All Star by Smash Mouth, obviously.
this post was submitted on 07 Jul 2024
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Darude - Sandstorm
One thing people might not realise, is that memorable old music can come and go. Until someone recorded a successful rendition in the 60's, Cannon in D had been forgotten for centuries. Now it's almost synonymous with wedding music, and seems completely timeless.
It's possible everyone will be crazy about 1919's El sombrero de tres picos in 2450, and (with this all being indistinct distant history) will picture us in 2024 playing it on boombox at a 2050's-style holo-orgy.
Tell me more about these 2050's Holo-Orgies
I think having a dance associated with the song is integral to the staying power of a song. The Twist, Hokey Pokey, Electric Slide, all great contenders.
But time will prove that the champion is The Macarena, by Los Del Rio.
Nutbush City Limits might have a chance then, we'll see whether Australian public schools are still teaching the dance in a couple of hundred years...
it's blur - song 2.
I heard it on an aired commercial the other day.
Bohemian Rhapsody
Amen Brother by The Winstons, more specifically the drum break on it. It's by far the most used sample of any song ever, and once you know of it you'll hear it everywhere kind of like the Wilhelm Scream in movies.
Fly me to the Moon - Frank Sinatra
Simple, yet very recognizable melody. Easy to whistle, but could also be extended to a whole orchestra with vocals.
Belgian techno anthem Pump Up the Jam by Technotronic is one for the ages. Some say it has always been with us.
Get your booty on the floor tonight, make my day
O Fortuna, Carmina Burana.
The poem was written in the medieval period, but finally set to music in 1935-1936. It still took till the 1970s to be used in TV/Film and became so widely used, it is now known as the most overused piece of music in film history.
Bella Ciao
You won't like the answer, but I'll tell you anyway.
It's The Macarena, by Los Del Rio.
Happy Birthday, Pop Goes the Weasel, Auld Lang Syne, Here Comes the Bride are obviously here to stay. Lots of Christmas music has potential as well: Jingle Bells, and POSSIBLY Feliz Navidad by JosΓ© Feliciano, as well as All I Want for Christmas is You by Mariah Carey.
But I also think Barbie Girl by Aqua has a decent chance of being practically universal. In that vein, maybe the Hampster Dance too, but idk. Dragostea Din Tei?
I think the real answer though is that most of the popular songs are probably ones that are connected to specific uses outside of the song itself. Pop Goes the Weasel is used in like, every pop-goes-the-weasel type toy, and even in movies when something scary is about to pop out at you. Happy Birthday is literally sung at every birthday. (That reminds me of For Heβs a Jolly Good Fellow as well.) Auld Lang Syne is a popular New Years song across the world at this point. Here Comes the Bride at every wedding, etc. Maybe National Anthems will also hold the test of time, depending on if the nation lasts long enough and doesnβt change its anthem.
The point is, if itβs a practical and traditional tune itβs more likely to last, I think.
Oh. I forgot Reveille which is the military wake-up call bugle song lmao
Dragostea Din Tei
I don't think that one outlasts the next couple decades. Yeah, it's fun and the lyrics are weird, but Romanian isn't all that widely spoken, so the vast majority of the world population cannot sing it.
IDK, i was obsessed with that song as a teenager and learned to enunciate the whole song without knowing what it said. but, i have 99 Luftballons on my personal playlist so maybe i just like catchy foreign songs lol
Oh, I totally get it, I loved it too. I just don't think it will stick in quite the same way when people don't have lyrics to attach to the song. Like, I can't play it at karaoke night.
Oh this is easy, but you may not thank me for it. Hum, whistle or sing, anyone near you will do the same after a minute or so. It's timeless and it even has it's own website
I give you Lipps Inc. - Funky Town
What? "Baby Shark" hasn't been mentioned here yet?
Define "today"? My first pick would be Yesterday, but that's about 60 years old already.
On the scale of Greensleeves, I would suggest Yesterday is today.
One of my favorite little details of Blood and Wine, Witcher 3, is random people humming or singing small refrains of modern pop songs like the Beatles, implying these tunes are exactly what you're asking about.
This made me wonder what the oldest tune that would still be familiar to a lot of people today would be. Dies Irae is a good candidate. It's around 800 years old and is probably best known today from the 1980 version of The Shining, although I know it best from the Dr. Tongue stages in Zombies Ate My Neighbors.
The leitmotif for Palpatine is (loosely) based on the Dies Irae. And, AMAZINGLY, that leitmotif shows up in the happy singing of children during the parade scene at the end of the Phantom Menace. Because John Williams is a fucking genius.
Based on what I hear playing, my money is on Mr. Brightside.
Gershwin's Summertime is my real answer. It has been covered by so many artists already, it might keep going.
Here Comes the Sun. Simple melody, timeless lyrics, and it's the most-streamed Beatles song out of an already strong and memorable catalog.
I hate that song, it makes me sad as fuck every time I hear it, and if I never heard that song again in my life itβd be a better one.
Why does it make you sad?
Something about it just ruins my mood. I think itβs linked to how my parents put that song over old home videos and as a kid I would watch them and just ball uncontrollably at the loss of such simpler times (when youβre a baby and donβt have to worry about shit, youβre just cared for and loved).
We Three Kings.
Look, this is objectively funny because it's the same exact tune.
7 nation army by the white stripes. It gets played after a goal is scored in football stadiums across the world.
We will rock you by Queen another contender for similar reasons.
As much as I want TiK ToK by Kesha to be a recognizable tune in half a millenia I know that's not happening. Personal Jesus by Depeche Mode is one of the most covered songs of the past 50 years so that very well may become immortalized through diffusion alone. There's a couple dozen jazz standards that could have that kind of staying power as well, especially considering their ubiquity in performance repitoires and books of sheet music.
Bored music teacher in 2200: "and here children, we find the most important contributions to late 20th centure music: a phonograph of Depeche Mode's Violator."
I can only hope, deep into the future, some dork leans toward his friend and mutters "101 was better."
Anyone who would say that would say Black Celebration instead.
I would've said Songs Of Faith And Devotion, but a short name made a better gag, and I could not bring myself to say Ultra.
And seriously, 101 fucking rules. It's an energetic best-of before they asked themselves what made them special and stripped back everything for the iconoclastic rose album everyone knows them for. Which is okay.
On reflection, far from sober, it is surprising the Deftones have never covered "In Your Room."
Funny. Seems like you see Violator as the start of a new era for them, and I see it as the end of the classic era. There are isolated songs I like after Violator, but no whole albums. (For reference, SoFaD was their newest album when I started listening, and I got it as the same time as Violator.)
Violator is a band asking themselves what they're about and finding a crystal clear answer. The result is deliberately transitional. In going to the extremes, in excising everything that is not strictly necessary, they built a framework for a sound that is distinctly their own, without being more of what they'd already done.
Songs Of Faith And Devotion is bombastic, but all its power is built on that same crisp restraint. Especially in the 90s - it would have been easy to be louder and busier just by adding a little distortion, a little fuzz, a little taste of metal or grunge. Instead they stuck with clean synths and tasteful reverb, but made them fucking hit. (By contrast, see Playing The Angel. Or don't.)
Ultra does the opposite trick, applying that sparse soundscape to more-general instrumentation. It kinda works. Exciter does a better job of it, but still stumbles on tracks like "Dead Of Night" and "Comatose." Good demos! How long until they're complete? Oh. ("Freelove" nearly makes up for all of it.)
Everything after that... look, I actually like Playing The Angel, but I'm the kind of mutant who sincerely argues that Violator was merely okay. And even I can't find any love for Delta Machine.
All their work leading up to Violator was much more organic than how they made Violator. Their masterpiece, in the sense of getting their shit together and being taken seriously, was Construction Time Again, with "Everything Counts" as a tentpole. Some Great Reward was Gore going 'oh we can get real weird with this, huh' and leaning way the hell into the kink and the darkness, god bless him. Black Celebration was the peak of that arc.
Music For The Masses never rises to quite the same level, but in that album you can see the transition forming. "Behind The Wheel" is probably the crescendo of their old sound. Y'know, synthpop where someone's credited for playing the trash can. And then immediately there's "To Have And To Hold," which is maybe one degree too loose for Violator. It is emblematic of the sound they wanted.
Chumbawumba Tubthumping.
Nah it got knocked down.
But it got up again!
I hate to break this to you, but its Chumbawamba, with an A not a second U. And it always has been.
My life has been a lie