
Lose Yourself
Written between takes on a film set, delivered like a man with exactly one shot at everything.

Written between takes on a film set, delivered like a man with exactly one shot at everything.

Nothing else moves quite like it: Meirelles cast the favela itself, cut two hours into what feels like twenty minutes, and took a Brazilian crime film to four Oscar nominations.

Gollum changed what a digital character could be: Andy Serkis acted him fully and the industry rebuilt itself around motion capture, all inside a four-month night siege in the rain.

Rubin handed Cash a Nine Inch Nails song, and Reznor watched the video and said it was no longer his.

Reprise refused it, so the band bought the tapes back, streamed the record free, and then sold it to another label owned by the same company.
Timbaland's beat under a hook Elliott had reversed, a Run-DMC sample, and ten weeks parked at number two.

Polanski escaped the Krakow ghetto as a child and waited sixty years to film any of it: a pianist left alone in the ruins of Warsaw, and no heroism anywhere.

Reprise rejected the album, Wilco streamed it free, and a sister Warner label put out these swooning strings instead.

A piano riff Martin nearly saved for the next album, rescued by their manager, then Record of the Year.

Trent Reznor said that after hearing Cash sing Hurt, the song no longer felt like his. Cash died the following year.

Storch's clavinet, Timbaland's beat, and a breakup Timberlake spent years declining to explain; the Grammy arrived anyway.

O'Rourke mixed this one song as an audition, won the whole album, and Wilco made it the opening track.

Spielberg hired futurists to design 2054 and most of what they invented has since arrived: gesture screens, targeted advertising, and a police force that arrests you beforehand.

Coyne wrote it during Drozd's recovery, a plain statement about mortality that Oklahoma voted its official state rock song.

Chucky Thompson looped Phil Collins, and Nas rises from a murmur to a roar and back, verse after verse.

One out-of-tune Liverpool piano, an attempt at a Harrison song abandoned, and the chord run Martin kept instead.

Eminem produced most of this himself rather than handing it to Dr. Dre, and it leaked so widely that the release was moved forward.

Chiang treats theology, linguistics and free will with the rigor of proofs. A linguist learns an alien script written all at once, and it changes how she experiences her whole life.

Zhang Yimou shot each retelling of one assassination attempt in a different color: Christopher Doyle's photography is so beautiful that the film's politics start an argument every single time.

Pitchfork's fifteenth-best song of the 2000s, the Dreijer siblings' synth pulse, later stripped to one acoustic guitar by Jose Gonzalez.

The Neptunes flipped Chuck Brown's "Bustin' Loose," and Nelly rode it to number one and the first male solo rap Grammy.

Scorsese's The Departed is a remake of this, and the Hong Kong original is fifty minutes tighter: two moles assigned to find each other, and a plot that never stops to explain itself.

Spielberg's lightest film runs on charm and a great John Williams theme: a teenager talks his way into a pilot's uniform and a doctor's coat, with an FBI agent always one hotel behind.

Beck wrote it after a nine-year relationship ended and recorded it in about two weeks. His father wrote the string arrangements.

Coyne named his karate warrior after Boredoms drummer Yoshimi P-We, then cast the heroine's disease as pink robots.

Cody ChesnuTT's four-track bedroom original rebuilt by a live band, his guitar hook intact, Questlove pushing the tempo up.

Perry wrote it for herself, then refused Aguilera a retake; the demo vocal is what reached number two.

The piano figure in Clocks turned up so late in the sessions that it nearly missed the record. Everything here is built to fill arenas.

Bowser's beat interpolates Patti LaBelle, Kelly Rowland sings the hook, and it spent ten weeks at number one.

The bass lines run as counter-melodies rather than following the guitars, which is why so much of it sounds like two songs at once.

Five mics from The Source for The Fix, a Mike Dean beat, and Scarface drawing his Houston block affectionately.

Just Blaze built the beat for Memphis Bleek, chopped a Rose Royce vocal, and Cam'ron took it to number four.