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Jeopardy’s Five Best Music Moments

Sure, selling almost 180 million records worldwide is pretty special. As is winning 17 Grammy Awards. But last week, Beyoncé’s legacy was bestowed with arguably the highest of all honors: She got her own category on Jeopardy. Personally, our favorite part was Alex Trebek’s delivery of the phrase “Jay-Z is featured on this Beyoncé song that mentions ‘that liquor get into me.’ ”

In case you missed this glorious moment, you can see it here:

See also: An Illustrated Guide to Beyoncé’s Insight and Empowerment

Jeopardy, of course, has a long and rich history of taking stuff that’s cool and sexy and For The Kids and making it sound extraordinarily awkward and sanitized and, rather ironically, really damn stupid. Here are some of our favorite musical moments from the show’s history.

1. We’re guessing a student intern was responsible for this.
In 2012, Jeopardy reduced much-lauded emotive indie quintet Fleet Foxes to “folk-rockin’ dudes” with this clue. To celebrate, Sub Pop Records tweeted a link to the incident and hashtagged “Trebek!” for good measure.

2. ‘The 1990s Rap Song’
In a particularly delightful episode of Jeopardy: The Battle of the Decades, there was, rather magically, a category titled “The 1990s Rap Song.” The questions — er, answers — included clues relating to Notorious B.I.G., Shock G, and MC Hammer, but it was Trebek’s enthusiastic renditions of Cypress Hill’s “Insane in the Brain” and Beastie Boys’ “Sabotage” that truly made this a special moment in TV game show history. This is possibly the most animated we’ve ever heard him.

3. Who Is Buddy Holly?
Sometimes, under pressure, contestants do crazy things on Jeopardy. One time, a guy actually ended up face-down, passed out, during Final Jeopardy, and another lady got laughed at super-hard by the audience for giving “Chris Farley” as a response to a Johnny Cash clue. However, it’s difficult to imagine how one woman, in response to the clue “His widow Maria Elena and actor Gary Busey were on hand when his star was dedicated outside Capitol Records in 2011,” came up with this:

We hope that when someone finally makes a movie about Ice-T, Gary Busey is allowed to at least audition. We would pay to see that.

4. Most Bizarre Clue Ever
We’re pretty sure you could put this in front of every single member of Mötley Crüe and even they wouldn’t answer it correctly. Who the hell came up with this?

5. ‘It’s a Rap’
Plucky contestant Mary holds her shit together really, really well until the very last moment of tackling the “It’s a Rap” category. What sends her over the edge? Trebek doing Public Enemy, that’s what. “I don’t know why that’s making you laugh so much!” the host declares. We think you do, Trebek. We think you do…


 

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Foreign Correspondence

From Long Night’s Journey Into Day to Children Underground to Daughter From Danang, the nonfiction cinema supported by the Sundance Institute Documentary Fund exposes social injustices and personal tragedies from around the globe. In “Sundance at MOMA: Illuminated Voices”—the first of an annual collaboration between the two institutions—the best films continue the tradition of resonant political and emotional work.

Take Mercedes Moncada Rodríguez’s The Passion of María Elena, a poetic account of one indigenous woman’s fight against prejudice in northwestern Mexico. After her three-year-old son is hit and killed by a truck driven by a “white” Mexican, María Elena seeks retribution, turning to both her local Raramuri community in the Sierra Taramura canyon and the city government of neighboring Chihuahua. María Elena’s pursuit provides narrative drive, but the film’s strength comes from its sensitivity and luminous imagery. When justice finally arrives for María Elena, it is on terms that defy Western sensibilities.

According to program director Diane Weyermann, María Elena epitomizes the type of project the fund aims to help. “Because it is very filmic with untraditional narrative storytelling,” she says, describing the doc’s formal mirroring of the Raramuri spiritual views on death and destiny, “it would not have been financed by television.” The other truly cinematic documentary is Ferenc Moldoványi’s Children (Kosovo, 2000), which alternates lyrical visual passages with utterly devastating testimonials from Albanian and Serbian children about their murdered fathers and raped siblings.

Such divided communities dominate the selection. Anat Even and Ada Ushpiz’s distressing Detained chronicles three Palestinian widows in Hebron who inhabit an apartment building controlled by Israeli soldiers (and literally share a roof with their snipers), while Amit Goren’s Golan interviews Israeli settlers in the Golan Heights. Both films show, at best, an underlying mistrust between the two peoples, and at worse, a blazing hatred. Rwanda’s situation appears similarly dire. Anne Aghion’s Gacaca, Living Together Again in Rwanda looks at a post-genocide community-based tribunal reminiscent of South Africa’s Truth and Reconciliation Commission, but the bitter, traumatized participants experience little truth or reconciliation.

The increasing ideological gap within Iran is explored in two films. Maziar Bahari’s And Along Came a Spider is a collection of chilling interviews with a man who murdered 16 prostitutes (he calls himself an “anti-street-woman activist”) and shocking conversations with friends and family who support his actions. For a more general cultural survey Thierry Michel’s Iran: Veiled Appearances documents religious fanaticism side by side with university students denouncing the Islamic revolution as a “disaster.” The most sensationalistic of the bunch, John Friedman and Eric Nadler’s Stealing the Fire spins a worthwhile investigation of centrifuge technology and nuclear proliferation into inflammatory agitprop insinuating a German-Iraqi plot against Israel.

For a little hope, turn to Belkacem Hadjadj’s A Female Cabby in Sidi Bel-Abbès, which follows the only female taxi driver in the violent Algerian city. Despite rampant sexism and death threats, the charismatic, fearless widow and mother of three keeps on cabbing. And then there’s Georgie Girl, a portrait of New Zealander Georgina Beyer, the world’s first transgender person to hold national office. Aided by stellar ’70s stock footage and campy ’80s video of the drag diva, director Annie Goldson charts the personable Maori member of Parliament’s inspiring rise from cabaret queen and prostitute to heralded local leader. “Imagine putting a transsexual in our [legislature],” Weyermann notes. It might solve much of the world’s divisiveness.