Tangles Salon on Campus - Hairstylist program

We love Sam!!

"Don't chase trends so hard that you forget your hands have a voice."⁠
⁠
In an industry that moves faster than ever, it's easy to feel like you have to keep up with every trend, every technique, every algorithm.⁠
⁠
But your greatest value has never been your ability to copy what's popular.⁠
⁠
It's your perspective.⁠
Your experience.⁠
Your touch.⁠
Your eye.⁠
Your hands.⁠
⁠
Learn the trends. Study the techniques. Stay curious. But never lose the artist that only you can be. That voice is what your clients come back for.⁠
⁠
Thank you for capturing this, ⁠ 🫶🏽⁠
⁠
⁠

Atta girl!! Have so much fun on your new adventure Calle 🤩

The wait is over and it is official…
You can find me at CHEL SALON SASKATOON | YXE | AVEDA SALON & SPA for all of your hair AND nail needs starting July 15th EEEEEKK!!!

I am so excited to begin this new chapter in my life. I couldn’t be more excited to join a wonderful team of people at CHEL SALON SASKATOON | YXE | AVEDA SALON & SPA , and also getting to work with Aveda products!

Whether you’re wanting to book with me or just pop in to say hi, you can find me at 14 23rd St E in Saskatoon 📍

You can book directly with me through the link in my bio, or call the salon at 306-477-6200.

Thank you all for the love and support over these last several years in North Battleford. I am forever grateful ❤️

These young ladies have been great clients over the years 🩷 we appreciate you

This beautiful family came to see us this week for some color , cuts , highlights etc. Always a pleasure to work with your hair ladies🩷

Love the Breakfast Club!! We watch it at school every year. It describes all different types of people , helping students to learn about different personality types and how to be mindful and compassionate to them all.
Props to Wendy for showing me the way the movie relates to people we deal with every day ❤️

Weeks into filming The Breakfast Club, John Hughes made a decision: Judd Nelson had to go.

It wasn't a passing frustration. Molly Ringwald later described Hughes as angrier than she had ever seen him — not the managed tension of a director having a rough day, but something final. Something absolute. The set went still. Everyone understood what it meant.

Nelson had arrived with a commitment that made people uncomfortable. Trained in the method tradition at the Stella Adler Conservatory, he had decided before shooting began that he would never step out of character. Not between takes. Not at lunch. Not for anyone.

The character was John Bender — hostile, wounded, probing for weakness in everyone around him, turning every room into a test of who would break first. Staying in that character continuously meant staying sharp and needling and unpredictable. The set, much of the time, felt like the library in the film.

His primary target was Ringwald.

She later said she understood. She could see the method behind the provocation — that the discomfort Nelson created between takes was the same discomfort that made their scenes together feel raw instead of rehearsed. She was a professional. She recognized a professional working.

Hughes did not see it that way.

When he said he wanted Nelson removed, the cast faced a quiet crisis. Bender wasn't a supporting role. He was the engine — the force pushing every other character toward the truth the whole film was built around. Recasting weeks in, with the chemistry already forming, wasn't a minor adjustment. It was a potential collapse.

So they walked in together.

Ringwald went first — the person Nelson had been targeting, the one whose discomfort had set everything off. Ally Sheedy went. Anthony Michael Hall went. Emilio Estevez went. They told Hughes that what looked like provocation was commitment. That the discomfort was the point. That Bender was working because Nelson was working.

Paul Gleason — the veteran playing Principal Vernon, a man who had spent a career learning to tell the difference between someone causing problems and someone solving them unusually — added his voice. Nelson deserved to finish.

Hughes listened. He changed his mind.

Nelson stayed. He fought for every corner of the character — including the scene where Bender describes his father burning him with a cigar. Hughes wanted the cruelty to read as careless, accidental. Nelson pushed back hard. He had built this character from the inside, and the inside required deliberate damage — a father who chose to hurt his son, because only that specific intentional cruelty could explain the specific intentional damage Bender aimed at everyone around him.

He won that argument too.

The scene plays exactly as Nelson wanted it. Bender describes his father with the flat affect of someone who processed horror by draining all the feeling out of it. The emptiness is more disturbing than anger would have been. Roger Ebert, reviewing the film on its release in February 1985, called Bender the strong center of the movie.

The Breakfast Club cost around a million dollars to make. It earned fifty-one million. It became one of the defining films of a generation — not as a time capsule, but as something that kept finding new audiences for decades, because what it said about identity, and the gap between who we appear to be and who we actually are, was true enough to stay true.

Nelson said afterward that Hughes was one of the only directors he ever worked with who genuinely wanted collaboration — who would hear a better argument and change his position. Working with others later made him understand how rare that was.

He also said, simply, that he never wanted to be difficult. He just didn't want to fail the character.

He didn't fail him.

But the Bender that ended up on screen — the one generations of teenagers recognized as the most honest portrait of a certain kind of hurt they had never seen named before — exists because four young actors walked into a hard conversation with their director and asked him to give a fifth one more time.

A film about strangers choosing to protect each other was saved by strangers choosing to protect each other.

*That's either a coincidence. Or it was always the only way it could have worked.

Credit to respective owner ~

Tangles Salon is open for business offering our full menu until July 17th, 2026, Monday to Friday, 9-4. Then our lovely students go out into the work world ❤️

This beautiful young lady came to lighten up for summer 😊 sunny days are here .
b

We are open 🥰and taking appointments !
Hours are Monday to Friday nine till four. Our last day in Salon is Friday, July 17.

These adorable twins came to see us💕 a little mini perm and baby highlights .. so much fun !! Highlight done by : .b hairbykails.b and perm done by .hayleyh