The Flock Of Seagulls hair Chandler is shaped like a flock. Apart from their famous haircut, the flock of seagulls was also well-known for the nostalgia they evoked. It sends retro-loving moviegoers not to the Virgin Megastore for the new Madonna CD, but back to the stacks for another spin of ''Like a Virgin.Their hairstyle, which was an amalgamation between a mohawk & a seagull style, was a huge success. Taylor in ''The Wedding Singer'' that gets audiences hot and bothered.
Instead, it is the sight of the lacy, thrift-shop chic and too much jewelry worn by Ms. New Madonna, like New Coke, just isn't the same. But a cover story hyping it in the March issue of Vanity Fair - with its exclusive pictures of her daughter, Lourdes, and its revelation that Madonna's father's favorite female singer is not his daughter but Celine Dion - leaves readers cold compared with the Madonna of old. Her new album, ''Ray of Light,'' due in stores on Tuesday, is said to be her best in years. It is a testament to her staying power - she has come back without ever going away! - but it is also problematic for her. How must Madonna feel about all this? The singer, whose many looks helped define 80's style, now has to battle a growing nostalgia for her earlier incarnations, even as she is introducing a new record - and a new persona - this month. And the club night called 1984 - arguably the birthplace of the 80's revival in New York - was recently drawing even larger crowds to the Pyramid Club in the East Village than it did when it first began five or six years ago. Meanwhile, hip 20-somethings are donning leggings and belting outsize blouses over them, as they do the ''Belinda'' (as in Carlisle) to the Go-Go's ''Our Lips Are Sealed'' at 80's theme parties.
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Even Tom Selleck and his mustache are back in prime time, with a new series called ''The Closer,'' a sitcom that hopes to repeat the success of his 80's hit ''Magnum, P.I.'' In popular music, Puff Daddy's reworking of ''Every Breath You Take,'' the 1983 hit for the Police, was a huge success in 1997 as ''I'll Be Missing You.'' The new Richard Dreyfuss comedy ''Krippendorf's Tribe'' uses the Eurythmics' 1985 hit ''Would I Lie To You?'' in its commercials. Indeed, the 80's have joined every other decade as a font of inspiration for designers, musicians and other creative types hungrily pillaging the past in search of millennial muses.Īlthough attempts to reintroduce shoulder pads fizzled last year, fashion has re-embraced maximalism, a hallmark of 80's style, with Alexander McQueen and his penchant for fringe leading the gilded way. The ''Dynasty'' decade is beginning to seem as interesting as the disco one. In the money-glutted late 90's, the pre-crash go-go 80's are being re-examined and resuscitated with ever-increasing frequency. So was ''Romy and Michele.''īut this new film arrives at the perfect moment. ''Grosse Pointe Blank,'' the 1997 black comedy about a hit man (John Cusack) returning to his hometown for a high school reunion, was awash in New Wave music. ''The Wedding Singer,'' of course, is not the first film to trade on 80's nostalgia. In ''Borderline'' drag, she is nothing less than gorgeous.
Taylor, whose uncanny impersonation of Maureen McCormick as Marcia Brady stole ''The Brady Bunch Movie,'' does for 80's clothes here what she did for styles of the 70's - makes them seem sexy and even downright wearable again.
Mona May, who previously costumed such fashion-fueled comedies as ''Clueless'' and ''Romy and Michele's High School Reunion,'' this time dredges up such mid-80's artifacts as off-the-shoulder ''Flashdance'' tops, Members Only jackets, Frankie Goes to Hollywood RELAX! T-shirts, a singular Michael Jackson glitter-glove and, as worn by the actress Christine Taylor, the ultimate Madonna wannabe wardrobe, accurate down to the rubber bracelets, rosary beads and blond ringlets. Anyone who came of age during the decade of New Wave and nouvelle cuisine wore it all, from Boy George's neo-Romantic poet blouses to Billy Idol's testosterone-soaked leathers. And it is our collective embarrassment at the familiarity of these pop cultural touchstones that accounts for the ka-ching! at the box office. Top billing should go to the movie's spot-on re-creation of the 1980's, its fads and fashions, trends and taste lapses.ĭid we really drink Alabama Slammers, wear acid-washed jeans, break dance to ''Blue Monday,'' ponder the Rubik's Cube and coax our hair into Flock of Seagulls-esque proportions, as the characters in ''The Wedding Singer'' do? Of course we did. ADAM SANDLER is not the real star of the hit comedy ''The Wedding Singer.'' Neither is Drew Barrymore, nor even Ellen Albertini Dow, the grandmother whose Geritol version of ''Rapper's Delight'' provides the amiable film with its funniest moment.
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