This theme is inspired by a milestone: Pretty in Pink was released in February 1986. Four decades later, the music from that film and the broader John Hughes movie universe still feels tailor-made for the studio.
Before curated playlists and streaming algorithms, there were movie soundtracks that defined how a generation felt. John Hughes had a rare gift for pairing music with moments that made scenes unforgettable. The songs didn’t sit in the background. They became part of the story.
From The Breakfast Club to Pretty in Pink, Ferris Bueller’s Day Off to Sixteen Candles and Some Kind of Wonderful, the music from these films is packed with studio-friendly tracks that work beautifully for climbs, tempo work, intervals, and recoveries.
Some movies stay with you long after the credits roll. For me, the John Hughes films framed my teen years so deeply that I even named my dog Jake Ryan. The soundtracks from these movies still create incredible moments on the bike, where nostalgia, emotion, and effort come together without you even trying.
Riders recognize many of these songs instantly, even if they can’t place where they first heard them. That familiarity creates connection, and connection creates effort.
A few standouts you can drop directly into your next ride:
Don’t You Forget About Me, Simple Minds, 4:23, 111 bpm
The Breakfast Club
Featured in the unforgettable final scene as John Bender (Judd Nelson) walks across the football field, this track is pure ’80s movie energy. It works beautifully as an early leg-surge song. Start under the beat in the mid- to high 90s rpm, accelerate to match the cadence, ease back, and repeat with each chorus for controlled, repeatable efforts.
If You Leave, Orchestral Manoeuvres in the Dark, 4:29, 120 bpm
Pretty in Pink
Written specifically for the film’s ending after a last-minute change to the final scene, this song plays as Andie (Molly Ringwald) walks toward Blane (Andrew McCarthy) at prom, bringing the story to its emotional close. The track carries a sense of anticipation and release, mirroring the tension and resolution of that moment.
Use this track as a heavy climb. Add resistance early and stand at 1:05–1:22 (17s), then again at 1:57–3:02 (1m 5s). Return to the saddle, and at 3:53–4:17 (24s) surge the legs + 5–10 rpm to the finish for a strong, controlled push.
Wouldn’t It Be Good, Nik Kershaw, 4:37, 97 bpm
Pretty in Pink
This track underscores the film’s themes of identity, longing, and wanting to be understood. Its driving rhythm and reflective tone make it instantly recognizable while carrying a quiet intensity beneath the surface.
At 97 bpm, it works well as a fast flat road. Keep the legs light and quick, and use the chorus to lift the cadence slightly before returning to a steady tempo.
If You Were Here, Thompson Twins, 2:56, 114 bpm
Sixteen Candles
Played during the quiet, memorable scene when Jake Ryan (Michael Schoeffling) waits outside the church for Sam (Molly Ringwald), this song captures the hopeful, tender tone of the film’s ending. It’s a moment of calm after all the chaos, and the music mirrors that feeling perfectly.
At 114 bpm, it works beautifully as a cool-down or recovery. Lighten the resistance, let the legs spin easily at a comfortable, self-selected cadence, and allow the steady rhythm to bring the effort back down.
Pretty in Pink, Psychedelic Furs, 3:58, 136 bpm
Pretty in Pink and Some Kind of Wonderful
At 63 bpm, the steady beat makes it ideal for a controlled climb. Settle into the cadence, add resistance gradually, and let the build in the music guide a sustained, patient effort without ever rushing the legs.
Bring On the Dancing Horses, Echo & The Bunnymen, 3:56, 118 bpm
Pretty in Pink
This song plays during one of the film’s reflective montage moments, capturing Andie’s (Molly Ringwald) quiet resolve as she moves through the social tension around her. The moody, atmospheric sound mirrors the emotional undercurrent of the story and adds depth without overpowering the scene.
This is a slow, heavy climb at 59 rpm. Add resistance, stay seated, and let the hypnotic rhythm guide a slow, controlled grind that builds strength without changing cadence.
Oh Yeah, Yello, 3:07, 131 bpm
Ferris Bueller’s Day Off
Used throughout Ferris Bueller’s Day Off, most memorably during the slow, admiring shots of Cameron’s father’s Ferrari, this track became synonymous with exaggerated cool. Its minimalist beat and deep vocal hits add humor and attitude to the scene without needing many words.
Build resistance gradually at 65 rpm and let the steady pulse of the song support a slow, powerful grind that gets heavier as the track unfolds. Allow riders to stand as desired.
Twist and Shout, The Beatles, 2:35, 125 bpm
Ferris Bueller’s Day Off
This song explodes into the famous parade scene as Ferris jumps onto the float and turns downtown Chicago into a spontaneous dance party. The energy is joyful, contagious, and impossible to ignore, which makes it just as powerful in the studio.
Start with moderate resistance at 63 rpm and build steadily, standing on the chorus.
Can’t Help Falling in Love, Elvis Presley, 3:06, 100 bpm
Some Kind of Wonderful
Used during the party scene in Some Kind of Wonderful, this classic plays as Keith (Eric Stoltz) and Watts (Mary Stuart Masterson) share a quiet, meaningful moment away from the noise around them. The song softens the mood of the film and highlights the emotional shift in their relationship.
This track works beautifully as a cool-down or recovery. Ease off the resistance, let the legs spin gently (off the beat), and allow the calm, familiar melody bring the heart rate back down.
These songs are just a starting point. When you look at the full soundtracks, you’ll realize how deep the catalog really is.
Below is a bucket playlist featuring over 85 songs from across the John Hughes movie universe that you can pull from anytime you want to build a ride around emotion, nostalgia, and timeless music.