MY BABY BLUE SONG BREAKING BAD SERIES
Sometimes that music has been memorable (“Hawaii Five-O,” “Sesame Street”), but it has tended to take the form of brand reinforcement rather than editorial content or commentary, and those series that made music part of their charter (“Miami Vice,” “Gilmore Girls”) did so overtly.īut what about the trend of capping a realistic drama with an iconic pop song? The most famous example of this, at least in recent memory, of course, is Journey’s “Don’t Stop Believin’,” which played over the enigmatic final scene of “The Sopranos,” in 2007. Pop music has been a valuable part of film for years, but television, as a result of smaller budgets and the repetitious nature of a series mentality, tended to make its own music-theme songs, composed scores. “Baby Blue” was a nearly perfect thematic fit, but it’s also the latest in the growing trend of letting classic pop and rock songs do some of the heavy lifting for high-quality dramatic television.
The only surviving member, Joey Molland, spoke to the press, and was predictably surprised and gracious. The “Baby Blue” moment on “Breaking Bad” should have been triumphant-the song has rocketed up the iTunes charts and seen a nine-thousand-per-cent increase in Spotify plays-but there was almost no one left to interview. Two members committed suicide: Ham and Tom Evans. Though they started as promising Beatles protégés, recording Paul McCartney’s “Come and Get It” for Apple Records, and followed it up with a half-dozen hits, a nightmare soon settled on Badfinger. “Baby Blue” carried an extra payload of sadness, both because the song is melancholy and because Badfinger, the band that recorded it, is one of the most star-crossed groups in rock history. The show had used blue songs before, most notably “Crystal Blue Persuasion,” by Tommy James and the Shondells, which hit the trifecta of meth-dealing keywords (crystal, blue, and persuasion). On “Breaking Bad,” it was a forlorn love song, too, matched to the moment when Walter White gave a last caress to the meth cooker that had served him so well: his blue meth, his baby. This past Sunday, to mark the end of Walter White’s career as a meth kingpin and, not incidentally, his life, “Breaking Bad” went for a twisting crane shot set to Badfinger’s “Baby Blue.” The song was originally on the band’s 1971 album “Straight Up,” where it was a forlorn love song written by Pete Ham for his girlfriend, Dixie Armstrong.
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