Brave New World and a Half

Although its roots remained firmly planted in the buddy-comedy genre of previous decades, the offshoot emergence of the buddy-cop subgenre in the mid 1960’s began posing a challenge to post-war American society. Despite some tentative steps that decade, it wasn’t until the 1970’s that the buddy cop movie first began testing the limits of traditional social norms. It was in 1976, when the unthinkable happened; a woman became the buddy to the cop. While the foundations of the status quo were surely shaken to their roots by this and other ruptures, it wasn’t until almost a decade later that the genre really began to come into its own.

The 80’s proved to be the heyday of the buddy-cope genre, a time when the form truly crossed a threshold and, dare I say it, forever changed the face of American cinema. This is thanks to the release of Beverly Hills Cop in 1984, a film which pushed the envelope for African American characters in American cinema. That year, the floodgates weren’t just opened, they were swept from their very hinges. Buddy-Cop films became the leading edge of a social revolution, recasting conventional stereotypes with greater subtlety and nuance and daring us as individual citizens and as a nation to question long held assumptions about workplace integration and traditional ways of combining comedy and action. By the end of the ‘80’s, new and more daring buddy-cop entries arrived monthly, addressing complex social issues each time. Women buddy-cops reappeared, Soviet/American buddy cops, Japanese/American buddy cops, dog/human buddy cops (it’s own sub-sub-genre!) human/alien buddy cops, and even federal/municipal buddy cops. The 80’s was a cultural and political minefield, but Buddy Cops were ready for the challenge.

As the decade came to a close however, it seemed that the Buddy-Cop had reached its apex. It was a heady and inspiring time in America, daily forging a new nation of comedic multicultural camaraderie on the screen. Yet, at the same time the very maturity of this groundbreaking genre prevented it from fully remaking society in its own revolutionary image. The Buddy-Cop could apparently go no further. They may have been a symbol of all that was right with America, but the genre’s aesthetic complexity remained out of reach of the very beneficiaries of the new America that the buddy-cop was carving; children under ten.

In the early years of the 1990’s the genre was foundering, seemingly unable to carry through its promise of a greater society. In the bowels of Hollywood however, a chance encounter between two screen-powerhouses was brewing the formula of a new Buddy Cop that would very nearly achieve the status of its progenitors. With almost half a century of collective experience in the television industry, Henry Winkler and Burt Reynolds had a bone-deep understanding of the American intellect. But how do you translate all the complex socio-cultural commentary of Buddy Cops into an ageless cypher?

The answer turned out to be deceptively simple. By taking the touchstone of modern buddy cop cinema, Axel Foley, and effectively shrinking him into an 8 year old child, the genre became palatable to even the most sensitive of American tastes. While Foley had been a comedic loose-cannon, albeit a “good guy”, he was still a ‘black-man’ and this represented a traditional threat to whiteness that his goofy smile could never quite temper. All the imminent sexuality, violence and anger that black men represent in the white American mythos vanished and was replaced by a cute, well scrubbed and innocuous child that needed to be protected from his own naivete. With Burt Reynolds as the cigar-smoking excessive-force-using bitter old man rougue-Cop to this new incarnation of the Buddy, it was a miraculous reconception of paternalism that transcended metaphor entirely.

Cop and a Half is streaming right now on NutFlex, so go and see the the film that made the 90's the 'cool' decade.

Canada is Just Plain Better at Music

It wasn’t until I started doing research for this article that I discovered how important the 1990’s were for Canadian music. During that glorious decade Canadians were producing some of the finest examples of contemporary soundings. While us U.S.ers were certainly churning out the hits, Canadians weren’t content merely to do the same thing well; they wanted to do it beauty. Canada took it from mere musicianship to pure artistry, honing each style into its philosophical essence as if distilling from an undisclosed variety of average grains only the finest of whiskys. Who can forget the saucy rock baladeering of Bryan Adams, who although he had a number of hits in the 80’s, managed Jesuslike to pinch off a second Billboard No. 1 hit in the early 90’s. It’s as if NAFTA resurrected his rock. There was of course also the reformulation of feminism into mass marketability which can be attributed at least in part to Canadian Sarah McLachlan, the songstress who stormed the adult contemporary field in 1993, taking her sweet grrl time to found Lilith Fair four years later. And then of course was perhaps the brightest of Canada's stars, North York native Snow who simultaneously pushed two genres, rap and reggae’ into previously uncharted territory and was also justly rewarded with a Recording Industry Association of Japan Best New Artist Award. The list goes on, but I think I’ve made my point. Texas may think they’re not to be messed with, but actions speak louder than words my friends, and Canada doesn’t answer to anybody, they already are their own country.

Still, there was one genre of music that dominated them all to define the 90’s. In the United States a lot of people, at least in my generation, look back at the Clinton Era with a sense of shame or bemusement. Sure, we wore a lot of stupid clothes and listened to a lot of shitty music, but hey, at the time it was all optimism and progress right? For the first time in 12 years we had a president that actually seemed like he might be a genuine bro. Well anyway, he knew how to burn one and liked to jam. Economically we were more prosperous than any time in the last two decades and it looked like an awesome future was literally right at our fingertips. Leave it to white people to be all depressed and despondent when they have it so good. And yes, the Canadians once again showed us how it was really done. No I’m not talking about Saints and Sinners because nobody was listening to metal in the 90’s. I’m talking about the band that boiled the Grungy slacker essence of poor-little-rich-boy Anglo-Saxon misanthropy into a potent sauce of pure despondency. I’m talking about Grivo.

Formed in Toronto in late 1995, Grivo came on the Grunge scene pretty late, but man they were fucking apathetic. Taking their name from front man and vocalist Dan Grivo, the band featured former members of a number of unremarkable Canadian alt-rock bands, but the new combination was magical. Unfortunately, as we know from far too much experience, a star that burns fifteen times as bright burns only 6.66 percent as long, and Grivo was no different.


Although the band had yet to record an album, by the following year they were already well known outside of their home country as one of the most nonplussed bands of the decade. It would be hard for me to describe it better than Wikipedia, so I won’t: Grivo became phenomenally “famous for their bleak lyrics, as well as a general indifference toward their audience, fame, and music.” Although rumor had it the band might be working somewhat half-assedly on some recordings, nothing ever materialized and it seemed that Grivo had all but disappeared and left virtually no record of their passing except for fragments of a single live performance in early '96.

Suddenly, as that same year was drawing to a close, Dan Grivo himself reappeared backed with an entirely new lineup. Making their debut on MTV, their very first  music video went on to win the Best New Video in the Jangly Upbeat Pop category for that year. And for a second time in less than 2 years, Grivo again proved that lightning strikes lots of times in Canada. They just does things better than we do up there.

  
Thanks to TooYube user Badjackcutter for the rare archival footage.