I have never created the soundtrack for a film, nor do I have the competence to do so. I imagine, though, that it is very difficult to get right. Assembling a “soundtrack” for a cultural and legal lagoon like white-collar crime is not easy, either, and subject to much subjectivity. Nevertheless, here below is my Spotify effort. The list includes Bach, The Last Mr. Bigg, Miles Davis, Lana Del Ray, Duke Ellington, Jimi Hendrix, The Modern Jazz Quartet, Mozart, The Steve Miller Band and Warren Zevon. Please follow the “White Collar Wire” playlist on Spotify. I plan to refresh it every other Sunday.
To the extent that it reflected crime, Lauren Bacall’s work was noir, not white-collar; black, not white; guns, not accounting fraud. Yet, there was an elegance and a fierceness about her films – especially those with Humphrey Bogart – that are familiar to those who work in a white-collar crime landscape. David Brooks, writing in the New York Times, reflects on The Bacall Standard. In particular: [Raymond] Chandler was not particularly kind to women, though. It was up to the director Howard Hawks and his star, Lauren Bacall — who died this week — to give that era a counterpart female ideal, a hero both tough and tender, urbane and fast-talking,…