Original image
Gz Stuff

11 Iconic Perfumes of the ’80s

Original image
Gz Stuff

There was nothing understated about the ’80s, and the scents of the decade—both designer and drugstore—definitely reflected its brashness. Big hair, boxy shoulder pads, and power suits had nothing on the big, powerful, and melodramatically potent perfumes that made a grand entrance long before their wearers. “The American woman has acquired a taste for eaux de toilettes and colognes that are unusually strong and lasting,” The New York Times reported in 1988. What the Times didn’t mention was that many men’s fragrances had become equally brazen.

It wasn’t only the robust odors themselves that gave shape to an era, but also the controversy of their names, the decadence of their ad campaigns, and their ability to spark rabid loyalty in consumers (so much so that one celebrity was even buried with a bottle of his favorite eau de ’80s.) Here are 11 bodacious scents that were the quintessence of the “Me” Decade.


For Opium’s 1977 launch party, Yves Saint Laurent rented a ship called the Peking to sail New York’s East Harbor, with Truman Capote as its captain. The boat was draped in rich red, gold, and purple, while an enormous statue of the Buddha rounded out what the media would describe as its “Oriental theme.” The Los Angeles Times would report a Studio 54-esque atmosphere: “More people were snorting cocaine in the bathroom than ingesting 13,000 oysters, clams, and mussels on the disco deck. People were actually having sex on a lower deck.” Diana Vreeland was on board the ship, and model Jerry Hall, who began dating Mick Jagger around the same time, was the face of the ad campaign.

Despite the perfume’s heady air of sex, drugs and glamour, not everyone wanted to join the party. Offended by the name, a group of Chinese Americans formed what they called the American Coalition Against “Opium” and Drug Abuse and boycotted the perfume, claiming that Yves Saint Laurent was glamorizing drug use and showing insensitivity to the Opium Wars that took place in 19th-century China.

The controversy did little to curb the perfume’s market appeal, and the spicy, lingering scent became an ’80s powerhouse, paving the way for equally audacious perfumes. Opium hadn’t, however, experienced its last brush with controversy. Other groups would complain of Opium’s tawdry sexuality and glorification of drug use well into the 2000s.


Long before Opium used envelope-pushing sexuality in its ads, Calvin Klein’s Obsession became synonymous with commercial eroticism. The first ads, shot in 1985 by photographer Bruce Weber, depicted several naked bodies tangled together in—it wasn’t much of a stretch to assume—an orgy. A slightly later advertisement showed a naked couple facing each other on a swing, their groins pressed together. According to Tom Reichert in his book The Erotic History of Advertising, Obsession launched not long after Klein’s divorce, during a period when the designer was admittedly engaging in “anything goes” promiscuity. “Obsession was about insanity, not just my own personal insanity,” Klein is quoted. “It was society’s obsession with work and love.”


Calvin Klein may have pushed some boundaries with Obsession, but drugstore teen fragrance Love’s Baby Soft went so far over the line of decency with its first ad campaign in the ’70s that it can only be described these days as an epic fail. Or, in the words of Fast Company, “one of the creepiest ads of all time.”

Somehow, however, Love’s Baby Soft managed to become a true ’80s power perfume among the tween (or “preteen,” as the age group was called back then) and teen set. It probably helped that the perfume itself smelled like the lid had blasted off an economy-size bottle of baby powder and heavily dusted the person wearing it. It also most definitely helped that Love’s had dramatically changed its ad campaign to depict a tomboyish yet very stylish girl, hanging with the guys, accompanied by the slogan, “Underneath it all, she’s baby soft.”


The only thing truly worth talking about when it comes to Christian Dior’s 1985 perfume Poison was its immediately recognizable and indescribably heavy yet mutable smell. While Love’s Baby Soft delivered a baby-powder bomb, Poison was nuclear grape gum. It was a scent that elbowed its way into a room, monopolized the conversation, and (maybe charmingly) overstayed its welcome. It could be deliciously intoxicating and nauseatingly headache-inducing. It could smell like the best combination of sex and danger, or it could smell like that aging aunt who flirted with all your professors at graduation.


In a 1972 trend piece about musk oil having recently become popular, TIME quoted Bernard Mitchell, president of Jovan, Inc., as saying, “The scent will stay with you maybe four days. It doesn’t wash off when you swim or bathe.” Based on its potency alone, Jovan Musk was certainly positioned to transition from a mere patchouli alternative (it was the ‘70s, man) to an ’80s power perfume. But then enter the Rolling Stones, and Jovan Musk truly became a contender.

In 1981, Jovan paid the Rolling Stones $1 million to put the brand’s name on the tickets sold during the band’s American “Tattoo You” tour. It was the first brand to sponsor a rock tour, and the practice soon became a music-industry standard. In a November 2009 article, Guardian rock critic Alexis Petridis referred to Jovan Musk as cheap cologne and wrote of the corporate sponsorship, “Here was early evidence of the Stones’ redoubtable refusal to let dignity get in the way of making cash.” Though the Stones probably couldn’t lend Jovan the cachet of parfums like Opium, Obsession, or Poison, the band did give it some clout at the drugstore.

Jovan didn’t stop at celebrity endorsements in its appeal to ’80s consumers; it also jumped on the sexy train. After creating an over-the-top 1984 commercial (above) featuring a jingle that actually included the phrase “Sexy-igniting!,” in 1987 Jovan hired Adrian Lyne, director of steamy ’80s blockbusters Flashdance, 9½ Weeks, and Fatal Attraction, to create a commercial with the theme of “What Is Sexy?” The question was answered rapid-fire with 29 images in 30 dizzying seconds.


While garish sexuality was practically a guaranteed seller of scents in the ’80s, unabashed status was its own powerful market force. And nothing said status like Giorgio.

Bearing the name and signature yellow-and-white stripes of one of Beverly Hills’ most exclusive boutiques, the strong, sweet, and instantly distinguishable floral smell of Giorgio could be yours at only $150 an ounce. And the brand didn’t even have to pay for celebrity endorsement. Giorgio boutique owner Fred Hayman told the New York Times that, as soon as the perfume launched, Hollywood “tastesetters” began wearing it and telling others about it. The newspaper pointed out in the same 1986 story that the perfume was now everywhere: “Farrah Fawcett wears it, Jacqueline Bisset wears it, even Michael Jackson wears it. It has become so recognizable that doormen and cab drivers have been known to call out ‘Giorgio’ when women wearing it walk by.”

Not everyone in New York took a nose full of Giorgio with the same good humor as the city’s doormen and cab drivers. Restaurateur Richard Lavin of Lavin’s Restaurant and Wine Bar banned the perfume specifically (along with any patchouli-scented substances) from his 39th Street establishment, telling the Los Angeles Times in 1986 that he had received letters of support from all over the country.


With designer perfumes like Giorgio having become so strong and so distinguishable that one whiff allowed for instant brand recognition, packaging mattered less and the market was flooded with olfactory copycats. Though designers tried to tamp down on imitators, they couldn’t because scents in perfumes can’t be trademarked.

One of the leading lines of mimickers, branded Designer Imposters by a Connecticut company called Parfums de Coeur, became a drugstore fixture. Among the first products were an Opium imposter called Ninja, an Obsession knockoff called Confess, and a Giorgio imitator whose aluminum spray can boasted the slogan, “If you like Giorgio, you’ll love Primo!”


If Designer Imposters was the mass market’s answer to the primo classiness of women’s designer perfumes, then Brut was its answer to premium pour homme. Though the cologne initially launched in the early ’60s (Elvis was a fan), everything about Brut made it an ’80s power player. Brut champagne was the inspiration for its vibe as well as its bottle’s design (even though that bottle was sometimes part of a value pack that included soap-on-a-rope). It was strong in an eyebrow-singeing way. And it was teeming with the promise of sex. As Rob Hiaasen wrote in The Baltimore Sun, “We all saw the TV ads. Joe Namath used Brut, and we all knew how Joe did in the babe department. Why, the poor man could barely walk.”


Launched in 1985, Estee Lauder’s Beautiful stood conspicuously apart from other ’80s perfumes. Though it was strong (it was a blend of 2000 flowers), it wasn’t as bold or sexually aggressive as scents like Opium, Poison, or Giorgio. And its ad campaign reflected its relatively prim attitude. Instead of featuring the naked bodies, stalking panthers and Garden of Eden images its competitors adored, Beautiful was all about weddings. Its TV commercials, like the one above, always played on some variation of a bridal theme. The brand also staged “weddings” in department stores to promote the fragrance.

Though its message was comparatively square, the perfume found a seemingly odd fan in Andy Warhol. The year the scent first emerged, Warhol was, according to the New York Times, spotted at a party with a bottle of the perfume, spraying it liberally about the room. “It’s all in the name, you know. People can say you smell Beautiful,” he said. “I was thinking it might be fun to start my own perfume line and call it Stink.” Warhol was a serious connoisseur of perfumes, so it was perhaps a particular honor to Beautiful that he was buried with a bottle when he died in 1987.

And as it was with many of the things Warhol favored during his lifetime, Beautiful wound up being ahead of the curve. A few years later, Calvin Klein would introduce Eternity, a scent with a very different message from that of Obsession. “Spirituality…love…marriage…commitment. I think that is the feeling that is happening all across the country,” Klein is quoted in Obsession: The Lives and Times of Calvin Klein. “I’m projecting where America will be, what people will be thinking in the next five years,” Klein said. “What happened after the sexual revolution? After all, with AIDS, with people now being afraid of having sex with a lot of people, [people are] are thinking about romance and thinking about commitment.”


Though the adult perfume market was morphing, by the end of the decade much about teenage fragrances had remained the same. When Debbie Gibson launched Electric Youth in 1989 to coincide with her eponymous album, song, and music video, the teen pop sensation’s look was uncannily similar to that of the tomboyish Love’s Baby Soft girl, right down to the hat. The perfume itself was just as strong as Baby Soft, only this one smelled like cotton candy that had forgotten to take its Ritalin. What was groundbreaking, however, was that Gibson was one of the very first celebrities to have a perfume created specifically to complement the launch of an artistic endeavor. Today, it’s commonplace, with everyone from Britney Spears to Justin Bieber to Nicki Minaj shilling signature scents alongside similarly themed albums.


Though it first launched in 1982, designer Guy Laroche’s clean-smelling Drakkar Noir didn’t seem to get the same attention as heavier designer colognes like Obsession for Men or Giorgio’s men’s offering. But in the late ’80s, it seemed to be everywhere, possibly because, like Beautiful, it was a little subtler. While Joe Namath strutted about town collecting babes in the name of Brut, the Drakkar Noir man was an aloof type, attracting women with his quiet, brooding magnetism. It was a cool, mysterious, and truly sexy status scent that was perfectly described by Jeremy Berger on “Think of it as a combination of Mike Tyson’s sweat, Gordon Gekko’s power, and the fall of the Berlin Wall.”

Primary image courtesy of GZStuff.

Original image
5 Things We Know About Stranger Things Season 2
Original image

Stranger Things seemed to come out of nowhere to become one of television's standout new series in 2016. Netflix's sometimes scary, sometimes funny, and always exciting homage to '80s pop culture was a binge-worthy phenomenon when it debuted in July 2016. Of course, the streaming giant wasn't going to wait long to bring more Stranger Things to audiences, and a second season was announced a little over a month after its debut—and Netflix just announced that we'll be getting it a few days earlier than expected. Here are five key things we know about the show's sophomore season, which kicks off on October 27.


The first season of Stranger Things consisted of eight hour-long episodes, which proved to be a solid length for the story Matt and Ross Duffer wanted to tell. While season two won't increase in length dramatically, we will be getting at least one extra hour when the show returns in 2017 with nine episodes. Not much is known about any of these episodes, but we do know the titles:

"The Boy Who Came Back To Life"
"The Pumpkin Patch"
"The Palace"
"The Storm"
"The Pollywog"
"The Secret Cabin"
"The Brain"
"The Lost Brother"

There's a lot of speculation about what each title means and, as usual with Stranger Things, there's probably a reason for each one.


Stranger Things fans should gear up for plenty of new developments in season two, but that doesn't mean your favorite characters aren't returning. A November 4 photo sent out by the show's Twitter account revealed most of the kids from the first season will be back in 2017, including the enigmatic Eleven, played by Millie Bobby Brown (the #elevenisback hashtag used by series regular Finn Wolfhard should really drive the point home):


A year will have passed between the first and second seasons of the show, allowing the Duffer brothers to catch up with a familiar cast of characters that has matured since we last saw them. With the story taking place in 1984, the brothers are looking at the pop culture zeitgeist at the time for inspiration—most notably the darker tone of blockbusters like Gremlins and Indiana Jones and the Temple of Doom.

"I actually really love Temple of Doom, I love that it gets a little darker and weirder from Raiders, I like that it feels very different than Raiders did," Matt Duffer told IGN. "Even though it was probably slammed at the time—obviously now people look back on it fondly, but it messed up a lot of kids, and I love that about that film—that it really traumatized some children. Not saying that we want to traumatize children, just that we want to get a little darker and weirder."


When you watch something like The Americans season two, it's almost impossible to catch on unless you've seen the previous episodes. Stranger Things season two will differ from the modern TV approach by being more of a sequel than a continuation of the first year. That means a more self-contained plot that doesn't leave viewers hanging at the end of nine episodes.

"There are lingering questions, but the idea with Season 2 is there's a new tension and the goal is can the characters resolve that tension by the end," Ross Duffer told IGN. "So it's going to be its own sort of complete little movie, very much in the way that Season 1 is."

Don't worry about the two seasons of Stranger Things being too similar or too different from the original, though, because when speaking with Entertainment Weekly about the influences on the show, Matt Duffer said, "I guess a lot of this is James Cameron. But he’s brilliant. And I think one of the reasons his sequels are as successful as they are is he makes them feel very different without losing what we loved about the original. So I think we kinda looked to him and what he does and tried to capture a little bit of the magic of his work.”


Everything about the new Stranger Things episodes will be kept secret until they finally debut later this year, but we do know one thing about the premiere: It won't take place entirely in the familiar town of Hawkins, Indiana. “We will venture a little bit outside of Hawkins,” Matt Duffer told Entertainment Weekly. “I will say the opening scene [of the premiere] does not take place in Hawkins.”

So, should we take "a little bit outside" as literally as it sounds? You certainly can, but in that same interview, the brothers also said they're both eager to explore the Upside Down, the alternate dimension from the first season. Whether the season kicks off just a few miles away, or a few worlds away, you'll get your answer when Stranger Things's second season debuts next month.

Original image
NBC - © 2012 NBCUniversal Media, LLC
Everything That’s Leaving Netflix in October
Original image
NBC - © 2012 NBCUniversal Media, LLC

Netflix subscribers are already counting down the days until the premiere of the new season of Stranger Things. But, as always, in order to make room for the near-90 new titles making their way to the streaming site, some of your favorite titles—including all of 30 Rock, The Wonder Years, and Malcolm in the Middle—must go. Here’s everything that’s leaving Netflix in October ... binge ‘em while you can!

October 1

30 Rock (Seasons 1-7)

A Love in Times of Selfies

Across the Universe

Barton Fink


Big Daddy


Cradle 2 the Grave

Crafting a Nation

Curious George: A Halloween Boo Fest

Daddy’s Little Girls

Dark Was the Night

David Attenborough’s Rise of the Animals: Triumph of the Vertebrates (Season 1)

Day of the Kamikaze

Death Beach

Dowry Law

Dr. Dolittle: Tail to the Chief

Friday Night Lights (Seasons 1-5)

Happy Feet

Heaven Knows, Mr. Allison




Love Actually

Malcolm in the Middle (Seasons 1-7)

Max Dugan Returns


Million Dollar Baby

Mortal Combat

Mr. 3000

Mulholland Dr.

My Father the Hero

My Name Is Earl (Seasons 1-4)

One Tree Hill (Seasons 1-9)


Picture This

Prison Break (Seasons 1-4)

The Bernie Mac Show (Seasons 1-5)

The Shining

The Wonder Years (Seasons 1-6)


October 19

The Cleveland Show (Seasons 1-4)

October 21

Bones (Seasons 5-11)

October 27

Lie to Me (Seasons 2-3)

Louie (Seasons 1-5)

Hot Transylvania 2

October 29

Family Guy (Seasons 9-14)


More from mental floss studios