Going home for the holidays? Staying in? Whether you're with friends, or with your family, or riding out the upcoming days off stag, we don't have a list of films for you to watch that have anything to do with those holidays. That ain't really our shit.
We do have are a list of films with moments that speak to our love of music, and the way it can transform a single image into a projection forever implanted on the inside of your head, one that—unlike a music video, say—has a story to it as well.
These music-assisted scenes aren't all of the very best, and this isn't a comprehensive list, either. But they're ones we constantly talk about, and return to, whenever we get a chance—like, for example, this weekend—as often as we possibly can. These are the moments that changed the way we heard these songs, but also, the songs that made these movies what they were.
These are, quite simply, 25 Awesome Music Moments in Movie History.
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Bee Gees' "Stayin' Alive" in Saturday Night Fever
Bee Gees' "Stayin' Alive" in Saturday Night Fever
Film Released: 1977
This is music to strut to. Five minutes into Saturday Night Fever, a few things became abundantly clear: John Travolta was a star, the Bees Gees are awesome (the film's soundtrack is still one of the best-selling of all time), and cool people stack two pizza slices on top of each other and eat them at the same damn time.
Richard Berry's "Louie Louie" in Animal House
Richard Berry's "Louie Louie" in Animal House
Film Released: 1978
Good news: If you're a drunk frat boy who's completely plastered but totally wants to sing something incorrigible, we've got the song for you. "Louie Louie" was a ballad written by African-American singer Richard Berry back in the '50s, but the song didn't take off until 1963 when The Kingsmen whitewashed covered it.
It became a huge hit and several myths floated around about the song, including the idea that the song's lyrics are purposefully impossible to decipher because they graphically describe sex. In other words, it was the perfect theme song for Greek life, toga parties, and John Belushi's iconic Bluto.
The Doors' "The End" in Apocalypse Now
The Doors' "The End" in Apocalypse Now
Film Released: 1979
Never has a scene and a song been merged together so masterfully. Every time we hear the opening strums we think we're going to wake up back in the jungle. The song—which was recorded in two takes with no overdubbing—isn't easily explainable but, then again, neither is the film. Jim Morrison once offered his own take on the lyric "My only friend, the End" explaining, "Sometimes the pain is too much to examine, or even tolerate." In other words, the horror...the horror...
Survivor's "Eye Of The Tiger" in Rocky III
Survivor's "Eye Of The Tiger" in Rocky III
Film Released: 1982
How can this song not hype you up? Written at the request of Sylvester Stallone himself after he couldn't clear the rights to Queens' "Another One Bites The Dust," Survivor's workout montage-ready anthem became a huge international hit. So much so that despite being released in 1982, it's still sold over three million digital singles today. A couple of months from now—when you're still trying to keep your New Year's resolution—remember to add this song to your workout playlist like, you know, every other person at the gym.
Bob Seger's "Old Time Rock and Roll" in Risky Business
Bob Seger's "Old Time Rock and Roll" in Risky Business
Film Released: 1983
Remember Tom Cruise, the one who was nothing if not charming? No? If anything serves to resurface the memory of who he was before the religion, before the wives, before the tabloids, and even before Magnolia, it's the iconic vision of young Tom Cruise sliding across a suburban Chicago floor in socks, underwear, a white button down, and Wayfarers, waiting to hear from his colleges as his parents are out of town, but finally letting loose for what may be the first time in years, as Seger's piano notes pounded over the scene.
Men, women, young or old: People of all stripes have, if not having reenacted this scene, at least thought about it. And without Seger's timeless rock classic providing the sonic quality, the world may not have ever been able to remember a Tom Cruise they can actually relate to. Lucky for all of us.
Chuck Berry's "Johnny B. Goode" in Back To The Future
Chuck Berry's "Johnny B. Goode" in Back To The Future
Film Released: 1985
John Lennon once reasoned, "If you tried to give rock 'n' roll another name, you might call it 'Chuck Berry.'" Although the Prime Minister of Rock 'n' Roll's signature song was initially written about his piano player, Johnnie Johnson, the song evolved into a partly autobiographical tale about Chuck Berry himself.
Back To The Future introduced the instantly recognizable '50s hit to a young audience in the '80s while Marvin Berry introduced "that new sound you been looking for" to his cousin Chuck in the film. Even in an alternate reality, this jam remains undeniable.
The Beatles' "Twist And Shout" in Ferris Bueller's Day Off
The Beatles' "Twist And Shout" in Ferris Bueller's Day Off
Film Released: 1986
Ferris Bueller's Day Off makes perfect sense. Who hasn't hit a parade while cutting school, magically found their way unto a float, and become the grand marshall of it all while singing a classic Beatles tune? The film's director, John Hughes (R.I.P.), once explained why he made the film saying, "I really wanted to capture as much of Chicago as I could. Not just in the architecture and landscape, but the spirit." We wonder if he would have been down to do a Chief Keef biopic?
Peter Gabriel's "In Your Eyes" in Say Anything...
Peter Gabriel's "In Your Eyes" in Say Anything...
Film Released: 1989
One of the most iconic gestures of love ever seen in any film had underachiever Lloyd Dobler (John Cusack) trying to win the heart of class valedictorian Diane Court (Ione Skye) by blasting Peter Gabriel out of his boombox by her window. The film won over audiences for its sympathetic, reasonable portrayal of young adults.
The scene won us over because it made it cool to blast a boombox by a girl's window, which meant we could finally compete with those douchebags who only scored chicks because they played an acoustic guitar and seemed so "sensitive."
Public Enemy's "Fight The Power" in Do The Right Thing
Public Enemy's "Fight The Power" in Do The Right Thing
Film Released: 1989
After being asked to make a song for the film by Spike Lee himself, Public Enemy crafted "Fight The Power"—a tune meant to fight against the abuse of power, not authority itself—one of the most important songs in their lengthy discography. The song was a favorite of the film's character Radio Raheem (Bill Nunn) who blasted the song everywhere he went, making it a crucial motif of the film. And hey, if you don't like the song, fuck you, fuck your pizza, and fuck Frank Sinatra.
Derek and the Dominos' "Layla" in Goodfellas
Derek and the Dominos' "Layla" in Goodfellas
Film Released: 1990
"Layla" wasn't initially a hit, but today it's widely considered one of the most beautiful love songs rock music has to offer. So it made for some delightful irony when Martin Scorsese used it to soundtrack a sequence filled with bloody corpses hidden in trash bags and bodies frozen so stiff that they had to thaw out. Remember kids, sharing is for suckers. It's better to just whack all of your friends.
Sonny & Cher's "I Got You Babe" in Groundhog Day
Sonny & Cher's "I Got You Babe" in Groundhog Day
Film Released: 1993
Ugh. The drudgery of crawling out of bed. The monotony of life itself. That fuzzy feeling when you drift out of slumber and arrive at the worst destination of all: Consciousness. Lucky for us, we can at least make our mornings a little brighter by getting one of those iPhone alarm clocks starting the day off with 2 Chainz.
Too bad for Phil Connors (Bill Murray). That technology didn't exist back then and he had to wake up to Sonny and Cher. What makes "I Got You Babe" such a great choice for remind Connor he's still stuck in own personal hell is that it's such a charming record—one even someone as cynical as Connor can appreciate. But if you heard it that many times, you'd want to throw a toaster in the bathtub, too.
Urge Overkill's "Girl, You'll Be a Woman Soon" in Pulp Fiction
Urge Overkill's "Girl, You'll Be a Woman Soon" in Pulp Fiction
Film Released: 1994
Pulp Fiction is remembered for its music just as much as Quentin Tarantino's groundbreaking dialogue, and it's this moment that stands above them all. The "Jungle Boogie" intro was flames, the "Son of a Preacher Man" scene is a classic, and the Chuck Berry dance sequence singlehandedly revived John Travolta's career, but nothing beats watching a coked-up Uma Thurman spaz out to Urge Overkill.
Her character Mia Wallace dances and sings along to the rapidfire lyrics with the perfect amount of enthusiasm. The only thing that stops her is a near-fatal drug overdose, but even then, "Girl, You'll Be A Woman Soon" blares on.
The Mamas & The Papas' "California Dreamin" in Chungking Express
The Mamas & The Papas' "California Dreamin" in Chungking Express
Film Released: 1994
Similar to "Fight The Power" in Do The Right Thing, there's no way you can finish watching Chungking Express and not start singing The Mamas & the Papas' 1965 classic, "California Dreamin'." Urban loneliness is the main theme to the film which explores two separate story lines that are only thematically unified. The song mostly factors into the second half of the film where it's played incessantly by the character Faye Wong.
The record also factors into the plot as well, as Wong's character forgoes a date at a restaurant called California and opts to hop on a plane and go to the actual state. It's a snap decision, but one likely inspired by the song's line, "If I didn't tell her, I could leave today."
The Buggles' "Video Killed the Radio Star" in Empire Records
The Buggles' "Video Killed the Radio Star" in Empire Records
Film Released: 1995
"Ah, we musn't dwell. But not today," Ethan Embry's stoner record clerk Marc sighs, as the fate of the record store he and his friends works at hangs in the balance of the day. And then: He laughs, high on life, and whatever else. The first notes of The Buggles floats through. And then: "I heard you on the wireless back in 52," kicks off one of film's most memorable musical moments: Liv Tyler shuttles a visiting rockstar cutout through the store as the other employees ready themselves for Rex Manning Day.
The song—the very first video to ever be played on MTV—was an apropos, knowingly ironic choice for both MTV and the film, which, despite flopping at the box office grew to be a crucial cult classic for The MTV Generation. It was one that basically said: There are fates far, far worse than working at a record store with other Young Hot Things. It's also a sad reminder of two things that are too far gone: The music in MTV, and record stores, both of which inspired far more than the numbing effect of Teen Mom 2 and the iTunes store certainly ever will.
The Animals' "House of The Rising Sun" in Casino
The Animals' "House of The Rising Sun" in Casino
Film Released: 1995
Sometimes, people have to get clipped. Recalling the famous "Layla" montage in Goodfellas, Scorsese queued up the Animals' "House of the Rising Sun" for an epic scene that saw the mob cleaning house after getting pinched for skimming a casino. The record has many interpretations because it's a traditional folk song, but rhe Animals' 1964 version is the most famous and has even been described as "the first folk-rock hit." As it turned out, Eric Burdon's enigmatic growl was the perfect backdrop to watching bodies drop while De Niro and Pesci take turns narrating.
Rick Springfield's "Jessie's Girl" in Boogie Nights
Rick Springfield's "Jessie's Girl" in Boogie Nights
Film Released: 1997
Freebasing cocaine doesn't look that fun at first, but put on "Jessie's Girl" in the background and it's a different story. That's the magic of this climatic moment in Paul Thomas Anderson's masterpiece. There's a long shot of Mark Wahlberg's Dirk Diggler staring off into blank space during this scene, and while it's clear that he's disillusioned by how he's transitioned from porn superstardom to a world of drugs and guns, he holds a slight smirk that's hard to miss. That can likely be attributed to the sounds of Rick Springfield filling the room.
When the situation escalates and people start getting shot, the overbearing presence of the '80s hit makes it surreal. Then Nena's "99 Luftballoons" comes on, driving home the point about the ubiquity of the decade's best pop hits, no matter what business you were dwelling in.
Blink-182's "Dammit" in Can't Hardly Wait
Blink-182's "Dammit" in Can't Hardly Wait
Film Released: 1998
One of the most iconic songs of the 90s-those three, unmistakable guitar chords, the two voices trading in verse (one sneering punk, the other, a throaty few octaves lower), and a soaring punk chorus-and one of the most iconic teen films of the '90s, if not all-time. While Can't Hardly Wait can be remembered for anything from Seth Green's instaclassic white boy moment delivering Special K's "92 Percent" speech, to Jennifer-Love-Hewitt-as-Dream-Girl, to the Pop Tarts, to the cameos by Empire Records' 'Warren,' there's too much to remember about this movie, fondly.
The soundtrack was one of those things. And while Smash Mouth may not have aged well, the entrance of "Damnit" into the film is a siren, a crucial moment at the peak of action that sends all the various characters on their way, via the cops, busting a house party. And who hasn't been there? Yeah: This is most definitely growing up.
Soul II Soul's "Back to Life" in Belly
Soul II Soul's "Back to Life" in Belly
Film Released: 1998
The iconic opening scene of Belly had us thinking Hype Williams would make a truly dope movie. Yes, Belly is fun to watch, but it's basically made a series of music videos with incredible visuals disguised as a movie filled with wooden acting, an incomprehensible plot, and a bathtub worth of baby oil for DMX's main squeeze. But still. The use of Soul II Soul's "Back To Life" is unforgettable.
The song is a hip-hop staple, and has been sampled by everyone from Fat Joe to C-Murder. DJ Clue recruited Mary J. Blige to record a cover version called "Back 2 Life 2001." However, Hype Williams choose to use the original acapella version of the song, as opposed to the reworked version (subtitled "However Do You Want Me"), which became a huge hit both in the U.S. and the U.K.
The Verve's "Bittersweet Symphony" in Cruel Intentions
The Verve's "Bittersweet Symphony" in Cruel Intentions
Film Released: 1999
By the time Cruel Intentions is coming to a close, nothing short of a main character's resurrection from the dead looks like it can deliver on a happy ending. And then, the first chords of The Verve's seething, angry, chamber-pop megasmash kick in: This is going somewhere, you realize.
By the time the credits start to roll and the full denouement is over-and a character leaves a movie in what is, quite possibly, the coolest way possible (by figuratively burning everyone she hates to the ground in the name of the guy who finally won her love against all odds, and driving off in one of the sickest rides in the universe)-one undeniable fact remains: You will never, ever hear this song the same way again. Which is to say: Without feeling like this.
The Pixies' "Where Is My Mind?" in Fight Club
The Pixies' "Where Is My Mind?" in Fight Club
Film Released: 1999
It happens so quickly: Two people are revealed to be one (albeit, one with a gunshot hole going through his left cheek), just a guy who's one with the world that he's about to send crumbling down, and the girl who's going to watch it all go down by his side. "EEEEEEEE-STOP." And then that haunting guitar line, following by Frank Blank's oddly textured falsetto.
Two minutes into the credits, you're still sitting there, letting the weirdness of The Pixies wash over you, wondering where your own mind went. For the record: It's still in the world of David Fincher and Chuck Palahniuk, crumbling in awe, shock, anger, or sheer joy. Black's command to "STOP" will send you right back to the end of Fight Club every time now, do not pass go, do not collect anything.
Huey Lewis and the News' "Hip to Be Square" in American Psycho
Huey Lewis and the News' "Hip to Be Square" in American Psycho
Film Released: 2000
Do you like Huey Lewis and the News? Patrick Bateman does, and he will tell you every reason why before he hacks you to pieces. In a movie filled with music nerd monologues (Phil Collins and Whitney Houston get their own spiels, too), none is more effective the one about this selection from the band's 1986 effort, Fore!
After luring co-worker and rival Paul Allen back to his apartment, Bateman plays "Hip to Be Square" and rants about its take on the "pleasures of conformity" and the "importance of trends." Bateman does a little jig before striking Allen with an axe, blood spattering his face just as Huey's chorus kicks in. The juxtaposition of pop bliss and brutal murder makes one of the greatest on-screen moments, ever. Try getting a reservation at Dorsia now you stupid fucking bastard.
Dr. Dre's "Still D.R.E." in Training Day
Dr. Dre's "Still D.R.E." in Training Day
Film Released: 2001
"Still D.R.E." marked a triumphant return for Dr. Dre and a musical style that epitomized the West Coast in the '90s. The accompanying video remains an iconic collage of lowriders, voluptuous women, and celebratory G-funk with visuals from director Hype Williams in his prime.
Lowrider included, this song also sets the tone for the film Training Day in which rogue detective Alonzo Harrris (Denzel Washington) exposes rookie Jake Hoyt (Ethan Hawke) to his seedy world of corruption. Flexing his acting muscles, Dre even makes a cameo in the film as Detective Paul. "You a long way from Starbucks, homie," Paul tells Hoyt. He had no idea.
Nancy Sinatra's "Bang Bang" in Kill Bill: Vol. 1
Nancy Sinatra's "Bang Bang" in Kill Bill: Vol. 1
Film Released: 2003
"Bang Bang" is a classic example of what an iconic scene can do for a song. "Bang Bang" was originally recorded by Cher and became a hit for her in the '60s. The song proved so popular that Cher turned it into a hit again in 1987. However, Nancy Sinatra's much more melancholy cover didn't fare nearly as well and was totally forgotten.
Sinatra's version found a second life in 2003 when Quentin Tarantino—who has a knack for plucking music from obscurity—aptly placed it in the opening scene of Kill Bill: Vol. 1. The song gained so much popularity that rappers like Kardinal Offishall and Young Buck proceeded to sample it, no doubt inspired by Tarantino.
Missy Elliott's "Pass That Dutch" in Mean Girls
Missy Elliott's "Pass That Dutch" in Mean Girls
Film Released: 2004
When the Plastics walked the halls of their high school to Missy's early-Aughts hit, a modern classic-something greater than the average teen flick-was born. It's this moment in which Lindsay Lohan, Rachel McAdams, and Amanda Seyfriend stroll together with supreme confidence that they each became superstars.
"Pass That Dutch" knocks with a cautious urgency, a mood that is wholly appropriate for its placement in the film. Lohan's character, Cady, has fully assimiliated into the social group she once sought to sabotage, and while there's fun to be had, there's trouble around the corner, too. Literally. She doesn't make it out of the scene without toppling over into a garbage can. And when the music stops, it's almost a disappointment.
Nas' "Thief's Theme" in The Departed
Nas' "Thief's Theme" in The Departed
Film Released: 2006
Scorsese always has greats choices for songs in his movies, but he really surprised everyone by putting Nas' "Thief's Theme" in his Oscar-winning film, The Departed. Who knew Marty was into rap? It made sense, though. If we were doing business with some smartass Puerto Ricans we'd bump Nas in the whip to stay on edge, too.
We can't be sure, but we always took the placement of the song as a possible thank you note from Scorese to Nasir after Nas paid homage to Casino in his music video for "Street Dreams."