1961
Showing 86 works across all media from 1961

Catch-22
Trying to get grounded for insanity, a bombardier learns that asking to be grounded proves he is sane. Heller runs that loop through a whole war until the deaths stop being funny.

Yojimbo
Leone took it wholesale for A Fistful of Dollars and Toho forced a settlement out of court: Kurosawa's samurai playing two gangs against each other is the template everyone still uses.

The Death and Life of Great American Cities
Jacobs watched her Greenwich Village street and argued that crowded sidewalks, short blocks, and eyes on the street are what keep a city alive. After this, bulldozing a neighborhood stopped looking like progress.

My Favorite Things
Coltrane picked up the soprano saxophone Miles gave him and stretched a Rodgers and Hammerstein waltz past thirteen minutes.

The Wretched of the Earth
Fanon was a psychiatrist from Martinique who joined the Algerian revolution and died at thirty-six. Colonialism deforms the mind of the colonized, he argues, and violence undoes it. Revolutionaries read him as instructions.

A House for Mr. Biswas
Mohun Biswas is born unlucky in rural Trinidad, marries into a large domineering family, and spends his life trying to own a house. Naipaul makes those small defeats as large as any tragedy.
Hit the Road Jack
Percy Mayfield mailed it in as an a cappella demo; Margie Hendrix answers Charles line for line.

I Fall to Pieces
Cline resisted the pop polish until Bradley's arrangement and the Jordanaires handed her a first country number one.
Can't Help Falling in Love
A 1784 French melody rewritten for Blue Hawaii, and the song Presley chose to close his shows for a decade.

Crying
Cut at RCA Studio B with Floyd Cramer on piano, and Orbison's voice climbing until the room falls away.

West Side Story
Romeo and Juliet moved to two New York gangs, and the dancing spills out of the theater into real streets: nothing on film snaps like Robbins's choreography.

The Hustler
Nobody has filmed a game better: Newman's pool hustler wants to be great and cannot get out of his own way, and the smoke never leaves the room.

Please Mr. Postman
Marvin Gaye played the drums, Gladys Horton pleaded the lead, and Motown had its first Hot 100 number one.

My Favorite Things
Coltrane picked up the soprano saxophone, an instrument almost nobody played then, and stretched a show tune over two chords for thirteen minutes.

Revolutionary Road
Frank and April Wheeler tell themselves they are too fine for Connecticut and plan an escape to Paris. Yates tracks every evasion and self-flattering lie until the marriage has nothing underneath it.

Between Past and Future
Tradition stopped telling anyone what authority or freedom means, and Arendt refuses to invent a substitute. She reopens each concept instead, arguing that education fails when adults stop taking responsibility for the world.
The Wanderer
Ernie Maresca offered it to Nino and the Ebb Tides first; buried as a B-side, it went to number two.

Waltz for Debby
Both this and its companion record come from a single Sunday at the Village Vanguard, and glasses and conversation carry through every track.

Sunday at the Village Vanguard
Scott LaFaro plays the bass as a third melodic voice rather than keeping time. He was killed in a car crash ten days later.
Back Door Man
Dixon's title was blues code for adultery, cut by Wolf at Chess and reopened by the Doors in 1967.

Map
Johns stenciled the state names and then let red, yellow and blue run right over the borders. Another sign everybody already knows.

Blue II
Pure blue interrupted by a line of black dots and one short red bar. Miró late in life, having thrown almost everything out.

The Moviegoer
Binx Bolling sells stocks in a New Orleans suburb, sits through afternoon movies, and calls his way out of everydayness the search. Percy's first novel beat Catch-22 to the National Book Award.

The Day of the Owl
A small-time builder is shot running for a bus in a Sicilian square, and every passenger saw nothing. Sciascia named the Mafia as an organization while Italy still insisted it did not exist.

Runaway
Crook hit the A minor to G change onstage in Battle Creek; his homemade Musitron took the solo.

What Is History?
Facts do not speak for themselves, Carr insists. The historian decides which ones get to speak, so study the historian before the evidence. English-speaking historians are still arguing with him.

Runaround Sue
Bell Sound in 1961, the Del-Satins behind him, Ernie Maresca's co-write, and Dion's only American number one.

The Innocents
Freddie Francis lit it so the corners of every frame stay dark and you keep looking into them: a governess with two children in a huge house becomes certain they are being visited.

Dedicated to the One I Love
Doris Coley's lead flopped on Scepter in 1959; the label reissued it in 1961 and the tenderness finally landed.
Wise men say Only fools rush in But I can't help Falling in love with you

At Last!
The title song was already twenty years old, a Glenn Miller tune, when Etta James took it away from everybody for good.

Mama Said
Number four in 1961, with Luther Dixon and Willie Denson turning a mother's shrug into pure reassurance.

James and the Giant Peach
A rhinoceros escapes London Zoo and eats James's parents. Handed to two dreadful aunts, he crawls inside a house-sized peach and crosses the Atlantic with a crew of insects who become his family.

Judgment at Nuremberg
Stanley Kramer put real concentration camp footage into a Hollywood film in 1961 and made audiences sit with it: the trial is of judges, which makes the question about everybody.

Two Steps from the Blues
Bland took his trademark squall from a recorded sermon by a Detroit preacher, and worked it into nearly every song he sang afterwards.
Let us never negotiate out of fear. But let us never fear to negotiate.
I like to be in America, OK by me in America, Everything free in America.

El Cid
Charlton Heston and Sophia Loren in the last great historical epic before the genre collapsed: real castles in Spain, thousands of extras on horseback, and Miklos Rozsa's score doing the heavy lifting.
Promise me one thing: don't take me home until I'm drunk—until I'm very drunk indeed.
You know what's gonna happen to you? I am gonna march you over to the zoo and feed you to the yak.
Human blunders, however, usually, do more to shape history than human wickedness.