When you think of the 1980s, your brain probably goes straight to neon leg warmers, hairspray, and maybe a synth-pop beat that never quits. But if you were tuned into the comedy scene back then, specifically the weird, wonderful world of novelty records, you definitely knew Julie Brown. She wasn't the "Downtown" Julie Brown from MTV—though the confusion between the two was a whole thing for a while—she was the Valley Girl visionary who gave us "The Homecoming Queen's Got a Gun." However, it’s her other anthem, Julie Brown big and stupid (officially titled "I Like 'Em Big and Stupid"), that remains a fascinating time capsule of 80s satire and subculture.
Honestly, the song is a masterpiece of low-brow humor.
It first dropped in 1983 as a self-released single. Back then, Brown was a comedian working the San Francisco and LA club circuits, trying to make a name for herself. She wasn't just some actress looking for a gimmick; she was a writer who understood exactly how to lampoon the "Valley Girl" trope that Frank Zappa had popularized just a year or two prior.
Why Julie Brown Big and Stupid Was More Than Just a Joke
To understand the appeal of Julie Brown big and stupid, you have to look at the landscape of the early 80s. The song is a direct, hilarious reversal of the typical "male gaze" pop songs of the era. Instead of a guy singing about a "blonde bombshell," Brown flips the script. She sings about her craving for a "six-foot baby with a one-track mind." She wants a guy who is "Superman with a lobotomy."
It’s crude. It’s catchy. It’s remarkably smart for a song about being dumb.
The lyrics paint a vivid picture of 80s dating culture. While her "father's outta Harvard" and her "brother's outta Yale," her date just got "outta jail." It’s that classic comedic juxtaposition—the refined, educated background versus the raw, primal (and admittedly dim-witted) attraction.
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The Musicality of Comedy
One thing people often overlook is that Julie Brown’s music actually sounded good. This wasn't just a comedian talking over a drum machine. She worked with Charles Coffey and Terrence McNally (not the playwright, but her then-husband/collaborator) to craft actual synth-pop.
The production on the 12-inch version, which included an "Extended Dance Mix," was legitimate enough to be played in clubs.
- Release Date: November 9, 1983
- Label: Originally Bulletz Records, later picked up by Rhino Records
- The Pastiche: The single cover was a hilarious parody of the back of Madonna's Like a Virgin album.
- EP Success: It became the lead track on her 1984 EP Goddess in Progress.
The Earth Girls Are Easy Connection
You might recognize the vibe of the song from the cult classic film Earth Girls Are Easy. That makes sense because the movie was actually based on another song from that same EP. Julie Brown co-wrote the screenplay and starred as Candy Pink.
Interestingly, a version of Julie Brown big and stupid was actually filmed for the movie.
In the scene, Julie’s character performs the song in a manic, colorful musical number. For whatever reason, the sequence was cut from the final theatrical release. You can still find it on DVD extras and YouTube today, and honestly, it’s a crime it didn't make the cut. It captures the essence of her "Candy" character perfectly—bright, loud, and unapologetically shallow.
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Even though the full performance was cut, you can still hear the song playing in the background during a scene in the film. It's like a little Easter egg for the die-hard fans who bought her 12-inch vinyl back in '83.
Satirizing the 80s Persona
Brown’s genius was her ability to inhabit a character so fully that some people didn't realize it was a parody. She played the "quintessential Valley Girl" so well that she basically became the face of it. Between her MTV show Just Say Julie and her music videos, she was everywhere.
But there was always a wink to the audience.
She was making fun of the vapidness she saw around her in Los Angeles. By singing about wanting a man who "can't tell time but he sure can drive," she was mocking the surface-level values of the decade. It was satire disguised as a dance-pop hit.
The Legacy of a Novelty Hit
Does the song hold up? Sorta.
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If you play it today, the synth sounds are dated in that charmingly chunky 80s way. The lyrics are still funny, though some of the jokes about "Neanderthals" feel like they belong to a very specific era of comedy. But in terms of influence, you can see Julie Brown’s DNA in everything from "Weird Al" Yankovic (who she frequently collaborated with or appeared near in the charts) to modern comedy acts like Rachel Bloom.
In fact, Brown eventually moved into writing for shows like Clueless (where she also played Coach Stoeger) and Camp Rock. She proved that you could start with a song about a "big and stupid" guy and turn it into a decades-long career in Hollywood.
Where to Find the Track Today
If you're looking to add this to your "80s Weirdness" playlist, you're in luck.
- Streaming: Most major platforms have the Goddess in Progress EP or the later 1987 album Trapped in the Body of a White Girl.
- Vinyl: Collectors still hunt for the original Rhino Records pressings. Look for the "Goddess in Progress" mini-LP; the cover art is iconic.
- The 2007 Re-release: Brown actually bought back the rights to her EP in 2007 and put out a CD version with unreleased tracks. That’s probably the best-sounding version available.
Actionable Insights for Fans and Collectors
If you're diving back into the world of Julie Brown or discovering her for the first time, don't just stop at the songs.
- Watch Medusa: Dare to Be Truthful. This was her 1991 mockumentary that parodied Madonna's Truth or Dare. It won a Writers Guild Award and is arguably the peak of her satirical powers.
- Check out the DVD extras for Earth Girls Are Easy. The deleted musical numbers are essential viewing for anyone who wants to see the "Big and Stupid" choreography in all its neon glory.
- Differentiate your Browns. Remember, Julie Brown is the redhead comedian/writer. "Downtown" Julie Brown is the MTV VJ known for "Wubba Wubba Wubba." Both are 80s icons, but very different vibes.
Julie Brown's work reminds us that the 1980s weren't just about serious power ballads and "We Are the World." There was a vibrant, subversive comedy scene that wasn't afraid to be loud, colorful, and—yes—a little bit stupid.
Go find the Goddess in Progress EP on a streaming service like Spotify or Apple Music to hear the original production quality of the 1983/84 recordings. Pay close attention to the background vocals and synth layering; it's much more sophisticated than your average "funny" record. If you're a film buff, track down a copy of the Earth Girls Are Easy "Special Edition" DVD to see the lost performance of the song in its original context.