A man of few words, my grandpa Larry is ever-present, always kind, and shows that he cares through his actions. A common sense man of his generation, he’s happy to watch his basketball and be left alone. He knows that people are stupid, and he’s made peace with that, so he’ll turn on the news and keep it on all day. He is easy to talk to and likes to stay active. When I was a kid, he taught me about making March Madness brackets, and I showed him that going by the stats doesn’t always work out. He’s a traditional man– a simple man– and yet the most hardcore male feminist I know. I still don’t know how this is possible, but Larry makes it work.

As I got older, my grandpa Larry expressed more of his thoughts on the world, and I wished he’d say it louder to the people in the back. He has a backbone, and unfortunately, this is a rare quality. So, in honor of his 89th birthday, I’m sharing some of his opinions with you. He’d rather not deal with the public, but he’s used to my shenanigans by now. Here are five of his favorite Film & TV and their best music moments.			

Grandpa Larry will always go for a classic. After about the third time of seeing Robert Zemekis’s greatest film, Larry is “tired of it now,” but he can’t deny its charm. One of the most moving scenes in the movie comes when Forrest (Tom Hanks) and his lifelong love Jenny (Robin Wright) reunite after Vietnam– and they could not have taken more polar opposite directions in life. Even though he’s a veteran and she’s a hippy, they still love each other, and he offers her his medal of honor to prove it. As she walks away, The Byrds remind us that everything has its season and things always turn, turn, turn. This is a monumental time in their relationship and history, and this solemn, reflective tune is the perfect backdrop for this part of the story.

“Something’s Coming” - Barbra Streisand

Grandpa Larry really likes Albert Brooks. Albert Brooks is an iconic director whose sensitive storytelling has rang true across decades. However, Grandpa Larry’s favorite is his hit 

where he also stars alongside Meryl Streep. The opening scene reveals Brooks driving with his head in the clouds, singing along to Barbra Streisand’s version of “Something’s Coming,” comedically foreshadowing that he is about to crash into a truck. Literally. Distracted driving is bad, kids.

Grandpa Larry loves a great war movie. Another Tom Hanks classic, 

captures the brutality of the battlefield and the strength of the brotherhood bond created between soldiers on the ground. During a sacred moment of downtime, Edith Piaf’s heartbreaker “Tu es partout”– which translates to “you are everywhere”– artfully depicts the men’s melancholy and the all-consuming nature of war. In this scene, the men (Tom Hanks, Matt Damon, Tom Sizemore, Vin Diesel, and others) contemplate life, their current state, and the destructiveness around them– and sit around talking about what the song means. Hanks explains that the singer’s lover left her, and she now sees his face everywhere she goes. As they camp out in the ruin, fighting for the chance to save their three men who may be long gone, the melancholy melody plays.

Grandpa Larry also loves a murder mystery. Crafted by Jerry Goldsmith, the original song that plays in the main title of 

reflects the tender essence of love– and the heartache behind J.J. Gittes’s (Jack Nicholson) investigation. It’s sad when love goes astray and trust gets broken. Still, Nicholson’s character must detach from that to unveil the truth behind Evelyn Cross Mulwray’s (Faye Dunaway) husband’s (John Huston) potential infidelity. What comes to pass is anything but honest, but Grandpa Larry is all about the plot twists.

Grandpa Larry “loved the cast of four people [in 

] who were quite good.” Those people are Jerry Seinfeld, Julia Louis-Dreyfus, Jason Alexander, and Michael Richards– so it turns out Grandpa was onto something! He appreciates a good situation comedy and, as he would say, Larry David’s 1989 masterpiece rose to the top like cream.

One of the most memorable scenes from the series was the episode where Elaine (Julia Louis-Dreyfus) danced and did “The Little Kicks” to an Earth, Wind, & Fire hit. This is how her friend George (Jason Alexander) learns that she is a terrible dancer. What better song is there for Elaine to get up in front of a crowd and embrace her funk? She indeed let her star shine in this awkward office party scene, and the historic Elaine dance cracks Grandpa Larry up to this day.

When I first asked him, Grandpa Larry had to ask my grandma Alegra (with one “L”) what his favorite movies were. She helped him along, and after he gave his answers, he asked, “Did I inspire you?” He did.

Grandpa Larry was quite the enigma when I was a kid, but as I grew up, I realized there was nothing to figure out. He’s just a good dude. Grandpa Larry proves that it’s the little things that build up and make a boat for you to float on for the rest of your life.		

Happy birthday Grandpa! Thank you for making little jokes, playing with the dog, and being you. And thank you for the movies. I love you more than you know.

Grandpa Larry's Favorite Movie Music Moments

When I saw the first movie when I was eight years old, the global phenomenon 

shot me like I was a sitting duck. Since then, it has been appointed the soundtrack that I turn to when life gets too intense. It was featured on my Hinge profile as my favorite genre of music. The playlists for both the original and the sequel have become “My Love, My Life.” There is a reason that 

 is now one of London’s greatest attractions.

, where everything is a celebration. You must embrace the ridiculousness upon entry and will be guided by a bop every step of the way.

Let’s kick off with the notorious opening number of director Ol Parker’s 

 I doubt the song was on ABBA’s Greatest Hits album, but Parker makes it work. “When I Kissed the Teacher”

is an upbeat, splendidly nonsensical tune that sets the mood for the rest of the film. Lily James plays a young version of Meryl Streep’s character, who is graduating from college, singing to the crowd in her cap and gown about a hot teacher.

Lily James does, in fact, kiss a professor onstage for a split second while wearing her yellow feather boa post-lap dance– and the uptight academics come around after the sultry smooch. Either way, she sure made a scene at her graduation, surfed the crowd, and led everyone down a dirt road on bikes.

Cher arrives as Amanda Seyfried’s grandmother at the end of the second movie and encounters an old lover. She sings the song “Fernando”

with her former flame, and it’s funny as hell. The nostalgic tune that toys with tension in its melody becomes entertaining and lighthearted as the two reunite. When the song is over, they kiss to fireworks and applause. And it’s Cher. What else could you want?

, Amanda Seyfried is hot, and so is the guy who plays her boyfriend. His name is Dominic Cooper, and he’s famous now, but in 2008, he was just tan and shirtless on a beach in Greece. He also had a six-pack.

Anyway, we start the scene with them fighting half-naked in the orange glow of the sun. They need to remember why they fell for each other and just make sweet Greek love already. They’re horny, and this seductive Swedish tango is the perfect backdrop to their rendezvous.

is fun, heartwarming, and sweet, but it’s also very sexy. When Amanda Seyfried crawls out of the water, onto the rocks, and all over Dominic Cooper, she lets you know it. “Lay All Your Love On Me” will make you want to dance Reggaeton-style, roll around in the sand, and grab your Dominic Cooper, too.

This film is kindly brought to you by the fabulous female gaze– many thanks to director Phyllida Lloyd.

This emotional power ballad proves that the original film is more than a good time. Pierce Brosnan and Meryl Streep encapsulate the conflict and heart of the story on a hill overlooking the ocean. He wants her back after he left her years ago, and she’s too hurt to love him. “Winner Takes It All”

reflects the pain of unrequited love and the emptiness you’re left with when someone you care about deeply lets you down.

Meryl has a beautiful voice, and Pierce is a silver fox, which is all very dramatic. Meryl runs with her red shawl in hand, blowing madly in the wind; Pierce chases her up a myriad of stone-covered steps with his laserbeam blue eyes. However, you will see nothing through your tears.

Unfortunate truths about life, love, and failed relationships will surface, and you will be triggered. This is the heartbreaker that you will blast in the car as your situationship falls apart. Never underestimate the strength of a sad song placed at the climax of a musical rom-com.

“Dancing Queen” is the trademark closing number that no 

movie can live without. It’s disco at its finest. You can dance, you can jive, having the time of your life. All while wearing feather boas, of course. Meryl Streep, Christine Baranski, and Julie Walters will never let you forget it.

Then, Amanda Seyfried joins forces with Baranski and Walters in the sequel because, even though Parker had the nerve to kill off Meryl, everyone knows that 

doesn’t end until “Dancing Queen” plays. Although the plot of the second movie is a tad disappointing, the music keeps it alive, and I am forever grateful to ABBA for this.

So don’t ask yourself “voulez-vous” because, trust me, vous voulez. If you haven’t already, give it a watch, and if you’ve seen it, you know what I mean.

The Best Music Moments from the Mamma Mia! Films

After viewing Luca Guadagnino’s latest masterpiece, 

, I was reminded of and given more reasons to love him– and I just couldn’t get those disco-tech tunes out of my head. However, beyond the mass-appeal, tabloid-tease marketing surrounding Zendaya and her character, Tashi’s, hot rodent boyfriends, played by actors Mike Faist and Josh O’Connor, there is a boiling undercurrent of hard, nuanced truth that cuts through the heart of the movie. The intensity of the film is conveyed by its pulsating rhythms. The music reveals the reality, and its noise won’t let you rest. This reflects the characters’ edginess in the world of professional tennis, both on and off the court. Champions can’t afford to stop because the game never ends.

Guadagnino’s signature placement of funky, electronic disco-tech indicates psychological, social, and emotional pressure throughout. This is laid out for us within the first ten minutes of the film. The tone was set from the first scene at the match in New Rochelle. As the tension rose, operatic voices subtly echoed in and out of the 70’s core melody while the ball bounced back and forth between the two players. 

"Challengers" - Trent Reznor & Atticus Ross

Then suddenly, the music abruptly came to a halt as we cut to Art (Mike Faist) and Tashi’s bedroom at 5:30 am.

Shortly thereafter, Art walks down a long hall to another match two weeks earlier, and his wife instructs him to “decimate that bitch,” referring to his opponent– and the disco-tech music plays again. Art leaves the long hall to play the match when the music jolts to a stop yet again, and we’re taken to Art and Tashi’s living room, guided by the sharp sound of the ball bouncing off of Art’s racket on their TV screen. When we see them rewatching matches, we understand more than ever that their lives truly revolve around tennis– or, more accurately, the game. There is no room for anything else, including their young daughter, who is often supervised by Tashi’s mother.

Beyond its trademark suave, static beats, 

contains many other great musical moments within its run. The awkward mood at the party for the USTA tennis teens, where both boys stand there drooling over Zendaya’s Tashi from a distance, was amplified by Nelly’s “It’s Getting Hot in Here.” 

Then, the romantic yet ominous Reznor and Ross track "L'eouf" plays when the three young athletes chat on the beach after the party, followed by the three-way love scene in the hotel room set to English R&B and electronica artist Blood Orange "Uncle ACE," is an evident foreshadowing. 

Lastly, Patrick (Josh O’Connor) and Tashi’s final kiss in the parking lot to a children’s choir song speaks volumes without dialogue.

"Friday Afternoons, Op. 7: A New Year Carol" - Benjamin Britten, Choir of Downside School

Friday Afternoons, Op. 7: A New Year Carol

seamlessly spread the story's messages, which are impossible to put into language. Needless to say, Academy Award-winning music composer duo Trent Reznor and Atticus Ross from the band Nine Inch Nails surely knew what they were doing when they put this one together. The harmonious sequences make the film’s flashbacks, flashforwards, and time transitions feel natural. 

As the two men embrace at the end of the movie’s penultimate match, we see that they are in touch with the power of love that transcends tennis, but for Tashi, the game of tennis is love. The final frame of Tashi celebrating her husband’s carefully orchestrated win reveals her reality and tells the truth for all of them.

"Challengers: Match Point" - Trent Reznor & Atticus Ross

The first three words I would use to describe Luca Guadagnino’s style are organic, sensual, and focused. His work is so beautiful that I am inclined to channel undergrad courses where I was forced to type up academic, theoretical essays on cinema. This speaks volumes because I certainly don’t miss academic film papers, but I see no other way to analyze his extraordinary, unique choices and intentions fully. Guadagnino’s immaculate structure and eye for detail in 

and beyond demands an elaborate critical write-up. Something that encapsulates and reflects his awe-inspiring craftsmanship.

or any of Guadagnino’s filmography and lean more toward mainstream blockbuster films, this is the perfect introduction to his work. This piece of art and the music that supported it left me chomping at the bit for his next movie. Luca, please call me and let me know when it’s out.

Grandpa Larry's Favorite Movie Music Moments

The Best Music Moments from the Mamma Mia! Films

The Best Music Moments from Challengers

WhatSong