
Schindler's List
More people have understood the Holocaust through this film than through any other: Spielberg took no fee, shot it in black and white, and gave the last word to the survivors.

More people have understood the Holocaust through this film than through any other: Spielberg took no fee, shot it in black and white, and gave the last word to the survivors.

RZA negotiated a deal letting every member sign solo elsewhere, then recorded the group in a basement on deliberately cheap, muddy equipment.

Snoop was on trial for murder while promoting it. It was the first debut album in history to enter the chart at number one.

The title became a phrase people use without knowing the film: a comedy about repeating one day turned into the most quietly serious argument about how to live.

The moment the first dinosaur appears is the moment audiences stopped trusting their own eyes: Spielberg mixed puppets and computers so well that the seams still do not show.

A synthesized voice introduces the tracks like a museum tour guide, and the cover is a grid of about seventy other rappers' faces.

DJ Pooh looped the Isley Brothers' Footsteps in the Dark, and Ice Cube spent four minutes on an uneventful day.
Dr. Dre produced it, George McCrae supplied the sample, and Snoop's unhurried drawl became the West Coast blueprint.

Eight MCs, a beat RZA scrapped and rebuilt, and a 12-inch the group pressed themselves before any label would.

Albini recorded it at Pachyderm in a Minnesota winter, and Scott Litt later remixed it to lift Cobain's vocal.

Dre stacked Atomic Dog over Parliament and Funkadelic, and Snoop's debut single walked straight into the top ten.

Cobain asked for lilies and candles on the set, refused to play the hits, and was dead five months later.

A Zapp groove under the Five Stairsteps hook, dedicated to Latasha Harlins, and rap's warmest tribute to Black women.

Lori Goldston's cello beside Cobain at the November 1993 Unplugged taping, months before his death, apology turned farewell.

Nothing happens and that is the entire point: Linklater catches the last day of school in 1976 so exactly that people who were not there remember it anyway.

A diss aimed at Chubb Rock, by B-Real's account, over a squealing hook DJ Muggs still won't explain.
A-Plus flipped Billy Cobham's Heather into a beat he made in high school, and Oakland never sounded calmer.
There is nothing wrong with America that cannot be cured by what is right with America.

Q-Tip flipped a Weldon Irvine bassline, Trugoy took the hook, and the chorus name-checks cities from New York to Tokyo.
That's what I love about these high school girls, man. I get older, they stay the same age.

J-Swift looped Quincy Jones and Weather Report while four Pharcyde MCs traded verses about being turned down.

Phair wrote it as a song-by-song answer to Exile on Main St., in the same running order, from home cassettes she had made alone.

The siren is KRS-One's own voice, over Showbiz's loop of a Grand Funk Railroad cover cut at D&D.

Billy Corgan played nearly all the guitar and bass himself, and some songs carry dozens of layered guitar tracks stacked on top of each other.

Originally called Indiana Girl, until Petty decided he couldn't sing that line; Stan Lynch's last sessions with the Heartbreakers.

Stephen Street produced it, the Duke Quartet supplied the strings, and O'Riordan wrote the melody at her audition.

The train wreck was staged for real because it was cheaper than faking it: a surgeon convicted of his wife's murder runs, and Tommy Lee Jones's marshal is better company than the hero.

T-Bone Burnett replaced the band's own drummer with session man Denny Fongheiser, and Duritz got the fame he wished for.

Daniel Day-Lewis plays a man convicted of a bombing he had nothing to do with: the Guildford Four case, filmed while the wound in Britain was still fresh.

A debut single written about her first love, with Stephen Street producing and Mike Mahoney's voice climbing wordlessly out the top.

Three days to finish the music in Cuccurullo's home studio, and an elegy for a dead friend became their comeback.

Du Bois took the first Harvard doctorate given a Black American, wrote The Souls of Black Folk, and helped found the NAACP. Lewis won Pulitzers for this volume and for its sequel.

Predator-era Cube with Das EFX in tow; the remix rode the Message beat to number one R&B.

Wood argues the American Revolution was as radical as any in history: it dissolved a world of patronage, deference, and rank, and produced a society of equal, money-minded, self-interested citizens.

De Palma's best film with Pacino, and it took people twenty years to notice: an ex-convict tries to go straight in 1975 New York, and the Grand Central chase is a masterclass.

Built on a Sweet Inspirations sample, with Salt and Pepa flipping the gaze and riding it to number four.

A Faustian bargain told in the first person, later expanded into an eighteen-minute film Dre co-directed with Fab Five Freddy.

Chazz Palminteri turned down large offers for his one-man play until someone would let him star: De Niro directed his first film out of it, about a boy with two fathers competing.

Shock G's beat was meant for Digital Underground, and by his account Shakur wrote Shock's verse for him.
Crow found Wyn Cooper's poem 'Fun' in a Pasadena used bookstore and sang it into a Grammy.

Tarantino sold this script to pay for Reservoir Dogs and Tony Scott shot it with real affection: a comic book clerk and a call girl leave Detroit with the wrong suitcase.

There is little dignity in how we die, the surgeon Nuland writes, and he shows why: what heart failure, stroke, cancer, and Alzheimer's do to a body. Dignity belongs to the life before.
Cianciarulo set a hunted revolutionary over candombe and murga, and the 1994 VMAs gave it Viewer's Choice.

Genius does not explain art, Bourdieu argues. Value is manufactured by the whole apparatus around the work: critics, dealers, publishers, rival artists. In this economy refusing money is precisely what buys prestige.
Fingersnaps, a saxophone and rolling thunder from Jam and Lewis, with Jackson singing desire at a whisper.

A decade underground, then Beavis and Butt-Head featured the video and the Lips had their only American hit.
Linda Lyndell's 1968 Volt single became the hook, with En Vogue singing it and Salt-n-Pepa praising a good man.

Written on acoustic guitar in 1991, recorded by Albini at Pachyderm, and stocked by Walmart under a changed title.
KayGee looped James Brown and Peter Gabriel, and Spike Lee filled the Brooklyn video with Tupac and Queen Latifah.

Dre put music under Doug E. Fresh and Slick Rick's a cappella original, and Snoop made the story his.

Barley fields outside Sting's Wiltshire house, Kathryn Tickell's Northumbrian smallpipes, and a promise meant to last a lifetime.

Fifty thousand men climb out of a Brazilian gold pit on wooden ladders, caked in mud. Salgado spent six years across twenty-six countries photographing manual labor as the machines took it away.

Twelve minutes on the album, and the guide vocal Lorraine Crosby sang under a pseudonym is the one you hear.

Eight weeks at number one on a loop from the Emotions' Blind Alley, with Carey sounding weightless above it.

The band refused to make videos for any of it, and it sold nearly a million copies in five days anyway.

Keith Stegall produced it, Jim McBride supplied the title line, and Jackson water-skied through the video in red cowboy boots.
One drum loop, a phone call that brought Nick Rhodes over, and Tessa Niles unleashing the diva on the chorus.

The first major studio film to take AIDS seriously, aimed squarely at people who had not: a lawyer sues the firm that fired him, and Bruce Springsteen wrote the opening song.

Val Kilmer's Doc Holliday is the reason people keep rewatching it: the film lost its director a month into shooting and still produced the most quotable western since the sixties.

A basement demo meant only for publishers, until an Atlanta college station put it into rotation and Atlantic came calling.

Two Melvin Van Peebles samples anchor it, and the trio spends the whole track naming exactly what shaped them.

They were teenagers when they made it, rapping fast over a Billy Cobham loop about doing very little on a warm Oakland afternoon.

Written for Gloria Estefan until Mottola heard the demo; Carey thought it schmaltzy and took it to number one.

Pirner wrote it during a breakdown, and Tony Kaye's video named missing children, region by region, until some came home.
You know, one of the tragedies of real life is that there is no background music.

McLachlan wrote it in the voice of her own obsessive letter writers, and Marchand makes it sound tender.

Babyface stripped back to acoustic guitar, won his first performing Grammy, and landed his highest solo placing at number four.
A synth flute over a Banbarra drum sample, cut at Cheiron in Stockholm, and Billboard's biggest single of 1994.

Joel woke with the melody, tried to wash it away in the shower, and gave in to gospel.

A Jennifer Rush ballad from 1984, remade by David Foster, and Dion's first American number one, four weeks running.
Minor key at Linn Berggren's insistence, a demo titled Mr. Ace, and a number one in thirteen countries.

It has become the film American men quote at each other about being eleven: a new kid in 1962 learns baseball on a vacant lot, and the stakes are imaginary and total.