
Vertigo
Nobody has ever made obsession look this beautiful or this sick: a man falls for an image instead of a person, and Hitchcock follows him past every point it should stop.

Nobody has ever made obsession look this beautiful or this sick: a man falls for an image instead of a person, and Hitchcock follows him past every point it should stop.
Chuck Berry's intro lick is rock's opening statement, a country boy's origin myth now drifting past the solar system.

Okonkwo is a wrestler and a hard man in an Igbo village, terrified of resembling his gentle, indebted father, when the missionaries arrive. Achebe builds a whole world before letting it come apart.

Everything must change so that everything can stay the same, says the prince's nephew as Garibaldi's rebels land in Sicily. Lampedusa writes a class watching itself end with autumnal calm and beauty.

Two live takes in Nashville, Chet Atkins on guitar, and a harmony that topped three Billboard charts at once.

The opening crane shot is the most studied three minutes in film school: Welles was fired off his own picture, and the version we watch was restored from his memo.

Cut as the B-side of Donna, a Veracruz son jarocho with Carol Kaye on rhythm and Earl Palmer driving.
Cochran overdubbed his own bass voice for the boss and the senator, Earl Palmer drumming behind the great teenage complaint.

Little Richard lifted the piano intro straight off Rocket 88, and Earl Palmer's drums do the rest.

Frank drove ten thousand miles across America in 1955 and 1956, then cut the trip to eighty-three photographs of jukeboxes, funerals, and flags. American photography has not left their shadow since.

Lafayette Leake's piano, Willie Dixon's bass, and a melody Brian Wilson borrowed so closely he lost the copyright.

Cahn and Van Heusen wrote it to order, and Billy May's first Sinatra arrangement made travel sound like swagger.

Lucas took the two bickering peasants and turned them into R2-D2 and C-3PO: Kurosawa's first widescreen film tells an escape story from the point of view of its most useless characters.

Beauvoir rebuilds the pious Paris girlhood she fought her way out of, and sets against her own escape the fate of Zaza, the friend whose family refused her the man she loved.

Holly Golightly, born Lulamae Barnes in rural Texas, charms money out of men in wartime New York and belongs to nobody. Norman Mailer said he would not have changed two words in it.

Berry Gordy wrote it before Motown existed, and arranger Dick Jacobs sped the ballad into Wilson's signature record.

Galbraith looked at postwar America and saw private opulence beside public squalor, with production manufacturing the wants it satisfies. Two generations of arguments over taxes and public spending have run in his channel.

Earl Palmer on drums, Guybo Smith on bass, a B-side flipped into a number six hit in Britain.