10 Ways The Music Industry Owes John Hughes Big Time

8. He Offered Real Exposure To Young Talent

Case in point: The Rave-Ups. Molly Ringwald has expressed in interviews the amount of faith Hughes put into his young cast-members, and particularly Ringwald, who was clearly his muse for the decade. The Rave-Ups were a band that Ringwald turned Hughes onto, being a fan stemming from the fact that her sister was actually romantically-involved with one of the members. Ringwald - who can be seen toting a binder bearing the band's name in Sixteen Candles - invited Hughes to one of their shows, and shortly thereafter they were given a literal stage to play on during the club scene in Pretty in Pink. They can be seen playing "Positively Lost Me" and "Rave Up/Shut Up," which don't show up on the officially-released soundtrack, but are in fact awesome (and appear on their album Town and Country). Hughes films are quite often filled with obscure UK post-punk and two-tone bands, alongside the occasionally familiar name he tosses in for accessibility and generational gap-bridging's sake. But more often than not, Hughes seems more interested in offering exposure to great underrated talent, and to giving a chance to those who might not have any otherwise. That kind of integrity is rare in Hollywood, but you do see similar see that kind of one-upping in films by the Farrelly Brothers (who often showcase local and independent bands in their comedy soundtracks). Or in the modern Hughes homage (500) Days of Summer, which is how most of us discovered Temper Trap. Or like how the Shins' James Mercer owes as many dues to Zach Braff as the Flowerpot Men do to Ferris Bueller. If only Hollywood (and perhaps life in general) were more like Hughes. http://www.youtube.com/watch?v=AfdcbZxzKWc