ROXY MUSIC'S S/T & THE BR/Y/I/ANS


Sleepy, magical smooth boys do some drugs and pretend the faery realm in Midsummer's Night Dream has opened up in the prep school courtyard and there are beautiful nymphettes in blue jeans and mermaid smoky eyes frolicking in the midnight moonlight. What to accompany these well-bred but artistically inclined adolescent imaginations but a seventies British rock band with heavy bass/beats accompanied by forest flutes or Baroque-meets-Brooklyn pianos and washes of weird synthesizer tinkerings?? (It's not a stoner metal band or a no wave outfit, that's for sure). Wrap it up in cellophane, call it a party band for daydream daughters in dayglo dresses and sensitively inclined decadent dandies. The thorough breds who like to dance, make out, do ecstasy and make out some more listen to Roxy Music.


 

As it is known, Roxy Music began with two major team players: 


Bryan Ferry, sultry art school poster boy turned glam rock crooner, a prince of poetic pompousity.

 
Brian Eno, underdog brilliant brainiac with his sound pulses who expanded dreamscape horizons.



Bryan Ferry sang of women as goddesses, the passionate tragedies of heartbreak. His sensitive appreciations resulted in pussy galore, a marriage to model Jerry Hall and record covers continuously featuring hot babes throughout Roxy Music's ten year career (1972 to 1982). Brian Eno was Ferry's right hand man, he who played weirdo scientist (and inadvertently got pussy anyway) laid the groundwork for Roxy Music's dreamy atmospheric glam. Roxy Music stood apart from space soldier David Bowie and soda-pop throwback Gary Glitter being a much more romantic stream of sound. Something about them was more inclined to flutes and elves and sleazy rock'n'roll saxophones but with Oscar Wilde precision. The first Roxy Music record (self titled) is a masterpiece, probably the height of Roxy Music's greatness due to the intense musical connection of Bryan and Brian"Virginia Plain" is the dance-all guru of '70s glam rock, revived and popularized probably by "New Queer Cinema" Todd Hayne's flick, Velvet Goldmine (1998). I was listening to a ton of Marc Bolan at that time in high school and the movie, though cheesy as it is, was inspirational to my wardrobe and my record collection. And, above anything else, the movie specifically turned me onto Roxy Music and Brian Eno.


Velvet Goldmine is a fictional account of David Bowie's early career (titled after his song), but no permissions were given to use his music and the next best bets were rounded up (including Lou Reed's "Satellite of Love"The Stooges, my beloved T. Rex, and some covers and originals with the help of Shudder to Think, Placebo, Teenage Fanclub and others). 4 songs were borrowed from Roxy Music's self-titled ("Ladytron" and "2HB" were covered by Radiohead's Thom Yorke) as well as "Bittersweet" from the Country Life album. The soundtrack also feature two songs from Eno's first solo album 1974's Here Come the Warm Jets. A cover of the iconic iconoclastic "Baby's On Fire" played during a scene where characters played by Jonathan Myers and Ewan McGregor homoerotically flirted while performing during a concert cutting to scenes of Christian Bale's teen character jacking off in his bedroom to pictures of his favorite boy rock stars. Eno's "Needle in the Camel's Eye" was also used. It was a happy accident that Bowie was appalled by the script and Roxy Music concentrated the soundtrack instead because it revived Bryan Ferry and Brian Eno for a new generation of American kids in the early 2000's.


After Roxy Music's 2nd record, For Your Pleasure (which lacked the luster of their first), Brian Eno quit and started his solo recordings of what might be considered avant garde electro-pop. 1974's Taking Tiger Mountain (By Strategy) is one of the best experimental pop records I've ever heard ranging from "Third Uncle"'s proto-goth-punk intensity to "The True Wheel"'s joyous primitive dance of robots. Management had wanted Bryan Ferry to be the focal point, and Eno was tired of only having his glove on his synthesizer the only part of him portrayed during filming. Eno clearly stood out as a character to be reckoned with both sonically and aesthetically. And though he told the Melody Maker in 1973 that he "really" like Ferry "in a funny way", there was some unspoken rivalry between the two:
“It was a typical clash of young male egos. What had happened was that because I was visually so bizarre looking, I got a lot of press attention. I made good photographs. That distorted the impression of where the creative leadership of the band was. It was definitely Bryan’s band.”

Eno knew he had his own vision and set out to conjure it into a reality with help from Robert Fripp and others. In the aftermath, it was clear that Bryan and Brian were moving in different directions though there were some B-side releases of Ferry's own electronic experimental music that similarly mirrored Eno's, perhaps showing his influence and like mindedness. Bryan and Brian both had studied various mediums of art before they entered into Roxy Music and such a similar background strengthened their bond as friends. Regardless, they looked at music as art in different ways. Bryan Ferry, the jet-set prince who had a knack for feathery element of antiquity in prose and instrumentation, was more theatrical and structured. Brian Eno looked at sound in terms of collages and at one point owned 31 tape recorders at a time. Whereas early Roxy Music had some elements of progressive rock, tastefully jamming out into crescendos of noise with direction (and not just for the sake of noise), having referenced Can as an influence, the direction Bryan Ferry took Roxy Music had no place for experimentation that wasn't palpable to the mainstream. This stood as their biggest creative difference.


Bryan Ferry soon found better standing ground in Roxy Music by embracing disco elements in the amazing dance jam "Love is the Drug" and creating a niche of make-out music with hits like "More Than This". The band retired the sequined jumpsuits for monochromatic greys, navy skinny ties and collared shirts and full-fledged themselves to pop music as the '80s approached. Later Roxy Music is certainly a huge influence on '80s pop having precursored the synthpop OMDs and smooth dude Duran Durans with infectious love songs. So Roxy Music remained on the charts, having more commercial success towards the END of their career and Ferry would be considered visible and successful during this time.


However, while Ferry & co. were going to TOTPs every year or so with a "hit song", Eno was producing a multitude of classic records by Talking Heads, Devo, U2, John Cale, and the badass No New York no-wave comp, developing his ambient works and spending time in Germany understudying in ways with various musical talents from the Krautrock crew and working with David Bowie on his trilogy. In many ways, due to Eno's progressive recording configurations and successful producing career, he was more successful than his ex-partner, Bryan Ferry. He might not have been as publicly present but Eno's behind-the-scenes work combined with his great discoveries with ambient progressive music made Eno, the musician and the man, more critically acclaimed.


Avalon (1982) was Roxy Music's last record and only to reach platinum. It is uncertain why the group stopped producing music when they were in their greatest ranks. The band never officially broke up but did end up touring again in 2001, of course without Eno, though Eno and Ferry would work together again on Bryan's solo record, Olympia (2010). Obviously Roxy Music had Bryan Ferry as the main songwriter and their career continued to thrive long after Eno left and it's hard to say if the certain magickal quality in the first record that can't be found anywhere else because of Eno's departure. I feel like the music critic who favors a Roxy Music album without Eno over their first is probably a Phil Collins fan. Eno is a whole other alien that makes early Roxy important. I don't want to say that Ferry by himself is just a pretty boy, but it does seem that some element of serious musical exploration was lost once Eno departed. And, as it would be, it did seem Ferry had been practicing those stares and moves in the mirror for far too long. He was a frontman, a pop hit maker, of course. And Brian Eno was the enigmatic engineer of sound and vision. Different stroked for different folks.
“Well, you know, Eno played on the first two albums but we did have a few albums after that and another eight years of our career. So it’s not just him and me, there are others, and we did get together again in 2001. We hadn’t played together in 18 years and we did a reunion tour. We played all round the world, it went incredibly well but it didn’t make me really want to go and record a group album again. It’s not that odd, though. Because it doesn’t seem natural to work with the same people for the whole of your life. I’ve worked with Brian in the studio a couple of times since and that was really refreshing, but I wouldn’t want to work with him for a long period of time. We get on very well when we’re alone, it’s when other people start coming in with expectations and saying, part of you is missing…”  - Bryan Ferry from The Telegraph

 LIFE OF BRI-YAN:  http://www.xlr8r.com/features/2010/11/life-bri-yan

WHAT'S YOUR VULTURE IDENTITY?


Don't look now. The Intellectual Nobility, the Sweet Shy Guy, the Cosmic Cutie, the Rock n Roll Cowboy, All-Them, are staring at so-and-so's tits, (round balls of fat, so mesmerizing!). Not one of them can honestly say that body parts aren’t some prominent equation in a stark heat ridden room. They who are hiding their ravenous eyes behind thick frames of glass, pretending to be above the simple mechanics of human reproduction… they find themselves much too advanced, looming above "trivial/trite" relevance. Brimming with pragmatic, progressive, proud profundity, though peering at one’s own thoughts objectively is out of the so-called question.


We used to talk about revolution, we used talk about "new" ideas, what it was to be "against the grain", though the metaphorical t-shirt we’re wearing is no more beyond basic pro-active fundamentals. And who actually uses their brains to tread off old ‘zine handbooks is uncertain (now turned into common culture, counterculture bought, easily accessible). Rowdy, pointless banter takes place of advancement. Irony, icons, buzzed out, blotted out. Mortals can dive from buildings with manifestos tattooed across their chests, rock bomb McDonald's windows, tell Henry Ford to fuck himself, beat each other to bloody pulps, yet still manage to ignore an important fact: their ability to harbor honesty AND loyalty in their human interactions has taken an MIA card, or maybe it was never a resident to begin with. You're shit, baby. You're just God's biology in action.


There’s no way to measure communication. Besides, no goldsmith is available to stamp them "sacred" with 14-carat, and we might object to the idea of assigning what is (and what is not) sanctuary. But I know about Fevering, that galvanic quest, and how it goes all awry, readily abandoned for "fun". The digital cocktail provides eyefuls of potentially dime-a-dozen attractiveness to accompany in the pursuit of faux happiness. How it is that everything transforms into vanity and hoodies (or, on the flipside, the huge attempts at shielding one's jugular from the vampire teeth of said coxcombs), I do not know. (Maybe it has an inkling to do with the fact that it would take too much effort, especially after 2 hours of fixing your hairdo and carbon copying octaves chords from records you spent too much money on, so on and so forth, to take on a horribly plebeian role like Substance).

"I've got a little black book names & numbers and faces forsook, lips puckered, I swear they never spoke, put your lips to my neck for a key to the action index, the secret sign that says your mine, call; i'll give you back your dime. Something coming from the stereo; hysteria, coming out of her stereo. Something stung me with malaria, hysteria is coming out of her stereo. Underneath the collar, is where it begins the wearer of the mark of the love of pain, beneath the sheets, under the covers, is where it all begins. Action - don't you want some action?"
N.O.U.'s "Hickey Underworld" has taken over! It became a truth, a wide victorious reality, in a matter of years. (Scratch that, it’s simply another all encompassing, historically consistent flaw of humanity.) Every crook of them pushes to be peeled of fabric. My head spins. "Oh, geez, I gotta keep remindin' myself that I have a girlfriend!" The boy with the nice hair and the handsome jaw line is mumbling temptations to himself. I smirk and push a little laugh through my teeth. But when my eyes meet the silvery mirror, I see that I, too, am marked! The round bruise on my delicate neck is the culprit of my worst fears; it tells me of contradictions I'd rather not hear. Some things we need to know, whether we want to know them or not. I wonder about the blueprints of this phenomenon, how the meat market REALLY works, where it comes from, and who is buying it. Amongst friends, there's chitter-chatter (like no tomorrow) on romantic scenario, boring stories of co-dependency, never forgetting that Electroclash had skyrocketed the many soliloquies of one-night stands and other detached caveman feces poured straight into my ears.


Our worlds, junked junkets of sexual static, emotional tactics - vulturism has no choice after all but to prevail. Might as well forget what hearts we have in these scrawny slaves of ribcages, who the hell needs 'em? Heartache makes for such colossal obstacles; at a point sufficiently futile effort and enough resulting vulnerability with the big "L" word will build up to an implosion point. Those heartaches will be convincing enough to not allow people Love. Being unarmed is certainly not an option, now is it? Most come from an all too familiar standpoint of Anti-Love, immensely guilty of the severe fear, anxiety and defense heartache has inflicted upon everyone I know. Even due to growth and comfort, very matures will still find themselves desperately searching for something more productive than the shitty aftermath of romantic tragedy, even if a safe replacement for love at best. I could relate. I dreamt of smashing bottles with a potentially platonic sidekick in an empty blackened parking lot. We would build our own foundation for a worth more sacred and stable than the "love" emo-politics defined, a plan that was never so lucky, considering. 



Most who've embraced the Anti-Love anthem had not forgotten sexual slavery; the plan crumbles and I become well aware that there is no freedom in choice. You have A) the physical replacement for Love (along with loneliness, comfort, boredom, etc.), extremely common, far more popular than just the work of solitary monsters. Even those with the best intentions roll on the floor, just like the void and biological suckers they sigh at, with people who seemed great candidates for their kid powered adventures. To at least carry on one-sided true blues for oneself seems better than void tableau, but when life lives as a passionate contradiction, chances are the urge to break stuff, or succumbing to violent sobbing instead, goes hog-wild.


Then comes B), sadly, the stooge tries defiance. (Defiance is another word for defense. Ignore is another word for abhor.) Starts off as “be your own”, ends up a frigid “fuck off”. How to Forgo the World When You Are Used To Its Company. In my adolescent case, the mane came off like sleet and other attempts to represent non-gender. The closest I came to (what would be) falling in love was with a boy whom no one had touched, who had no desire or need to touch. He, who spent his days and eves indoors, making brainwaves out of movie samples, a genius scientist of white noise, became more than mentor. I began a collection of toy robots, admiring their tin infrastructure and how they harbored absolutely no means for sentiment. No need for others to satisfy them, just a key to wind them up. I, too, could fuck shit up and be without external justification for my existence. Pursuits would keep me well grounded; significant others, a cliché. 



The statistics also propelled my stance as army of one: the chances that I would “hook up” with some adulterine predator posing as a fine purveyor of soft sensitivity, whom would throw empathy out on the table for me to gobble up like rare and precious enlightening hallucinogenics, were too high. Other frames of this portrait were challenging - late at night I had a recollection where I had come from, a womb, a mother, of Love, my heart beat rapping on the door, Edgar Allen Poe only knows. Reversion from B) the knowledge that one or two of the proletariat could be devoted, that somewhere there were holy magical microcosms being shared without power games, cruel intentions… could nihilism really make a convince of me? And my body, the enemy? The metal of robots made me their collection, pushing genuines into acid pools, even with their platonic propositions. Lashing out on all representatives of Love, true or poo, desecrating the happiness between comfortables. Denying and hating sexuality, denying and hating Love, secretly knowing both things were ingrained in my make-up. The fact that we could ever be undressed, ever love or be loved, gives its life savings to terror.

 

Love and sex, unfortunately, happen to be two generally mutual creations that became tainted products of an ill-minded consumer. It's a difficult task to separate the tainting from the actual sexuality or Love itself. I couldn’t even start to untangle this mental wire knot I thought myself into: unable to deny feelings of Anti-Body, feeling full of human biology, not having a balance between friends and lovers, a bucket overflowing with misunderstanding. Why bother trying to untangle the mess? Forever spend click-clock in aims of protection from (non)reasons stuck by when it comes to emotional/physical intimacy. Look not at them as a people, but the pieces of ass or emotional crutches to use when convenient. Nothing to be done than to sit on a throne of hurt and all this emotional mind-fucking is not a misdirective to an alternate progressive pathway. Right? 

I declare a disagreement. A part of me laments when I witness the good people getting brutalized. A part of me dies when the victims end up grabbing the whip to degrade others just because they fell into this trap “needing” to protect their Egos by playing the same filthy card the jerks that hurt them in the first place owned. The compulsion of meddling with the Anti-Love Pro-Fuck-Me game (how do you even fit two in one?) finds stomachs turning. I've trouble looking at "whores" without being able to disconnect them from what’s behind their acts. I love not treachery or broken child hoods or self-righteousness at the cost of other people's trust and comfort levels. No surprise that reservation hardly wants to compute to vulturine standards. But the Standard Elites wear blaming gloves, pointing fingers at the Logic (that wants to be okay with Love and Body) as unhealthy, silly, abnormal, regressive, priggish. Idealistic. Oh, and as a gullible side note, their motives have nothing to do with it whatsoever.



What you are, what you do, why you do what you do. Why you catch attraction to people, why you want to bury your brides in their beds, breaking blood, cracking hearts, used, abused, disrespected. Why you may (or may not) often follow through with those desires. Why you desire to tie yourself to legs, drag your personage on cement, why needing someone is the only way you can feel whole, why subjection to making another your own safety blanket is prominence. I find it funny that a Standard would attempt to come up with game plans that work only on a surface basis. Approaches like a mutual agreement of what happens after sexual relief!, what the agreement means!, limits a deeper understanding and acts as a contract. As you get permission then is it perfectly acceptable to ignore self-examination: the individual gladly denies him or herself from understanding going inward. It only goes outward, like the cum flow the agreement was I guess created for, healthy physical release with surface communication. “Fucking responsibly” as they call it. Intentions are imperfect, there might as well be no reason to deal with them; that's too much psychological trouble. Self-examination makes people yawn, yet I am unable to live without it. Shit, not knowing is the first sign of dishonesty, baby.

Suppose they have me poured over this new glamorous destiny: self-fulfillment, through the use of other people, their bodies especially. That which I do not understand is supposed to excite me, right? Imagination is boring, they would seem to say. I want to just be okay with that sometime, to write off what the knaves do with their lives, their hearts, their bodies. "Fine, I can pretend you don't have some secret void to fill." People are terrifyingly opposed to locomoting a more difficult and (in the long run) lasting path. Perhaps it's easier to not actually try and figure it out when there seems to be no light at the end of the tunnel. Inside of me lives this sexless time bomb who only really wants to make it with Transcendence though my physique and essence both equally continue to be overshadowed by the winged silhouettes of creep creatures. The option to blend in with foreign scenery, to pretend it is mine, in hopes of not looking obvious or drawing attention to me (as prey) is a very tempting misconvenience. It could save battles on top of battles worth of Time (and wound healing). The reality of it is frustrating and saddening but it's a reality, and realities must be accepted. 

They could teach us politically correct sexual etiquette, the aesthetics of black hair dye, the appeal of sarcasm and king-cool persona, that power is erotic stimulation, and vice versa... Maybe your “scene’s” biggest coercive rapist since an unnamed grindcore drummer was a pro-sex feminist. Who would care as long as it was in the name of culture? Control gets people off. Submission, submission, it's doused with denial and sold to the kids for a reasonable non-corporate price, no SKU #, a-okay. Now I'm exhausted. It's like watching from a gutter, one tied up in electrical tape and confusion and migraines, into another gutter, that of heat and the brainless cycles of user mentalities, and then wondering when the train to the mountainside will ever come. It's been too long now. Are we loveless truly? Do we accept flesh as a tiding, a biding of time? Do you find it easier to do so without knowing why? Do you even ask yourself these questions sometimes? And beyond that we still need to ask ourselves so many new questions. Without questions, there are no answers, and without answers there is no change, and without change there is no way we are ever going to actually get anything done. It’s just a bad cycle, these lives, and bad cycles don’t do anything great. This is not esoteric. This is no country club. So go ahead. Ask away. I dare you. 


Originally printed in Mission:Destroy #2 (2000?) & The Tragedy of Lemmings #1 (2002).

JOHN CARPENTER'S ESCAPE FROM NEW YORK SOUNDTRACK


It's 1997 and it's the future, except the future is the past, and in the future-past the President's Airforce One has crashed into Manhattan, which is now(then) a large prison via anarchist unit (Freetown Christiania/Desperate Living's Mortville w/o the lipstick and sequins). Kurt Russell plays Snake Plissken, the hardest ex-prisoner ever, and the govt. gets this dangerous dude to go save the president from a cult of prison peeps that look like either the dude from the Screamers logo or crazy WWII vets suffering scary schizophrenic hallucinations. The only thing properly predicted for the "future" is Kurt Russell's grunge-chic (high five, costume designer!). More accurately it's sort of post-grunge-chic (meaning Creed, but Kurt Russell talks low and rusky and very serious and kicks a lot more ass as the action hero he is than Scott Stapp would ever dream to).



Kurt Russell is obv one of John Carpenter's fav actors to work with. He's always a tough ass (The Thing), sometimes a goofball (Big Trouble in Little China), and a little Americana (he played an amazing Elvis in a little known TV movie that John Carpenter directed). Even the dude in They Live has a sort of poor man's Kurt Russell quality about him. John Carpenter loved Kurt Russell and Kurt Russell felt very creatively interconnected with the director: 
“There are two guys who really do know Snake Plissken and the Escape world. Number one, John. Number two, me. When it comes to Snake, I can tell you one thing... he’s American. It’s really important that he’s American. There’s a reason why that great fight in the arena is with a baseball bat. That’s American, OK? He knows what he’s doing with that bat in his hand! I thought Gerard Butler was great in 300. The problem is not Snake, you can find a good Snake. You gotta get John Carpenter. Escape From New York is just weird because of the way he sees the world, man. He sees it slightly off. It’s his world, it’s a night world. This is his thing.”


In theory I'd love to talk shop about Isaac Hayes acting part or his character's hoopty car w/ the chandeliers on 'em, or how The President looks like someone's fat, sweaty dad except terrified instead of grumpy and smug (but maybe a little grumpy and smug). There's some pretty adrenaline inducing chases and a lot of great explosions, guns and gutterpunkesses and gold chains. But really, I just wanna say that John Carpenter, directing aside, is a master composer. People talk lots about Philip Glass and Ennio Morricone and, yes, Halloween's theme is mentioned here and there, but Carpenter really has a goldmine of a discography that is not often enough noted. His music is overshadowed by his directorial position and perhaps the kitsch of his films (and the fact that he often scores his own films and no one else's) has kept a few future listeners in the dark. He has a style all its own and it's very cool.


Carpenter is a huge fan of repetitious notes and beats that slowly layer to become crescendos, usually with the gradual addition of drum and/or synth parts. Typically using haunting melodies and chord progressions, Carpenter has stylized himself as a recognizable song writer through his heavy use of arpeggiating badassness, unchanging and persistent use of a string of the same note in different octaves, and often fully synth/electronic basis (usually w/ a splash of piano). His musical style can be enjoyed w/ or w/o the context of his films, especially for those interested in synth, electro prog (Tangerine Dream for example) and instrumental music. My introduction to John Carpenter was more through his music than his films, but I recognize for many the films will have been more familiar foremost. Outside of the context of the films, you can draw all sorts of personal interpretation of the moods in the music.


Escape From New York (1981) has a great soundtrack that can be looked at in a variety of ways outside of the film. One example is the short but brooding "Across the Roof", easily emotive enough to be mistaken for a Romeo and Juliet intertwined in muted Victorian cascadence but twinged with Gary Numan instrumental loveliness and a cloud of alien/human dilemma/doom to match. Another notably gorgeous is the still "Engulfed Cathedral", a looming number written by Debussy. How one throws in a Debussy song with an original soundtrack and makes it work seamlessly is one thing, but how to do a Debussy song like so for an action film is even more of an accomplishment. Carpenter's songs can resemble modern lovers meeting in the dark alleys or dew-covered backyards in a warm synth Renaissance era composition and yet totally work when Kurt Russell, armed with a machine gun, is stalking around abandoned buildings or heroically about to take off in a jet to save someone's life against his own will.


Outside of the quiet gems unexpected for the movie's genre, Escape From New York's soundtrack holds disco-terrific jams that are anything but classical in structure. "The Duke Arrives" and "The Bank Robbery" are upbeat waves of anxiety and adventure that Carpenter successfully portrays in the film, even capturing screams and screeches with high pitched saw tooth waves. Carpenter worked on this soundtrack in conjunction with Alan Howarth, a good friend of Carpenters who also collaborated with him throughout other films in the '80s:  They Live, Big Trouble in Little China, Christine, and Prince of Darkness.

JOHN CARPENTER "main title"


JOHN CARPENTER "engulfed cathedral"


& the original DEBUSSY "engulfed cathedral"


JOHN CARPENTER "across the roof"


JOHN CARPENTER "the duke arrives"

CINDERELLA STORY: PRETTY IN PINK'S TEEN HEARTACHE


John Hughes is a huge reason the "teen" genre exists. Sure, before Sixteen Candles and The Breakfast Club (both 1984), the 1960's had Frankie Avalon and Annette Funicello beach party flicks complete with Dick Dale surf tunes and bouts of jealousy scored up through dance contests in the sand. The '70s revived '50s culture via the Fonz and American Graffiti and it's safe to say that the musical Grease became a teenie bopper fav. The throw back was obvious in music, too:  Joey Ramone was super influenced by '50s girl groups and glam Gary Glitter lived for the standard 1950's rock'n'roll formula. Mimicking rebels in leather jackets from 20 years prior was abundant in TV and film; otherwise teen characters in the '70s were in bad kid B-movies (Switchblade Sisters) or horror flicks (Carrie). Regardless there were more films about teens targeted towards teens which was awesome in a lot of ways, but it wasn't until the '80s that the idea of "teen movie" became an abundant reality.


The '80s teen movie existed in a less sordid or campy format than the '70s and '60s teen movies before them. With rad duality of comedic and dramatic, the cool thing about John Hughes and his Brat Pack was that counterculture wasn't dumbed down to the fetitude of weird kiddo cults, it was just another part of teen life. The average teen's urges to dress punk, get drunk and make-out was incorporated with wanting kinship and cute kicks while actually paying attention to the characters' inner dialogue about their suburban dilemmas. As defined by Wikipedia:
"Teen films is a film genre targeted at teenagers and young adults in which the plot is based upon the special interests of teenagers, such as coming of age, first love, rebellion, conflict with parents, teen angst or alienation. Often these normally serious subject matters are presented in a glossy, stereotyped or trivialized way. Sexual themes are also common, as are crude forms of humor. Codes and conventions of teen films vary depending on the cultural context of the film, but they can include proms, alcohol, illegal substances, high school, parties and all-night raves, losing one's virginity, relationships, social groups and cliques, and American pop-culture. The classic codes and conventions of teen film come from American films where one of the most widely used conventions are the stereotypes and social groups. The initial stereotypes for Teen Film were established by the film The Breakfast Club in the 1980s and proved to be an effective short cut to character introduction with the audience who identified and recognized them as stereotypes. The Jock, Cheerleader and social outcast become a familiar and pleasurable feature for the audience."
 

The recession was a big subject matter in the '80s and the rift between the poor (getting more poor) and the rich (getting more rich) was made into an example with teen drama Pretty in Pink (a film written & co-produced but not directed by Hughes)As the creative chick from the wrong side of the tracks (read: social outcast), main character Andie (Molly Ringwald) finds herself caught between her crush Blane (a rich boy from her high school) and her crusher Duckie Dale (who could easily pass as her faggy BFF). Class struggle was the major romantic crisis, an exception to the Fast Times at Ridgemont Highs and Last American Virgins of its day. Social acceptance and stylistic differences reigned Pretty in Pink above anything else. It fully aimed to represent the universal struggle of "us vs. them" within the confinements of the teen movie.


There are two people who play the biggest role in cock-blocking the Andie-Blane love connection. Bully Steff (played by a perfectly snotty James Spader) had already long been harassing Andie ingraining a shitty overlying idea about well-to-do high school hotties and their treatment of women. His shittiness only further confuses Andie when she takes interest in his "richie" best friend Blane (Andrew McCarthy). When Duckie Dale (Jon Cryer) sees the love of his life falling for this preppie BMW driving dude, he also assumes that Blane looks at women, especially lower-middle class women, as an easy fuck just through association with Steff.


Both "sides" have judgments about each other though idealistic dreamer Andie attempts to keep an open mind ("hating them because they have money is just as bad as them hating us because we don't"). Essentially Pretty in Pink is a tale exploring the "you are who you walk with" idea in a time of Reaganomics with the classic Romeo and Juliet crux of love attempting to rise above social expectations. EXCEPT it's a party of one, the Juliet gets ditched when the Romeo is convinced to leave her behind via the influence of Steff:  "Why are you doing this? Why don't you just nail her and get it over with? Why get involved? Listen, I'm getting really bored with this conversation, Blane. If you want your little piece of low-grade ass, fine, take it. But if you do, you're not gonna have a friend." And so Blane sulks away, abandoning Andie.


It seems dumb that the dramatic climax is Blane breaking off his PROM plans with Andie. OH GOD. Prom. But really, think about being a senior in high school and how hard you fall for people when you're young and then suddenly that person disappears even though you see them EVERY DAY. Prom would show that their connection wasn't a private affair, that he was into her enough to show his affection for her in public, regardless of how much their friends hated their relationship. Once that is taken away, just like that, and Andie realizes she is not as important as the social implication of where she "belongs" in society, limited by how much her single (and depressed) father makes, even if as a person determined to succeed regardless and do it with snazz and uphold morale even though the world tries to beat her down. You'd be fucking bummed if you were Andie.


Andie's older confidant and employer, Iona (Annie Potts), urges Andie to go to prom anyway. FUCK IT... "just go". Don't let this dude bring you down. Don't let anyone bring you down. And so Andie puts all her effort into her (very strange) dress and the moment Blane wants her back she goes with him. Just like that. We never even really know WHY Andie likes Blane. It almost seems that she just desires to be accepted by a person that lives in one of the huge houses she stares at on the way home. And so is this liberation? A great article, "Class, Post-Feminism and the Molly Ringwald-John Hughes films", explores this idea:

"The film does two crucial things with Iona’s character. First of all, she, like Andie, is marked by the symbols of feminism: she’s a strong and sassy business owner, who speaks out against what she notices are personal and social injustices, and who changes her appearance—and pushes against the codes of acceptable femininity—in every sequence. What’s more, she certainly provides a role model for Andie’s eclectic “volcanic ensemble[s],” as Duckie describes Andie’s outfits. Secondly, the relationship between the two women is a rare case of female bonding in these films that more commonly demand that individual women be kept in competition with or hostile toward one another across class lines. For example, Iona gives Andie comfort when Blane jilts her, offers advice on dealing with the lovelorn Duckie, and provides her 1960s prom dress, which becomes Andie’s creation in the final sequences of the film. But despite the fact that feminism is taken “into account” with Iona, she, like Andie, is caught up in a narrative in which class “progress”—or at least the trappings of luxury—becomes an important goal."
"This might be one explanation for why what happens to Iona is also what happens to Allison in The Breakfast Club: she’s moved into a higher socioeconomic class with a simple makeover. To prepare for a date with square pet-shop owner Terry, she goes through a complete physical transformation, shedding her wigs and decade-specific outfits and makeup to wear a conservative blazer and blouse. She herself seems confused by this change; as she says, she has either become a “mom” or a “yuppie.” Her relationship with Terry makes certain sense, along class lines: Iona has made herself over to look and act more like the class of business owners of which she’s a part. She’s also made herself over to be with someone she won’t have to support financially. However, her makeover broadcasts the message that, at heart, what women want—even strong women like Iona—is to conform to traditional modes of class and gender."
"The disconnect between her words and her eventual actions, typified by her transformation along class lines, is what makes Iona in Pretty in Pink a postfeminist figure. Similarly, Andie’s postfeminism is defined by her desire to overcome class barriers and her individual efforts at acquiring a wealthy partner figure, in that, like Sam in Sixteen Candles, she is rewarded for her individual efforts, scoring a wealthy partner. But the film adds an interesting element to its class message: by and large, the upper classes are made to seem simply unappreciative of their own wealth and what it can bring them.63 It’s hinted that, when Andie and Blane come together as a couple, she will present a corrective to this way of thinking and will appreciate the trappings of her newly inherited class status. This sentiment is made explicit when Andie says of Steff’s house (before she attends a party there), “I bet the people that live there don’t think it’s half as pretty as I do.” Wealth and consumer goods for Andie haven’t come so easily, the film’s logic goes, so she should appreciate the wealth that dating someone from the upper classes would bring. In fact, she’s set up here as morally better than the “richies” since she would be thankful for her new class position.64"
63 This is also Caroline’s mindset in Sixteen Candles.
64 The fabled original ending of the film had Andie and Duckie united in dignity at the prom. If this conclusion had remained (test audiences apparently didn’t like its pessimism), it would have provided a logical ending to this theme of the moral righteousness of the poor.
This film has a cult following but most everyone regards the ending as a huge disappointment:  it was changed last minute that Andie leaves prom with Blane (who was ignoring her up until her arrival). And so in the end, Andie goes with Blane even though I feel like Blane doesn't deserve her (he who is unimpressive and boring even if he tries to prove himself different from his snotty friends he inevitably ends up ditching Andie because of their influence at least until he finds out the Andie has the guts to go to the prom even though he didn't want to go with her). He never tries to make an effort to win her back. He just tells her that he has always believed in her and then they are out the door. Duckie gets a consolation prize of an unscripted Kristy Swanson.

Yes, it's rad that Duckie accepts that she doesn't want to be with him in the long run but so much of the audience wanted her to somehow randomly fall in love with her best friend instead, he who has loved her and been there for her for forever. The truth is she never has and probably never will fall in love with Duckie. DING!, perhaps that's the lesson to be learned. As Andie's dad (Harry Dean Stanton) says: "You can love Andie, but that doesn't mean she'll love you back." Even though Andie and Duckie seem "meant to be" and so many people (including myself!) are disappointed that Andie ended up with basic rich boy Blane, she never wanted to be with Duckie in the first place. So why do WE want her to love Duckie?


Maybe it's because Duckie Dale MAKES this movie whether or not he's the main character. He's a smart ass wise guy goofball fairly unamused with the state of the society he lives in. Comic relief surely. But amidst his goofball antics and harebrained philosophical banter, there is one thing that is insanely important to him:  he is in love with his best friend. He does whatever he can to be near to her, convinced that if he keeps in view and always is there for her she will fall in love with him. He is the one trying to fight Steff, not Blane. Blane doesn't "deserve" her love, time, effort. Andie spends most of the film heartbroken knowing that Blane has real feelings for her, but that he's a coward swayed by doubts and shitty judgmental friends. And Duckie very clearly doesn't see what all the fuss is about from the beginning, why such a boring guy would appeal to her, who doesn't respect her or know how truly beautiful she really is. So a huge chunk of the movie focuses on the pain Duckie feels but as "The Patron Saint of the Friend Zone" put perfectly by Dr. Nerdlove there are some severe lessons to be learned from Duckie's passionate plight:

"Duckie seems to take the attitude that many love-struck nerds do: that the best way to win a woman’s favor is to insinuate yourself into her life as much as humanly possible; that way she’ll realize that she couldn’t possibly see a life without you and that she’s really been in love with you all along. Unfortunately, while in rom-coms this can seem quirky and appealing, in the real world… well, it comes off as clingy and needy at best."
"Duckie does himself no favors here. By insisting on hanging around Andie at every possible opportunity, he’s only making himself look like an annoying little brother who thinks it’s funny to bother her at work by repeatedly setting off the alarm in order to get her attention, calling and leaving messages on her answering machine 20 times in a row (with less than a minute between calls), using studying with Andie as a way to try to force her into spending more time with him.
Later on, he graduates to increasingly unsettling, even creepy behavior, riding his bike back and forth in front of her house for hours – hundreds of times by his own estimation – then following her all the way to Chinatown just to stand out on the street-corner and stare up at the window of Iona’s apartment. What he intends to accomplish by doing this is hard to say; call her to the window via telepathy where she will see him, realize just how hurt he is and be swept up in waves of sympathy that lead to sloppy makeouts in the back of her car?"
"The film wants us to feel sorry for Duckie, who, in the narrative of the film, is losing both his best friend and the woman he’s been in love with for most of his life. In the real world, this is the sort of behavior that ends with a judge telling you that you now have to keep at least 500 yards away from someone or they get to call the cops."
 

Fast forward into the future and would have Andie really been happy with Blane? Who knows. Though she makes her own decision, the real audience at large (not the test audience) feels to this day that it is best to choose Duckie. Why does she have to choose? Neither boy was the right answer in my eyes. Only OMD kind of saved that scene, but something about it just felt amiss. It would have been a more powerful statement if she just didn't pick either of them but then what kind of cinematic ending is that??


Andie does swim through a lot of bullshit throughout this movie. Where a lot of teen films look at female characters as conquests (typically sexual), Andie is the central character having to ward off the learing sleaziness of Steff, the confusing hot-and-cold back-and-forth with Blane and Duckie's overbearing obsessiveness with her. Another obvious song since it's named after the movie is The Psychedelic Furs "Pretty in Pink" with overlooked lyrics that are heart-wrenching. Richard Butler's interpretation tells the story of an "easy" girl everyone pines after but no one seems to really love in the long run. The idea of "pretty in pink" is more of being in the flesh rather than in the heart, not worthy of "notes and the flowers that they never sent", while she dreams to be loved caught in "the side of our lives where nothing is ever put straight".


The one who insists he was the 
First in the line is the
Last to remember her name
He's walking around in this
Dress that she wore
She is gone, but the 
Joke's the same

Caroline talks to you

Softly sometimes, she says,
"I love you" and "Too much"
She doesn't have anything
You want to steal
Well, nothing you can touch

She waves
She buttons your shirt
The traffic is waiting outside
She hands you this coat
She give you her clothes
These cars collide



The soundtrack for the most part is pretty awesome and songs like The Smiths' "Please Please Please Let Me Get What I Want" and New Order's "Shellshock" are perfect compliments to the teen heartache experienced in this film, which I think made this movie even more iconic. Oh yeah, and this: