(I’ve always felt that Holly’s voice sounded psychotic, like the hiccup laugh in “a-hey, a-hey” was from a crazy person.) Its straightforward, adolescent incomplexity of its composition and its instrumentation almost digs its nails into the very idea of that mother/son relationship and claws through it.
And in that way, their inability to, well, love each other or connect, married to many of the film’s most frightening images, is exacerbated by the use of the song. The woman, it could be argued, is ill fit to raise the son the son, it could be argued, is psychotic, or, at the very least, suffering from sort of attachment disorder. Perhaps the most striking use that comes to mind is in the trailer for Lynne Ramsay’s We Need to Talk About Kevin, a film that depicts the dysfunctional relationship between one woman and her son. It’s hard to call it much else, especially given the fact that every time I’ve ever heard it, personally, it was used deliberately, to subvert or pervert tone, to be used ironically to dismantle something situationally.Even in Mad Men.
And despite the fact that the track seems to merely present something sweet and lovely, the testament of a young man yearning for the love of another woman, it is, frankly, kind of creepy.
It’s deceptively simple, employing almost nothing more than what sounds like a music box, Holly’s ostensibly feverishly jolly vocals, and some percussion to keep the rhythm. I don’t know why, but Buddy Holly’s “Everyday”, contrary to its lyrical content, has always struck me as a rather haunting tune. Looking for Home: Mad Men and Buddy Holly’s “Everyday”
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