Most Overused Songs In Movies

Summary

Podcast Summary: Pop Culture Happy Hour – "Most Overused Songs In Movies" (October 9, 2025)

Overview

In this lively and insightful episode, hosts Aisha Harris and Stephen Thompson dig into the phenomenon of songs that have become cinematic clichés due to overuse in movies. They nominate well-worn tracks for "retirement" and recommend fresh alternatives filmmakers should consider. The conversation is inspired by affection for the music and a desire to see more of the world's rich catalog explored on soundtracks. Their discussion is peppered with pop history, humor, and gentle nostalgia, all while keeping the tone light-hearted yet critical.

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Key Discussion Points & Insights

1. What Makes a Song "Overused"? (00:23–01:34)

• Aisha frames the chat: “There are some songs that are so overused in movies they become cliches. So we're rounding up a few. We’re nominating for retirement and suggesting a few worthy replacements.” (00:23)
• Criteria for “overuse” is subjective—a “you know it when you hear it” situation. Instrumental/classical tracks are excluded from this discussion.

2. Nominee #1: “Thunderstruck” by AC/DC (01:34–05:42)

• Stephen clarifies: “These are all great songs. …I’m talking about specifically retiring them from use as signifiers in movies.” (01:34)
• “Thunderstruck” is referenced as a near-ubiquitous cue for fight/action scenes, showing up in everything from Deadpool to Super Mario Bros. (Chris Pratt version), The Fall Guy, Varsity Blues, and more. (02:26–02:48)
• Aisha jokes: “There are so many.” (02:48)
• Stephen urges filmmakers to “explore the hard rock canon for other sounds, for other riffs… for other variations on ‘guys are about to fight.’” (02:49)

Replacement Recommendation

• Stephen proposes swapping out “Thunderstruck” for “I Get Wet” by Andrew WK:
  • “Every second of it is engineered for maximum rock and roll fury… There are three different songs on this album with the word party in the title… All of them would work brilliantly to achieve the exact kind of effect that you’re going for with a song like Thunderstruck.” (04:14)
• Aisha: “I can just envision chairs being thrown and people getting hit over the head. Maybe even a food fight at a cafeteria.” (05:23)

3. Nominee #2: “Feeling Good” by Nina Simone (05:44–12:23)

• Stephen recalls “Feeling Good” as a signature, but over-deployed, mood piece, highlighting Aisha’s essay on how its repetitive use flattens Simone’s complex legacy. (05:59–06:45)
• Aisha: “They always use the same part. It's the opening… you just get her voice, no accompaniment whatsoever, and she’s just gliding over the melody. And I'm feeling good.” (06:46–07:02)
  • Cited films include Cruella (2021), Perfect Days (2023), and A Quiet Place: Day One.
• The song is typically used to underscore a character’s epiphany or transformation, but its repetitive use has dulled its impact.

Replacement Recommendations

• Stephen provides two:
  1. Use other Nina Simone tracks—her catalog is deeper than “Feeling Good.”
  2. Bring in more Jimmy Scott: “You don’t hear a ton of Jimmy Scott’s voice in movies and on TV shows… He has this kind of amorphous quality to it. And it soared so beautifully. So 'When Did You Leave Heaven?' …has this kind of mysterious quality, but it's also just a very, very beautiful straight ahead love song.” (10:17)
  • Memorable aside: “David Lynch had some of the best taste in music imaginable. And he knew Jimmy Scott would evoke a certain mood.” (10:27)
• Aisha suggests Dinah Washington’s “What a Difference a Day Made” for a similar transformative, uplifting theme, emphasizing a desire for more women’s transcendent voices in cinema. (11:03–12:23)

4. Nominee #3: “Dreams” by The Cranberries (14:22–18:47)

• Stephen: “Having lived through the 90s, I can promise you there is a deep and rich mine of incredible music that does not get played in movies or on TV shows nearly as often as the song 'Dreams' by The Cranberries.” (14:28)
• The song is flagged for its endless use in films and trailers, including The Next Karate Kid, Boys on the Side, You've Got Mail, Madame Web, and covers like Liza Anne’s in the Aftersun trailer. (15:11–15:49)
• Aisha remembers her own encounter with the song in The Babysitter’s Club movie trailer.

Replacement Recommendation

• Stephen recommends “Noel, Jonah and Me” by The Spinanes:
  • “It's very 90s… that explosion of drums, those big, chunky, buzzy riffs, that voice that’s kind of floating over it all.” (17:57–18:31)
• Aisha responds: “This is very Reality Bites… very 90s. I’m seeing flannel, I’m seeing it all.” (17:52–18:47)
• Both hosts agree movies often lean on a handful of songs to signify nostalgia or mood rather than exploring deeper cuts.

5. Rapid-fire Additions: 60s War/Protest Songs (18:47–20:33)

• Stephen and Aisha discuss how certain songs for 1960s war/protest—especially “Fortunate Son” and “All Along the Watchtower”—have become so overused they’re nearly “parody.” (19:07–19:35)
• Quote: “You could just replace it with a voiceover that says ‘they were turbulent times.’” (Stephen, 20:03)
• Aisha jokes: “Have you ever watched a movie made by a male boomer? Then you’ve probably heard this song.” (20:12)
• Stephen’s tongue-in-cheek solution: “Never make another movie about the 1960s.” (20:33)

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Notable Quotes & Memorable Moments

• “These are all great songs. So when I say that they should be retired, I’m talking about specifically retiring them from use as signifiers in movies.” – Stephen (01:34)
• “It’s just become a signifier of like, this is an action movie. This is a movie in which buildings are gonna get knocked down and punches are gonna get thrown.” – Stephen on “Thunderstruck” (04:14)
• “You have all the music in the world to choose from. Don’t give me these signifiers of a mood that are clear shade shortcuts.” – Stephen (09:39)
• “It's like, have you ever watched a movie made by a male boomer? Then you've probably heard this song.” – Aisha, on “All Along the Watchtower” (20:12)
• “My foolproof plan for replacing these overused songs is to never make another movie about the 1960s.” – Stephen (20:33)
• “I feel like I've lived it [the 60s] over and over and over again since I was born.” – Stephen (20:46)

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Important Segment Timestamps

• 00:23 – Topic Introduction: Why do songs get so overused in film?
• 01:34 – #1 Nominee: “Thunderstruck” (AC/DC) – Discussion and replacement
• 05:44 – #2 Nominee: “Feeling Good” (Nina Simone) – Discussion and replacement
• 10:17 – Audio sample: Jimmy Scott, recommended alternative
• 12:23 – Aisha suggests Dinah Washington alternative
• 14:22 – #3 Nominee: “Dreams” (The Cranberries) – Discussion and replacement
• 17:52 – Audio sample: “Noel, Jonah and Me” by The Spinanes
• 18:47 – Rapid-fire round: “Fortunate Son,” “All Along the Watchtower”
• 20:33 – Stephen’s tongue-in-cheek solution: retire 60s movies entirely
• 21:18 – Closing thoughts and listener call-out

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Tone and Takeaways

The episode is playful yet purposeful, aiming not to shame the songs themselves, but to challenge lazy soundtrack choices. The hosts champion musical diversity, call for more thoughtful music supervision, and suggest listeners lobby for their own picks. The tone remains generous and affectionate to the songs and artists while nudging filmmakers to dig deeper—and more creatively—into the world’s music.

Aisha: “We love Feeling Good. I would just love to hear it when I want to hear it, and not when some filmmaker has decided to just drop it in at any moment.” (12:23)

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Suggested Alternatives (Summary Table)

| Overused Song | Noted For | Replacement Suggestion & Rationale | |------------------------------- |------------------------------------------- |---------------------------------------------------------| | “Thunderstruck” (AC/DC) | Fight/action/montage scenes | “I Get Wet” (Andrew WK) – equally amped, less overused | | “Feeling Good” (Nina Simone) | Transformation/epiphany moments | “When Did You Leave Heaven?” (Jimmy Scott) for mood, or “What a Difference a Day Made” (Dinah Washington) for a similar theme | | “Dreams” (The Cranberries) | 90s nostalgia, bittersweet/freedom moments | “Noel, Jonah and Me” (The Spinanes) – same era, fresher sound | | “All Along the Watchtower,” “Fortunate Son” | '60s protest/war, particularly Vietnam | "Just stop making movies about the 1960s" (jokingly) |

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For more musical variety in films, Stephen and Aisha challenge both creators and audiences not to settle for the same old standbys—and to push for more creative, diverse musical choices.

Transcript

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[Aisha Harris]

There are some songs that are so overused in movies they become cliches. So we're rounding up a few. We're nominating for retirement and suggesting a few worthy replacements. I'm Aisha Harris, and joining me today on NPR's Pop Culture Happy Hour is my co host, Stephen Thompson. Hello, friend.

[Stephen Thompson]

Hello, Aisha.

[Aisha Harris]

It is great to have you here. You are the perfect person to talk about this with. You know, obviously there's no real science to determining when a song has become overplayed, although I would argue perhaps you could go and look at a artist's IMDb page and get a gander at how many times certain songs have been used. Done that before. That's for sure in the past. But yeah, it's more of a you know it when you hear it situation. Everyone's mileage is going to vary. And we should also note that we had to narrow down our possibilities quite a bit because there are a lot of songs that are overused. That's just how it goes. So we deliberately left out instrumental and classical music. So don't come to us, you know, about Beethoven's Second or something. I don't know. For Elise. Whatever. Just. So, Steven, you're going to guide us through this. So give us the first song you think we should retire from the movies.

[Stephen Thompson]

Well, one caveat I want to open with before we even get started, before you get your emailing fingers ready to yell at me, these are all great songs. I specifically decided I'm going to pick three songs I love. It's not going to be me dumping on I hate Bryan Adams summer of 69. No, these are great songs. So when I say that they should be retired, I'm talking about specifically retiring them from use as signifiers in movies. They have been used again and again. They have turned up again and again in recent years. My first pick, a great song by ACDC from 1990's the Razor's Edge called Thunderstruck Thunder Struck.

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[Aisha Harris]

I remember this. I remember this song.

[Stephen Thompson]

You can imagine Deadpool punching a guy to this song. It was used in the Super Mario Brothers movie, the Chris Pratt one, not the Bob Hoskins one. It was used in the Fall Guy. It was in movies dating back as far as like Varsity Blues, this song, and particularly that Dun dun. Like there are Other riffs.

[Aisha Harris]

So many.

[Stephen Thompson]

There are other bands. AC DC has other songs. And of course, there are other AC DC songs that are also overused in movies. But what I'm suggesting is simply explore the hard rock canon for other sounds, for other riffs, for other styles, for other variations on Guys are about to fight.

[Aisha Harris]

I love it. I love it. So what would you replace it with? Because, you know, you've already mentioned that ACDC has a lot of other songs. So I'm guessing we're going with a different artist here.

[Stephen Thompson]

Yeah, I'm not just gonna suggest a different ACDC song. Anyone interested in plumbing the depths of the ACDC catalog has the means and the will to do. I am going to suggest to my mind the album that I go to whenever I want to be pumped up. I thankfully don't get in a lot of fights, but if I did to get pumped up for them, I would listen to the album and the song I Get Wet by Andrew wk.

[Aisha Harris]

It's like a song that I both feel like I've heard before, but haven't. And I don't know. But I like it. It's cool. It gets you pumped. It gets you going.

[Stephen Thompson]

This is running through a brick wall music. Every second of it is engineered for maximum rock and roll fury. There are three different songs on this album with the word party in the title. There's party til you puke, it's time to party and party hard. And all three of them are. All of them would work brilliantly to achieve the exact kind of effect that you're going for with a song like Thunderstruck, which is like, big guitars, big action's gonna happen, you're gonna have a good time. Which is what Thunderstruck has sort of become. It's just become a signifier of like, this is an action movie. This is a movie in which buildings are gonna get knocked down and punches are gonna get thrown. And this Andrew W.K. record, which came out in 2001, it's not that it's an obscurity. It definitely has its devotees. I'm far from the only one. But I think it has been underutilized in this particular realm. I'm sure somebody can point to, you know, the occasional movie or commercial here and there. He definitely has appeared on soundtracks and commercials and stuff before. Just nowhere near to the degree of an acdc.

[Aisha Harris]

I can just envision chairs being thrown and people getting hit over the head. Maybe even a food fight at a cafeteria. I don't know. There's a lot of uses so thank you for that, Stephen. That's I Get Wet by Andrew WK and replace this instead of Thunderstruck by AC dc. We just want some variety here, right?

[Stephen Thompson]

That's right.

[Aisha Harris]

Yes, yes, yes.

[Stephen Thompson]

That's my one plea.

[Aisha Harris]

Okay, so the next song on your list is actually the first song that I thought of when we were talking about doing this. And I have many thoughts about. But tell me, what is the second song you think is way too overused in movies?

[Stephen Thompson]

I absolutely love Nina Simone. My daughter's middle name is Simone because of Nina Simone. I love her dearly. And in 1965, released a version of Feeling Good, a classic standard it has become, over time, possibly her signature song, which. Aisha, I have read an essay that you have written that makes a very good and very 100% right case. That that represents kind of an extreme flattening out of who Nina Simone was and what she stood for, what she sang about, what she represented. If you were to sum up Nina Simone's view of the world, it would not be represented by the song Feeling Good.

[Aisha Harris]

No, not at all. Yeah, I did write an essay about this in the art journal scene. And the thing about this song is that they always use the same part. It's the opening. That's the signature part. It's a new dawn, It's a new.

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Day.

[Aisha Harris]

It's a new life for me. Yeah, It's a new dawn, It's a new day, It's a new life. You just get her voice, no accompaniment whatsoever, and she's just gliding over the melody. And I'm feeling good. And then the big. The band, it sounds like a marching band is coming in and strutting in. And I get why it's used so many times, but my goodness, it's been used now, especially in the last several years. It's like clockwork at this point.

[Stephen Thompson]

Yeah, it's in Cruella in 2021. It's a very pivotal scene in Perfect Days, the Vim Vendors film from 2023. It's in a very, very pivotal scene in a quiet place, Day one. It just gets rolled out constantly, not only in just turning up on these soundtracks, but turning up at key moments in films.

[Aisha Harris]

It's meant to be a song where usually a character is suddenly reaching an epiphany or the apex of their self actualization. It's a moment where they, for lack of a better word, they're feeling good. But I think it's notable that there's so many other songs that she has written that have a Lot more. Not to say that the song is not political, but that have so much more political bite and heft. Whether we're talking about her cover of Strange Fruit, even I Loves yous, Porgy.

[Stephen Thompson]

Oh, that one I truly could listen to every day for the rest of my life.

[Aisha Harris]

Yeah, but something about this song has now just become such a. I expect it. And it feels like it's kind of dulled down her impact and her cultural impact. I'm curious as to what you would replace this song with.

[Stephen Thompson]

The way that I approached this wasn't necessarily to try to find a song that thematically maps over feeling good so much as I come with two suggestions. One, unlike acdc, Nina Simone has a few other songs that turn up a lot in movie soundtracks, but she really has a deep and rich catalog. And I love Z. Porgy jumped immediately to my mind. You could easily just swap in a different Nina Simone song. But I also want to recommend another voice, another voice that I would love to hear more on movie soundtracks. One theme that I really want to get back to in this conversation as much as possible when we're talking about this issue is this phenomenon that has happened where the more songs there are in the world, the fewer of them we hear. Yes, this is happening all over the pop charts. This is happening on movie soundtracks. This is happening on radio stations. You listen to a classic rock radio station and it's formatted the way a pop station is formatted, where you get like 10 songs in high rotation. Like, there's so much music. You have all the music in the world to choose from. Don't give me these signifiers of a mood that are clear shade shortcuts. So the voice that I'm recommending here is that of the late, great Jimmy Scott.

[Aisha Harris]

Yes, yes, yes.

[Stephen Thompson]

When.

[Aisha Harris]

Did you leave heaven? Why did they let you go?

[Stephen Thompson]

You don't hear a ton of Jimmy Scott's voice in movies and on TV shows. You know, one filmmaker who got Jimmy Scott loved Jimmy Scott and occasionally used his music. David Lynch.

[Aisha Harris]

Oh, yes, you're right.

[Stephen Thompson]

Which should tell you David lynch had some of the best taste in music imaginable. And he knew Jimmy Scott would evoke a certain mood. Jimmy Scott, as a kid, he was diagnosed with Kallman syndrome, which prevented him from experiencing kind of traditional puberty. His voice never changed. So his voice has kind of this amorphous quality to it. And it soared so beautifully. So when did you'd leave heaven? It has this kind of mysterious quality, but it's also just a very, very beautiful Straight ahead. Love Song.

[Aisha Harris]

I love that kind of out of left field pick because you're right, he is not someone who is remembered in the same way that other contemporaries of his era have been. That's a great, great choice. I love it. Steven. I will offer my choice. I tried to. When I was thinking about it, I was like, I kind of feel as though I want something that's a little bit more thematically in sync with Feeling Good if we're trying to replace it. Since it is so often used in a literal context, it's usually meant to symbolize a character's transformation in some way. And so I would love to see a little bit more Dinah Washington specifically. What a Difference a Day Made. What a Difference a day made. 24 little hours. There's just something beautiful about that song. It kind of has a similar theme where it's like things have gotten better or things are different or like she's describing the beauty of the world in the same way that like Feeling Good kind of does the same thing. And her voice is again, another oh my God. Iconic, transcendent voice. And I think that's what people are really mining here, right? It's their voices. When we're talking about Nina and Jimmy Scott and someone like Diana Washington or.

[Stephen Thompson]

A little more recently, somebody like Roberta Flack.

[Aisha Harris]

Yes, yes. Oh, first time ever I saw your face like something like that. Yeah, yeah. We love Feeling Good. I would just love to hear it when I want to hear it and not when some filmmaker has decided to just drop it in at any moment. Well, coming up, we've got a few more overused songs we're going to talk about, so stick around.

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[Aisha Harris]

All right. Welcome back, Stephen. What is your next pick for most overused song?

[Stephen Thompson]

Well, I've said it before, I'll say it again. The more songs there are, the fewer we hear. And having lived through the 90s, I can promise you that there is a deep and rich mine of incredible music that does not get played in movies or on TV shows nearly as often as the song Dreams by the Cranberries.

[Aisha Harris]

Ah, yes, this is in the trailer for a Babysitter's Club movie. I remember that's where I first heard this song. I have so many, so many memories.

[Stephen Thompson]

What is remarkable about the list of movies that this song has appeared in? Dreams by the Cranberries has been surging for more than 30 years. It is in the next Karate Kid. It is in Boys on the side. It is in youn've Got Mail. That is just a handful of the movies it appeared in in the 1990s. For some reason, filmmakers just didn't burn out on this. So the way they've gotten burned out on some of what you think of as these classic movie montage songs like Taking Care of Business or Bad to the Bone or whatever, where it's like these days, if you heard Taking Care of Business or Bad to the Bone in a movie, you would assume that it was parody.

[Aisha Harris]

Oh my God, yes.

[Stephen Thompson]

Yet dreams that popped up in Madame Web, of course, no less a classic than Madame Web. It also pops up in trailers a lot. Liza Ann, terrific singer, songwriter, has a cover of Dreams that's in the trailer for After Sun. So, like, you'll also just pick up these reverberations in the form of covers, you know, slowed down versions, you know, all these different ways that songs get endlessly redeployed. Look, I love the Cranberries. I love Dreams by the Cranberries. I love Zombie by the Cranberries. I love Linger by the Cranberries. The Cranberries are great and they definitely are emblematic of a lot of 90s music, you know, and so they're Evocative of a certain time and place. They're used extremely well in the show Derry Girls. Like, there is a time and a place for the Cranberries music, but this song has reached a point of saturation where you start to roll your eyes when you encounter it, and that's not what you're supposed to do.

[Aisha Harris]

All right, well, it sounds like we don't want dreams right now.

[Stephen Thompson]

Not right now.

[Aisha Harris]

So what should we be replacing it with?

[Stephen Thompson]

Oh, man. I really could have replaced this song with a playlist of just, like, favorite songs of the 90s that sound like the 90s. If you're trying to evoke that kind of 90s vibe, but that are not mass overexposed. So I'm going to pick one of my favorite bands of the 90s, a band that has not gotten nearly enough love and attention kind of beyond an initial rush of critical acclaim and college radio airplay. A band called the Spinanes. Do you know them?

[Aisha Harris]

No, I do not.

[Stephen Thompson]

The Spinanes put out several phenomenal records. Lead singer Rebecca Gates, who is also just one of the best guitarists of the 90s. Check out the interplay of drums and guitars from the song Noelle, Jonah and Me.

[Aisha Harris]

This is very Reality bites. Yes. Very 90s. Very 90s.

[Stephen Thompson]

It's very 90s. You could absolutely drop that song into any number of just, like, killer 90s soundtracks. Just that explosion of drums, those big, chunky, buzzy riffs, that voice that's kind of floating over it all. It's a very 90s sound. You know, the Spinanes were of the 90s, but also a fan of music who has just heard the kind of endless echoes and reverberations of the 90s will immediately tap into that song as just a phenomenal piece of rock songwriting.

[Aisha Harris]

Yeah, I dig it. And I think it's perfect for evoking that feeling. I said Reality Bites, but also, like, I'm. I'm getting every. Every night I'm seeing flannel, I'm seeing it all. It is. I think that's a great choice. I'm into it.

[Stephen Thompson]

We love the 90s. They produced so much good music. Beyond the, like, nine songs that get.

[Aisha Harris]

Played on retro radio, I'm sure listeners are gonna be like, but what about this song? Are there any other songs that you wanna run off quickly that we're just, like, we're tired of? I feel as though we've kind of. We've gotten the 60s a little bit, but have we gotten the 60s?

[Stephen Thompson]

Yeah. I think I know where you're going. With this. And I posted a call out on Blue sky, kind of just like, hit me with your suggestions. Just like, let me make sure I'm not forgetting anything. And several people very rightfully brought up songs like Fortunate Son, all along the Watchtower, both the Bob Dylan and Jimi Hendrix versions, any sort of song that gets used anytime you are trying to evoke unrest, war, protest in the 60s.

[Aisha Harris]

Vietnam.

[Stephen Thompson]

Vietnam for sure. Sure. My friend Mark Hirsch popped up on Blue sky and was like, vietnam needs a new soundtrack. In case you are somehow unfamiliar with this sound, let's hear a little bit of the Jimi Hendrix all along the Watchtower.

[Aisha Harris]

There must be some kind of way out of here.

[Stephen Thompson]

It kills me. That's such an amazing, great song and yet you could just replace it with a voiceover that says they were turbulent times.

[Aisha Harris]

It's like, have you ever watched a movie made by a male boomer? Then you've probably heard this song.

[Stephen Thompson]

Well, and that's why, like, rather than trying to throw up, another suggestion, my suggestion, my foolproof plan for replacing these overused songs is to never make another movie about the 1960s.

[Aisha Harris]

Done. I'm sold.

[Stephen Thompson]

Cut.

[Aisha Harris]

Print. What a time. What a time that neither of us lived through, but we feel as though we have.

[Stephen Thompson]

I feel like I've lived it over and over and over again since I was born.

[Aisha Harris]

Yes. Well, we want to know what you think is the most overused song in movies. We know that there are plenty of people who have a lot of opinions about this, just as we did. Find us on facebook.com pchhh and that brings us to the end of our show. Stephen Thompson, thanks so much for being here and bringing us these replacement songs. Thank you. Thank you, thank you, thank you. Yeah, I hope some filmmakers are listening and hopefully they can afford some different songs.

[Stephen Thompson]

My suggestions are much cheaper.

[Aisha Harris]

Yes. Yes, they are. I hope so. This episode was produced by Liz Metzger, Hafsa Fathoma and Mike Kassif, and edited by our showrunner, Jennifer Jessica Reedy. Hello. Come in. Provides our theme music. And thanks for listening to Pop Culture Happy Hour from npr. I'm Aisha Harris. We'll see you all next time.

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