MaXXXine and the PMRC: A Retrospective Connection

Though the story is short and simple, perhaps a bit dull and not thoroughly enjoyable, the director makes a clear and unabashed critique of a long-forgotten issue: the self-righteous antics of the Parents Music Resource Center (PMRC) in 1985.

1. Historical Background

The year 1985 was pivotal in shaping the oversight of rap and rock music in America. That year, a private organization called the Parents Music Resource Center (PMRC) was established by some elite individuals to provide parents with necessary public information about the music their children were listening to. Tipper Gore, wife of then-Senator Al Gore (later Vice President under Clinton), bought Prince’s album Purple Rain for her 11-year-old daughter and discovered explicit lyrics. Concerned about the negative impact of such music on children, she found other parents shared her worries and decided to act, thus founding the PMRC.

Prominent initial participants included Susan Baker, wife of James Baker (who served as U.S. Secretary of the Treasury and White House Chief of Staff), and Sally Nevius, wife of John Nevius (Chairman of the Washington, D.C. Council). They were often referred to as the "Washington Wives."

The PMRC proposed that, to aid parental education, records should have ratings like movies and explicit lyrics should be printed on album covers. Albums with obscene content should be placed under the counter and not displayed openly. Additionally, radio stations should be provided with lyrics. The PMRC also published a newsletter and sent letters to over 60 music companies and associations, calling for the oversight of rap and rock music.

The dispute escalated to a Senate hearing on September 19, 1985, about "pornographic rock." This was one of the most widely reported hearings in U.S. history, significantly influenced by the involvement of the influential "Washington Wives."

The hearing was not intended to be a government intervention in popular culture. Senator John Danforth stated, "The purpose of the hearing is not to legislate but to provide a forum to discuss 'pornographic rock,' bringing it to public attention and raising awareness among the American people." Four senators spoke at the hearing, representatives from the PMRC and the music industry presented their positions, and experts shared their views on music's impact on behavior.

Following the hearing, the PMRC received support from the National PTA and reached an agreement with the Recording Industry Association of America (RIAA) on November 1, 1985. The agreement required that album covers should include lyrics when possible, and those with explicit content should be labeled with a parental advisory.

2. Film and Reality

The PMRC listed 15 songs they deemed most objectionable, known as the "Filthy 15." These songs, containing elements of sex, violence, and nihilism, included works by Madonna, AC/DC, and Prince (whose song "Darling Nikki" was bought by Gore's daughter). The hearing saw testimonies from musicians like John Denver, Twisted Sister, and Frank Zappa, who responded clearly and confidently to the PMRC's questions, often leaving the committee at a loss.

One iconic scene in the film features a blond man testifying in court, representing Twisted Sister’s lead singer Dee Snider. PMRC interpreted Twisted Sister's song "Under the Blade" as promoting sadomasochism and rape. Snider clarified that the song was inspired by a band member’s surgery and depicted the fear associated with undergoing an operation, suggesting that the only sadomasochism and rape existed in Mrs. Gore's mind. Snider concluded, "The responsibility of protecting my children lies entirely with me and my wife, and no one else can make these judgments for us."

In the 1980s, many parents attributed their children's behavior to the music they listened to. In 1984, 19-year-old John McCollum committed suicide, and his parents blamed Black Sabbath’s song "Suicide Solution." They believed the song contained hidden satanic messages that, when played backward, encouraged listeners to "pick up a gun and shoot." Similar accusations were made against Judas Priest’s song "Better by You, Better than Me" after two young men attempted suicide in 1985.

Does music really bear the responsibility for youth behavior? The absurdity of these claims resembles the constraints on speech we see today, where certain platforms require careful wording to avoid censorship.

The parental advisory label, instead of deterring youth, often acted as a guide. Teens now had a clear indicator of which albums contained explicit content. In many cases, albums with advisory labels sold even more copies. Thanks, PMRC!

3. The Film Itself

Given this background, in the movie, the protagonist’s father and a group of white-clad followers believe they are "exorcising" children corrupted by Hollywood/pop culture. The father sees the protagonist, Maxine, as a pure figure corrupted by evil.

The father’s belief isn't baseless. When he watches his daughter through a window, he attributes her lifestyle to societal influence and vents his frustration by destroying a banister. He indiscriminately kills anyone associated with her, believing he is protecting her from corrupting influences, much like how the PMRC tried to shield children from certain music.

The movie's climax is fitting. The father and his followers genuinely believe they are righteous, seeing themselves as saviors in a corrupted world. They distrust the police and the law, relying solely on their sense of justice. This mirrors the PMRC’s elite parents who fervently believed in their mission to protect society’s morality.

The father's fate in the movie is a violent expression of the director's sentiment. His efforts are met with a shotgun blast from his daughter, symbolizing the ultimate rejection of parental censorship. It echoes the sentiment of many young people toward such overbearing control: "We'd be better off without it."

The police, caught between distrust from both sides, end up tragically, symbolizing their thankless position. Whether it’s sympathy for 1980s cops or a critique of their ineffectiveness is up for debate.

Maxine's consistent drug use throughout the film raises questions. Despite PMRC’s efforts, did the kids truly change? Does parental control over music really affect youth behavior? The father’s absence during Maxine’s formative years likely contributed to her downfall, making his blame on society seem ironic.