13 Scenes That Made Older Songs Go Viral Again
Whether it's a '90s banger climbing the charts again, or a deep cut getting the spotlight it rightfully deserves, these 12 songs shot up in popularity thanks to the magic of soundtracks and pop culture.
"Murder on the Dancefloor" by Sophie Ellis-Bextor dropped in 2001. Over two decades later, it went viral all over again in 2023 after Saltburn's release!
"Wake Me Up Before You Go-Go" by Wham! was first released in 1984. But it popped off again in 2001, thanks to Zoolander!
"Running Up That Hill" by Kate Bush came out in 1985. Nearly 40 years later, it climbed the charts again thanks to Stranger Things's season 4 episode, "Dear Billy" (2022).
"Something In The Way" by Nirvana quietly existed on Nevermind since 1991. But when The Batman dropped in 2022, it hit a whole new audience.
"Poison" by Bell Bib DeVoe was an early '90s R&B staple. But Turk's dance routine on Scrubs's Season 5 episode "My Half-Acre" made it an instant internet classic in 2006.
"A Thousand Miles" by Vanessa Carlton was already a hit in 2002. Then White Chicks came along in 2004 and turned it into comedy gold.
"Left Hand Free" by alt-J originally came out in 2014. But it didn't really catch fire until Outer Banks made it a Pogue anthem in 2020.
"Chasing Cars" by Snow Patrol debuted in 2006. But it's Grey's Anatomy's heartbreaking Season 2 finale "Losing My Religion" that propelled it into stardom in 2006...again.
"Tiny Dancer" by Elton John was released in 1971. It found a whole new audience in 2000 after Almost Famous made it an iconic pop culture moment.
"Long Long Time" by Linda Ronstadt quietly broke hearts in 1970. But it shattered all of ours again in 2023 in The Last of Us's Season 1 episode, "Long Long Time."
"Pony" by Ginuwine was already steamy when it dropped in 1996. Then Magic Mike took it to a whole new level in 2012.
"All I Want For Christmas" by Mariah Carey took over the holidays in 1994. But Love Actually helped turn it into a rom-com Christmas special in 2003.
It's wild how one perfect song in one perfect scene can flip a switch. Whether it made you cry, dance, or immediately open a music streaming platform, these moments prove that a great track can still make its mark many many years later.
What's the one TV or movie moment that brought a forgotten song back into your life? Let us know in the comments! 💿
For more nostalgic content like this, check out BuzzFeed Canada's TikTok and Instagram for more content like this! ✨
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Yahoo
16 hours ago
- Yahoo
The rules for watching R-rated movies on a flight
That raunchy comedy you watch on a plane could lead to drama with your fellow passengers. Fliers live in a golden age of multimedia options, with dozens of movies and TV shows offered by most airlines. But with that choice comes potential tension between people who feel they should do what they'd like in the seat they paid for and those who find the images on their neighbors' screens offensive or inappropriate for their kids. Subscribe to The Post Most newsletter for the most important and interesting stories from The Washington Post. Airlines long ago moved away from showing a single, one-size-fits-all movie that played on monitors hanging from ceilings. Those films were often edited to remove scenes of sex and violence. Dubbing transformed harsher insults into the occasional 'Fudge you.' Curse words are easy enough to avoid given the need for headphones, but today's in-flight movies on U.S. carriers also regularly contain the kinds of visuals that earn an R rating. A scan across several airlines' movie menus found adult content in intense horror films like 'Nosferatu' or 'The Monkey,' violent action comedies like 'Deadpool & Wolverine' or 'Novocaine,' and art house offerings with explicit sex scenes like 'A Different Man' or 'Queer.' - - - Everything is debatable - except pornography Holly Graham watched 'Saltburn,' a dark satire from 2023 starring Barry Keoghan and Jacob Elordi that she describes as 'very grotesque' in its depiction of risqué misbehavior and violence at a British manor. She ended up finding the movie 'awful' but doesn't apologize for watching it, even if kids may have been nearby. She's had parents ask her before if she could limit her movie selections to PG-13. She has declined. 'I did not sign up to be a mid-flight babysitter,' says Graham, a director of booking for live entertainment based in Tampa. 'I'm going to watch what I want to watch.' Drew Margulis, who flies regularly from his Florida home, takes a different approach. If a racy scene starts on an in-flight movie, he will probably hit the skip ahead button a couple of times. 'You can say, 'Don't look at someone else's screen,' but that doesn't really work with a 4- or 5-year-old,' he said in a direct message on FlyerTalk, a forum for frequent fliers. Heated debates on this topic on Reddit and fliers' message boards tend to break out between those with and without children. Disagreements also reveal cultural differences, with some posters arguing that Americans are too uptight about nudity. Allen Sanderson says he's more likely to avoid harsh violence on his in-flight movie out of courtesy. He's seen some critics compare a nude scene on a flight to porn. 'No, an R-rated movie on a plane is not soft-core pornography,' says Sanderson, a retired researcher based in Salt Lake City. 'The United States is in the Victorian Puritan era when it comes to nudity.' It's certainly within bounds to flag a passenger watching actual pornography, flight attendant Rich Henderson says. Henderson, who cowrites the Two Guys on a Plane blog, says he tries to avoid certain routes, like flights to Las Vegas, to avoid rowdier behavior. 'You can assume passengers are going to be a little more on the wild side,' he says. - - - Check in with your row mates Elaine Swann is an etiquette expert who spent a decade as a Continental Airlines flight attendant. She believes that in recent years people have grown more comfortable watching flat-out gory content during flights - via movies, TV or video games. Her new book, 'Elaine Swann's Book of Modern Etiquette,' includes a section on travel. She prefers to err on the side of caution when it comes to movies on planes and thinks others should, too. She also understands that busy people might want to use their time on board to catch up with that film they've been dying to see. Swann suggests preemptively giving a heads-up to the parent of the kid in your row. 'We're neighbors for the next four hours,' Swann says. 'That way the parent can do the work and shield the child and keep them busy. People are happy to do that sort of thing. It helps us to coexist in a space that is built on respect.' United Airlines, which has shown 'Novocaine' and the Jason Statham shoot-'em-up 'A Working Man,' says it aims to present movies in their original form. 'We occasionally make minor edits to ensure suitability for the inflight experience without altering the storyline,' spokeswoman Amy Fisher said in an email. 'We display clear content warnings before each film, including advisories about adult themes, and encourage passengers to be mindful of those around them.' Oscar winners aren't immune from this debate. The Delta subreddit debated the suitability of 'Oppenheimer,' the Oscar-winning drama that features some nudity. Then there's 'Anora,' the most recent best picture winner, a film about a sex worker with wall-to-wall adult content. American Airlines has shown 'Anora' on flights. - - - Or use your own device When Kate McCulley noticed this, she suggested on Threads that fliers see the Mikey Madison movie, which she liked, at home if they don't want to weird out their seatmates. Then she found out that her mother watched it on the way to visit her in Prague, where she lives. 'If that movie had been edited, it would have been like 15 minutes long,' says McCulley, who runs the travel blog Adventurous Kate. She believes the burden falls especially on fliers who bring their own movies on board. She prefers watching downloads on an iPad that she can block more easily in case she gets surprised by an R-rated moment. It happened during the beach fight scene with full-frontal nudity in the Jennifer Lawrence comedy 'No Hard Feelings.' 'This is why I like window seats,' McCulley says. 'Nobody will see a thing unless they're spying on you in a really creepy way.' Even Graham, the Tampa flier whose in-flight tastes trend toward the mature, had to draw the line at the first-class passenger she saw watching an actual pornographic film in his seat while their flight boarded. 'Much like the Supreme Court ruling on obscenity, I can't quite put a definition on it, but I know it when I see it,' she says. - - - Adam Thompson is a freelance writer based in New York. Follow him on Bluesky @ Related Content Pets are being abandoned, surrendered amid Trump's immigration crackdown The Post exposed this farmer's struggle. Then the USDA called. Kamala Harris will not run for California governor, opening door for 2028 run Solve the daily Crossword
Forbes
2 days ago
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Sunday Conversation: Amy Berg On Her Stunning Jeff Buckley Documentary
The Nineties had a lot of seminal rock and alternative albums. Off the top of my head – Soundgarden, Superunknown; Hole, Live Through This; Portishead, Dummy; Nine Inch Nails, The Downward Spiral; of course, Nirvana's Nevermind; Radiohead's OK Computer and my personal favorite, The Afghan Whigs, Gentlemen. But a quarter of a century after the Nineties ended you can make a strong argument the single most enduring album of that fertile period for rock and alternative is Jeff Buckley's brilliant Grace, an album that now stands squarely in the pantheon of greatest albums ever. As Buckley's massive legacy grows exponentially larger, a la Jim Morrison, Jimi Hendrix, Janis Joplin. Nick Drake, Amy Winehouse and others 28 years after his tragic drowning, Buckley has become an almost mythical figure in music for good reason. Imagine making one album and the likes of Chris Cornell, Alanis Morissette, Robert Plant and Jimmy Page sing your praises. One album that is near perfection and then tragically gone. Like so many, Oscar-nominated filmmaker Amy Berg has been haunted by the profound depths of Grace. After years of trying, she has finally turned that fandom and fascination into a riveting must-see documentary, It's Never Over, Jeff Buckley. I spoke with Berg about the stunning peak into the life of a true genius and enigma. Steve Baltin: Congratulations on the film. Looking back on it now, do you think it was the record? Or was it the story that called to you? Amy Berg: I think it was the death and the posthumous impact. He stayed my favorite for so long. I just never got Jeff out of my system. So, his passing really affected me, I would have to say. He had such an angelic kind of voice, he spoke so deeply to me. The music is timeless. It felt unique and it was hard to describe why. So, I wanted to make a film about the enigma of this album and this person and how it encompassed so many different themes for him. Baltin: Did making the film solve the mystery a little bit of why this album speaks so much to you? Berg: I think it did. I don't know that it solved the mystery, but I think that it did what I set out for it to do, which was to create the experience of Grace in a visual hour and 46-minute sitting. So, I feel like that is where my joy landed on this. I felt like you could experience Baltin: I think part of what makes Grace special is there is a mystery to it. No one else in the history of the world that could have made this record. Berg: Right. But I think the added intimacy of his story helps to make it more tactile for me. Baltin: The film is wonderful, and I learned a lot about Jeff, even though I've been a fan and written about him extensively for years. It's an amazing story. Berg: Yeah, and I felt a similar way that I'm describing when I watched Montage of Heck the first time in a theater and I felt like I was inside of Nirvana's music and their world in a way that I missed so much. That's what I wanted to do. Baltin: It made me rethink him in a lot of ways and in good ways. But I've always seen parallels between him and Nick Drake, who's one of my favorites of all time. I've interviewed Joe Boyd, who was Nick's producer several times. Something he said to me always stood out; he said that he believed part of the reason Nick died was from a broken heart because nobody appreciated his music. It's interesting. Now, I start to think watching this film, maybe Jeff and Nick were opposites, because maybe it was the fact that everybody loved Jeff's music so much that tormented him. Fame is the most dangerous drug there is. Berg: Exactly. And that is a great way to put it. Yeah, I think that had a lot to do with his inner voice that was constantly gnawing at him. Baltin: What were some of the things that surprised you most about him? Berg: I learned a lot about him. I didn't know that much about him personally. And I think what surprised me was possibly how hard he was on himself about everything that was unresolved in his life. I think it makes sense when you consider how unresolved his relationship was with his father. That would make sense, and just how much remorse he had for his breakup with Rebecca, and the disagreements he had with his mother, how much that weighed on him. I think that probably surprised me a lot. The feelings that you experience when you listen to his songs after not hearing them for quite some time is so massive that I guess this was different because I was listening to it every day for many years. So, I look forward to having a break from it and coming back to it again because there is nothing like that feeling of just hearing 'Lover You Should've Come Over' after not hearing it for a couple of years. Baltin: I love the scene with his father's tribute concert and the way that was portrayed with the animation and everything. And I know several people who worked with him at Columbia and everyone had wonderful things to say. So that one scene where he was asked about his dad's music, and he's like next question, is so telling. Berg: I also want to say when you say things that surprised me about him, the other thing that I really spent time massaging this into the film and a few different scenes is the impulsiveness of his personality and his behavior was also something I didn't understand until I laid it into his life. It made his death make a lot more sense to me. He just was so impulsive that obviously the water looked so beautiful and there was no thought about the undercurrent or the dangerous aspects of jumping into the Wolf River. Baltin: That's such a complex thing. Do you feel like you have a better understanding of what happened with that? Because probably not even he knew what was happening at that time. Berg: No, but I've noticed since that a lot of the most empathetic artists that I've done some research on had similar behavioral traits of just thinking they were invincible and lacking impulse [control]. And I think that goes along with this empathetic persona. Baltin: Who are the artists you found to be similar? Berg: Chris Cornell, who he was very close with, would do somersaults downstairs and go from one balcony to another. And I've heard similar things about Kurt Cobain in terms of impulsive behavior. And other similarities, according to Andy Wallace, who produced Jeff's album, there were a lot of similar character traits that they had carried. Baltin: Chris said something so interesting to me once. He said that great frontmen don't come out of high school standouts or athletes or whatever, they come out of the outcasts. You have Jeff talking there about being bullied and I'm curious how that impacted him, because one of the things I found over the years is it is hard to make that adjustment from being the outcast to having everybody love you. Berg: Totally. And that there was a lot of evidence of that in his archive. Especially when he was featured in People magazine. He was obviously teased because he was little. He was slight. He was five-four and had very beautiful feminine delicate features. And one time, when his mom came to visit him, he was with Michael [Tighe], who was in the film, and they were walking back to his apartment, and he pulled Michael [in] and kissed him on the lips. And he said, "Look, mom, I can kiss a boy on the lips and nobody's going to make fun of me,' just trying to be fluid before that was a thing, I guess. Jeff initiated a lot of conversations about feminism and fluidity without having to say it, I loved all of that about him. We were in the midst of the Women's March when I first started making this film. That language was right in the forefront, and I was noticing so many similarities between Jeff's language and what the Women's March leaders were saying. He was 25 years earlier and already speaking in that way and it was beautiful. He had such an open mind. Baltin: Some people just feel like they don't fit in the world. I think sometimes people can be cursed with too much knowledge. Berg: Right, it's like Ben Harper saying that Jeff's feet didn't seem to be touching the ground and real life was scary in many ways to him. But I do believe he was trying to figure out how to have some balance at the end of his life. All the indications were there for that. Baltin: I'm not saying anything was intentional. Some people seem just too smart for the world. Berg: Right, but then there's also a theory that your 20s is for figuring that out and then in your 30s, you figure out how vulnerable you want to be, how exposed you want to be to the world. But there's so much beauty in his vulnerability.
New York Post
2 days ago
- New York Post
Kristin Davis reveals ‘Melrose Place' co-star wouldn't speak to her on set during filming
Kristin Davis revealed that one of her 'Melrose Place' co-stars gave her the cold shoulder during the time they worked together on the hit '90s prime-time soap drama. During a recent appearance on 'Hey Dude… The '90s Called!' podcast, the 60-year-old actress recalled that she 'felt like I won the lottery' when she landed the role of the villainous Brooke Armstrong in the third season of 'Melrose Place' from 1995 to 1996. However, the 'Sex and the City' star told hosts Christine Taylor and David Lascher 'there was never a moment of feeling confident' on the set of the Aaron Spelling-created series, and one cast member in particular was not very friendly to her. 'There were just so many, so many people [on set],' Davis said. 'And I felt and I have obviously seen all these people since then, and so many of them are so lovely. But at the time … it was competitive.' 'I had my friends within, like Marcia Cross and I were were close, which was wonderful,' she continued. 'But there was one, you know, she wouldn't speak to me. Like, she wouldn't speak to me. 'I never had scenes with her, so it wasn't an issue. But I say, like, 'Good morning,' [and she wouldn't respond].' Taylor noted she also had similar experiences with co-stars, especially during that 'period of time' in which she recalled actors were wary of 'anybody who could potentially threaten your job.' 4 Kristin Davis appeared as a guest on the 'Hey Dude… The '90s Called!' podcast. Hey Dude… The 90s Called! / YouTube 'We've all been on sets where we've had that experience where it was like, 'Oh, I don't think that they love that I'm here, but I'm only here for like a guest star [role] or whatever, right?'' she said. The 'Zoolander' star continued, 'And sometimes they weren't the nicest on certain sets and other times wonderful, but I feel like it was a period of time. And then, I guarantee you now, 30 years out of it everyone looks back and is like, 'Oh my God, what an idiot I was.'' Davis explained she had 'seen this person,' who she did not name, since that time. 'She's very nice to me now,' Davis said. 'And sometimes I'm like, 'Does she remember that she was being not that nice to me?'' 4 Davis did not identify the person who allegedly wouldn't speak to her on set. Hey Dude… The 90s Called! / YouTube Davis said she took the opposite approach when she starred on 'Sex and the City,' describing herself as the 'welcoming committee' when new actors joined the cast or made guest appearances. 'I tried to get out there quick and be like, 'Hi,' because I remember that horrible feeling,' Davis recalled. 'It was scary.' Despite her negative experience with one co-star, Davis shared that it was 'amazing' to be part of 'Melrose Place,' though she was disappointed that her stint on the show was short. 'Melrose was intimidating in, you know, so many ways, obviously,' Davis said. 'I mean, I grew up … watching all the 'Dallas' and 'Dynasty' and blah blah blah.' 4 Season 4 of 'Melrose Place' aired from 1995 to 1996. ©Paramount/Courtesy Everett Collection 'So, it meant a lot to me to be on there,' she added. 'Obviously, it was just a job also. Like, at a certain point, you're like, 'I have won the lottery. Like, I have a job. I cannot believe it.' 'You know, it's amazing, right, from a young actor perspective,' she added. 'And, I mean, as far as I know, I was gonna stay there. Like, I didn't know that I was only gonna be one season, which I believe was 32 episodes, which is insane to think about now.' Davis' character was killed off in the episode 'Devil in a Wet Dress' after she drowned in the Melrose Place pool after falling and hitting her head. During a February interview with People magazine, Davis revealed that she beat Hilary Swank for the role of Brooke in 'Melrose Place.' 'It was Hilary Swank, myself and a girl named Meredith,' Davis recalled of the final auditions for the part. Davis told the outlet she had been worried about her 'very, very long hair' at the time since the other actresses on the show had shorter hair. She recalled that she considered cutting her hair but decided against it. 4 Davis attends the 'And Just Like That ' season three photocall in Paris on May 29, 2025. Getty Images 'I remember going in, and it was just the three of us, and everyone was very nice,' Davis recalled. 'It wasn't one of those, like, scary rooms, and then you go in one at a time.. 'And I remember Hilary came out, and she seemed so young, and she had kind of shorter hair and kind of sporty. And I was like, 'Uh-oh,'' she continued. 'And then Meredith had longer hair also. I was like, 'Oh, good.'' Davis recalled that she and Meredith comforted Swank, who told them, 'I totally blew it,' after leaving the audition room. 'Obviously, she goes on to win two Oscars,' Davis said of Swank with a laugh. 'She did fine. She did fine.'
