They’ve got what it tapes
Next time you hear someone you love waxing nostalgic for the ’80s, pop in the just released DVD of Tapeheads (Anchor Bay, 1988). This satire on the music biz recaps the decade in miniature form, mocking both politics and style (from translucent-framed glasses to MTV).
The plot is simple. Ivan (John Cusack, before he became the unctuous heartthrob) and Josh (Tim Robbins, before he became a smug politico) want to be famous. Ivan is the entrepreneurial arm of the team, all hustle and Dale Carnegie precepts; Josh is the “talent,” the goofy tapehead who, when unleashed, can make inspired music videos.
The film charts their Candide-like journey through show biz, creating commercials and videos before finally hijacking a live world-wide broadcast in order to stage a comeback for their favorite R&B group, the Swanky Modes.
The cast is fantastic, ranging from Love Boat refugees such as Doug McClure, Connie Stevens, and a lippy Mary Crosby (in what you might call the Lesley Ann Warren role). Also along for the ride is a vast array of musical giants, including King Cotton, Don Cornelius, Stiv Bators, Jello Biafra, “Weird Al” Yankovic, and Ted Nugent (and look for Courtney Love whipping the masochistic senator on the sex tape).
Co-written and directed by Bill Fishman, a music-video maker, Tapeheads mocks every musical excess of the ’80s. There’s Devo-like synth, gloomy deathmetal, Menudo, country/western, and self-destructive punk–all lovingly ridiculed. Except, of course, for the Swanky Modes. The film backs off when it comes to this R&B duo (Sam Moore and Junior Walker), expressing a reverence for the two as exemplars of a tradition ignored by a debased music industry.
Anchor Bay offers up a bulging packet of Tapeheads, including the original widescreen format, as well as a CD featuring a song by the Swanky Modes. Also on hand: audio commentary from Fishman, production designer Catherine Hardwicke, and the film’s producer, the usually reclusive Michael Nesmith of Monkees fame. Tapeheads is a great under-appreciated film for a quick visit back to the dread ’80s–for those who can stomach it.