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* Averted somewhat in ''[[American Graffiti]]''; while there are plenty of familiar hits like "Rock Around the Clock" or "Johnny B. Goode", you also get such relatively obscure rock and R&B singles as the Five Satins' "To the Aisle" or the Heartbeats' "A Thousand Miles Away". (Granted, that film ''was'' only a decade removed from the period it depicted...)
* Averted somewhat in ''[[American Graffiti]]''; while there are plenty of familiar hits like "Rock Around the Clock" or "Johnny B. Goode", you also get such relatively obscure rock and R&B singles as the Five Satins' "To the Aisle" or the Heartbeats' "A Thousand Miles Away". (Granted, that film ''was'' only a decade removed from the period it depicted...)
* There was an interview with the director of ''[[Let the Right One In]]'' where he mentioned that he made a conscious effort to avert this trope: although the film is set in the 80s, he didn't want it to be a nostalgic sort of film, so didn't use any period music. Instead, he took the novel approach of hiring a contemporary musician to write a song that ''sounded like'' it was from the 80s.
* There was an interview with the director of ''[[Let the Right One In]]'' where he mentioned that he made a conscious effort to avert this trope: although the film is set in the 80s, he didn't want it to be a nostalgic sort of film, so didn't use any period music. Instead, he took the novel approach of hiring a contemporary musician to write a song that ''sounded like'' it was from the 80s.
* ''[[Watchmen (Film)|Watchmen]]'' uses some famous period pieces to date its flashbacks; the way the music combines with the visuals ranges from acceptable to horribly Narmy. The use of ''Ride of the Valkyries,'' in particular, is cited as [[Apocalypse Now|an awkward period film reference]]. On the other hand, the opening credits, a photo-montage of the in-universe history of superheroes, is set to "[[Bob Dylan|The Times They Are A-Changin']]", and is nothing short of ''brilliant''. As it is, one song, "All Along the Watchtower" (which is used in a scene set in 1985, by the way), certainly belongs in the film as it is the one song in the film that was used a end of chapter quote in the original [[Limited Series]].
* ''[[Watchmen (film)|Watchmen]]'' uses some famous period pieces to date its flashbacks; the way the music combines with the visuals ranges from acceptable to horribly Narmy. The use of ''Ride of the Valkyries,'' in particular, is cited as [[Apocalypse Now|an awkward period film reference]]. On the other hand, the opening credits, a photo-montage of the in-universe history of superheroes, is set to "[[Bob Dylan|The Times They Are A-Changin']]", and is nothing short of ''brilliant''. As it is, one song, "All Along the Watchtower" (which is used in a scene set in 1985, by the way), certainly belongs in the film as it is the one song in the film that was used a end of chapter quote in the original [[Limited Series]].
** However, ''Ride of the Valkyries'' is a Romantic work from the nineteenth century. So unless you take the ''[[Apocalypse Now]]'' connection into account, it's an aversion of the trope.
** However, ''Ride of the Valkyries'' is a Romantic work from the nineteenth century. So unless you take the ''[[Apocalypse Now]]'' connection into account, it's an aversion of the trope.
*** Also, the song had a specific significance in the original comic. This significance had absolutely nothing to do with the scene it was used for in the movie. Also, the comic had several Bob Dylan lyrical quotes in it.
*** Also, the song had a specific significance in the original comic. This significance had absolutely nothing to do with the scene it was used for in the movie. Also, the comic had several Bob Dylan lyrical quotes in it.
**** It was also referencing the original version by Bob Dylan (as being in print it was more concerned with the lyrics than music). The film chose to use the more popular cover by Jimi Hendricks.
**** It was also referencing the original version by Bob Dylan (as being in print it was more concerned with the lyrics than music). The film chose to use the more popular cover by Jimi Hendricks.
* [[John Waters]] averts the trope in the soundtracks to his historical epics ''[[Hairspray]]'' and ''[[Cry-Baby (Film)|Cry-Baby]]''. John Waters' passion is trolling record stores, collecting obscure regional hits from that time period. Those were from the days when a start-up band could drop a recording to the local radio deejay and make it big. Waters actually released a multi-disc CD collection of some of his favorites he found on his record store journeys. He even mentions in interviews most of his 50s-60s era movies were a love letter to that period in the music industry's history.
* [[John Waters]] averts the trope in the soundtracks to his historical epics ''[[Hairspray]]'' and ''[[Cry-Baby]]''. John Waters' passion is trolling record stores, collecting obscure regional hits from that time period. Those were from the days when a start-up band could drop a recording to the local radio deejay and make it big. Waters actually released a multi-disc CD collection of some of his favorites he found on his record store journeys. He even mentions in interviews most of his 50s-60s era movies were a love letter to that period in the music industry's history.
* Played straight [http://us.imdb.com/title/tt0352520/goofs several times] in ''The Life and Death of [[Peter Sellers]]'', namely the sequences set in the 1960s and '70s...as noted at the link, they are anachronisms in relation to the events depicted. One not mentioned anymore at IMDb is the use of The Clash's "Should I Stay or Should I Go", from 1982, in a scene that cannot be set any later than early Janurary 1979 because Peter is preparing to film ''[[Being There]]''. (Not to mention Peter ''died'' in 1980.)
* Played straight [http://us.imdb.com/title/tt0352520/goofs several times] in ''The Life and Death of [[Peter Sellers]]'', namely the sequences set in the 1960s and '70s...as noted at the link, they are anachronisms in relation to the events depicted. One not mentioned anymore at IMDb is the use of The Clash's "Should I Stay or Should I Go", from 1982, in a scene that cannot be set any later than early Janurary 1979 because Peter is preparing to film ''[[Being There]]''. (Not to mention Peter ''died'' in 1980.)
* ''[[Dazed and Confused]]'' both plays it straight and averts it. Most of the tracks featured in the music-heavy film are fairly iconic of 70s rock and well-known today, but several were fairly obscure genre or regional (Southern American) hits.
* ''[[Dazed and Confused]]'' both plays it straight and averts it. Most of the tracks featured in the music-heavy film are fairly iconic of 70s rock and well-known today, but several were fairly obscure genre or regional (Southern American) hits.
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* ''[[The Wackness]]'', set in 1994, largely averts this with a soundtrack of mostly obscure hip-hop songs, rather than a pure [[Grunge]] soundtrack one would associate with the era. However, it is ''somewhat'' anachronistic, as some of the tracks were not released until after the time period the film is set in.
* ''[[The Wackness]]'', set in 1994, largely averts this with a soundtrack of mostly obscure hip-hop songs, rather than a pure [[Grunge]] soundtrack one would associate with the era. However, it is ''somewhat'' anachronistic, as some of the tracks were not released until after the time period the film is set in.
* A somewhat odd example happens in ''[[The Wackness]]'' and ''Hardball'' (that Keanu Reeves baseball flick) Where [[Biggie Smalls]] is constantly played. Averted in both as the main character in ''[[The Wackness]]'' constantly carries a walkman with him. And in Reeves in ''Hardball'' requests it at a bar.
* A somewhat odd example happens in ''[[The Wackness]]'' and ''Hardball'' (that Keanu Reeves baseball flick) Where [[Biggie Smalls]] is constantly played. Averted in both as the main character in ''[[The Wackness]]'' constantly carries a walkman with him. And in Reeves in ''Hardball'' requests it at a bar.
* Semi-averted in ''[[The House of the Devil (Film)|The House of the Devil]]'', which isn't set in the early 80's so much as [[Retraux|it is specifically designed to look and feel like it was originally filmed during that period]]. Three 80's singles are listened to by characters. "One Thing Leads To Another" by The Fixx is well-remembered enough to show up on many 80's hits compilations. On the other hand, "One Of Our Submarines" by Thomas Dolby and "The Breakup Song (They Don't Write 'Em)" by The Greg Kihn Band are a bit more obscure. All three of these songs were released within a few years of each other and would place the film around 1983 or so. And then the soundtrack also uses much more recent music by Gods Of Fire, which is just influenced by 80's metal enough to not stick out too much.
* Semi-averted in ''[[The House of the Devil]]'', which isn't set in the early 80's so much as [[Retraux|it is specifically designed to look and feel like it was originally filmed during that period]]. Three 80's singles are listened to by characters. "One Thing Leads To Another" by The Fixx is well-remembered enough to show up on many 80's hits compilations. On the other hand, "One Of Our Submarines" by Thomas Dolby and "The Breakup Song (They Don't Write 'Em)" by The Greg Kihn Band are a bit more obscure. All three of these songs were released within a few years of each other and would place the film around 1983 or so. And then the soundtrack also uses much more recent music by Gods Of Fire, which is just influenced by 80's metal enough to not stick out too much.
* ''[[The Wood]]'' has 80's rap and R&B hits during the flashbacks to 1986.
* ''[[The Wood]]'' has 80's rap and R&B hits during the flashbacks to 1986.
* ''[[Let Me In]]'' (the American remake of ''[[Let the Right One In]]''), set in 1983, indulges in this with songs by [[Culture Club]], [[David Bowie]] and [[Blue Oyster Cult (Music)|Blue Oyster Cult]] playing in the background.
* ''[[Let Me In]]'' (the American remake of ''[[Let the Right One In]]''), set in 1983, indulges in this with songs by [[Culture Club]], [[David Bowie]] and [[Blue Öyster Cult|Blue Oyster Cult]] playing in the background.
* [[Oliver Stone]]'s ''[[Born On the Fourth of July]]'' opens in the suburban community of Massapequa, New York, in the year 1956. The characters are attending a Fourth of July parade, and from one of the floats Bill Haley and the Comets' "Rock Around The Clock" can be clearly heard. [[The New Rock and Roll|Surprisingly]], no one among the families (with many children) lining the street seems to find this at all offensive (which is especially striking because [[Zig Zagging Trope|Stone later goes out of his way to show that these working-class suburbanites are extremely socially repressed]]).
* [[Oliver Stone]]'s ''[[Born On the Fourth of July]]'' opens in the suburban community of Massapequa, New York, in the year 1956. The characters are attending a Fourth of July parade, and from one of the floats Bill Haley and the Comets' "Rock Around The Clock" can be clearly heard. [[The New Rock and Roll|Surprisingly]], no one among the families (with many children) lining the street seems to find this at all offensive (which is especially striking because [[Zig-Zagging Trope|Stone later goes out of his way to show that these working-class suburbanites are extremely socially repressed]]).




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'''Sam''': Oh, God. [* everyone stares at him* ] ...''God'', I ''love'' Santana. }}
'''Sam''': Oh, God. [* everyone stares at him* ] ...''God'', I ''love'' Santana. }}
** The sequel, ''[[Ashes to Ashes]]'' has the characters driving the (then) very new- and presumably expensive- Audi Quattro. An icon of 80s nostalgia perhaps, but one suspects they would really have been driving something like a Ford Granada or Cortina, or possibly some 70s-derived model from British Leyland. Of course it happens in the characters' heads, so if that's how they remember the 70's/80's (as most people do), it's a [[Justified Trope]].
** The sequel, ''[[Ashes to Ashes]]'' has the characters driving the (then) very new- and presumably expensive- Audi Quattro. An icon of 80s nostalgia perhaps, but one suspects they would really have been driving something like a Ford Granada or Cortina, or possibly some 70s-derived model from British Leyland. Of course it happens in the characters' heads, so if that's how they remember the 70's/80's (as most people do), it's a [[Justified Trope]].
* ''[[Cold Case (TV)|Cold Case]]'''s [[Flash Back|flashbacks]] use only well-remembered hits to help define the feeling of the historical period. With period settings, this can skew toward the anachronistic, since they once used Glenn Miller's "String of Pearls", which Glenn Miller did not even compose until 1941, in an episode centered around the 1938 broadcast of ''The War of the Worlds''
* ''[[Cold Case]]'''s [[Flash Back|flashbacks]] use only well-remembered hits to help define the feeling of the historical period. With period settings, this can skew toward the anachronistic, since they once used Glenn Miller's "String of Pearls", which Glenn Miller did not even compose until 1941, in an episode centered around the 1938 broadcast of ''The War of the Worlds''
** Averted in one episode where plot-related and heard in-universe song was composed specially for show.
** Averted in one episode where plot-related and heard in-universe song was composed specially for show.
* Subverted (like so much else) in ''[[Mad Men]]'', which leans towards gooey big band and forgettable novelty songs of the late 50s: the few exceptions tend to be blatantly anachronistic, as with the use of [[Bob Dylan]] in the season 1 finale.
* Subverted (like so much else) in ''[[Mad Men]]'', which leans towards gooey big band and forgettable novelty songs of the late 50s: the few exceptions tend to be blatantly anachronistic, as with the use of [[Bob Dylan]] in the season 1 finale.
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== Video Games ==
== Video Games ==
* ''[[Bio Shock]]'' used a lot of famous music that people are likely to recognize as being from the 40's and 50's -- the game itself takes place in 1960. A lot of the songs ''were'' hits, like ''Papa Loves Mambo'' and ''La Mer'', but it's also possible that it's an aversion inasmuch as few people are likely to have heard many (or any) of these songs.
* ''[[Bioshock]]'' used a lot of famous music that people are likely to recognize as being from the 40's and 50's -- the game itself takes place in 1960. A lot of the songs ''were'' hits, like ''Papa Loves Mambo'' and ''La Mer'', but it's also possible that it's an aversion inasmuch as few people are likely to have heard many (or any) of these songs.
* The ''[[Fallout]]'' series is set in an alternate universe post-apocalyptic 1950s with many references to 50s culture, including a collection of period appropriate songs, most prominently featured in ''Fallout 3'' where the player can tune into Three Dog's radio show for some easy listening while wandering the Capital Wasteland.
* The ''[[Fallout]]'' series is set in an alternate universe post-apocalyptic 1950s with many references to 50s culture, including a collection of period appropriate songs, most prominently featured in ''Fallout 3'' where the player can tune into Three Dog's radio show for some easy listening while wandering the Capital Wasteland.
* Back during the [[Follow the Leader|"Introspective Vietnam FPS"]] craze, many companies invoked this trope. Seeing as how a great deal of developers probably weren't born until the tail end of the war, it should be easy to see why they wouldn't think of adding in stuff that wasn't easily available on a Greatest Hits compilation.
* Back during the [[Follow the Leader|"Introspective Vietnam FPS"]] craze, many companies invoked this trope. Seeing as how a great deal of developers probably weren't born until the tail end of the war, it should be easy to see why they wouldn't think of adding in stuff that wasn't easily available on a Greatest Hits compilation.
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* The soundtracks of ''[[Grand Theft Auto]]: [[Grand Theft Auto Vice City|Vice City]]'', ''[[Grand Theft Auto San Andreas|San Andreas]]'' and ''[[Grand Theft Auto Vice City Stories|Vice City Stories]]'' are all heavily stacked with hits from [[The Eighties]] (in the case of the former and the latter) and the [[The Nineties|early '90s]] (in the case of ''San Andreas'').
* The soundtracks of ''[[Grand Theft Auto]]: [[Grand Theft Auto Vice City|Vice City]]'', ''[[Grand Theft Auto San Andreas|San Andreas]]'' and ''[[Grand Theft Auto Vice City Stories|Vice City Stories]]'' are all heavily stacked with hits from [[The Eighties]] (in the case of the former and the latter) and the [[The Nineties|early '90s]] (in the case of ''San Andreas'').
** Averted with several songs, which may sound and feel like the 80's/90's, but are not necessarily widely remembered hits, many being acts that are majorly unknown for people who didn't live in that time period.
** Averted with several songs, which may sound and feel like the 80's/90's, but are not necessarily widely remembered hits, many being acts that are majorly unknown for people who didn't live in that time period.
* Averted with the game version of ''[[The Warriors (Video Game)|The Warriors]]'', which in addition to the songs from the movie itself (which are themselves quite obscure to most post-Seventies audiences, with the exception of the cover of "Nowhere to Run") also has catchy - but not well-remembered - disco and pop songs that were only minor hits at the time the narrative is taking place (1978-1979). The list of artists includes Mandrill, Love Deluxe, Vivian Vee, and others whom only diehard fans of Seventies music will ever even have heard of. There's even a slightly anachronistic punk song on the soundtrack that is actually from the early Eighties, but ''sounds'' like it could be from the Seventies.
* Averted with the game version of ''[[The Warriors (video game)|The Warriors]]'', which in addition to the songs from the movie itself (which are themselves quite obscure to most post-Seventies audiences, with the exception of the cover of "Nowhere to Run") also has catchy - but not well-remembered - disco and pop songs that were only minor hits at the time the narrative is taking place (1978-1979). The list of artists includes Mandrill, Love Deluxe, Vivian Vee, and others whom only diehard fans of Seventies music will ever even have heard of. There's even a slightly anachronistic punk song on the soundtrack that is actually from the early Eighties, but ''sounds'' like it could be from the Seventies.




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