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Speaker 1: It's the city and with her with cap podcast process

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Speaker 1: so war a grain open um.

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Speaker 2: Paul McCartney was at Glastonbury.

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Speaker 3: Yeah, he was side a stage for Gracey Abrams and

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Speaker 3: also in Haler, a band called Inhaler.

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Speaker 2: Imagine looking up.

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Speaker 3: There was a moment where Gracie Aprons looked up and

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Speaker 3: saw Charlie Paul McCartney and Charlie x X and freaked out.

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Speaker 2: She was just like, oh my god, Paul McCartney's watching me.

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Speaker 2: Put you off. He does.

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Speaker 4: It's always been a dream of mine to shake the

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Speaker 4: hand of a beetle. I'm not your Christmas or stink

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Speaker 4: that you find in your backyard.

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Speaker 3: And we've only got two left. A real beetle ringo

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Speaker 3: you could probably get to. I don't think you get

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Speaker 3: the McCartney ringo still alive.

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Speaker 2: Yeah, ring he's still on the isle of souldor.

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Speaker 3: Let's talk about the huge hit Dance the Night Vote

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Speaker 3: Jula Leaf in twenty twenty three. This was obviously for

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Speaker 3: their hit movie Barbie. How big that movie was was unbelievable.

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Speaker 3: I had no idea that Mark Ronson was the one

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Speaker 3: that did the soundtrack right, So is he not one

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Speaker 3: of the coolest Boks that we've interviewed on this show.

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Speaker 4: Had him in here a couple of times.

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Speaker 2: Was the song that had a red room for us?

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Speaker 2: Remember at the start, Yeah, he had.

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Speaker 4: The song about the bike and ride my bikes and

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Speaker 4: ride my bike until I get home.

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Speaker 2: Yeah, well done, mate, it's not the song we're focusing on.

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Speaker 2: We're doing jul Leaper's song to be I can't written

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Speaker 2: for the movie. It was written for the movie.

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Speaker 3: Okay, So this is Greta Gerwig. We know how big

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Speaker 3: this movie was. Took over a billion dollars at the

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Speaker 3: box office. This is Mark Ronson talking about what Gretel

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Speaker 3: Gerwig wanted for the soundtrack.

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Speaker 5: So gret essentially wanted a big disco number that was

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Speaker 5: going to speak for Barbie's best day ever. So I

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Speaker 5: had an idea that it was going to be something

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Speaker 5: up tempo that was really it. And you know, after

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Speaker 5: three days, I tried a couple of different ideas and

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Speaker 5: I didn't think I had anything that was perfect yet.

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Speaker 5: And then they were like, well, can you just send

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Speaker 5: us anything? Well, what do you mean anything, Well, I

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Speaker 5: don't know, just like a click track. So I finally

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Speaker 5: actually got a track that I really felt good about

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Speaker 5: and I sent it in and that was the instrumental,

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Speaker 5: the very raw version of what became dance Tonight.

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Speaker 3: How do you just put something like that together? So

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Speaker 3: this is Ronson just sitting in his studio and he

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Speaker 3: has to get something to Gretago very quickly.

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Speaker 5: Those chords and then I came up with this stringline?

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Speaker 2: Did you come up with that? Awesome?

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Speaker 5: The chords and these French producers that I work quite

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Speaker 5: a bit with, the Picar Brothers, they take like old

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Speaker 5: samples and then whatever I played in the chords, they

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Speaker 5: just changed the samples to fix what I've done. So

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Speaker 5: by taking this weird string sample that they had, they

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Speaker 5: made this weird.

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Speaker 2: Well like that you're here. So I had the melody.

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Speaker 5: Then, but under it there's this sort of murky chord

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Speaker 5: movement happening.

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Speaker 2: So he's got that.

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Speaker 3: Then he's thinking, missel, who's the artist that can sing

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Speaker 3: on this yack?

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Speaker 2: And he guys, Jewel Laper has to be right. So

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Speaker 2: this is Jewel Laper talking about how does Mark.

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Speaker 3: Ronson get in contact with Jewel Laper? You would think

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Speaker 3: through record company like that, Now it wasn't.

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Speaker 6: I just got a DM on Instagram remark. He basically

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Speaker 6: just reached out and was like, I'm working on this

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Speaker 6: film with Greta. There's this big dance number, and I

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Speaker 6: would love you to write it with me. I was

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Speaker 6: so intrigued at what Barbie was going to be. What

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Speaker 6: was it about the next opening of dates that I had,

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Speaker 6: I like flew to New York. We were also saying.

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Speaker 7: We were like, oh, maybe we'll work.

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Speaker 6: A little bit on my album and then a little

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Speaker 6: bit on Barbie. But Barbie just completely took over our life,

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Speaker 6: like we were completely barbified, Like there was Barbie dolls

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Speaker 6: everywhere here. We were just putting post it notes everywhere,

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Speaker 6: trying to like brainstorm what dance the night was going

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Speaker 6: to be.

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Speaker 3: So then they watched Margo Robbie in that dance scene

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Speaker 3: in the movie.

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Speaker 2: So he's trying Ronson's.

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Speaker 3: Trying to get ideas out of Duel leper of you know,

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Speaker 3: where's this song going to go? And they're watching Margo

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Speaker 3: dancing in that one iconic scene.

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Speaker 6: So we were watching it, and then I just felt

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Speaker 6: really compelled to be able to have like the lyrics

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Speaker 6: really merged with the dancing and what was happening in

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Speaker 6: the scene as well. So we like really fine tuned it.

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Speaker 6: Every little moment. It's also like a moment ago turn

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Speaker 6: the music up and then putting their hands up.

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Speaker 3: So they were actually watching the movements and that's how

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Speaker 3: they're putting the lyrics together.

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Speaker 2: The whole thing is brilliant, isn't it?

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Speaker 3: And then Ronson talks about dua lipa and how you

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Speaker 3: got to listen to how amazing your voices. But then

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Speaker 3: she comes in with all these extra bits.

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Speaker 5: And then do it later these backgrounds under it that

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Speaker 5: are sort of like whisper vocals.

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Speaker 6: Right, baby, you can find me under the light, Diamond's

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Speaker 6: under my Eyes to RYTHM, don't you want to just

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Speaker 6: come along for the race?

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Speaker 4: From Tommy? You're right.

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Speaker 2: That's a huge duel opn like like like like like

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Speaker 2: like like like like like like.

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Speaker 3: Like, oh wow, what a superstar to superstars juel Apa

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Speaker 3: Danced the Night song, What a great song? Ronson juel Laper.

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Speaker 3: You learn something new every day. This is the Fitz

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Speaker 3: and Whipper with Cape Richie podcast.

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Speaker 4: What song.

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Speaker 2: Smid the process his song song? It sounds a lot

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Speaker 2: better than that, doesn't it.

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Speaker 3: I go, we're going back to nineteen ninety one with

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Speaker 3: this song from an album called Blood Sugar Sex Magic.

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Speaker 3: This is the Red Hot Chili Peppers under the Bridge.

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Speaker 3: I mean, everyone loves this song.

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Speaker 2: Everybody loves this song.

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Speaker 4: I remember where I was when I saw the album

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Speaker 4: for the first time, and a mate's sister had bought

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Speaker 4: it and we went to Chili Peppers, the Red Hot

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Speaker 4: Chili Peppers. Who are they?

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Speaker 2: Well that they freaked me out.

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Speaker 3: In nineteen ninety one, they brought out their first single

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Speaker 3: which was Given Away.

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Speaker 2: Do you remember the film Give It Away? And I

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Speaker 2: was going, who is this band? My gosh?

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Speaker 3: And then this was the second single that was released

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Speaker 3: off Blood Sugar Sex Magic was under the Bridge, which

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Speaker 3: was totally different to Give It Away, but it's an

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Speaker 3: amazing song. The film Creep you would remember as well

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Speaker 3: with Anthony Keatis.

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Speaker 2: Running running down the streets slow motion. That was excellent.

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Speaker 3: That was produced by Gus van Send who was the

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Speaker 3: guy who did Goodwill Hunting here right. Also producer of

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Speaker 3: the album was Rick Rubin. We know Rick Werben is

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Speaker 3: a legend. Rick Rubin tells the story of how they

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Speaker 3: got this song and how Anthony put it together.

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Speaker 2: Have a listen to this.

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Speaker 7: It's wild to see it happen. They'd never done a

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Speaker 7: song like that before. It was a poem that Anthony

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Speaker 7: had written, and I said, what's this one? And he said,

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Speaker 7: that's not for the Chili Peppers. So he said, it's

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Speaker 7: really beautiful. Why would you say it's not for the

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Speaker 7: Chili Peppers. He's like, it's not what we do. Historically

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Speaker 7: they were a band that played funk music with rap vocals. Yes,

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Speaker 7: and that was the Chili Pepper sound. And I said,

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Speaker 7: what about singing it to the other gays? And he

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Speaker 7: was shy about it, but he said he would played

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Speaker 7: for John, he would sing it for John, and he

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Speaker 7: sang it for John, and John came up with a

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Speaker 7: guitar part. John and Anthony sang it for Lee and

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Speaker 7: Chad and they loved it, and then it became a

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Speaker 7: Chili Pepper song.

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Speaker 2: Follow it was a poem.

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Speaker 3: And we all know if anyone has read Anthony Keatis's book,

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Speaker 3: Scouts Issue, it is unbelievable the life that that man had.

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Speaker 3: He was mixing with celebrities and movie stars at the

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Speaker 3: age of eleven and twelve and ours at parties.

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Speaker 2: But his old man.

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Speaker 3: Was well known in California, like he was a bit

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Speaker 3: of a who's a whip right, and the ladies loved him. Yeah,

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Speaker 3: and that was his lifestyle. So in the house they

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Speaker 3: would have parties regularly. He was only like eleven and twelve,

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Speaker 3: he was sure babysit at him. So he had this

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Speaker 3: colorful life. But unfortunately he became an addict. And he

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Speaker 3: talks about his struggle with drugs, but the lyrics to

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Speaker 3: this song, he talks about it here. I mean, this

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Speaker 3: goes for a minute, but it's unbelievable what the actual

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Speaker 3: poem meant to him.

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Speaker 8: It's connection of mine.

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Speaker 9: There Maria, who was a Mexican mafia ex convict, and

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Speaker 9: he and I would straw the streets of downtown looking

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Speaker 9: for our next scoor. And on one particular afternoon and

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Speaker 9: it was very hard a than in the summer, and

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Speaker 9: a Benu fdees and he and Oponal we're looking for

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Speaker 9: and we went to this bridge and there was downtown

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Speaker 9: in the middle of Los Angeles, in this ghetto, and

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Speaker 9: there was a freeway bridge and there was a little

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Speaker 9: passage where that he had to go to to get

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Speaker 9: under the bridge, and only certain members of this Mexican game,

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Speaker 9: which Rolex convicts, were allowed to go in there.

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Speaker 8: The chorus of the song is I don't ever want to.

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Speaker 4: Well, I don't ever want to feel like I did

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Speaker 4: that day.

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Speaker 9: Take me to the place I love, Take me all

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Speaker 9: the way in the place I love with where I

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Speaker 9: am now making music with my band and making love.

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Speaker 8: With my friends and my girl friends.

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Speaker 9: Which is to me, you know, the most sacred thing

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Speaker 9: that I have going is this creating sound with my

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Speaker 9: best friends.

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Speaker 4: Sounds like you s these interviews on top of the bridge.

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Speaker 2: Now.

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Speaker 3: I know that was in a documentary back in nineteen

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Speaker 3: ninety two when they put the album together, but it

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Speaker 3: is it's music saved his life because he would have died.

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Speaker 2: From an overdose.

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Speaker 4: In the book because when we just played that other

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Speaker 4: grad before, we were talking about how it was a

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Speaker 4: poem that he'd written and he didn't plan to put

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Speaker 4: it to music.

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Speaker 2: It was a personal poem.

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Speaker 4: Did he write a lot of poetry.

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Speaker 2: Yeah, he did.

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Speaker 3: There were a lot of poems in there, but that

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Speaker 3: were known as sort of a funk rap sort of group.

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Speaker 2: So he just thought.

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Speaker 3: When Rick Rubin said that's beautiful, they're beautiful lyrics, he went, nah,

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Speaker 3: not for the band.

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Speaker 2: So then they put the song together.

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Speaker 3: John Freshanty the guitarist comes up with that amazing riff

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Speaker 3: at the start of the song. They put it together,

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Speaker 3: but they just couldn't get it right at the end.

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Speaker 3: They just said they needed something at the end to

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Speaker 3: actually finish off the song and flee. The bass player

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Speaker 3: from the band talks about what they did.

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Speaker 4: John's mom came in with I think people from her

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Speaker 4: church group and sang.

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Speaker 9: Back to the background vocals Under the Bridge Downtown.

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Speaker 4: That was trippy, like seeing all these these women out

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Speaker 4: there unkind of the bridge time time. It just seems

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Speaker 4: so crazy and it worked out so great.

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Speaker 6: It was like the angels were closing the record.

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Speaker 4: What are the lyrics there? Under the bridge Downtown is

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Speaker 4: where I drew some baw some blood.

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Speaker 2: Yeah, that means that they're injecting right.

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Speaker 4: Amazing to think that they just had backup do it,

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Speaker 4: backup singers from the church group.

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Speaker 2: It would have been an interesting film clip, wouldn't it.

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Speaker 4: And you don't know they had backup singers when the

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Speaker 4: church group come in just to help out with vocals.

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Speaker 2: To back up it is.

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Speaker 3: Anthony Keatis was really worried that they had a reputation

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Speaker 3: as that funk sort of rap band, so he was

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Speaker 3: worried that, you know, there was people that he knew

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Speaker 3: that were going to be you know, what is this song?

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Speaker 2: Yeah? What are you doing with this song? But now

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Speaker 2: he talks about it.

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Speaker 3: He was talking to Joe Rogan recently about the amount

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Speaker 3: of people that love this song.

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Speaker 2: And when he walks down the streets of California Evolism.

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Speaker 8: The Gangsters of l A, I'll be writing down the

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Speaker 8: suns of Bolivar and I'll hear under the Bridge coming

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Speaker 8: out of a low rader and it is the toughest, scariest,

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Speaker 8: most you know, loked looking to it, just melting with

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Speaker 8: under the Bridge. I'm like, Okay, that was that was

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Speaker 8: a d well spent in a rating. That's a day

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Speaker 8: well spent. Wow, what a great good, great story.

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Speaker 7: Maut.

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Speaker 6: I love that.

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Speaker 2: Yeah, thanks a lot, Mat, I'll do it again this time.

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Speaker 4: You don't like it as well?

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Speaker 9: Yeah?

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Speaker 2: I love her. We've done it again.

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Speaker 4: I've done it again.

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Speaker 2: How do you keep doing it? How sits? In?

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Speaker 3: Whipper with Kate Ritchie is a Nova podcast walk great

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Speaker 3: shows like this.

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Speaker 2: Download the Nova Player, find.

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Speaker 4: The app Store or Google Play.

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Speaker 6: In the player,