"Doesn't anybody fucking knock?!"*

Last week, the Onion A.V. Club, my go-to source for pop-culture insight and commentary, did one of their Inventory features: 15 Pop Songs Owned by Movie Scenes. As the name suggests, it’s a handful of pop songs not originally written for a movie with which the song has become inextricably linked in the collective consciousness. Follow the link to see theirs—along with some fun suggestions in the comments section. But first, check out mine and share yours below.

“Puttin’ on the Ritz” from Young Frankenstein bends the rules a bit since, while it is a pop song in the best sense of the word, it’s actually being performed by characters in the movie, not being played over the scene. Still, if the definition of “owning” the song is “scene that comes to mind when you hear the song,” then this is the reference standard, at least for me. Frankly, (or is it pronounced ‘fronkly?’) anyone who can hear "Puttin' on the Ritz" and not think of YF is clearly not of this earth. "Oooh-pah doo-pah!"

This one actually came to me out of the ether—before I had seen the OAVC feature: Nina Simone's "Sinnerman" from the latter-day Thomas Crown Affair. Probably a knock on the limits of my musical experience, but whatever. A great song that really elevates an okay movie.

Speaking of Pierce Brosnan...time will tell if it can claim permanent ownership, but the way The Matador uses “It’s Not Unusual” proves the old saying about possession being nine-tenths of the law.

The Isley Bros.’ "It's Your Thing" is currently in the possession of Out of Sight, especially the blue-filtered Detroit cruising montage. Even though it, along with the redoubtable Robert Forster, wasn’t enough to save the doomed “Karen Sisco” TV spin-off that used it as a theme song.

Risky Business is of course the sole and irrevocable holder of Bob Seger’s “Old-Time Rock and Roll.” But for me, personally (and maybe this betrays how musically sheltered I was at the time I saw it) the pure, libidinous, harmonica-and-guitar grind of Muddy Waters’ “Mannish Boy” will always bring to mind Joel’s “I concentrated on sales” montage. “You know what he said, afterwards? He said the lady had knowledge. And he was glad to get that knowledge. Because college girls can smell ignorance—like dog shit.”

I know I’m stuck in the ‘80s here, but I have to give credit to Reckless for introducing me to Romeo Void’s “Never Say Never.” For those scoring along at home in their lucky souvenir programs, this is also the movie that I came out of, smitten with the leggy blonde lead and, after trying to crib her identity from the one sheet, declared, “That Aidan Quinn is hot!” ‘Cause, seriously, who the hell names a girl Daryl? For that matter, who names a boy Aidan? Remember, these were the early ‘80s and I was still quite the naïf.

Finally, just for fun and under the heading of classical adaptations/appropriations version, I must include "Ode to Joy" (Beethoven's 9th) from Raising Arizona. Among classical tunes yodeled, whistled and rendered on banjo, it has no equal. “Or my name ain't Nathan Arizona!”

*This is of course the denouement line from the scene in Fast Times at Ridgemont High that proves the concept of song "ownership." At least if you're a heterosexual man. It's not the Cars’ “Moving in Stereo.” Oh, no. That song belongs 100% to sweet Phoebe.