advice to Young Filmmakers (2008)

“I think my best advice is really contained in the story of what happened to me when I wrote the screenplay of the film, Patton. One of the reasons they explained that they didn’t like it was the opening. I had this unusual opening where the character Patton comes right up on front of a big flag and makes a speech. And he’s a four-star general and he has medals and awards and pistols, and he’s making the speech. And they said to me, ‘It’s very confusing, this speech. First of all, to start a movie not only with a speech like that, but then in the scene right after it, he only has two stars and he doesn’t have the medals. It’ll be very confusing and we don’t like the beginning.’ Well, eventually, they did find an actor who liked it, George C. Scott, and a director who that opening appealed to, and who shot it wonderfully. And that is considered one of the most effective openings in the movie canon, which means – young people – that the things you get fired for when you’re young are the same things you win awards for when you’re old. So you have to be very courageous about your ideas because it’s not their fault. It’s just that when you come up with something really good, it means it’s different, and it’s different from what they expect. They’re likely to fire you or discredit you, but years later, if you survive, they’ll bring it out as one of the great things you did.”

(Excerpted from Hollywood’s Best Film Directors)

IFB’s Quotations Page, General Index

A Fair & Balanced Assessment of Taylor Swift’s Celebrity Persona

Taylor Times UKOctober 27, 2014 – Taylor Swift celebrates the release of her new album, 1989, with an iHeart Radio Secret Session performed from high atop a sprawling rooftop in Lower Manhattan. After opening with an aptly-titled “Welcome to New York,” the 24-year old addresses an adoring audience as follows:

 “We are on a rooftop in my neighborhood in New York City. Essentially the Empire State Building is behind us and it was lighting up to the beat of that song. I have no ability to be calm right now because my album, 1989, just came out today. I have, like, no chill; no ability to relax. And I am up here with a few hundred people who I have hand-picked. The thing is – if you don’t know what a secret session is – it’s kind of a tradition that I started when I was almost finished with my new album, 1989. I knew I was so proud of it that I wanted to play it for fans as early as possible. And I wanted to do it in these secret little gatherings. And so I held these parties in my houses, in my living rooms, and I invited 89 fans to each one. I did L.A., Nashville, New York, Rhode Island, London. And I played the entire album early for people. And they kept the secrets about what these songs were about – the titles, the lyrics. And now the album is out. And the difference between this secret session and those is that I will be playing those songs for you guys for the first time on this rooftop. Now, uh, one thing I’ve really been trying to do lately … I want to meet as many of you as possible. You have been so good to me. And I realize the people on the rooftop here are people I found on the internet, or on Instagram, or on Tumblr and Twitter. But I realize I can’t cyberstalk everyone. So that’s why for the first week of 1989 being for sale, if you buy the album you get a code. If you enter that code on my website you have an opportunity to win one of a thousand tickets to the tour or 500 meet-n-greets. So that’s if you buy the album in the first week. I want to meet as many of you as possible.”

So far as platinum branding goes, Taylor’s speech is nothing short of pristine. And yet, the semantics reveal a great deal about who and what Taylor Swift is, what motivates her, and how the broad-reaching relationship she’s achieved with her audience appears betrayed by a false sense of code. Every push derives from ego – Swift referring to Tribeca as “her neighborhood”; referring to a secret session as a tradition she started. These are the claims of a person who has been propped up – justifiably or otherwise – for so long she’s mistaken billboard marketing for prose. Swift’s M.O. is based on exclusivity, the idea that if you’re a Taylor-affiliated insider (AKA a “Swiftie”), you’re also a member of some sororitorical society – a support group for upper-middle-class females that makes its bank collecting tolls. Swift has been gaming this system since 2011, parlaying celebrity into an unimaginable return. Allow us to review by way of three incidents, all of which have occurred during the past six months alone:

  • In mid-December of 2014, Taylor Swift sent holiday packages to a hand-chosen selection of fans. Swift wrapped the majority of these packages herself. We believe this because the pop star personally recorded a video that calls attention to her doing so. Swift is featured wearing various outfits, creating the impression she was engaged in an all-encompassing affair. “It’s Christmas; I’m Santa Claus,” a pajama-clad Taylor Swift reminds everybody. There are boxes laid out across several rooms; a pair of cats keeps getting caught up in the mix. The uploaded video has been professionally edited, allowing for the final four minutes to depart into a montage – die-hard fans opening various packages at home. The coup de grace occurs when Swift herself arrives outside of a Connecticut fan’s front door. The result: a little under 17 million YouTube hits (and counting), along with an avalanche of media stories dedicated to the cause.
  • In the middle of January, 2015, Swift made headlines again, this time for sending a personalized care package to a social-media-obsessed fan. Among several trinkets included in this package: a dim-lit Polaroid (of Swift), a personal check for $1,989 (allocated for repayment of student loans), a hand-made painting which featured the number “1989” rather prominently, and a pouch which read, “NEW YORK IS MY BOYFRIEND” (all tips and nods to Swift’s current multimedia marketing campaign). The fan uploaded a seven-minute video of herself opening every item … with Swift’s personal emissary on-hand. The result: an endless cacophony of social-media shares, along with an immoderate blitz of blog posts and articles, all of which combined to render Swift a trending topic throughout that period.
  • On April 9, 2015, Taylor Swift announced that her mother was suffering from cancer – a tragic development, not to be minimized, by any means. Swift made the announcement via her Tumblr account. The second and third of five short paragraphs read as follows: “For Christmas this year, I asked my mom that one of her gifts to me be her going to the doctor to get screened for any health issues, just to ease some worries of mine. She agreed, and went in to get checked. There were no red flags and she felt perfectly fine, but she did it just to get me and my brother off her case about it … The results came in, and I’m saddened to tell you that my mom has been diagnosed with cancer. I’d like to keep the details of her condition and treatment plans private, but she wanted you to know.” The statement proceeds from there, explaining that regular testing and early diagnosis are the most prevalent keys to a recovery. Yet consider, if you will, the manner in which Taylor Swift has chosen to divulge this information. She leads with a vignette about herself; about a selfless act that would ensure – subconsciously or otherwise – that the hook of this story should turn its eye upon compassion; upon how one daughter’s altruistic behavior precipitated an early diagnosis, along with the increased possibility for recovery. The story went viral within hours, resulting in a predictable, and wholly warranted, outpouring of emotion. Yet in every mainstream-media retelling, the synopsis included two very necessary bullets: 1) Taylor Swift’s mother, Andrea, had been diagnosed with cancer, and 2) Taylor Swift was responsible for the screening that led to her mother being in treatment. The fact that the younger Swift remained so deliberately scant raises the question of why she would include – nay, even open with – a statement taking personal credit for any of the positives.

But allow us to put Andrea Swift’s diagnosis aside, with sincere wishes for a commendable recovery.

The idea – transparent as it might seem – is for Taylor Swift’s team to create low-cost social media campaigns that bait and switch Swift’s generosity for viral views (i.e., “This is for you, but the point of charity is me.”). Given Swift’s image, very few have seen fit to zero in upon the level of graft. What’s the harm?, one might wonder. The answer supplants its roots in authenticity; what’s conveyed by way of acting based on false, or even Pecksniffian, motives.

At the age of 25, Taylor Swift has built herself into an industry. Swift is beautiful and talented; wholly dedicated to her craft. Everything surrounding her – from platinum records to world tours – has been engineered to appeal to the masses. We are speaking here of a CEO, a corporate entity, the bright-eyed face of Taylor, Inc. – a company whose bread and butter begins, yet no longer ends, with teenage solipsism. We are speaking here of a star who’s worked extremely hard, yet never struggled; whose lyrics represent a one-dimensional – if not entirely virginal – worldview. We are speaking here of a blue-eyed doe who’s spent 10 years attempting to convince the mainstream media that she grew up assuming the role of ugly duckling. Young girls in big houses gravitate toward Taylor Swift because she validates their theory of being. This is Cherry Valance, insisting things ain’t all that easy on the South Side. This is Julia Roberts, attempting to pass herself off as, “just a girl standing in front of a boy, asking him to love her.” This is every girl you knew in high school who unselfconsciously declared she’d had it just a little bit more difficult as a result of her good looks.

Objectively speaking, Taylor Swift’s only legitimate claim to being an outsider arises from her sense of ambition as a child. Pursuing the arts is a tawdry path, particularly for any girl attending elementary school in a Pennsylvania suburb. And yet it is during Swift’s formative years that she begins to rise above the pack. Throughout adolescence, there is no period of boredom, disenchantment, or dissatisfaction with the fact that everything seems to be moving along just fine. There is no drug period, no alcohol abuse, nor outward need based on sexual longing. As Swift matures (in Nashville), a gut-hungry media is left with little more than table scraps; meager food for a tabloid world.

It is for this reason – among others – that Taylor Swift represents an appropriate role model, at least as it pertains to the core audience she enthralls. Swift is safe and pedestrian, completely at home with comparing herself to Cinderella or Juliet, as opposed to, say, Nefertiti or the nymphs of lore. Radical ideas serve little need to the cotillion queen. More importantly, radicalism opens the door toward a life of self-examination, the bane of any teen who aspires to dating the quarterback while singing into her hairbrush, night after night.

During interviews, Swift maintains impeccable posture. She’s done her homework. She undrstands how to get over. Swift compensates for a lack of spontaneity by referring to anything she advocates as being “amazing” (during a 2014 Late Show appearance, Swift fell back upon this term 6X; Letterman fell back upon it once). While Swift loses points for irresponsibly touting the idea that she’s a victim – of the media, of past relationships, of unflattering perspectives – she deserves taut praise for rarely citing female gender as an issue. In an age of progressive values, Swift represents empowerment; she is millennially removed from what Camille Paglia has often referred to as the Gloria Steinem wing of feminism.

Of course, there is the occasional interview via which Swift suggests her ballads have been unfairly scrutinized as a result of her being a woman. This narrative fails to account for the fact that Taylor Swift – an unparalleled crossover phenomenon – has not only written an inordinate number of love songs, she has subsequently promoted those songs into becoming number-one hits. Each of these songs is a reflection of Swift’s image, an image that will determine the trajectory of her career throughout the next 15 years.

This past February, a Pennsylvania man who claims to have taught Taylor Swift how to play guitar received a cease-and-desist letter from TAS, LLC. This letter demanded said teacher (Ronnie Cremer) take down his not-for-profit website,, because it “incorporates the famous Taylor Swift trademark in its entirety and suggests TAS’s sponsorship or endorsement.” TAS’s letter went on to claim, Use of the domain name is highly likely to dilute, and to tarnish, the famous Taylor Swift trademark.”

There could have been any number of reasons why Swift’s team made the eventual decision to get firm. Ronnie Cremer could have been a sketchy motherfucker; his website could’ve given credence to unverifiable sources. But the sticking point was that Cremer’s story emerged less than two weeks after Swift’s team had taken decisive action to legally trademark the following phrases: “This sick beat,” “Party like it’s 1989,” “[I] could show you incredible things,” “Cause we never go out of style,” and “Nice to meet you, where you been?”.  Not only is Taylor Swift far from the original person to have uttered any of these expressions, she blatantly ripped off “Party like it’s 1989,” from Prince. The point being, it’s a slippery slope, allowing the rich to wield commercial control over everyday phrases they didn’t invent. As a matter of precedence, consider Donald Trump, who attempted and failed to trademark his television catchphrase “You’re fired!” back in 2004.

For the first time in her career Taylor Swift is dipping her toes into some lurid waters. Long after she’s washed clean of being a teen idol, long after she’s done dancing in the front row of every awards ceremony, long after the veneer has faded, people of substance will remember how she chose to make her mark. Given how Swift has successfully negotiated the hairpin turn from Country into Pop, it’s reasonable to assume she’s got one eye set on the future. Then again, when one is standing high atop the cosmic firmament of New York City, it’s inconceivable to grasp the depths of just how far a dazzling star can fall.


Moving On: The Apartment

juan-gris-the-open-windowIt is the mornings I remember most, those mid-May sessions drinking coffee in the kitchen; windows open, curtains flagging, the salt-air breeze mingling softly with caffeine. There was no work, or very little of it during the week. The weather called for sweatshirts, the lack of humidity for extra sleep. A lot of businesses were opening, just as Joanna, Lori and I went settling into our apartment by the sea.

I was reluctant about being included. There remained long-lingering wounds from the last time someone had taken me on as a summer roommate back in 1993. In the three summers since, I had become accustomed to living on my own, uncharacteristically at home with leaving the housekeeping to squalor. Only Joanna kept at it, offering to forward my third of the rent, allowing me to pay her back one month at a time. There would be an outdoor deck, Joanna insisted, a spacious kitchen leading to a corridor from which a pair of bedrooms opened off. The larger bedroom would be mine; Joanna and Lori would share a coach room down the hall. The living room and kitchen would represent our common areas. A phone line would be activated along the northwest kitchen wall.

Our apartment would be located on the second floor, above a main house with a four-car driveway. The wooden deck looked out across several tar-patched roofs toward the bay. We would have a coffee maker and a newly-renovated bathroom; a self-cleaning oven that did not reek of gas. All of this after I’d spent three straight summers living in the single rooms of boarding houses – cooking on a hot plate, carting my toiletries to a communal bathroom down the hall. And so I accepted the offer. I felt extremely grateful for its terms.


Throughout the first two weeks of May, Stacey Loke would either wake up or unceremoniously appear at our apartment. Stacey was loud and smart and she liked to remind people that she had graduated from the University of Penn. Certain mornings Stacey would arrive carrying two copies of The Daily News, which she and I would use to compete via the crossword or the cryptogram, perhaps the word jumble toward the end of every cycle. Stacey had recently moved in with her boyfriend, a development which eventually led to me assuming her place upon our lease. During the summer of 1996, Joanna, Lori and Stacey had all been living in an apartment less than 10 feet from The Fairview. One summer prior, they had all shared an apartment one block north of The Poplar Café. Their relationship was indivisible, sororitorically opposed to any breach along stiff ranks.

Of the three, I felt the closest to Joanna, perhaps because we had spent two summers working side by side on Surfside Pier. Lori was the cute one – petite and well-mannered, yet deceivingly headstrong. I had the most in common with Stacey, and it was this, combined with the sense I might be angling in upon her territory, that caused the two of us to row. Whatever tension arose, it was the result of insecurity; prepubescently catalyzed by some real, or perhaps even imagined,
territorial malaise.

All of us read, exchanged novels; took advantage of the brimming shelves at Hooked on Books. The store’s proprietor – and perhaps its sole employee – maintained a daily stock count via Dictaphone. He would ignore patrons up to the point of purchase, acknowledging their selections as he whispered book titles into a device. I purchased works by Vonnegut for $2.50; The Stories of John Cheever for $4.75. Joanna, Lori and Stacey veered toward used Horror, particularly The Stand – a bloated epic I held little interest in beyond the fact it opened with several quotes, including the final stanza from Springsteen’s Jungleland. Joanna and Lori were also fans of Michael Crichton, and they took me with them to see The Lost World upon its release the final week in May.

We saw that movie at The Strand, a multiplex theater which had fallen into disrepair. The theater was still popular, mostly due to its central-boardwalk location and the fact its competition had failed. Hunt’s Casino, once the Taj Mahal of Wildwood movie houses, had suffered through several embarrassing iterations, including two seasons during which it had been converted into a Laser Tag arena. The building had become a vacant warehouse, and the Hunts – historically recognized as the preeminent theater owners throughout Wildwood – had auctioned off their mainstream holdings, including a beloved amusement pier that had once been home to The Golden Nugget and The Iron Horse. Over the years, Hunt’s Theaters acquired a habit of spontaneously combusting, then being reconstructed in a slightly more diminutive fashion. These theaters felt traditional, consumed with the communal formality that had previously accompanied an evening out at the cinema. The most romantic of south shore’s movie houses was probably the Beach Theatre in Cape May, a palatial development with an elliptical marquee, located smack-dab in the center of the strip. As a child, I remembered seeing midnight movies at the Beach along with my brother, my two sisters and my cousins. We saw Return of the Jedi at that theater back in 1983; we saw Footloose at that theater, as well. We’d stay up late, wander east toward the promenade just when all the shops were closing. We’d shape our day around it, buying tickets several hours in advance. It was the only activity we took part in as a unit. Years later, that ritual represented an apt metaphor for living at the Jersey shore during the first three weeks of May.

May was a time for kicking back, for splurging on snacks while someone else provided the entertainment. September at the shore meant respite; a gradual wind-down accompanied by the bittersweet sentiment one experiences three-quarters of the way through a movie (i.e., “This is really good, but I’m actually looking forward to it being over.”). September represented the late-night diner, the eggs-over-easy; a wholly satisfying discussion of what was only minutes after filing through an exit along the dark side of a wall.


Gerry Vessels lived up the block now, and I would visit him during these afternoons. Gerry was making $40,000-a-year, driving a delivery truck for Stroehmann. He had a girlfriend, and he had assumed control of his family’s pied-a-terre on Glenwood Avenue. Gerry was heading to bed around 7 PM every evening. He was waking up for work around four o’clock in the morning.

Short of twilight, I’d wander east toward the boardwalk, completing a loop to Surfside Pier and back. These were auburn nocturnes when one could see the far-off silhouettes of working men upon their ladders – independent owners streaming banners, door-to-door. There were 10, maybe 15, pedestrians meandering the promenade at any given moment, and I would watch them from the railings at Magnolia.

I’d purchase dinner on the way home – a cheese steak and cheese fries, perhaps a 12-pack from Green’s. Joanna and I would begin drinking around nine, sifting through CDs over Rold Golds in the kitchen. We’d engage in contests, flicking pennies at a designer set of plates hung on the wall. Whenever a piece of ceramic would shatter, Lori Lane would yell, “Clean it up,” from her bedroom down the hall. Lori was given to moderation, whereas Joanna and I were intent on getting soused every night of the week. The corner bars were mostly empty throughout the preseason, which meant we’d bounce from place to place, essentially chasing our good time.

One night toward the end of May Joanna and I accepted a ride to the Anchor Inn, where we were two of four patrons ordering shots before last call. There was an older man sitting across from us, and I provoked him by asking a series of questions, then talking over him whenever he’d make an effort to respond. Eventually, this man grew so frustrated he slammed his fist down on the bar, screaming, “FUCK YOU!” with justifiable contempt.

Twenty minutes later Joanna and I were waiting for our friend inside the car when the old man appeared and opened the passenger-side door. He yanked me out by the lapels and threw me down into the street. The old man exhausted 30 seconds failing to connect with any punches, at which point someone ran outside and tore him off me.

The following morning, Joanna made little mention of the incident. She and Lori were awake before 11; I ambled out into the kitchen around noon. We were smoking on the deck when Stacey Loke arrived. The temperature had risen to 75. We were listening to Jewel.

Day 1,223

(Moving On is a regular feature on IFB.)

©Copyright Bob Hill

19 Plot Devices ‘Furious 7’ Completely Stole from Better Movies (or Other Pop-Culture Entities)

FURIOUS-71. A Mamacita waving her kerchief to signal the start of a drag race. (Grease)

2. The hero dropping several stories out a window with a woman in his arms, landing on the roof of a car back-first to protect her from injury. (The Dark Knight)

3. Detonating a bomb in a police department/govt building that results in debris and papers floating down amidst the chaos as the bad guy walks away unscathed in pursuit of an Asian national. (The Dark Knight)

4. The use of cellphone sonar to create a high-frequency generator. (The Dark Knight)

5. Wrapping someone’s leg in a dark nylon rope which is attached to a weight, which is, in turn, kicked over a ledge, thereby forcing the adversary over that ledge, as well. (The Dark Knight)

6. “Close to the chest.” – var. “vest” (A throwaway line from Furious 7 that would not be notable except for the fact it appears three times during The Dark Knight.)

7. Luring an enemy back to your home turf, thereby squaring the advantage. (James Bond: Skyfall, also Superman II)

8. Said enemy arriving on home turf in a fully-weaponized military helicopter. (James Bond: Skyfall)

9. A female operative stepping out of the ocean in a bikini, while male protagonist leers at her from the beach. (James Bond: Die Another Day)

10. The hero and the bad guy charging at each other, then leaping and meeting in slow-motion, mid-air. (The Matrix)

11. “You can’t be dead because I love you.” (The Matrix)

12. An action sequence that takes place atop a skyscraper in the United Arab Emirates, ending with the protagonists catching their breath along the edge of a high-story window. (Mission Impossible, Ghost Protocol)

13. Massive transportation vehicle dangling over the edge of a cliff, forcing the hero to race forward, then jump for his life. (Uncharted 2: Among Thieves)

14. Vehicles being sucked out of the back of a cargo plane by a parachute. (Uncharted 3: A Thief’s End)

15. The bad guy being a highly-trained special ops veteran, extremely skilled in the use of explosives. (Lethal Weapon)sgtriggsunittattoo16. Triangulating someone’s position across multiple computer monitors, then following that person’s every move across a city grid. (Enemy of the State)

17. The Rock Bottom (World Wrestling Entertainment)

18. The white hats riding off into the sunset. (Take your pick)

19. RACER X (May 1998, Vibe)

Marlon Brando on Success & Failure (1957)

“Too much success can ruin you as surely as too much failure. Of course, you can’t always be a failure. Not and survive. Van Gogh! There’s an example of what can happen when a person never receives any recognition. You stop relating; it puts you outside. But I guess success does that, too. You know, it took me a long time before I was aware that that’s what I was—a big success. I was so absorbed in myself, my own problems, I never looked around, took account. I used to walk in New York, miles and miles, walk in the streets late at night, and never see anything. I was never sure about acting, whether that was what I really wanted to do; I’m still not. Then, when I was in Streetcar, and it had been running a couple of months, one night—dimly, dimly—I began to hear this roar. It was like I’d been asleep, and I woke up here sitting on a pile of candy.”

(Excerpted from Truman Capote’s New Yorker profile “The Duke in His Domain”)

IFB’s Quotations Page, General Index

Moving On: The Soundtrack (Seasons 1-5)

Carnival by Kelli ConnellSeason One

  1. Diving Into the Wreck by Adrienne Rich
  2. I’m Eighteen by Alice Cooper
  3. Maple Street Memories by The Statler Brothers
  4. I Was Young When I Left Home by Bob Dylan
  5. The Carnival Song by Waylon Jennings
  6. In The Cold, Cold Night by The White Stripes
  7. The Tiny Toons Adventures Theme by The Tiny Toons Adventures Gang
  8. You & Me by Penny And the Quarters
  9. Have a Drink on Me by AC/DC
  10. Kentucky Avenue by Tom Waits
  11. Saratoga Summer Song by Kate McGarrigle

Season Two

  1. The Real Me by The Who
  2. I Wanna Holler (But The Town’s Too Small) by Gary U.S. Bonds
  3. I Drink Alone by George Thorogood and The Delaware Destroyers
  4. The Worst Day Since Yesterday by Flogging Molly
  5. Keep A-Knockin’ (But You Can’t Come In) by Little Richard
  6. All For The Best by The Broadway Cast of Godspell
  7. Summertime by George Gershwin
  8. Ain’t It Fun by Rocket From the Tombs
  9. Wipe Out by The Surfaris
  10. Adam Raised a Cain by Bruce Springsteen
  11. Splendid Isolation by Warren Zevon
  12. Before My Time by Scarlett Johansson (Featuring J. Ralph)

Season Three

  1. Late For The Sky by Jackson Browne
  2. Waiting Round to Die by Townes Van Zandt
  3. Sugar Mountain by Neil Young
  4. Ballad of a Dead Soulja by Tupac Shakur
  5. Hurt by Nine Inch Nails
  6. Stone In Love by Journey
  7. Way Down The Old Plank Road by Uncle Dave Macon
  8. We Gotta Get Outta This Place by The Animals
  9. O-o-h Child by Beth Orton
  10. Thirteen by Big Star
  11. Final Fight Montage from Rocky II

Season Four

  1. Tell It To Your Heart by Lou Reed
  2. Bandstand Boogie by Barry Manilow
  3. Ride The Night Away by Southside Johnny & The Asbury Jukes
  4. The Lowlife by Nick Curran & The Lowlifes
  5. Wild In The Streets by Garland Jeffreys
  6. The Night They Drove Old Dixie Down by The Band
  7. Fight The Power by Public Enemy
  8. Entry of The Gladiators by Julius Fucik
  9. Always a Friend by Alejandro Escovedo
  10. A Case of You by Joni Mitchell

Season Five

  1. The Winter Is Cold by Wendy & Bonnie
  2. Wildwood Blues by Nazz
  3. Underdog by Sly & The Family Stone
  4. Auld Lang Syne by Julie Andrews
  5. Gimme Danger by Iggy & The Stooges
  6. Where Do I Go From Here by Paul Williams
  7. You Can’t Put Your Arms Around a Memory by Johnny Thunders


(Moving On is a regular feature on IFB)