The Starman Waits – Remembering David Bowie

There are musicians, and then there are artists. Rather than talk about the history of how a man named David Robert Jones became Rock ‘n Roll god David Bowie, I want to talk about how he affected my life. You see, I grew up listening to what my parents liked. Christian pop and Country were hitting a renaissance during the early 90’s, and I was a product of that era. I really didn’t start listening to anything else until I got my driver’s license, which gave me to drive to the local stores and browse the CD rack. In all honesty, when I saw “The Best of Bowie”, the artwork sold me. It was a collage of Bowie’s various persona over the years. I only knew the man from the cult classic “Labyrinth”, which I loved as a child and appreciated the off-the-wall humor when I grew up. I remember vividly sitting in the Fred Meyer parking lot listening to the opening acoustic guitar and bass of “Space Oddity”. The connection was instant. I didn’t grow up on the Beatles or The Stones, rather, my classic rock immersion began with David Bowie. I did not weep when I heard the news, but I can say that my mind has been playing over my favorite tracks on a loop today. To be so honest and stay true to his art in the face of adversity is courageous. His latest album was released 2 days before his death, which makes one think that his life was an art exhibit and he waited to the very end to give us his curtain call. I will always love the music of David Bowie. May he rest in power. Indeed there is a Starman waiting in the sky.

 

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Viral: How YouTube Is The New MTV

Imagine being a teenager on July 31, 1981. You have in your possession dozens upon dozens of vinyl albums in milk crates that have artwork on the cover. Some of them have paintings or still life photographs on them instead of the artist who’s name is plastered across the top. A band photo may be inside the gate fold, but for the most part, unless you’ve seen them perform on The Midnight Special or seen them in person, it’s hard to really get how a singer or guitar player behaves physically. The idea of seeing something called a music video was the most exhilarating thing imaginable. You could see Rod Stewart in his prime with the wide eyes and spiky hair singing directly to you. It was personal and yet could reach so many more people. In the same way that television helped John F. Kennedy secure the election to the office of president, music videos helped artists that could present a visually appealing product gain the favor of a broader audience. Imagine that same scenario, but now with the ability to watch whatever you wanted to, whenever you wanted to.

The choices on YouTube are literally endless. I can watch videos from any genre and any time period from my phone or computer. Rarities, bootlegs, interviews: Anything and everything to help me connect with the artist. MTV could only show what they wanted the audience to see, sort of a radio format, but with a new technological twist. The politics behind getting a band’s video on television were brutal. Independent artists really didn’t have a snowball’s chance in hell of getting their piece on MTV. Major labels would buy blocks of airtime, making sure that their rotation of the newest video was at a high level.

Rotation on YouTube is non-existent. Certainly there are ways to advertise on the website to get the number of views to point of a video going viral, but the best way to spread the message is still word of mouth. How many times have you been at a party and your friends are chatting about the newest video on YouTube? Whether it be musically impressive or an artistic masterwork, people want to have a shared experience. With smartphones upping their external speakers, it has increased the hits that a video can have to heights that were previously unimaginable. 2.5 billion people have watched “Gangnam Style” by PSY. Nothing on terrestrial or satellite television could ever reach that level of viewership.

Social media has also added to the popularity of YouTube as a go-to site for videos. In a single tweet, artists can create an avenue for their fans to see their most recent work in a quick and easy manner. It can also be used to post teasers or live event announcements for a sizzle reel. With the ability to do simulcasts from the site, it provides the viewers with an immersive experience with the possibility of high visibility for advertisers.

The internet is here to stay, as is YouTube. With Google owning the company, there is no telling how massive the website’s reach can be. It’s a democratic system which is policed by the masses. Anyone with a subscription can put up a video, but is subject to approval to stay on the site as long as there are no infringements legally or morally (according to their terms of agreement.) MTV broke ground on what videos can do for music, leading the way for YouTube to take the art form into new, uncharted territories.

Changing Formats: How We Hold Music

As I speak, there is hours upon hours of music in my pocket. The mere thought of this was science fiction fifteen years ago. I was just like any other teenager; I had my stacks of jewel cases in my room and black binders full of discs on the bench seat of my El Camino. It wasn’t a pain: It was reality. These days it almost seems like a waste of space to keep my CD’s, but there is still a pull that keeps them in a storage tote instead of the dumpster. We hold attachments to things we can touch. The convenience of the cloud gives me options, but it may be too many. Perhaps the embarrassment of riches has spoiled the culture, or maybe it has expanded the variety of influences for a band on the way up.

The three minute single of today has forced the hand of producers to arrange records as more of a compilation than a concise hour-long work. Track listing at one point was important because of the format, but the format today is almost non-existent. There is no physical limit on how long an album can be. The money is not being made on CD’s, but on publishing. The more you can get your song heard through music and television, the more your profile goes up. With technology, there is no longer any physicality in the process of music distribution, but this has also spurred the creation of new vinyl. It is a smart move to sell a vinyl record for thirty bucks and include a digital download inside the gatefold. Everyone gets what they want.

Living in a digital world presents vast opportunities that were not afforded to people in the music industry. What once was a closed door club of producers, songwriters, and publishers has been blasted wide open by software designed for home use. Programs such as Logic, Reason, and Pro Tools have given the power to the consumer to create music wherever they choose. Studios can now be built in homes for a fraction of what it cost to construct recording space twenty years ago. This trickle effect has given us the iTunes model of distribution, which is a god-sent for independent labels. The overhead is nothing; therefore, the profit margins are increased.

No new technology is free of drawbacks. When the metaphorical dam was busted by the internet, it flooded the market with substandard product. The old system provided the necessary filters through which an artist had to pass through in order to make a recording. First was the creation of the act. Second, they had to play shows to gain awareness. Then someone had to take a risk on them at some point by either cutting a demo, or setting them in front of a record label. Recording an album was a privilege, not a right. Each process would forge the act into a stronger entity, whether it be on a business or personal level.

What does this mean for publishing today? Are we too far gone that new acts don’t have a chance to break out? Absolutely not. The tools for success today far exceed what any generation had in the past. Information can be passed in an instant. A prime example happened back in October. Foo Fighters announced a show at the Ryman in Nashville a few days before the event. Merely minutes after it went on sale, the show had sold out. How does this happen? Without the platform of social media, getting the word out was either through print, radio, or via mouth. All three mediums are essentially the same today as they were fifty years ago when The Beatles landed in America, we just get the information faster.

Even though vinyl is making a comeback, the long-term success of music distribution will always be shaped by new technology. Necessity is forever the mother of invention. Convenience will trump nostalgia at the end of the day. Innovation creates new opportunities for “The Little Guy” to put in the legwork  to out-hustle corporations that will stay with the “Bands That Sell” format they have been using for years. If you don’t like rules, you have to change the game. Stay hungry.

I Hear Sleighbells in the Distance

I often ponder (as ponderers do) what Winter would be like without the holidays. It is a bleak and dangerous time of year. Car batteries die. Frostbite sets in. Houses feel like caves. There is one part of the season that brings a smile to my face; and that is Christmas. I love Christmas. I often hear that I can be a bit of a grump about people playing Christmas music in Early November or seeing Walmart commercials offering layaway months before Thanksgiving. The main reason I hold back my Yuletide joy is for reverence of Thanksgiving. What a wonderful holiday featuring heaps of food and football! It truly gets looked over by most, but not by me.

Thanksgiving this year is particularly special to me, for I will become an uncle for the first time. Little squirt is due in the next week and I am just busting at the seams to read to him. Family is so incredibly important and having my parents move thirty minutes away from me has made me a total sap. After four years of not knowing if we would be able to celebrate together, I can finally drive down to their house and not to their hotel.

Looking past Thanksgiving, I think about all the memories of the Christmas season. Many of those memories are tied to the music that surrounds us between the fourth Thursday in November until the 25th of December. Songs that give praise to God for the gift of his son and songs that paint a Rockwellian winter wonderland in our minds. No matter how you celebrate the holidays, it is truly a time of year when we are all on our best behavior, or at least once we have purchased that flatscreen from Best Buy at 3am and saved fifty bucks. The kids will get dressed up for Christmas Mass with no complaints, as long as the promise of Santa leaving them a little something on their living room floor was fulfilled.

People can get wrapped up in the giving and receiving of gifts, which isn’t the worst thing. Just because I may show my love for someone through my words, they may show it differently. I like getting people presents. It’s a fun way to get together and celebrate friendship and camaraderie. It’s a time to sing songs that we have been singing since we were kids terribly off-key. It’s a time to dress in a red turtleneck with the grandest sense of irony and jump in a hot tub. Okay, now the last one isn’t suggested, but fun nonetheless.

Holiday cheer is hard to escape, even for the most cynical of Ebenezers. My suggestion is to give into the tacky decorations, overabundance of carbohydrates, and any excuse to drink until merriment has been achieved. I love the holidays.

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Venues To See a Concert At Before You Die: The Gorge Amphitheatre

Scenic views and rock n’ roll don’t typically go hand in hand, but when the majesty of mother nature meets the power of music, it creates the feeling of one-ness with the earth. The Gorge Amphitheatre in Central Washington has played host to some of the biggest artists in the last thirty years including: Dave Matthews Band, Pearl Jam, Tom Petty, Arcade Fire…and the list goes on. Only a select few have the drawing power to get thirty thousand people to drive at least a hundred miles to the middle of nowhere to see them perform. Most every major touring festival has had their west coast event at the Gorge. Ozzfest, Warped Tour, Creation Fest. The latter of which I attended for four years until it changed venues.

To someone who has never been, it seems like a waste of gas money to see your favorite band, when you can easily see them at the local metro arena. I didn’t understand the majesty of it until I attended my first Creation Fest almost a decade and a half ago. I was thirteen and had just gotten into Christian music. Well, actually, music in general. It was the day of the portable Discman CD player. I always had a stash of AA batteries on my person, just in case my Newsboys album ever quit on me. The only concerts I had been to were put on by my church, which were way above expectations for a country church in rural Oregon. My youth pastor hyped the event as the summer trip that we would never forget, and we never did. After driving for six hours in a smelly 15-passenger van with a bunch of kids that had never been away from their parents, we arrived in what I would classify as an endless stretch of nothing.

My hopes of a glorious vista were smashed into smithereens as we were part of a herd of thousands of youth groups from all corners of the northwest. We unstuck ourselves from the faux leather bench seats of the Econoline and were greeted by 95 degree heat on our pale, Oregon skin. The group began to set up camp, some had decided to sleep out under the stars, so they were tasked with finding the legendary convenience store for wares. Once my father’s ancient canvas Sear & Roebuck tent was erected, the group decided it was time to head to the festival grounds. My hopes, which were a pile of volcanic ash at this point, were ground into the earth, as I saw the “Fringe Stage”, where most of the groups I would be seeing held their performances. What I saw was a brown expanse of dirt with a platform sticking out of it in front of large white tents. I looked to the older members of the group, including my two brothers who had been the previous year. Their hopes were not dashed and their spirits remained in tact.

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A small birm was on the horizon once we passed the vendors hawking bottles of water for six dollars a piece. We began to climb, following a sea of humanity towards the crest of the hill. At that moment, I realized why we had toiled through the wilderness, much like Moses or my ancestors on the Oregon Trail. Xanadu, Nirvana…heaven was on my horizon. Down a sweeping lawn was a grand structure with a banner across the top heralding the message of the festival “A TRIBUTE TO OUR CREATOR” was emblazoned in twenty foot high red letters. The stage was impressive enough, but the vista providing the backdrop was breathtaking. The mighty Columbia River knifed through a canyon, giving each person the feeling that God had set up the perfect arena to worship at. The communal experience I felt in that place can never be duplicated. The sound was naturally perfect. The voices shouted into the heavens. We were entirely alone, and yet entirely together.

Is There Anyone Home?

It’s been twenty years. Wars have been fought. The internet was invented. We’ve had three different presidents. Bands have fallen apart. Children become adults. Twenty years. Most bands wouldn’t have a fan base strong enough to support the release of an album twenty years after their last effort. Although, most bands are not Pink Floyd. 1994 saw the release of “The Division Bell”, the best work of a Post-Roger Waters era for the band. It was a return to form, yet intriguing enough to bring them into the 90’s and end the legend of the Floyd on a positive note. A massive tour followed, which gave their life-long fans a memory to take home with them for sticking around through the years. Then there was silence.

They had accomplished everything. Critical success. Commercial success. All without giving up their integrity. Record labels (And fans) wanted more, but they said enough. They were finally able to take a breath and enjoy the good life that they had worked so hard for. They had left the world with timeless albums that would speak to generations to come. It wasn’t until 2005 when the wheels of the Pink Floyd machine started to turn again.

David Gilmour was the musical soul of the group. While Roger Waters had the pent up angst to tackle anything he saw as displeasing, Gilmour had a much more introverted personality that spoke through his guitar. He began working with his wife Polly Samson, with whom he had co-written many songs on “The Division Bell”. Her words over the top of his music were to be the foundation for his first solo album in 12 year “On An Island”. While in the middle of recording, he received a phone call from Bob Geldof, the organizer of the enormous Live Aid concerts and the star of “The Wall”, a film based on the 1979 album of the same name. Years of in fighting between Gilmour and Waters were to be put to the side, as the fundraising event was to be the first time the band would perform with their classic lineup (Gilmour, Waters, Wright, and Mason) in 24 years. It was clearly a one off, but the band was just as captivating as they had ever been.

What followed was a whirlwind for any band member in their sixties, as Gilmour toured the album with Richard Wright on keys and vocals. Compared to the Pink Floyd concert the year before, their was no bad blood or awkwardness between the two, and the shows conveyed the relaxed attitudes of the duo. Unfortunately, only a year after the tour ended, Richard Wright passed away. A full reunion of the group and new album were now completely out of the question. At this point, it seemed that Pink Floyd had passed on with the death of their keyboardist.

It wasn’t until a few months ago that the news of a Pink Floyd album came to fruition. In an age where secrets are impossible to hold, somebody did their job. “The Endless River” is an apt title for the final work, as it is the last lyric heard on “The Division Bell”. Made up of previously recorded “Jams” from an array of sessions, it provides a type of eulogy for Wright and the band.

After today, it is a great possibility that Pink Floyd may be done forever, but we have all been blessed by the fifteen studio albums and songs that made us swear, kick, and think.140924-pink-floyd-the-endless-river-art

From Bach to The Beatles: How Music Genres Make the Movies

A long time ago, In a galaxy far, far away…

Horn blast. You know exactly where you are. The hairs on your arm stand in attention as the cymbals crash. The Yellow Star Wars logo fills the screen and pulls back, dragging with it all of the backstory required to place you immediately into the action. Empathetic strings soar through the pitch black of space, as a cry for help from a damsel in distress. Tilt down. An unnamed tan-colored planet provides a back drop as an impressive space craft flies overhead. Hit the kettle drums. A declamatory death march sounds off, heralding the aggression of a triangular battleship, that keeps going, and going; to the point where our fear for the smaller vessel grows by the second. Alarm, excitement, sadness, fear, and bravery: All in under a two minutes.

Three young people: Two boys and one girl. Driving in a black pickup truck enter an underground tunnel. Halogen lights cast a dim yellow haze around them. As they speed up, the beautiful young girl hears “Heroes” by David Bowie on the radio. She turns it up. The effected guitar stirs up a recklessness that only youth holds. She opens the back window and climbs out into the bed of the truck. The driver, who happens to be her brother, has seen this before, but the younger smaller boy turns his head to see if she will be okay. She props herself up, holding on to the automobile, then let’s go and outstretches her arms. The boy looks up as the song plays on, telling him that he will be king and she will be queen. Traveling at high speed, she gracefully brings her arms up and down, as if she is flying. That is the minute he falls in love with her.

Here are two examples of music telling the story with the least amount of spoken words possible. We know exactly what the characters are feeling and why they are feeling it. The genres couldn’t be any more polarized, yet they evoke emotion in the simplest way. On one hand you have a classic John William’s composition which has several movements and motifs that lift and depress the soul symphonically. The use of a pop song inside the walls of the story can effect how the character behaves, causing a chain reaction on through the audience.

Genre can also have a major effect on the tone of the film. “Guardians of the Galaxy”, which in essence an action/comedy, uses 70’s pop music in lieu of a traditional film score as the grounding element from the audience to the alien characters presented on screen. The flipside of that is “American History X”, which is a gritty drama about neo-nazis. One would suspect that modern music would be heavily featured, yet much of the film is scored with operatic pieces that enhance the morality play.

Juxtaposition, which is the overlaying of contrasting sounds and/or images, is a common theme in modern cinema. “Reservoir Dogs” has a torture scene in which the interrogator (Mr. Blonde) cuts of a man’s ear and sings “Stuck In the Middle” by Stealer’s Wheel. The upbeat song on top of the excessive violence immediately causes the audience to feel the humor and shock of the scenario simultaneously. Perhaps an influence for Tarantino was Stanley Kubrick’s “A Clockwork Orange”, in which “Singing In the Rain” is played over a violent gang beat down.

A soundtrack can make a movie. “Tron” may not have just been a visual treat, if it had not been for Daft Punk’s incredible techno-dance music providing an other-worldly atmosphere. “Titanic” very well could have suffered financially, if it had not been for James Horner’s sweeping score and Celine Dion’s vocal power on “My Heart Will Go On”. Music is so important that it has it’s own genre of film. “Les Miserables” won several Academy Awards, but if the songs hadn’t been there, it would have fallen flat.

Music trends in film are always wavering between traditional and modern, yet both are necessary for storytelling. As cinema can blend styles together, such as comedy-drama, or western-science fiction, the desire to make a new art form grows in each film maker. With a hundred years of movies to cull from, fresh methods of telling stories that are familiar will become the standard of this era.photo_scoring_control

At Your Fingertips: How Smartphones Have Changed Our World

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It is the first thing you reach for in the morning. You make sure you have it before going to get the mail. It’s plugged into your car stereo as you go to work. It sits on your desk as you solve the day’s problems. You get a funny picture, an alert to tell you that your funds are low, and a text from the girl you met at the concert last night. It’s tethered to your ear when you go for a run and your recipe book when you try to make a cake for the first time. It’s also the last thing you turn off before you turn in.

When I was born, the cellular phone was around, but scarcely seen (Barring “Wall Street”, of course). Even when I was a teenager, only the kids with the wealthy parents could afford to have one. It was a way to be connected to the rest of the world without having to camp out near the land-line. By the time I graduated, they were commonplace, and texting wasn’t even a verb. We sent each other messages at ten cents a piece, so the frequency was still very low. Then the iPhone came out…and the world changed.

The iPod had already changed the way we listened to music. It was a hard drive that you could keep in your pocket and take it anywhere. You no longer had to have binders upon binders of cd’s in your car to listen to your favorite album. When the iPhone was introduced, I honestly felt like I didn’t have a need for it. I could call and text people, while I listened to Weezer’s “Green Album” for the sixty-seventh time. My older brother was always on the cutting edge of technology and swore that his life had changed, but it had also changed with every computer, stereo system, and flat screen television he purchased.

Now, it’s one thing to play around with an iPhone in an Apple store, but it takes on a life of it’s own when you start to put your music, your photos, and your contacts on it. No longer were my pockets stuffed with bulky cameras or mp3 players, but a device that could do all of those things and have them available to share them on social media as soon as they happened. It was hard to tell how much it would change how we behaved as a society until years later, when they are the most important inanimate object in many of our lives.

Before this becomes a commercial for Apple, here are a few industries that have been effected or otherwise folded in the last seven years. Compact disc manufacturing, video rental, bookstores, movie theatres, DVD manufacturing, maps, GPS systems, and the record industry as a whole to name a few. It’s not just because smartphones were invented, but the residual effect of having the world at your fingertips spawned other media businesses to join the party. Netflix took the idea of having a subscription based dvd rental-by-mail model and turned it into a streaming service. Any movie or television show was now at a click of a button. Then there was Spotify.

Music streaming was in it’s infancy when Spotify was created. People still downloaded music files (Illegally) onto their computer and transfer them to their iPhone. The next step was internet radio which would have the user enter an artist and a series of songs related to the genre would play with advertisements cutting in every few minutes. When there was finally an application that had licencing to millions of songs by top artists and would have their album available the day it was released, it was game, set, match for the record business.

In any technological advance, the user always wins. There are, unfortunately always a certain amount of casualties. When cassettes were introduced, you had a portable album that you could record over at your disposal. It was something that vinyl and 8-track could never accomplish. The cinema business got put on it’s back heel when televisions and home theater systems got so large and crisp that they were in danger of shutting down.

While the telephone was invented to bring people together, the opposite has happened with the generation that grew up with them. Any party you attend will certainly have a moment when half of the people in the room are silently gazing at a tiny screen with their head tilted downward. The idea of calling a girl you just met the day before can be seen as being way too forward, instead of an attractive quality. We share too much information and know too much before we make any decision. Lighters have been replaced with flashlights at concerts, while hundreds of annoyingly bright screens pierce through the dark to sting your eyes as your favorite band plays your favorite song.

Is this a good thing? I’m not sure. We are a resilient species. When things go to far right, we pull them left. From Vinyl, to 8-track, to cassette, to CD, to MP3: Things get smaller and smaller to the point where we desire them to be big again. The album cover, which initially was a way to show what the band that recorded the music looked like has reignited a thirst for the “12 LP. Do I have an iPhone? Yes. Do I use it every day? Yes. Life has a way of rebounding when the world gets too smart for it’s own good.

Album of the Week: “In Rainbows” by Radiohead 2007

John Hughes: Establishing the Era

Their are parallels between gold-panning and making a movie. Firstly, you must have a knowledge of the landscape. Secondly, an amazing amount of patience and hard work are required, and finally; the stars must align. a successful filmmaker is someone who has had two or more “hits” in his career, giving them the platform to do more personal projects that reach a smaller, more defined audience. Critical and commercial rewards are generally exclusive, yet their are a select handful of artists who receive both in spades over a career.

By 1985, John Hughes was a household name. His movies were apart of the fabric of American pop culture, while he still remained a phantom to the Hollywood press. In this age of information, we take for granted what limited access to celebrities we had; especially to the behind the scenes personalities. The spotlight shone brightly on the stars that he had created. Molly Ringwald, Anthony Michael Hall, Judd Nelson; these were the faces plastered inside school lockers and bedroom ceilings. It was exactly the way that John Hughes wanted it. He was the unseen creator, who needed nothing more than the freedom to make the types of movies that he felt needed to be made.

The final two films that fit within the context are ones that make use of music in a way that triggers an emotional response. He had many more classics after these films were released, but the middle of his creative burst is easily sustained his legacy for generations to come.

“Pretty in Pink” 1986

After two major hits in “Sixteen Candles” and “The Breakfast Club”, it became clear that John Hughes had cemented his place in the hearts of teenagers. Common thought would suggest that he could do no wrong, but then again, even the most hard-working of directors have a shelf life. He took a small break from the “Big Chair” to write the anticipated sequel to “Vacation”, called (Creatively) “European Vacation”. Even with a solid cast, this picture didn’t have the same connection to the audience as the original did, yet it was only a minor setback. For his next project, he called upon veteran Hughesian actor Anthony Michael Hall to star in “Weird Science”. The film received mixed reviews and although the box office was healthy, the story was lacking in realism.

With his legacy in jeopardy, Hughes went back to his natural mode for his next project: As a Writer. “Pretty in Pink” is a look into the modern caste system, but with a twist: The girl from the wrong side of the tracks falls for the guy from the right side of them. Jon Cryer makes his most indelible mark as “Duckie”; the boy who tries way too hard. His performance wavers between annoying and sweet with perfect balance. Andrew McCarthy made himself a go-to charming handsome boy next-door, yet with a social dilemma enforced by a guy named Blaine (James Spader) “If You Leave” by Orchestral Maneuvers in the Dark provides a bittersweet through line that encapsulates the picture nicely.

“Ferris Bueller’s Day Off” 1986

Although Pretty in Pink didn’t have the same critical reaction as “The Breakfast Club”, it got John Hughes back on track. His next film went for complete comedy, which requires a strong lead actor. Matthew Broderick had some minor hits during the early to mid eighties, but it was his star making turn as the titular character Ferris Bueller. Broderick (Along with Hughes’ spectacular dialogue) gave teenagers a kid to root for. Nobody had to feel sorry for Ferris, but perhaps they felt sympathy for his poor sister Jeannie. The mid-day parade featuring some German girls assisting Bueller with “Twist and Shout” was a topper, but it was “Oh Yeah” by Yello that backed up Principal Rooney’s trap door of a day.

John Hughes had many family hits after these great movies, but when it comes to the teen film genre, the mid-eighties was easily the most fertile of grounds for him as a writer-director. The mark of a great artist is when their ghost hangs over an entire genre. A film about teenagers that comes out in this day and age will always draw a comparison to John Hughes, but really it’s always a compliment.

 

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John Hughes: Establishing the Voice of the 1980’s

Hollywood careers are notoriously short. One day you are all the media talks about, and the next you are a nostalgia act. Exposure in the public eye is the best and worst thing for the true artist. The years it takes crafting your songs or stories finally get their payoff, but the summit of the mountain only has one way to advance. Just like the Beatles dominated the 1960’s in music, one writer-director left his thumbprint in the roaring eighties in a way that defined how we remember those days. John Hughes didn’t give interviews. In a way, that sustained his lore. All we know about him is his work. The way we were happy when Samantha kissed Jake Ryan on the table over her birthday cake. The way we wanted to take a swing for John Bender straight at Principle Vernon’s stupid face. How we wanted nothing more than to be Ferris Bueller. All of these characters came out of the mind of one man.

Film was made for music. Before they could record sound onto strips of film, an organist would play along to the action on the big screen. Four bars of a song can remind us of the heartache we once felt after that girl starting dating that guy, or stir up a cynic to fall in love with the idea of love again. I’ve picked four Hughes films that not only reflect the time period visually, but have the right song placed in the right moment.

“Sixteen Candles” 1984

After gifting the world with Clark W. Griswold: John Hughes had his ticket ready to be stamped. Money has a way of turning red lights green, which gave him the licence to make a new type of film. Teen movies were all the rage in the fifties, where Annette Funicello and Frankie Avalon would fall in love at a beach. When the children of the seventies became teenagers, they were raised in a world where a gleaming smile and a perfect hairdo weren’t the only things that they could relate to on the screen. Frank dialogue about sex, puberty, and drugs were not topics that John Hughes strayed from, but embraced as part of the vernacular of a sixteen year old. Molly Ringwald wasn’t a bombshell, she was an awkward teenage girl; which is what most sixteen year old girls are like. Teenagers also like music that speaks directly to them and how they are feeling in the moment. It took an amazing amount of insight for a man in his mid thirties to place songs that fit the exact tone he was looking for without culling the songs of his youth. “If You Were Here” by The Thompson Twins is a particular standout from the aforementioned kissing scene at the end, putting the bow on top of a teen classic.

“The Breakfast Club” 1985

Put five high-school students from various social-economic backgrounds into a school library for eight hours and see what happens. The plot was simple enough to understand, but the execution would be crucial. John Hughes had established himself with Sixteen Candles as someone who understood how teenage girls view their world, but “The Breakfast Club” was a watershed moment that put the spotlight on dialogue between idealists and realists. The movie opens with  the song “Don’t You (Forget About Me) by Simple Minds. In many ways, it is like any other movie that would use a new pop song to get through the otherwise boring credits and on to the first sights of Claire (The Princess), Andrew (The Athlete), Brian (The Brain), Allison (The Basket Case), and John Bender (The Criminal). The latter character is the straw that stirs the drink, as he presses each of their buttons until they are finally able to let their defenses down and show that they are not so different from each other. In a bold move, the movie ends with a reading of a paper written to their principle about who they think they are: The same speech that is read during the credits over the song “Don’t You”, which also plays at the end of the film. The bookends provide a perfect introduction and conclusion, which gives the speech and song a whole new meaning.

This Thursday: John Hughes: Establishing the Era

Album of the Week: “Hurry Up, We’re Dreaming” by M83 

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