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    Eclipse News

    9 perfect songs for your Total Solar Eclipse soundtrack in Dallas

    Teresa Gubbins
    Mar 20, 2024 | 3:41 pm
    Pink Floyd

    Pink Floyd Dark Side of the Moon

    thepigeonpress.org

    In case you missed it, the Total Solar Eclipse is coming on April 8, and the fervor is rising. Texas is going to be one of the best places in the U.S. to see it, with dark skies set to besiege cities such as Dallas for up to four minutes. Everyone's getting ready, from venues across Texas to Dallas-Fort Worth restaurants and bars, to hotels and campgrounds offering a place to stay.

    The only missing link is the soundtrack. What kind of celestial music will provide the most fitting backdrop for this once-in-a-lifetime event? You need the right kind of themed songs, which can be grouped into two categories:

    • Songs with clever titles that reference the sun or the moon
    • Songs with a sweeping atmospheric nature that can imbue four minutes of darkness in the middle of the day with the proper degree of gravitas

    Beyond the opportunity to make another pioneering list, a feat for which CultureMap has become known, this exercise provides a chance to get acquainted with music you may not have heard of, which is more than likely since some of these songs are o-l-d.

    Here's our list of suggested songs to play during the Total Solar Eclipse, in alphabetical order:

    Ain't No Sunshine, Bill Withers, 1971
    Singer-songwriter Withers was famously working in a factory making bathrooms for 747s when he wrote this song, which became a huge hit. It's cool the way it starts out simple, just Withers' voice and guitar, then strings come in to give it a celestial, eclipse-worthy sweep. The lyrics are basic, but peak with the passage where he repeats "I know I know I know" 26 times in a 10-second span without pause.

    All The Stars, Kendrick Lamar with SZA, 2018
    Collaboration between rapper Kendrick Lamar and singer SZA is a breathtaking back-and-forth between Lamar's cool treated vocals and SZA's soulful, soaring tones, set over a jittery beat with little sci-fi pops that fit the eclipse milieu to a T. The lyrics seem to be about a severed romance but all you need to know is that they chant the line "All the stars are closer" 18 times, and it's impossible not to chime in.

    Bad Moon Rising, Creedence Clearwater Revival, 1969
    This song was one of CCR's biggest hits, and it has a funny disconnect: The music is chipper and upbeat, but the lyrics are apocalyptic, predicting doom and gloom. Ancient civlizations used to view eclipses with fear and awe, before astronomers discovered they were predictable. So there's your very loose eclipse tie-in, but this song makes the list mostly for the song title.

    Black Hole Sun, Soundgarden, 1994
    One of the Seattle rock band's best songs, "Black Hole Sun" was a departure from their usual grunge sound. Singer-songwriter Chris Cornell said that it was "grasping for some kind of hope out of depression or feeling sort of lost or sad." The moody, psychedelic quality of the music and the "impressionistic" lyrics - IE they don't need to make sense - make it a perfect song for an eclipse.

    Total Eclipse of the Heart, Bonnie Tyler, 1983
    This 80s staple may be corny and melodramatic but you can't leave it out on any eclipse list, not with that dead-on title. Here's a fun fact: The song sees a spike in interest during every eclipse, most recently 2021 when Tyler observed it on Twitter, saying, ""Notifications are blowing up.*checks news* Ah. There's an eclipse." She even sang it on a cruise ship during an eclipse in 2017.

    Total Eclipse of the Sun, Don McLean, 2018
    Kinda drippy song which seems to be about being dumbstruck by a girl is a sweet effort by Don McLean, most famous for his 1971 song, "American Pie." The old dude is still writing songs. That said, it's on this list for the title and the title alone.

    Also Sprach Zarathustra, Richard Strauss, 1896
    Classical music piece written by composer Richard Strauss in 1896 became hugely famous after it was used masterfully in the 1968 Stanley Kubrick film 2001: A Space Odyssey. It's since become a common go-to soundtrack in popular culture when you want to tease a momentous event and has been used for space-related scenes. If there's any music associated with outer space, this is it.

    Watcher of the Skies, Genesis, 1972
    Song by British prog-rock band Genesis came out during their prime era, when they still had singer Peter Gabriel and drummer Phil Collins. It wasn't their best-known, but it is nontheless a sprawling 7-minute-plus masterpiece with abrupt shifts in tempo, classic prog-rock instrumentation like Mellotron and flute, and Collins' killer drums. It makes the list both because of the pertinent title and also, it's just a great song.

    Dark Side of the Moon, Pink Floyd, 1973
    This concept album with universal themes by rock band Pink Floyd was the fourth-best selling album in history, and has also spent more time on the charts than any other album in history. There's the name of the album. The prism album cover. The final track called "Eclipse." Really, just play this album.

    musicmedianature
    news/entertainment

    Movie Review

    New Spike Lee film Highest 2 Lowest is good for New York sightseeing

    Alex Bentley
    Aug 14, 2025 | 4:37 pm
    Denzel Washington in Highest 2 Lowest
    Photo courtesy of A24 and Apple TV+
    Denzel Washington in Highest 2 Lowest.

    For most of his career, moviegoers could count on a new Spike Lee film every 1-2 years. But somehow it’s been five years since his last joint, Da 5 Bloods in 2020, which arrived when his take on racial politics and injustices collided with real world events. Now he’s back for a fifth go-around with Denzel Washington, Highest 2 Lowest, a reimagining of the 1963 Akira Kurosawa film, High and Low.

    Washington stars as music executive David King, who’s looking to save the record label he started from a corporate takeover. His leveraging of his assets to buy out a partner gets upended when Kyle (Elijah Wright), the son of his friend and chauffeur, Paul Christopher (Jeffrey Wright), is mistakenly kidnapped by someone who thought he was King’s son, Trey (Aubrey Joseph).

    King is forced to wrestle with his conscience over whether to use ransom money for Kyle, money that was supposed to rescue Trey before the mistake is discovered. The pressure from the police, Paul, and his family is one thing, but the fact that he would also potentially be giving away the money that would save his company makes the decision all that much more difficult.

    Lee, working from a script by first-time screenwriter Alan Fox, once again showcases New York City for all it’s worth. King and his family live in a lavish high-rise apartment with a balcony that faces Manhattan, allowing for views of the Brooklyn Bridge, the Financial District, and more. The story takes the action all over the city, with Lee making sure to include scenes set in the Bronx to feature boisterous Yankees fans.

    Unfortunately, the sightseeing winds up being the best part of the movie. Lee and Fox deliver some clunky storytelling, with the flow from scene to scene rarely feeling natural. The drama of certain situations never reaches its potential because Lee seems to be focused on things like showing small moments from different angles instead of getting to the heart of the matter.

    It’s also never clear what kind of story Lee is trying to tell. The most obvious topic would seem to be the current state of the music business and the place of Black artists within it, but the kidnapping plot mostly pushes that to the side. The push-and-pull of the ransom drama, as well as the perpetrator of the kidnapping, tries to be a commentary on the corrosive influence of wealth, but it fails to hit home.

    And then we get to the acting. Washington and Wright are each Oscar nominees who usually garner respect just with their presence, but both give subpar performances that are indicative of the poor acting from many other cast members. Stilted line deliveries abound throughout the film, almost as if Lee was limited to just one take with every scene and just decided to leave them as is. The more bad lines pile up, the more baffling it becomes that they were allowed to show up in the final product.

    Lee is responsible for some truly great films over the past 30-40 years, but Highest 2 Lowest will not be joining that list. It has flashes of the director’s trademark stylish moves, but the storytelling and acting blunt any deeper meaning that Lee might have been trying to impart.

    ---

    Highest 2 Lowest opens in theaters on August 15.

    moviesfilm
    news/entertainment
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