Every evening I sit with Mrs F to watch something on the tellybox, and comb our long-haired tortoiseshell cat, before we climb the steps to bedfordshire. Usually it involves someone who has a blue light in or on their vehicle. Usually they blur into one for me. Often I nod off before the end.
Currently we’re watching Superman and Lois on the iPlayer, where the titular couple live on the Kent family farm outside Metropolis with their two teeange boys, one of whom has inherited superpowers from his father, and the other has changed body and voice entirely between series 2 and 3, but neither parents or twin sibling appear to have noticed.
Anyhow, at the world’s most boring school Prom, one parent (the town fireman) hit the dancefloor to get the party started to… The Jesus and Mary Chain’s Head On. Eh?
I don’t know what a “woke ceiling” is, or what “weird alphabet ppl” are.
Well, there’s a thing! Quite cheered me up, that has…
Me too!
I remember watching Birds of a Feather. Pauline Quirke, realising she is alone in the house, cranks up the radio to 11. She dances around the kitchen to Depeche Mode. I didn’t know whether to laugh or cry.
Laughing at or near Birds of a Feather would be a first. I hope you cried.
I cried, yes, I’m pretty sure I must have cried.
Arkwright in Open All Hours experiences Iron Maiden.
I knew Lena Dunham was hip. But to hear Robyn’s masterpiece, Dancing on my own, in Girls was quite a surprise.
It would have been a fantastic scene with any song , but this was a perfect choice.
It must have done wonders for Robyn’s popularity in the US too.
Didn’t Rick Parfitt and Francis Rossi of Ver Migh’y Quo once pop into the Kabin on Coronation Street to buy a packet of No 6?
Hearing the futuristic (for 1981) sounds of Jean Michel Jarre’s Oxygene soundtracking the WW1 tragic/epic Gallipoli was a bit Jarre-ing to say the least. What were they thinking?
I’ve been googling and you are not the only one to be distressed by Peter Weir’s very anachronistic soundtrack for Gallipoli.
This wiki page provides a little background on the film which was a very expensive blockbuster and dealt with a subject dear to the heart of many Australians.
https://en.wikipedia.org/wiki/Gallipoli_(1981_film)
By this point, Weir was a very esteemed figure in the cinema world and could make the choices he wanted. I can only repeat your question: why did he do this??
Sometimes anachronistic music works brilliantly. The final scene of of my recent favourite, C’é ancora domani (There’s always tomorrow), is a great example of that.
No spoilers! You’ll have to go and see it!
Interesting that it was released in the same year (1981) as Chariots of Fire that featured comparable electronic music from Vangelis. I guess that synth music was in vogue, being a time of Kraftwerk, Human League OMD etc.
Ozark Mountain Daredevils were never electronic – quite the opposite!
(One of my favourite musical “dad jokes”. I feel obliged to drop it in at every opportunity – probably not even once a year nowadays.)
Like it whenever I hear Wilco on a TV show or in a film. Means Jeff Tweedy is getting a few more royalties, probably doesn’t need it, but am sure it helps
Like in Better Call Saul, when Kim is listening to Stereolab while she is doing research (it’s an early deep cut track as well).
There’s a converse to this, which is “bloody hell, not again”. I remember being startled when the opening bars of Nick Cave’s Red Right Hand struck up in an episode of the X Files. It seemed jarring for the WTWRGH to occupy the same universe as Scully and Mulder. Fast forward a few years and Red Right Hand has been used so many times on so many shows you’d wonder why any filmmaker would still think it’s a go-to tune. But they still do.
I suppose a good example of the OP would be the first time you sat down to watch the latest prestige U.S. show (back when there was a lot less cross channel cultural exchange) and found yourself going “bloody hell – is that Alabama 3?”
Woke up this morning is a great, great song. Never tire of it. It’s the noises.
There’s an episode of the TV show Smallville called Slumber, in which Clark Kent experiences several dream sequences. The soundtrack to these is five songs by…REM.
I never paid much attention to the music on Gotham – kid Bruce Wayne, early Commish Gordon, younger versions of the traditional Batman villains.
Until I heard Peaches by The Guildford Stranglers.
Then I went back to check what had passed me by. https://www.youtube.com/playlist?list=PLMfU3OKs0Ke6QqYnBecLkS2x2vp1O30Z_
I offered up a silent apology.
That is an impressive list, Si. Whoever was doing the music knew what they were up to.
I’d never heard of Gotham. !00 episodes! It must have been popular.
We went to see Emma (2020) when at one point “Country Life” sung by The Watersons started to play. Fair made my day.