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Speaker 1: All right, Millier, are you recording?

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Speaker 2: Yeah, I am.

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Speaker 1: Okay, okay, just start it up. Whenever you're ready, you start,

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Speaker 1: start the intro. Whenever you're ready, Okay, I will.

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Speaker 2: Hey, everybody you're listening to Ugh, did I say, Millily?

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Speaker 1: You fucked it up? You fucked it up again? What

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Speaker 1: fucked up the intro? You fucked up my intro?

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Speaker 3: The intro?

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Speaker 1: I wrote, dude, I it.

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Speaker 4: Was a complete mistake. Like what am I supposed to be? Like? Perfect?

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Speaker 2: Every time?

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Speaker 4: Here?

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Speaker 1: You need to be perfect because I'm fucking perfect every time.

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Speaker 1: I come to every one of these recordings with perfect instrumentation,

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Speaker 1: perfect vocalization. I know the script backwards and forwards. It's

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Speaker 1: just about doing.

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Speaker 4: A little bit of fucking homework, and you don't do it.

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Speaker 2: You know, no one is going to talk to me

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Speaker 2: like that on this podcast, bro, Like you're not gonna

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Speaker 2: talk to me like that on my side, to you.

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Speaker 4: However I want.

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Speaker 1: I can talk to you however I want, because I

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Speaker 1: am the Messiah of podcasting. Okay, I am a mystic

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Speaker 1: and people don't respect me enough and they don't understand

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Speaker 1: the vision that I'm that I have for this show.

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Speaker 2: Yo, let me tell you something though, in every spiritual

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Speaker 2: tradition you burn in health, pretending to be God and

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Speaker 2: not being able to back that shit up.

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Speaker 1: Bro, Well, you know, if I'm going to Hell, I'm

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Speaker 1: bringing you with me.

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Speaker 4: Come out, Hey, Hey, get back here? Oh you walk

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Speaker 4: my fucking sitar. Don't don't touch my hair.

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Speaker 1: Don't touch my hair.

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Speaker 2: God, what a fucking freak like here, I'm quitting.

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Speaker 4: Good riddance, man, there's the door. There's the door. Listen.

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Speaker 2: You're gonna be so fucking sorry without me. I'm just

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Speaker 2: gonna go and walk and I'll just walk back to California.

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Speaker 4: I don't give a shit about you. Hoo hoo. Boo

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Speaker 4: hoo hoo.

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Speaker 2: There goes Casey with his God complex again. Pretty much

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Speaker 2: a typical recording of the podcast Dear Movies, I Love

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Speaker 2: You and it's too bad that we had to break

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Speaker 2: up again because we have an amazing show. This week,

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Speaker 2: we're going to be digging into the reworking or the

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Speaker 2: reducts of a documentary that was made in two thousand

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Speaker 2: and four called dig We're actually talking about the twenty

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Speaker 2: twenty four update dig XX, which is all about the

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Speaker 2: feud between the Brian Jonestown Massacre and the Dandy Warhols.

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Speaker 2: We're also going to be talking to our friend, baseball

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Speaker 2: writer Craig Calcaterra. He is bringing his area of expertise

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Speaker 2: this week, which is all about actors who play athletes,

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Speaker 2: and maybe even the reverse, which is athletes that turn

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Speaker 2: into actors. But it's a great conversation. It's going to

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Speaker 2: be a great show if we can try to get

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Speaker 2: this maniac under control. And we hope you'll stay tuned.

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Speaker 2: You're listening to the greatest fucking podcast in the entire world,

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Speaker 2: Dear Movies, I Love You.

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Speaker 5: Dear I love you, and I've got to know you

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Speaker 5: love me to check the box.

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Speaker 2: Hey, everybody, you are listening to Dear Movies, I Love You.

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Speaker 2: It is the podcast for people who are in a

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Speaker 2: relationship with movies. Problematic, sometimes violence, sometimes sometimes fueled completely

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Speaker 2: by drugs and alcohol, but a relationship nonetheless. My name

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Speaker 2: is Millie.

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Speaker 1: To Jericho, I'm Casey O'Brien. I'm really sorry about that, Millia.

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Speaker 1: I don't know what came over.

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Speaker 4: Me, dude.

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Speaker 2: I was halfway to La on foot just now. I

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Speaker 2: slept on a lawn share that was behind a dumpster. Yeah,

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Speaker 2: and a strip mall somewhere in Arkansas. I don't even remember.

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Speaker 2: But we got to work on this, dude. I mean,

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Speaker 2: you're listen, you're a genius. You're a musical genius. Even

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Speaker 2: if you treat me like shit, I'm gonna buy all

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Speaker 2: your albums. Still. You just need to learn how to

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Speaker 2: be a person, dude.

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Speaker 1: Yeah, yeah, well yeah, I'm working on it. I'm working

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Speaker 1: on it, working on the drugs, I'm working on working

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Speaker 1: on it all, working on my sitar ob session. We'll see,

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Speaker 1: we'll see about it. But Millie, huge week this week,

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Speaker 1: Huge episode this week. Yeah, very excited to talk about Dig,

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Speaker 1: a movie I'd never seen before. But I wanted to

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Speaker 1: do something which I mentioned a few episodes back, about

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Speaker 1: checking in with the Criterion Channel twenty four to seven

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Speaker 1: feed and seeing if we can guess the movie. Okay,

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Speaker 1: are you ready to dive into the Criterion Channel?

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Speaker 2: Oh yeah. So basically, for people that don't know, this is,

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Speaker 2: you know the Criterion Channel, which is you know, the

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Speaker 2: Criterion Collections streaming service. They actually have a section of

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Speaker 2: their app where you can watch like a live feed

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Speaker 2: twenty four hours and they just throw movies on there.

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Speaker 2: There's no intros or commercials or anything. It's just a

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Speaker 2: live feed of movies back to back to back, and

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Speaker 2: then in order to find out what they're actually playing,

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Speaker 2: you have to go to this separate section. It's called

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Speaker 2: what's on now dot Criterion, about it dot com?

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Speaker 1: You got it? Okay, yeah, no, I got I was saying,

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Speaker 1: don't look at what.

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Speaker 2: Yeah, I'm not looking at it, bro I'm playing the

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Speaker 2: game fit Okay, okay. But basically we're gonna go to

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Speaker 2: the channel, see what's on there, and try to guess

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Speaker 2: what it could be.

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Speaker 1: Okay, you ready, I'll do three to one click.

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Speaker 2: Okay, hold on, hold on, hold on, let me get there,

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Speaker 2: let me get there.

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Speaker 1: Okay, here we go, three two one click. Okay.

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Speaker 2: It's French. It's French.

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Speaker 1: It looks so it looks seventies like a It looks

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Speaker 1: like it could have been a TV movie.

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Speaker 2: Uh oh, okay, this well, I'm trying to figure out

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Speaker 2: who the man is that's talking about.

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Speaker 1: We've literally been on a shot of a woman sitting down.

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Speaker 1: She has a white collar and a black vest. It

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Speaker 1: seems of contemporary of the time. Okay, Now they're in

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Speaker 1: a cafe, A turtlenecked frenchman has his arm around this woman.

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Speaker 2: Oh shit, this is looking kind of more eighties.

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Speaker 1: Now, Yeah, this isn't a Robert Brisson movie, isn't.

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Speaker 2: No, Maybe it's like a.

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Speaker 1: Is it like a god fashion good dard?

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Speaker 2: I mean they're kind of like, well only because they

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Speaker 2: feel like they're kind of uh, they're kind of short

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Speaker 2: with each other and I don't know, maybe talking.

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Speaker 1: Is this an Eric Romer movie? No, I don't think.

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Speaker 2: I don't know. I mean they're talking about their relationship.

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Speaker 2: It's like a man and a woman talking about the relationship,

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Speaker 2: which is very roman Esque. But for some reason, the

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Speaker 2: stiffness of them in the shot makes me think it's.

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Speaker 1: A good dar thing. Okay, well you what you Let's

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Speaker 1: go with a guest. Do you have a guess?

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Speaker 2: Fuck? I don't know. I really don't know.

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Speaker 1: I can't even come up with one godar movie from

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Speaker 1: the eighties. I know.

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Speaker 2: I'm just gonna say, I'm gonna say nothing and just

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Speaker 2: see what it is.

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Speaker 1: Okay, let's see what it is.

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Speaker 4: What is it?

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Speaker 2: Oh, Love in the Afternoon? That was a Romere movie.

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Speaker 2: Good for you?

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Speaker 4: Oh whoa?

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Speaker 1: Yeah, some people in this band should start paying attention

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Speaker 1: to do the things I say.

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Speaker 2: Ah ha, ha nineteen seventy two's Love in the Afternoon.

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Speaker 2: So we got the decade, you got the director. I

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Speaker 2: should have just definitely.

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Speaker 1: Listened to Afternoon. I would have never been able to

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Speaker 1: pull that one out of my butt though.

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Speaker 2: So well, I'm proud of you. You got like two

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Speaker 2: out of three. Well you shouldn't get the title.

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Speaker 1: All right, one point for casey.

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Speaker 2: Uh?

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Speaker 1: Okay, Millie, moving on one, It's time for our film diary.

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Speaker 1: Open up the film diary.

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Speaker 2: Oh do you want to get heavy? This is heavy.

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Speaker 2: This is a heavy diary because you don't know the

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Speaker 2: song you just say. I don't even know it either.

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Speaker 2: I think it might be a John Spencer blues explosion song.

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Speaker 2: I don't know.

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Speaker 1: Ah, I'll be appropriate for this episode. Sure, uh, Millie.

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Speaker 1: What have you watched this past week?

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Speaker 2: Okay? So I watched one, two, three, I watched four things.

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Speaker 2: It's pretty good.

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Speaker 3: It is good.

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Speaker 2: I watched two documentaries. One was a big flashpoint documentary

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Speaker 2: or the other is just sort of something I've been

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Speaker 2: wanting to see for a while because I like the subject.

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Speaker 1: So uh.

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Speaker 2: The first documentary I saw is called Rude Boy, The

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Speaker 2: Story of Trojan Records. It was made in twenty eighteen,

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Speaker 2: and it's essentially a documentary about the ska reggae label

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Speaker 2: Trojan Records, And if you are a Jamaican music aficionado

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Speaker 2: like I am, then you will know what I'm talking about.

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Speaker 2: I thought it was okay. I thought there was kind

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Speaker 2: of too many reenactments, which interesting is unfortunate because a

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Speaker 2: lot of the people who were involved in ska music

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Speaker 2: in the sixties are dead because of old age. There

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Speaker 2: was a couple of people still live and that was

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Speaker 2: pretty interesting. But then the most most of the documentary

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Speaker 2: was kind of done in this like weird almost kind

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Speaker 2: of like Netflix movie esque reenactment thing, which.

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Speaker 1: That's so interesting. I'm not used to a reenactment in

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Speaker 1: that type of documentary. I think of that more in

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Speaker 1: like true crime documentaries.

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Speaker 2: Yeah, it made me wonder because a lot of times

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Speaker 2: you see, you know, in place of something like that

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Speaker 2: would be ephemera like from the era, like newspaper clippings

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Speaker 2: and you know, like video and not video would be

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Speaker 2: film because it was the sixties seventies. But it made

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Speaker 2: me think that I just didn't have enough of the

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Speaker 2: you know, archives to really fill that part out. So

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Speaker 2: it was weird. I like the subject, but thought it

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Speaker 2: was kind of okay. Then I saw, speaking of Netflix,

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Speaker 2: a huge documentary that's right now in the zeitgeist. It's

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Speaker 2: called Unknown Number The High School Catfish.

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Speaker 1: Oh yeah, this is all over This is all over

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Speaker 1: the place.

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Speaker 2: Oh yeah, who have you seen it?

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Speaker 1: I haven't. I knew about this because we discussed it

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Speaker 1: on that's messed up. Oh, I see, so I knew

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Speaker 1: the twist and I've seen obviously, I've seen the tiktoks

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Speaker 1: that have been popping up of people being surprised by

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Speaker 1: the twist.

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Speaker 2: Ending.

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Speaker 1: Yeah, but so I'm well aware of it, but I

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Speaker 1: haven't seen it.

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Speaker 2: But it's like I kept thinking when I was watching this,

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Speaker 2: I was like, how they could do this all day,

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Speaker 2: all night, Like there are so many like weird little

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Speaker 2: stories like this. They could be making true crime documentaries

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Speaker 2: until the end of time.

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Speaker 1: I think they're trying to.

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Speaker 2: They are trying to. And then I saw two movies.

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Speaker 2: I finally saw Weapons from twenty twenty five.

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Speaker 1: Would you think fun?

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Speaker 2: Fun? Weird? It was kind of weird.

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Speaker 1: It's weirder than I think people talk about. It is

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Speaker 1: sort of a strange. It has a strange feel to it.

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Speaker 2: Yeah, there was some funny parts there was. I had

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Speaker 2: a couple questions. There were a couple questions that I

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Speaker 2: had about it. Daniel I watched it with Danielle actually

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Speaker 2: because she was in town, and we went to the

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Speaker 2: movie theater that my infamous movie theater which gets shut

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Speaker 2: down all the time because of bad teens. We managed

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Speaker 2: to make it through the entire movie, but basically we

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Speaker 2: were like, huh, what was There was a part where

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Speaker 2: there was a spoilers, Yes, spoilers, Sorry, I mean maybe not.

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Speaker 2: I don't know if this is a spoiler, but there

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Speaker 2: was a part where there's like a like a giant

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Speaker 2: AR fifteen rifle that's like cascade on this night sky.

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Speaker 1: Uh huh? Why?

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Speaker 4: Yeah.

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Speaker 1: I kind of was like, it's either like something I

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Speaker 1: don't understand or it's so completely on the nose that

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Speaker 1: I it's bizarre that it's in here. Yes, because it's

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Speaker 1: a weapon. Yes, Like I don't know.

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Speaker 2: Yeah, I was gonna say, are we just making sure

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Speaker 2: we know why the title of the movie is the

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Speaker 2: way it is? Anyway, there was a lot a lot

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Speaker 2: of moving parts in that movie, But otherwise I thought

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Speaker 2: it was fun, Like that was the thing about Barbarian

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Speaker 2: which was the movie that the director had, the first

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Speaker 2: one he did. I was there was a lot of

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Speaker 2: big fucking concepts in that movie too, and I was like,

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Speaker 2: you know what, I'm just in for this ride. It's funny. Yeah,

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Speaker 2: it's weird. I'm in. So anyway, I.

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Speaker 1: Would say about weapons, this isn't a spoiler either. I

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Speaker 1: don't know if the chapter structure of that movie totally

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Speaker 1: worked for me, yeah, because I sometimes really felt deflated

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Speaker 1: when we were on different story lines.

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Speaker 2: So yeah, agreed. Well, anyway, I'm gonna have to sit

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Speaker 2: with it a little bit more and probably watch it.

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Speaker 2: I'm definitely gonna rewatch it. Then I rewatched this because

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Speaker 2: you know, there's a little bit of bite in the

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Speaker 2: air fall. It's sort of in the air here in Atlanta.

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Speaker 2: It probably the same here. Yeah, it's probably gonna get

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Speaker 2: hot again. But in the past week or so, it's

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Speaker 2: been kind of like seventy five seventy eight degrees, which

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Speaker 2: I'm loving.

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Speaker 1: So leaves are starting to turn here, oh wow, o geez,

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Speaker 1: beginning to enter that spooky season.

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Speaker 2: Yes, well, and I think because I was maybe be

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Speaker 2: jumping the gun a little bit to be starting to

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Speaker 2: watch horror movies but I was like, Okay, I was

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Speaker 2: with some friends and we were like, let's watch or

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Speaker 2: rewatch John Carpenter's Prince of Darkness from nineteen eighty seven.

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Speaker 2: I got a soft spot.

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Speaker 1: I got a soft spot in my heart for this one.

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Speaker 2: Good for you. Somebody has to because I gotta tell you,

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Speaker 2: this might be one of the my least favorite John

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Speaker 2: Carpenter movies.

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Speaker 1: Talk about moving parts.

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Speaker 2: Dude, I was like, do I need to sit down

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Speaker 2: with that professor and get him to kind of explain

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Speaker 2: to me what the fuck is going on? Like there's

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Speaker 2: a lot of a lot of uh, it's real heady,

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Speaker 2: Like I'm just like, what, Like why are we what

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Speaker 2: are we doing? What is this thing? Why are these

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Speaker 2: people here? What's this portal? What's this?

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Speaker 4: You know?

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Speaker 2: I don't know.

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Speaker 1: Just at there are like nine hundred characters introduced, yes,

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Speaker 1: and they're I would say most of them are killed.

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Speaker 1: But it's like ridiculous how many people they introduce just

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Speaker 1: to kill them very quickly. It's almost like mcgruber es, yes,

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Speaker 1: so there's a lot. There's too many people. It's too

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Speaker 1: like esoteric of a concept. I do like the fact

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Speaker 1: that there's three Asian characters I was like, Wow, that's

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Speaker 1: an all time high.

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Speaker 2: I like the goal once it starts happening, But honestly,

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Speaker 2: there's like multiple scenes where Donald Pleasance is like just

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Speaker 2: sitting at a desk talking to the professor, and I'm like,

290
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Speaker 2: what is this boring shit? What the hell are they doing?

291
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Speaker 2: They're just having the most boring conversation of all time

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Speaker 2: and we happen to be dropping in on it multiple times.

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Speaker 3: M hm.

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Speaker 2: So I'm just I don't know, not enough action for me,

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Speaker 2: I suppose. And I'm not saying I'm not saying I

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Speaker 2: need it to be wall to wall disgusting shit, but

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Speaker 2: I just it's a little one of my least favorite

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Speaker 2: Carpenter movies.

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Speaker 1: So anyway, Okay, So I saw that movie for the

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Speaker 1: first time. They had a screening of it at a theater,

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Speaker 1: which is the theater is a converted church and it's

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Speaker 1: where they shot the movie. So I saw Prince of

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Speaker 1: Darkness where it was shot. That's great, in the church

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Speaker 1: where it was shot. Yeah, it was like a very end.

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Speaker 1: It was a very bizarre feeling exiting the theater from

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Speaker 1: the like in the same place where I just was

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Speaker 1: in the movie.

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Speaker 2: Is it in Pasadena. Where is that?

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00:16:12,200 --> 00:16:15,600
Speaker 1: No, it's in downtown la Oh wow. So I believe

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Speaker 1: it's an Asian American theater group theater now so interesting.

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Speaker 1: But anyways, it was a very memorable screening experience for

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Speaker 1: that film. Yeah, maybe that's way that'd be fun.

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Speaker 2: I'd probably like it a little bit more if that

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Speaker 2: were the case. Probably that concludes my film diary. What

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Speaker 2: about yours?

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Speaker 4: Ooh key?

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Speaker 1: I watched three movies this week?

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Speaker 2: Okay.

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Speaker 1: One is from twenty twenty two. It's called Hannah Haha.

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Speaker 1: It's a little indie movie. Have you ever heard of this?

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Speaker 2: Never?

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00:16:47,560 --> 00:16:49,440
Speaker 1: It was very cute. It was written and directed by

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Speaker 1: Joshua Pigowski and Jordan Toutouski. It's sort of a gentle,

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00:16:54,280 --> 00:16:57,880
Speaker 1: killy Reichart esque movie, sort of a slacker movie about

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Speaker 1: this twenty six year old Hannah who takes care of

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Speaker 1: her sick father and she needs to get a job basically,

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Speaker 1: and that sucks. But it was fun and it was funny,

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Speaker 1: and it's a good like New England summer movie. That's

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Speaker 1: what I felt.

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Speaker 2: It was kind of mumblecore esque. How did you find

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Speaker 2: out about this movie?

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Speaker 1: I don't know. Trisha brought it to me and I said,

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Speaker 1: let's watch it. Okay, Okay, I don't know where she

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Speaker 1: gets her things.

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Speaker 2: Excellent.

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Speaker 1: It won like the slam Dance Best Feature or something.

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Speaker 1: I won some slam Dance awards, so it was of

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Speaker 1: some renown. But it was good. Then I watched nineteen

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Speaker 1: ninety Eight's a Simple Plan with Billy Bob Thornton, Bill Paxton,

340
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Speaker 1: Bridget Fonda. Have you ever seen this movie? No, it's

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Speaker 1: directed by Sam Raimie yes, and it's set in rural

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Speaker 1: Minnesota and it's like smalltown crime Minnesota movie two years

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Speaker 1: after Fargo came out. Yeah, and it's directed by Sam Raimi,

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Speaker 1: who's like best friends with the Coen Brothers. So I

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Speaker 1: was kind of like, yeah, per plexed by why does

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Speaker 1: this movie exist? It's very Fargo esque.

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Speaker 2: I remember when it came out because I remember the

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00:18:07,200 --> 00:18:10,000
Speaker 2: trailers playing and they were like in the woods with

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Speaker 2: like a shovel and some shit.

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Speaker 1: Yeah, and it's it's snowy. It's set in the winter

351
00:18:14,720 --> 00:18:17,320
Speaker 1: like Fargo. So I was just kind of like, why

352
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Speaker 1: do you make this movie? It was fun and it's

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Speaker 1: like violent, and it's like a crime movie with you know,

354
00:18:23,960 --> 00:18:28,480
Speaker 1: these like kind of lunkheads. But I don't know, it

355
00:18:28,560 --> 00:18:32,840
Speaker 1: was okay. Yeah, then I watched shock Waves, which is

356
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Speaker 1: a zombie not a Nazi zombie movie from the seventies,

357
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Speaker 1: h starring the beautiful Brook Adams. I love. Yes, it's

358
00:18:44,040 --> 00:18:46,399
Speaker 1: set in the Tropics though for some reason, and I

359
00:18:46,960 --> 00:18:50,399
Speaker 1: know they explain how the Nazi zombies got there, but

360
00:18:50,520 --> 00:18:54,159
Speaker 1: I can't remember why they got there, and it was

361
00:18:54,240 --> 00:18:59,439
Speaker 1: set in an abandoned castle. But yeah, so it was fine.

362
00:18:59,600 --> 00:19:05,720
Speaker 1: It was a pretty unsubstantial zombie horror movie. That's substantial interesting,

363
00:19:06,600 --> 00:19:08,440
Speaker 1: So it was fun. Yeah, that's all I got.

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00:19:08,560 --> 00:19:12,840
Speaker 2: Okay, that's a pretty good swath of films, all very different.

365
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Speaker 1: Yes, we try to keep it varied in the Obrien household.

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Speaker 1: But let's close up the diary.

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Speaker 2: Oh god, this diary is so, oh god too much.

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Speaker 1: All right, moving on to our main topic. Dig exclamation

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Speaker 1: point x X twenty twenty four.

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Speaker 2: Thank you for saying it properly.

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Speaker 1: Directed by Andy Timminer who I've met. Uh, Dig, what

372
00:19:58,400 --> 00:20:01,240
Speaker 1: a great movie. This is kind of one of the

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Speaker 1: major rock docs of all time, I would say, and

374
00:20:04,720 --> 00:20:06,200
Speaker 1: it was a big deal when it came out. Did

375
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Speaker 1: you see this when it came out?

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00:20:07,600 --> 00:20:08,560
Speaker 2: And what was your.

377
00:20:08,480 --> 00:20:11,600
Speaker 1: Opinion of it came out.

378
00:20:12,080 --> 00:20:14,480
Speaker 2: Oh God, dude, I don't even know what to tell you,

379
00:20:15,280 --> 00:20:18,600
Speaker 2: because of course I saw when it came out, because

380
00:20:19,600 --> 00:20:23,159
Speaker 2: I was I lived it, I was there. I mean,

381
00:20:23,200 --> 00:20:34,600
Speaker 2: I wasn't friends with these bands. I knew people from

382
00:20:34,640 --> 00:20:38,640
Speaker 2: a band that one of this is gonna be very

383
00:20:38,720 --> 00:20:41,760
Speaker 2: blind eyedem me, but I'm gonna say it. I knew

384
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Speaker 2: somebody I was friends with somebody who was in a

385
00:20:45,359 --> 00:20:51,240
Speaker 2: band with one of the Brian Jonestown Massacre guys after

386
00:20:52,880 --> 00:20:55,240
Speaker 2: they left the Brian Jonestown Masacre.

387
00:20:56,040 --> 00:20:57,520
Speaker 1: Hmm, what could that be.

388
00:20:58,600 --> 00:20:59,880
Speaker 2: You gotta I don't know.

389
00:21:01,000 --> 00:21:04,440
Speaker 1: So you knew you had sort of a personal relationship,

390
00:21:04,440 --> 00:21:07,000
Speaker 1: you were kind of tangentially, you were kind, you could

391
00:21:07,080 --> 00:21:08,360
Speaker 1: almost had a connection to.

392
00:21:08,560 --> 00:21:12,720
Speaker 2: These well, but I think even beyond that, not as

393
00:21:12,760 --> 00:21:14,600
Speaker 2: if I sat around with this person being like, so

394
00:21:14,640 --> 00:21:16,639
Speaker 2: tell me what it was like for your bandmate to

395
00:21:16,720 --> 00:21:21,280
Speaker 2: be in this legendary, fucking fucked up band. Right beyond that,

396
00:21:22,720 --> 00:21:25,919
Speaker 2: I was working in college radio from the years of

397
00:21:27,119 --> 00:21:30,840
Speaker 2: like late nineteen ninety seven till the summer of two

398
00:21:30,880 --> 00:21:33,160
Speaker 2: thousand and two, Okay, which.

399
00:21:32,960 --> 00:21:36,680
Speaker 1: Is perfectly This movie was filmed from nineteen ninety six

400
00:21:36,720 --> 00:21:39,359
Speaker 1: to two thousand and three, so you were right inside

401
00:21:39,359 --> 00:21:40,560
Speaker 1: of this era.

402
00:21:40,680 --> 00:21:43,359
Speaker 2: Absolutely. I was in college radio. I was going to

403
00:21:43,440 --> 00:21:47,359
Speaker 2: places like CMJ and south By Southwest. I was seeing

404
00:21:47,480 --> 00:21:50,880
Speaker 2: bands like this. I was seeing the people who were

405
00:21:51,080 --> 00:21:54,240
Speaker 2: around bands like this. I was a DJ. I was

406
00:21:54,280 --> 00:21:56,919
Speaker 2: a club DJ at the same time, so I was

407
00:21:56,960 --> 00:21:59,439
Speaker 2: also playing and I was a club I was a

408
00:21:59,480 --> 00:22:03,760
Speaker 2: club D or bar DJ from I would say I

409
00:22:03,800 --> 00:22:09,520
Speaker 2: really started dj out in like maybe two thousand to like,

410
00:22:09,960 --> 00:22:12,639
Speaker 2: I mean I DJed for a very long time, like

411
00:22:13,040 --> 00:22:16,919
Speaker 2: even after I started my job at TCM, but my

412
00:22:17,680 --> 00:22:21,280
Speaker 2: years that I was a real like I was, you know,

413
00:22:21,480 --> 00:22:26,240
Speaker 2: I had a weekly night at this bar called Lenny's

414
00:22:27,080 --> 00:22:31,600
Speaker 2: in Atlanta that's no longer. But I also DJ at

415
00:22:31,600 --> 00:22:35,440
Speaker 2: places like MJQ and at Mary's and some other places.

416
00:22:35,920 --> 00:22:37,919
Speaker 2: I was there for probably two thousand and maybe like

417
00:22:39,040 --> 00:22:44,119
Speaker 2: two thousand and five, two thousand and six. So yeah,

418
00:22:44,200 --> 00:22:46,000
Speaker 2: and I mean I'm talking about you know, I was

419
00:22:46,040 --> 00:22:51,160
Speaker 2: in my late teens early twenties, going out multiple nights

420
00:22:51,160 --> 00:22:54,520
Speaker 2: a week, going to britpop nights. More on that in

421
00:22:54,560 --> 00:22:57,920
Speaker 2: a second, but just being in the in the sauce

422
00:22:58,119 --> 00:23:01,760
Speaker 2: of this kind of scene in this world, definitely knowing

423
00:23:01,800 --> 00:23:05,720
Speaker 2: people who were going to see Brian Joe Saunascer and

424
00:23:05,840 --> 00:23:09,160
Speaker 2: Dandy Warhols and all associated acts.

425
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Speaker 1: So where to begin with this converseit, I mean, it's

426
00:23:13,359 --> 00:23:16,000
Speaker 1: maybe maybe I'll just do a synopsis really quilt see,

427
00:23:16,040 --> 00:23:18,840
Speaker 1: so we can just sort of jump off. So this

428
00:23:18,960 --> 00:23:21,440
Speaker 1: was originally released in two thousand and four, like we said,

429
00:23:21,600 --> 00:23:24,040
Speaker 1: and we kind of watched the updated version that came

430
00:23:24,080 --> 00:23:27,879
Speaker 1: out this year, and I mean, I really enjoyed the updates.

431
00:23:28,080 --> 00:23:31,040
Speaker 1: In the movie, it's about the struggle and the love

432
00:23:31,080 --> 00:23:34,000
Speaker 1: hate relationship between two bands. This is a documentary, by

433
00:23:34,000 --> 00:23:37,480
Speaker 1: the way, the Dandy war Halls and the Brian Jonestown massacre.

434
00:23:38,040 --> 00:23:41,479
Speaker 1: They were at one point like really best friends, and

435
00:23:41,520 --> 00:23:45,119
Speaker 1: then they started to despise each other, but they also

436
00:23:45,200 --> 00:23:48,360
Speaker 1: still loved each other. It's a very love hate sort

437
00:23:48,400 --> 00:23:51,960
Speaker 1: of thing. The film actually particularly focuses on the volatile

438
00:23:52,040 --> 00:23:58,760
Speaker 1: lead singer of bjm Anton Neukom, and there are multiple

439
00:23:58,760 --> 00:24:03,000
Speaker 1: all out brawls on stage, Tantrum's death threats the Dandy Warhols.

440
00:24:03,560 --> 00:24:06,240
Speaker 1: It's also kind of about the Dandy Warhol's ascent, and

441
00:24:06,240 --> 00:24:09,160
Speaker 1: I'm putting that into quotes. They signed to a major

442
00:24:09,200 --> 00:24:12,080
Speaker 1: label and they play like major festivals, while BJM is

443
00:24:12,119 --> 00:24:15,879
Speaker 1: sort of I don't know, they're having trouble like getting

444
00:24:15,920 --> 00:24:18,640
Speaker 1: signed or even making it through one of their shows.

445
00:24:19,640 --> 00:24:21,320
Speaker 1: So they sort of start from the same place and

446
00:24:21,359 --> 00:24:25,240
Speaker 1: one sort of ascends to a higher level during the

447
00:24:25,280 --> 00:24:29,520
Speaker 1: course of the documentary. But that's essentially the whole movie.

448
00:24:29,640 --> 00:24:33,639
Speaker 2: Yeah, okay, So I want to ask you, maybe because

449
00:24:33,640 --> 00:24:37,040
Speaker 2: you're a little younger than me, Yes, okay, did you

450
00:24:37,240 --> 00:24:39,760
Speaker 2: see this when it came out or what was your

451
00:24:39,800 --> 00:24:43,640
Speaker 2: experience with this whole fan bango.

452
00:24:44,200 --> 00:24:46,879
Speaker 1: I think by the time that I kind of discovered

453
00:24:46,880 --> 00:24:50,160
Speaker 1: this documentary and even the Dandy Warhols and the Brian

454
00:24:50,240 --> 00:24:58,080
Speaker 1: Jonestown massacre, I was so allergic to, like both of

455
00:24:58,119 --> 00:25:04,200
Speaker 1: their names are pun portmanteaus, which is like so embarrassing

456
00:25:04,280 --> 00:25:07,920
Speaker 1: and stupid. And I think by the time I sort

457
00:25:07,920 --> 00:25:12,919
Speaker 1: of discovered this, I feel like brit pop as we

458
00:25:13,040 --> 00:25:17,600
Speaker 1: knew it in the nineties was out the door. The

459
00:25:17,720 --> 00:25:22,359
Speaker 1: nineties obsession with nineteen sixties Britain was kind of over,

460
00:25:22,640 --> 00:25:25,919
Speaker 1: and so they just felt like relics pretty quickly to me,

461
00:25:27,119 --> 00:25:29,159
Speaker 1: and so I just didn't really have any desire to

462
00:25:29,240 --> 00:25:32,960
Speaker 1: listen to their music or to watch this movie when

463
00:25:33,000 --> 00:25:36,360
Speaker 1: it came out, so I only saw it a few

464
00:25:36,440 --> 00:25:39,639
Speaker 1: days ago for the first time, and I'd never listened

465
00:25:39,640 --> 00:25:41,159
Speaker 1: to either of these bands. I mean, I knew some

466
00:25:41,200 --> 00:25:44,080
Speaker 1: of their songs, but I've never listened to these bands.

467
00:25:44,480 --> 00:25:48,040
Speaker 2: Well, okay, this is so you bring up this really

468
00:25:48,080 --> 00:25:52,439
Speaker 2: interesting point that I feel like I have to I

469
00:25:52,600 --> 00:26:00,000
Speaker 2: must in fact iron out because some people are gonna

470
00:26:00,160 --> 00:26:03,320
Speaker 2: look at this and go, this is Indy Sleeves, right,

471
00:26:03,840 --> 00:26:06,879
Speaker 2: And I see why you would think that, But I

472
00:26:06,880 --> 00:26:11,400
Speaker 2: feel like this, like I would say, Brian Jonestown, Massacre

473
00:26:11,680 --> 00:26:15,240
Speaker 2: and Dandy Warhol specifically, and a couple of other bands

474
00:26:15,840 --> 00:26:21,879
Speaker 2: were kind of actually more of this, like Bridge in

475
00:26:22,040 --> 00:26:25,600
Speaker 2: the Brig Pop to Indy Sleeve's pipeline.

476
00:26:26,600 --> 00:26:30,240
Speaker 1: They're kind of they're sort of proto Indy Sleives, like

477
00:26:30,280 --> 00:26:33,520
Speaker 1: they're not I wouldn't include them in there.

478
00:26:33,760 --> 00:26:37,679
Speaker 2: Yeah, I I I definitely agree with you. They're the

479
00:26:37,880 --> 00:26:42,240
Speaker 2: kind of pathway to what would be called Indy Sleives.

480
00:26:42,359 --> 00:26:45,000
Speaker 1: And I think it's and Indy Sleeves, as we've discussed before,

481
00:26:45,119 --> 00:26:46,800
Speaker 1: is only a term that's come out in the last

482
00:26:46,880 --> 00:26:49,760
Speaker 1: couple of years. It was not referred to as such.

483
00:26:50,200 --> 00:26:52,919
Speaker 1: Well it was happening. I I feel like we use

484
00:26:53,040 --> 00:26:55,800
Speaker 1: the term hipster a lot. That's that was like how

485
00:26:55,840 --> 00:26:58,560
Speaker 1: we defined that genre.

486
00:26:59,320 --> 00:27:03,960
Speaker 2: Yeah, I would say it was like hipster white built music.

487
00:27:04,320 --> 00:27:08,200
Speaker 2: I've heard it. There's also a lot of throwing around

488
00:27:08,200 --> 00:27:10,840
Speaker 2: of the term electric class, even though electro class is

489
00:27:10,840 --> 00:27:14,840
Speaker 2: a completely separate thing then like the Strokes and the

490
00:27:14,920 --> 00:27:18,560
Speaker 2: Yaayas and things of that nature. But the way that

491
00:27:18,640 --> 00:27:22,080
Speaker 2: I envisioned it when I was in the mix is

492
00:27:22,119 --> 00:27:28,280
Speaker 2: that mid to late nineties there were bridpop nights happening

493
00:27:28,400 --> 00:27:31,720
Speaker 2: probably in most major cities. There was like at least

494
00:27:31,800 --> 00:27:34,320
Speaker 2: one or two. There was the Wednesday Night at MJQ

495
00:27:34,440 --> 00:27:36,720
Speaker 2: in Atlanta, but then there was also places like club

496
00:27:36,760 --> 00:27:39,760
Speaker 2: Bang and stuff in LA and places in New York.

497
00:27:40,480 --> 00:27:42,520
Speaker 2: Every city had a breadpop night for the most part,

498
00:27:43,240 --> 00:27:47,280
Speaker 2: and this was primarily a place for young people to

499
00:27:47,359 --> 00:27:50,679
Speaker 2: congregate to listen to like whatever the new bridpop bands

500
00:27:50,720 --> 00:27:55,600
Speaker 2: were at the time, which was you know, Blur, Pulp,

501
00:27:55,960 --> 00:27:59,600
Speaker 2: swayed a lot of like eighties British music like The

502
00:27:59,640 --> 00:28:03,440
Speaker 2: Smith and the Cure and New Order. Because I want

503
00:28:03,480 --> 00:28:06,600
Speaker 2: to say britpop knight, the term britpop knight got kind

504
00:28:06,640 --> 00:28:10,800
Speaker 2: of a wonky. It got kind of wonky after a while, Okay,

505
00:28:11,160 --> 00:28:12,840
Speaker 2: And this is why I think that there is a

506
00:28:12,880 --> 00:28:17,159
Speaker 2: pipeline between britpop to indiesleys because Britpop Knight was like

507
00:28:17,200 --> 00:28:22,159
Speaker 2: again modern British bands of like Oasis of the you know,

508
00:28:22,240 --> 00:28:27,560
Speaker 2: like I said, Freakin' Supergrass, Travis, you know, like all

509
00:28:27,560 --> 00:28:33,200
Speaker 2: these bands being played alongside eighties you know, alternative music

510
00:28:33,359 --> 00:28:39,160
Speaker 2: for the most part, but then also sixties kind of

511
00:28:39,320 --> 00:28:46,040
Speaker 2: mod rock stuff, so like early Who, the Small Faces,

512
00:28:46,920 --> 00:28:51,120
Speaker 2: garage rock ish stuff. You know. It was this kind

513
00:28:51,120 --> 00:28:54,080
Speaker 2: of melding of like the Nuggets box set, basically the

514
00:28:54,200 --> 00:28:58,320
Speaker 2: Nuggets box set, anything that was kind of like coming

515
00:28:58,360 --> 00:29:01,080
Speaker 2: from Britain in the sixties, like the Rolling Stones was

516
00:29:01,120 --> 00:29:04,560
Speaker 2: absolutely just like the number one band for all these kids.

517
00:29:06,240 --> 00:29:10,600
Speaker 2: But then also again like kind of moving into this

518
00:29:10,960 --> 00:29:15,440
Speaker 2: like britpop of the nineties thing. Then towards the end

519
00:29:15,520 --> 00:29:17,840
Speaker 2: of the nineties, I would say, you're right, Brit pop

520
00:29:17,960 --> 00:29:23,160
Speaker 2: was kind of moving out of the conversation and there

521
00:29:23,240 --> 00:29:25,680
Speaker 2: was weirdly enough a lot of like dance and club

522
00:29:25,760 --> 00:29:28,680
Speaker 2: music that was kind of coming into the world, but

523
00:29:28,720 --> 00:29:31,000
Speaker 2: it wasn't really a britpop night thing. Like they would

524
00:29:31,000 --> 00:29:33,000
Speaker 2: play like daft punk once in a while, but like

525
00:29:33,040 --> 00:29:36,840
Speaker 2: that would probably or Air was a huge band that

526
00:29:36,880 --> 00:29:41,840
Speaker 2: they would played Britpop Knight, lez rhythms, digital, you know,

527
00:29:42,720 --> 00:29:45,680
Speaker 2: kind of French house stuff that was was sort of

528
00:29:45,760 --> 00:29:49,680
Speaker 2: like topical for Britpop Night. And then when you started

529
00:29:49,720 --> 00:29:52,959
Speaker 2: going into the two thousands, that's when the Strokes and

530
00:29:53,000 --> 00:29:56,000
Speaker 2: the Yaya Yeahs came along with the Rapture was a

531
00:29:56,080 --> 00:30:00,760
Speaker 2: huge band, you know, that kind of stuff like the

532
00:30:00,920 --> 00:30:06,280
Speaker 2: DFA Records things moving into that kind of James Murphy vibe.

533
00:30:06,840 --> 00:30:10,800
Speaker 2: So that's really where I think the pipeline is this

534
00:30:10,920 --> 00:30:14,760
Speaker 2: Britpop Knight, because britt Pop Knight began encompassing so many

535
00:30:14,840 --> 00:30:21,360
Speaker 2: different little micro genres and it was really just about

536
00:30:21,480 --> 00:30:29,080
Speaker 2: getting white hipster kids to get wasted, do drugs and dance.

537
00:30:29,240 --> 00:30:30,400
Speaker 2: That was all it was about.

538
00:30:31,240 --> 00:30:36,520
Speaker 1: Well, it's interesting because watching this obviously like the Britpop Knights,

539
00:30:36,560 --> 00:30:38,440
Speaker 1: it sounds like it's a lot of like referencing to

540
00:30:38,600 --> 00:30:41,720
Speaker 1: like kind of a it's kind of a nostalgia trip, yes,

541
00:30:41,800 --> 00:30:48,200
Speaker 1: you know, and that is the entire band especially I

542
00:30:48,240 --> 00:30:51,040
Speaker 1: feel like the Brian Jonestown Massacre. Yes, they are like

543
00:30:51,840 --> 00:30:56,560
Speaker 1: trying to relive the nineteen sixties, like their music is

544
00:30:56,600 --> 00:30:59,000
Speaker 1: that way, the way they dress, I mean like Joel

545
00:30:59,120 --> 00:31:03,520
Speaker 1: gian who I'm sure we'll get into more later. He's

546
00:31:03,560 --> 00:31:06,800
Speaker 1: always like the feds are out to get his man,

547
00:31:07,080 --> 00:31:11,200
Speaker 1: Like they're like talking like, oh, they're from the sixties.

548
00:31:10,800 --> 00:31:12,640
Speaker 2: Although the feds are out to get his casey, I mean,

549
00:31:12,680 --> 00:31:13,120
Speaker 2: do you know that?

550
00:31:13,280 --> 00:31:15,800
Speaker 1: Well, sure, yes, of course he was one hundred percent

551
00:31:15,880 --> 00:31:19,360
Speaker 1: correct about that. But there and then like even being

552
00:31:19,400 --> 00:31:22,440
Speaker 1: like I co wrote this song with Charlie Manson and

553
00:31:22,480 --> 00:31:29,760
Speaker 1: it's like it's so annoying and unoriginal. Yeah, like they

554
00:31:29,760 --> 00:31:32,680
Speaker 1: thought they were so original, but like the fact that

555
00:31:32,720 --> 00:31:36,680
Speaker 1: their name is the Brian Jonestown Massacre, I mean, like

556
00:31:36,880 --> 00:31:37,600
Speaker 1: what a joke.

557
00:31:38,760 --> 00:31:43,040
Speaker 2: Yeah, but see at the time, I would argue, I'm

558
00:31:43,040 --> 00:31:45,880
Speaker 2: not defending it. By the way, it is so irolly,

559
00:31:46,000 --> 00:31:48,640
Speaker 2: Like when I watched this doc like, I was like,

560
00:31:49,280 --> 00:31:52,720
Speaker 2: because you know, here's my take quickly when I first

561
00:31:52,760 --> 00:31:55,720
Speaker 2: saw it, when it was actually it was felt like

562
00:31:55,760 --> 00:31:58,600
Speaker 2: it was happening so in this weird way, I was like,

563
00:32:00,080 --> 00:32:04,240
Speaker 2: it felt like the documentary was happening in real time,

564
00:32:04,920 --> 00:32:09,320
Speaker 2: and it was sort of like, so the documentary came

565
00:32:09,360 --> 00:32:11,920
Speaker 2: out in two thousand and four, the original dig okay,

566
00:32:11,960 --> 00:32:15,040
Speaker 2: so it was still kind of happening, and it felt like,

567
00:32:15,920 --> 00:32:19,000
Speaker 2: in a weird way, was sort of lionizing these two

568
00:32:19,120 --> 00:32:23,200
Speaker 2: bands that were sort of like, okay, does that make sense.

569
00:32:23,800 --> 00:32:27,400
Speaker 2: It was almost kind of like trying to create a

570
00:32:27,520 --> 00:32:32,080
Speaker 2: legend before any time had passed to where a band

571
00:32:32,120 --> 00:32:34,200
Speaker 2: could become a legend. Like I understand that they were

572
00:32:34,240 --> 00:32:38,080
Speaker 2: badly behaved and they were doing tons of drugs and

573
00:32:38,160 --> 00:32:41,760
Speaker 2: the lifestyle was crazy even back then, like I wrote,

574
00:32:41,840 --> 00:32:44,760
Speaker 2: like they were hitting it real hard, like if you're

575
00:32:44,800 --> 00:32:47,320
Speaker 2: doing heroin, like it's you're.

576
00:32:47,240 --> 00:32:50,120
Speaker 1: Hitting where they The way they lived was it was

577
00:32:50,200 --> 00:32:53,320
Speaker 1: like it's one thing to be like I'm a bad boy,

578
00:32:53,760 --> 00:32:55,240
Speaker 1: you know, But I was like, the way you live

579
00:32:55,360 --> 00:32:56,480
Speaker 1: is so disgusting.

580
00:32:56,600 --> 00:32:59,160
Speaker 2: Yeah, oh uh uh huh. I but I knew people

581
00:32:59,200 --> 00:33:01,400
Speaker 2: who lived that way here in Atlanta too, and it

582
00:33:01,480 --> 00:33:06,120
Speaker 2: was just like back then, even when I was roughly

583
00:33:06,160 --> 00:33:09,960
Speaker 2: their age, I was like, oh, I just started my

584
00:33:10,040 --> 00:33:16,320
Speaker 2: adult job and I'm no longer doing speed and selling

585
00:33:16,800 --> 00:33:19,520
Speaker 2: painkillers to people, you know, Like I just kind of

586
00:33:19,680 --> 00:33:21,800
Speaker 2: cleaned up the act a little bit. But I again,

587
00:33:21,880 --> 00:33:24,640
Speaker 2: I was one of the I have friends that told

588
00:33:24,960 --> 00:33:29,320
Speaker 2: have told me like I was one of the first

589
00:33:29,760 --> 00:33:32,240
Speaker 2: people that they knew in their friend group that got

590
00:33:32,240 --> 00:33:35,920
Speaker 2: a real job, So people were still partying like that.

591
00:33:36,040 --> 00:33:37,959
Speaker 2: But it was like, even back then, I was like,

592
00:33:38,960 --> 00:33:43,360
Speaker 2: they're going real hard like to be that to be

593
00:33:43,480 --> 00:33:51,880
Speaker 2: sleeping like behind dumpsters on patio cushions and to like, yeah,

594
00:33:51,920 --> 00:33:54,640
Speaker 2: to just like have no money and having and having

595
00:33:54,680 --> 00:33:56,719
Speaker 2: to like steal things and stuff. That was kind of

596
00:33:57,400 --> 00:33:59,400
Speaker 2: a little bit of a bridge too far for me.

597
00:33:59,560 --> 00:34:03,400
Speaker 2: But it was like, but I also thought, why are

598
00:34:03,400 --> 00:34:05,480
Speaker 2: we doing a documentary on these bands? Is it because

599
00:34:05,480 --> 00:34:07,720
Speaker 2: they're just like loud and drunk and they fight?

600
00:34:07,920 --> 00:34:10,359
Speaker 1: Like what I mean it is? It was I thought

601
00:34:10,360 --> 00:34:13,800
Speaker 1: it was a great documentary just because these these personalities

602
00:34:13,840 --> 00:34:15,360
Speaker 1: are so outrageous.

603
00:34:16,040 --> 00:34:18,480
Speaker 2: Yeah, but it's it's just interesting to be in the

604
00:34:18,640 --> 00:34:22,120
Speaker 2: time period that there is, when it's happening in real time,

605
00:34:22,160 --> 00:34:26,080
Speaker 2: and you're like, oh, like I don't know, like are

606
00:34:26,080 --> 00:34:30,880
Speaker 2: we exacerbating this behavior by just putting a camera on

607
00:34:30,920 --> 00:34:34,560
Speaker 2: these people who are complete maniacs and love attention and

608
00:34:34,680 --> 00:34:38,279
Speaker 2: just making this like spectacle Like I don't know, I'm

609
00:34:38,320 --> 00:34:43,120
Speaker 2: sitting here going like are we just pumping this entire

610
00:34:44,040 --> 00:34:48,279
Speaker 2: scene full of air when we just need them to

611
00:34:48,400 --> 00:34:52,080
Speaker 2: clean up enough to live like normal human beings.

612
00:34:52,080 --> 00:34:52,400
Speaker 1: I don't know.

613
00:34:52,440 --> 00:34:55,360
Speaker 2: It was crazy, I do you know. I think the

614
00:34:55,440 --> 00:34:57,680
Speaker 2: message of the documentary is pretty simple at the end

615
00:34:57,680 --> 00:35:00,680
Speaker 2: of the day, which is that like there's always going

616
00:35:00,760 --> 00:35:02,920
Speaker 2: to be like two types of people in this scene,

617
00:35:03,000 --> 00:35:07,680
Speaker 2: one that wants to stay underground and not sell out,

618
00:35:08,200 --> 00:35:11,960
Speaker 2: and the other is the person that wants to be

619
00:35:12,040 --> 00:35:15,839
Speaker 2: in an actual band and make money and be able

620
00:35:15,880 --> 00:35:18,760
Speaker 2: to buy their mama house type of thing. That's always

621
00:35:18,800 --> 00:35:24,719
Speaker 2: like the confluence between these two essences in rock and

622
00:35:24,800 --> 00:35:27,040
Speaker 2: roll is that like do you sell out or do

623
00:35:27,040 --> 00:35:27,960
Speaker 2: you become a millionaire?

624
00:35:28,239 --> 00:35:28,439
Speaker 1: Right?

625
00:35:28,920 --> 00:35:31,120
Speaker 2: Yeah, And we've talked about this during the k Pop

626
00:35:31,160 --> 00:35:35,120
Speaker 2: episode where it feels like that the goals of that

627
00:35:35,239 --> 00:35:37,759
Speaker 2: are so different now than they were back in two

628
00:35:37,760 --> 00:35:45,440
Speaker 2: thousand and four. Like I feel like now you couldn't

629
00:35:45,440 --> 00:35:50,560
Speaker 2: even have a band like the Brian Jones Samasker because

630
00:35:50,600 --> 00:35:52,799
Speaker 2: they just wouldn't do anything. Like it's almost kind of

631
00:35:52,880 --> 00:35:56,440
Speaker 2: like the point is not The point is now to

632
00:35:56,520 --> 00:36:00,440
Speaker 2: just make money because there's so many points of entry

633
00:36:00,520 --> 00:36:02,839
Speaker 2: for musicians at this point, it's like, well, if you're

634
00:36:02,840 --> 00:36:05,760
Speaker 2: in the game at all, what are you doing.

635
00:36:06,400 --> 00:36:09,680
Speaker 1: It's interesting watching the movie at the time because a

636
00:36:09,719 --> 00:36:13,480
Speaker 1: band like the Dandy Warhols could become huge and make

637
00:36:13,520 --> 00:36:16,840
Speaker 1: a ton of money, like a rock band could become

638
00:36:17,480 --> 00:36:22,160
Speaker 1: huge and you know, like the Strokes or the White

639
00:36:22,239 --> 00:36:26,360
Speaker 1: Stripes or the Rapture or the aa Yas, but we

640
00:36:26,440 --> 00:36:30,840
Speaker 1: don't really have popular music, like like what's the most

641
00:36:30,840 --> 00:36:36,720
Speaker 1: popular band now, you know. And so it was interesting

642
00:36:36,760 --> 00:36:38,560
Speaker 1: watching this because I was like this, this just doesn't

643
00:36:38,600 --> 00:36:42,280
Speaker 1: exist anymore, Like a band that has like indie roots

644
00:36:42,560 --> 00:36:43,880
Speaker 1: could not make a ton of money.

645
00:36:43,920 --> 00:36:48,719
Speaker 6: Now it feels like yeah, I mean I like I said,

646
00:36:48,760 --> 00:36:51,840
Speaker 6: I don't think that a band like the Brian Jonestown

647
00:36:51,840 --> 00:36:55,640
Speaker 6: Masker could exist on a commercial level at.

648
00:36:55,480 --> 00:36:59,520
Speaker 2: All, or the Dandy War because a there's no record

649
00:36:59,600 --> 00:37:04,280
Speaker 2: labels to sign bands anymore. I mean, let's get serious.

650
00:37:04,320 --> 00:37:09,280
Speaker 2: The music industry is fucking destroyed. There isn't a record

651
00:37:09,320 --> 00:37:11,640
Speaker 2: label like TVT Records that's going to court a band

652
00:37:11,640 --> 00:37:16,200
Speaker 2: like Brian Jonestown masacer A because they don't even work

653
00:37:16,239 --> 00:37:18,120
Speaker 2: in the same ways that they do as they did

654
00:37:18,160 --> 00:37:20,120
Speaker 2: in two thousand and four. The music industry was still

655
00:37:20,120 --> 00:37:23,000
Speaker 2: pretty much intact in two thousand and four, except Napster

656
00:37:23,120 --> 00:37:27,520
Speaker 2: had taken over. But it was also like now they're

657
00:37:27,560 --> 00:37:30,480
Speaker 2: not They would never take a chance on a band

658
00:37:30,560 --> 00:37:34,200
Speaker 2: that was completely fucked up on drugs and anti social

659
00:37:34,280 --> 00:37:36,160
Speaker 2: do you know what I'm saying. Like they're like, it's

660
00:37:36,160 --> 00:37:39,200
Speaker 2: almost kind of like a ticket to hell, like a

661
00:37:39,239 --> 00:37:41,680
Speaker 2: one way ticket to hell, and they wouldn't even entertain

662
00:37:41,719 --> 00:37:45,120
Speaker 2: that anymore because they only want to produce like Sabrina Carpenters,

663
00:37:45,200 --> 00:37:47,000
Speaker 2: if that makes anyse totally, But it.

664
00:37:46,920 --> 00:37:49,399
Speaker 1: Was kind of funny because I feel like the Brian

665
00:37:49,480 --> 00:37:52,840
Speaker 1: Jonestown Massacre are like, well, we're kind of costs playing

666
00:37:52,880 --> 00:37:56,000
Speaker 1: as like the Rolling Stones what a bad Boy is Like,

667
00:37:56,040 --> 00:37:57,799
Speaker 1: we're like, this is what it takes to become a

668
00:37:57,800 --> 00:38:03,480
Speaker 1: successful rock group, where they're like emulating that type of personality.

669
00:38:03,840 --> 00:38:06,080
Speaker 1: But even at the time of the documentary, they're kind

670
00:38:06,080 --> 00:38:08,120
Speaker 1: of like, well, no, the world has moved that you

671
00:38:08,160 --> 00:38:11,319
Speaker 1: can't actually act like that anymore. That's like unacceptable behavior now,

672
00:38:11,640 --> 00:38:14,040
Speaker 1: you know. It was like, so it's sort of funny

673
00:38:14,040 --> 00:38:18,480
Speaker 1: seeing them kind of like run headfirst into that reality, right.

674
00:38:18,640 --> 00:38:22,160
Speaker 2: Well, And what I think becomes part of the documentary

675
00:38:22,800 --> 00:38:24,960
Speaker 2: is the ways in which the Danny Warhols are able

676
00:38:25,000 --> 00:38:29,880
Speaker 2: to like rein in their hedonism to be able to

677
00:38:30,000 --> 00:38:34,920
Speaker 2: like actually play gigs and be reasonable. I mean, they

678
00:38:35,000 --> 00:38:39,880
Speaker 2: still have their little TIFFs yeah, they do that with

679
00:38:39,880 --> 00:38:43,279
Speaker 2: the David la Chappelle section where David la Chappelle does

680
00:38:43,320 --> 00:38:45,160
Speaker 2: a music video and they're like, I mean, it was

681
00:38:45,200 --> 00:38:48,360
Speaker 2: almost kind of like the lead singer of the Danny

682
00:38:48,400 --> 00:38:49,360
Speaker 2: Warhol Is his name.

683
00:38:49,280 --> 00:38:52,480
Speaker 1: Courtney Courtney Taylor Taylor.

684
00:38:52,800 --> 00:38:55,960
Speaker 2: Basically he was like, I know, I'm I know, I

685
00:38:56,040 --> 00:39:01,000
Speaker 2: look like a poudy beautiful model with my lower jeans,

686
00:39:02,000 --> 00:39:03,879
Speaker 2: but I don't want you to film me like that.

687
00:39:04,000 --> 00:39:06,640
Speaker 2: I want I want to be like a real rocker.

688
00:39:07,120 --> 00:39:10,439
Speaker 2: It was kind of like him in a weird way,

689
00:39:10,560 --> 00:39:15,239
Speaker 2: kind of telling this fashion photographer like don't make me hot?

690
00:39:15,680 --> 00:39:16,719
Speaker 2: Did you get that?

691
00:39:16,840 --> 00:39:19,520
Speaker 1: Was so funny because he was like, yeah, can we

692
00:39:19,800 --> 00:39:22,520
Speaker 1: can we just come back and like reshoot this once

693
00:39:22,560 --> 00:39:24,640
Speaker 1: my hair is grown out? And I was like, you

694
00:39:24,680 --> 00:39:27,160
Speaker 1: guys are on set right now, Like that's not good,

695
00:39:27,520 --> 00:39:30,520
Speaker 1: That's not possible, buddy. But I felt like he was

696
00:39:30,600 --> 00:39:33,319
Speaker 1: kind of like trying to be like Anton, like he

697
00:39:33,440 --> 00:39:37,120
Speaker 1: really admired Anton, and so every time he Courtney through

698
00:39:37,239 --> 00:39:39,000
Speaker 1: kind of a fit, it felt like he was just

699
00:39:39,040 --> 00:39:41,120
Speaker 1: doing it to be like, well, this is what real

700
00:39:41,280 --> 00:39:45,399
Speaker 1: artists do, this is how real artists behave right, And.

701
00:39:45,360 --> 00:39:49,000
Speaker 2: I feel like this this documentary made me kind of

702
00:39:49,360 --> 00:39:55,440
Speaker 2: question my deep seated belief in my older age, which

703
00:39:55,480 --> 00:40:01,719
Speaker 2: is that there are very there are actually really few

704
00:40:02,640 --> 00:40:06,600
Speaker 2: actually creative people in this world. Like for all of

705
00:40:06,640 --> 00:40:11,640
Speaker 2: the like social media, neess of people saying that they've

706
00:40:11,680 --> 00:40:17,200
Speaker 2: got bands and movies and record labels and art projects

707
00:40:17,280 --> 00:40:20,840
Speaker 2: and stuff. It just seems that like everybody is an artist,

708
00:40:20,880 --> 00:40:23,839
Speaker 2: and everybody can create art in any kind of way

709
00:40:23,840 --> 00:40:27,239
Speaker 2: they want to. Yeah, most of it is actually not

710
00:40:27,400 --> 00:40:30,799
Speaker 2: very creative, and there's a very like like there's even

711
00:40:32,239 --> 00:40:35,439
Speaker 2: a smaller amount of actual creative people than we ever

712
00:40:35,520 --> 00:40:39,880
Speaker 2: thought in the world, and that most people have just

713
00:40:40,880 --> 00:40:44,080
Speaker 2: been able to create their art because they were adjacent

714
00:40:44,280 --> 00:40:47,960
Speaker 2: to someone who was more creative than them. Does that

715
00:40:48,000 --> 00:40:50,320
Speaker 2: make sense? It does.

716
00:40:50,960 --> 00:40:54,120
Speaker 1: Do you feel like there is any creative people in

717
00:40:54,360 --> 00:40:57,400
Speaker 1: this movie or they were all adjacent to something.

718
00:40:57,880 --> 00:41:04,879
Speaker 2: I actually think that there is a creative Like, say

719
00:41:04,880 --> 00:41:07,040
Speaker 2: what you want about Anton Newcome in this in this

720
00:41:07,160 --> 00:41:13,760
Speaker 2: documentary right and again, I would like to maybe create

721
00:41:13,880 --> 00:41:17,840
Speaker 2: a line of demarcation between who he is in real

722
00:41:17,880 --> 00:41:21,960
Speaker 2: life right now versus what was shown in the documentary.

723
00:41:22,840 --> 00:41:26,879
Speaker 2: Does that make sense? Because I don't know him at all,

724
00:41:27,600 --> 00:41:29,279
Speaker 2: I'm not friends with him. I don't know who he

725
00:41:29,360 --> 00:41:31,799
Speaker 2: is in real life. I can only speak about what

726
00:41:31,840 --> 00:41:34,399
Speaker 2: I saw in a documentary that was made about him. Now,

727
00:41:34,400 --> 00:41:39,000
Speaker 2: whether or not that's him him, or that's him pretending

728
00:41:39,160 --> 00:41:42,040
Speaker 2: to be like a much more exaggerated version of himself,

729
00:41:42,080 --> 00:41:44,319
Speaker 2: I don't know. That's the power of a documentary is

730
00:41:44,360 --> 00:41:46,000
Speaker 2: that you don't know those things.

731
00:41:46,760 --> 00:41:48,279
Speaker 1: And I mean that was one of the criticisms of

732
00:41:48,320 --> 00:41:50,160
Speaker 1: the documentary by the people who are in it, where

733
00:41:50,160 --> 00:41:52,400
Speaker 1: they're like, well, it was filmed over the course of

734
00:41:52,440 --> 00:41:54,520
Speaker 1: eight years, and they were like, basically they took all

735
00:41:54,560 --> 00:41:56,879
Speaker 1: the Jerry Springer moments, that's what they said, and put

736
00:41:56,920 --> 00:42:00,600
Speaker 1: them together and which, of course you would to make

737
00:42:00,600 --> 00:42:03,600
Speaker 1: the documentary interesting. But I will say after watching the movie,

738
00:42:03,640 --> 00:42:07,040
Speaker 1: I was kind of like, in the Brian Jonestown massacre storyline,

739
00:42:07,080 --> 00:42:11,000
Speaker 1: there are no there are only low points, so it

740
00:42:11,040 --> 00:42:14,399
Speaker 1: would you don't quite get the full Yeah, I feel

741
00:42:14,880 --> 00:42:16,080
Speaker 1: But anyways, contem I just.

742
00:42:16,000 --> 00:42:18,919
Speaker 2: Don't want to, like, you know, talk about somebody who

743
00:42:19,040 --> 00:42:22,560
Speaker 2: is still living that I don't know. I'd rather speak

744
00:42:22,800 --> 00:42:28,480
Speaker 2: about them via the documentary I watched as a viewer. Okay, yes,

745
00:42:29,239 --> 00:42:34,040
Speaker 2: I will say in the documentary Anton seems very creative.

746
00:42:34,080 --> 00:42:36,240
Speaker 2: He seems kind of well. First of all, he definitely

747
00:42:36,320 --> 00:42:39,839
Speaker 2: has like the need to be creative. He had such

748
00:42:39,880 --> 00:42:44,239
Speaker 2: a rough life according to what was going on with

749
00:42:44,280 --> 00:42:50,880
Speaker 2: his dad at least, and he's definitely probably, you know,

750
00:42:51,520 --> 00:42:56,360
Speaker 2: in via the documentary, at least has probably some mental

751
00:42:56,680 --> 00:43:00,719
Speaker 2: illness in his family and maybe in his own life. Right.

752
00:43:01,120 --> 00:43:02,799
Speaker 2: But I also think that, you know, so he could

753
00:43:02,800 --> 00:43:06,960
Speaker 2: definitely write songs. He's got amazing influences. You can't deny that.

754
00:43:07,320 --> 00:43:12,720
Speaker 2: Like the stuff that he likes and the the stuff

755
00:43:12,719 --> 00:43:16,399
Speaker 2: that he channels is awesome. Like all of these things

756
00:43:16,400 --> 00:43:20,480
Speaker 2: are great things to like, like sixties psychedelic bands and

757
00:43:21,280 --> 00:43:25,479
Speaker 2: you know, counter cultural people, countercultural figures. I mean, Harry

758
00:43:25,520 --> 00:43:27,920
Speaker 2: Dean Stanton is in the movie. At one point.

759
00:43:29,480 --> 00:43:31,840
Speaker 1: I thought that, yeah, and the music was good, and

760
00:43:31,880 --> 00:43:33,920
Speaker 1: he obviously is, like I thought, he was a very

761
00:43:33,960 --> 00:43:35,920
Speaker 1: creative person. And some of the more interesting parts of

762
00:43:35,920 --> 00:43:39,640
Speaker 1: the movie are when he's collaborating on like recording the music,

763
00:43:39,760 --> 00:43:42,799
Speaker 1: because you can actually tell he's like pretty focused and

764
00:43:42,960 --> 00:43:47,120
Speaker 1: like using other people and collaborating in a positive way.

765
00:43:47,239 --> 00:43:48,960
Speaker 1: It seems like things sort of fell apart during the

766
00:43:49,000 --> 00:43:51,960
Speaker 1: live performances, but during the actual like creation of music.

767
00:43:52,000 --> 00:43:54,760
Speaker 1: It seems like he really thrives and is like very creative.

768
00:43:54,800 --> 00:43:56,880
Speaker 2: So yeah, I mean, you know, it seems like there's

769
00:43:57,000 --> 00:44:00,560
Speaker 2: another person in the Brian Jonestown ascer Matt Hollywood, who

770
00:44:00,560 --> 00:44:02,440
Speaker 2: seems to have written a lot of the songs. He look,

771
00:44:02,560 --> 00:44:04,080
Speaker 2: he looks exactly like John Lennon.

772
00:44:04,120 --> 00:44:06,080
Speaker 1: I mean, I was like he was his very look

773
00:44:06,200 --> 00:44:06,880
Speaker 1: like John Lennon.

774
00:44:07,040 --> 00:44:08,960
Speaker 2: Yes, but you know, there are always like gonna be

775
00:44:09,480 --> 00:44:11,880
Speaker 2: in a situation like that, there's gonna be at least

776
00:44:11,960 --> 00:44:14,680
Speaker 2: one or two creative people who are actually crative. I

777
00:44:14,719 --> 00:44:18,760
Speaker 2: think my argument is really that like legit creative people

778
00:44:19,120 --> 00:44:22,759
Speaker 2: a lot of times can actually function in society. It

779
00:44:22,840 --> 00:44:25,520
Speaker 2: is exactly like you see it in a documentary, which

780
00:44:25,520 --> 00:44:33,000
Speaker 2: is that like somebody that's absolutely a pure creative visionary

781
00:44:33,120 --> 00:44:36,400
Speaker 2: a lot of times is destroyed by that notion.

782
00:44:37,560 --> 00:44:40,239
Speaker 1: Yeah, and like they they might not be able to

783
00:44:40,360 --> 00:44:45,040
Speaker 1: navigate the intricacies in the politics of working with a

784
00:44:45,120 --> 00:44:49,080
Speaker 1: record label. Yes, you know, they can't do both of

785
00:44:49,120 --> 00:44:50,560
Speaker 1: those things at the same time.

786
00:44:50,920 --> 00:44:53,799
Speaker 2: Yes, Like a lot of people that have inspired me

787
00:44:54,120 --> 00:44:59,320
Speaker 2: over the years that are just super interesting, super creative

788
00:44:59,320 --> 00:45:03,640
Speaker 2: and just like extremely like gifted at what they do,

789
00:45:04,640 --> 00:45:09,760
Speaker 2: have personal problems. They have mental problems, they have socialization problems.

790
00:45:09,840 --> 00:45:14,120
Speaker 2: It's not like these people are able to like navigate

791
00:45:14,200 --> 00:45:18,520
Speaker 2: big corporate meetings where they're able to just be really

792
00:45:18,560 --> 00:45:21,440
Speaker 2: slick and polished. Like most most people I know who

793
00:45:21,480 --> 00:45:27,439
Speaker 2: are creative and cool and interesting have problems in some way,

794
00:45:27,560 --> 00:45:32,600
Speaker 2: shape or form, and especially have problems with dealing with

795
00:45:33,080 --> 00:45:37,319
Speaker 2: the Feds, the man the thing that's trying to give

796
00:45:37,400 --> 00:45:42,400
Speaker 2: them a platform, right, Like it's it's hard because it's like,

797
00:45:42,440 --> 00:45:44,560
Speaker 2: as an artist, you're sitting there going like, of course

798
00:45:44,600 --> 00:45:47,640
Speaker 2: I want my music or my art to be out there,

799
00:45:47,640 --> 00:45:50,759
Speaker 2: but I also have a problem with, like I have

800
00:45:50,800 --> 00:45:54,480
Speaker 2: a problem with with with sharing that with others in

801
00:45:54,520 --> 00:45:57,799
Speaker 2: a monetary way. Like it seemed to me like in

802
00:45:57,840 --> 00:46:00,200
Speaker 2: the documentary that was like the big argument because like

803
00:46:00,200 --> 00:46:04,240
Speaker 2: the Dandy Warhols were easily able to like take their

804
00:46:04,360 --> 00:46:07,960
Speaker 2: talent and make it bigger, and Brian Jones Enn Masker

805
00:46:08,120 --> 00:46:10,800
Speaker 2: just kept like self destructing all the time and falling

806
00:46:10,840 --> 00:46:12,799
Speaker 2: on their own sword, and it was kind of like

807
00:46:13,160 --> 00:46:14,600
Speaker 2: and that was the thing to going back to what

808
00:46:14,640 --> 00:46:19,480
Speaker 2: you said, whereas the Dandies were sort of like maybe

809
00:46:19,560 --> 00:46:21,600
Speaker 2: we're too commercial and we need a little bit more

810
00:46:21,600 --> 00:46:25,880
Speaker 2: of that fire that create a fire, but then they

811
00:46:25,920 --> 00:46:27,759
Speaker 2: would look at it and be like, well, this is

812
00:46:27,760 --> 00:46:30,640
Speaker 2: a fucking disaster. We can't be that, you know.

813
00:46:30,760 --> 00:46:34,080
Speaker 1: Yeah, No, I mean, and I don't like which band

814
00:46:34,120 --> 00:46:36,920
Speaker 1: would I rather be in? Probably the Dandy Warhols, because

815
00:46:36,920 --> 00:46:39,359
Speaker 1: they're not living in a dumpster, you know. They kept

816
00:46:39,360 --> 00:46:42,360
Speaker 1: saying they're like the most well adjusted rock band in America,

817
00:46:42,440 --> 00:46:45,000
Speaker 1: and they were, and it seemed like fun to be

818
00:46:45,080 --> 00:46:48,040
Speaker 1: a member of that band. But is their music as

819
00:46:48,120 --> 00:46:49,800
Speaker 1: good as the Brian Jones ten massacre?

820
00:46:50,120 --> 00:46:52,319
Speaker 2: I don't know. I'd probably say no. Well, I mean

821
00:46:52,320 --> 00:46:54,239
Speaker 2: I feel like it's I think the argument is that

822
00:46:54,280 --> 00:46:59,239
Speaker 2: it's less complex, right like I would say, I mean

823
00:47:00,400 --> 00:47:06,160
Speaker 2: that I actually love at least two or three Dandy

824
00:47:06,200 --> 00:47:09,880
Speaker 2: warhol songs, Like I used to DJ Boheman like You

825
00:47:10,320 --> 00:47:13,200
Speaker 2: at DJ nights when I was at DJ, and the

826
00:47:13,360 --> 00:47:16,799
Speaker 2: shit would fucking kill, Like people would go crazy for

827
00:47:16,880 --> 00:47:20,400
Speaker 2: that song. Everybody on the dance floor. Everybody loves that,

828
00:47:20,560 --> 00:47:24,200
Speaker 2: like who Who Who Part? I mean, you can't deny that.

829
00:47:24,920 --> 00:47:26,840
Speaker 2: And there's at least like again, like maybe two or

830
00:47:26,880 --> 00:47:30,160
Speaker 2: three other songs there's that I really like. I think

831
00:47:30,200 --> 00:47:36,280
Speaker 2: that's really catchy. But they're more pop songs, right, Yeah,

832
00:47:36,400 --> 00:47:40,000
Speaker 2: they're more digestible songs than some of the Brian Jonestown

833
00:47:40,040 --> 00:47:42,440
Speaker 2: stuff that I've heard. So it's like, and I'm not

834
00:47:42,480 --> 00:47:45,600
Speaker 2: saying that they're not as good because they're not making

835
00:47:45,600 --> 00:47:48,880
Speaker 2: poppier music, but I just think that obviously there's a

836
00:47:48,960 --> 00:47:51,680
Speaker 2: reason why one band went more commercial route than the

837
00:47:51,680 --> 00:47:54,880
Speaker 2: other one didn't. And it's funny because the label that

838
00:47:55,000 --> 00:47:57,319
Speaker 2: ended up trying to sign them, there was like this

839
00:47:57,360 --> 00:47:59,960
Speaker 2: moment I was having. First of all, I was completely

840
00:48:00,640 --> 00:48:05,160
Speaker 2: having flashbacks every fucking five seconds, Like it was like

841
00:48:05,800 --> 00:48:11,720
Speaker 2: going back to music industry days, club nights, knowing people

842
00:48:11,840 --> 00:48:15,719
Speaker 2: like this, I mean, Joel's hair, I don't even want it.

843
00:48:15,760 --> 00:48:18,040
Speaker 1: We got to talk about Joel Gian who is sort

844
00:48:18,040 --> 00:48:21,000
Speaker 1: of representative of a whole identity.

845
00:48:22,080 --> 00:48:26,080
Speaker 2: If you don't know what he looks like, imagine just

846
00:48:26,160 --> 00:48:30,640
Speaker 2: imagine a hipster from this era dressed it all black,

847
00:48:32,280 --> 00:48:38,319
Speaker 2: rail thin, little black motorcycle jacket with like a low

848
00:48:38,400 --> 00:48:44,800
Speaker 2: rise pair of slacks, and then this hair that most

849
00:48:44,840 --> 00:48:49,120
Speaker 2: people at this point have called the shotgun blast, which

850
00:48:49,160 --> 00:48:52,719
Speaker 2: is basically like hair that is blowed out in the

851
00:48:52,800 --> 00:48:57,239
Speaker 2: back spiky shorts, and then the front part is all

852
00:48:57,360 --> 00:48:59,880
Speaker 2: slicked down. I mean, it was kind of made famous

853
00:49:00,080 --> 00:49:04,080
Speaker 2: by john and Kate plus eight. That's what a lot

854
00:49:04,080 --> 00:49:07,240
Speaker 2: of people used to say. It was like the Kate Goslin.

855
00:49:06,840 --> 00:49:09,439
Speaker 1: Hair, the can I speak to your manager hair?

856
00:49:09,600 --> 00:49:12,400
Speaker 2: Yeah, well, bitch, I had that fucking hair back in

857
00:49:12,440 --> 00:49:16,759
Speaker 2: this era. Okay, if you looked at my Makeut Club profile,

858
00:49:16,880 --> 00:49:19,719
Speaker 2: I definitely had it, and it was not influenced by

859
00:49:19,800 --> 00:49:22,600
Speaker 2: Johnny Kate plus eight that came out later. For me,

860
00:49:23,440 --> 00:49:25,960
Speaker 2: my influence was coming from the Jesus and Mary chain.

861
00:49:26,040 --> 00:49:28,160
Speaker 2: That's who I wanted to look like. I wanted to

862
00:49:28,160 --> 00:49:31,120
Speaker 2: look like Robert Smith or the Jesus and Mary chair

863
00:49:31,200 --> 00:49:34,560
Speaker 2: with my wild, crazy black hair, and I just would

864
00:49:35,680 --> 00:49:38,840
Speaker 2: not wash it, then run a bunch of like sticky

865
00:49:39,000 --> 00:49:42,000
Speaker 2: tacky stuff through it, and then just mess it up

866
00:49:42,080 --> 00:49:45,200
Speaker 2: BedHead style. But then the front part had to have

867
00:49:45,320 --> 00:49:49,279
Speaker 2: this shape because I just had short bangs, so I

868
00:49:49,360 --> 00:49:52,680
Speaker 2: was like I had his hair. So I'm telling you,

869
00:49:53,239 --> 00:49:56,480
Speaker 2: when I saw Joel from the Brian jo Samascar, I

870
00:49:56,520 --> 00:50:01,799
Speaker 2: was immediately rocketed rocketed back to that hairstyle.

871
00:50:02,760 --> 00:50:04,920
Speaker 1: And I did write in my notes, I feel like

872
00:50:05,000 --> 00:50:07,719
Speaker 1: Milly knew a lot of jewels because he is like

873
00:50:07,840 --> 00:50:10,400
Speaker 1: a caricature of a person in this movie. And he

874
00:50:10,480 --> 00:50:15,840
Speaker 1: is very much playing the nineteen sixties San Francisco guy

875
00:50:16,040 --> 00:50:18,560
Speaker 1: in this movie. Just the way he talks, the way

876
00:50:18,560 --> 00:50:21,120
Speaker 1: he acts, the way he dresses. It's like he's always

877
00:50:21,160 --> 00:50:24,960
Speaker 1: in character. And it's so funny because he is probably

878
00:50:25,000 --> 00:50:29,040
Speaker 1: the most loyal member of the band to Anton. He

879
00:50:29,080 --> 00:50:31,320
Speaker 1: plays the damn tambourine.

880
00:50:31,400 --> 00:50:33,239
Speaker 2: He's the tambourine even, and.

881
00:50:33,320 --> 00:50:36,120
Speaker 1: He's the tambourine player. I don't think he sings. He

882
00:50:36,239 --> 00:50:38,240
Speaker 1: might sing, but he doesn't write any of the music.

883
00:50:38,320 --> 00:50:43,560
Speaker 1: He's just the tambourine player. And I don't know. I

884
00:50:43,560 --> 00:50:46,440
Speaker 1: feel like you could take or leave a tambourine player.

885
00:50:47,000 --> 00:50:49,760
Speaker 1: I don't know if that's a vital member of your band.

886
00:50:49,880 --> 00:50:55,200
Speaker 2: Well, he's the visual, he's the he's the visual, the bostone,

887
00:50:56,080 --> 00:50:56,359
Speaker 2: you know.

888
00:50:56,520 --> 00:51:01,600
Speaker 1: But I just feel like I as a person, and

889
00:51:01,640 --> 00:51:03,400
Speaker 1: he seems like a very creative person.

890
00:51:03,400 --> 00:51:04,720
Speaker 2: He's a writer and stuff.

891
00:51:05,320 --> 00:51:07,719
Speaker 1: I wouldn't put up with all the bullshit of the

892
00:51:07,719 --> 00:51:09,560
Speaker 1: movie if I was just like, I'm just on stage

893
00:51:09,560 --> 00:51:12,120
Speaker 1: playing the dan tambourine. I don't know how he is

894
00:51:12,160 --> 00:51:17,080
Speaker 1: so committed to this lifestyle. It takes something that I

895
00:51:17,120 --> 00:51:17,880
Speaker 1: don't understand.

896
00:51:18,200 --> 00:51:22,280
Speaker 2: Yeah, I guess it's just like a commitment to the mission.

897
00:51:22,840 --> 00:51:26,040
Speaker 2: Plus it's like, I don't know, I definitely see why

898
00:51:26,080 --> 00:51:28,799
Speaker 2: people were drawn to Anton, Like I think that was

899
00:51:28,920 --> 00:51:31,880
Speaker 2: kind of another running theme in the movie is just

900
00:51:32,200 --> 00:51:35,439
Speaker 2: I mean, he always had girlfriends, he was married, obviously at.

901
00:51:35,320 --> 00:51:38,640
Speaker 1: One point, the hottest women wanting him, and.

902
00:51:39,080 --> 00:51:41,080
Speaker 2: Just and going back slightly to what I was saying

903
00:51:41,080 --> 00:51:44,840
Speaker 2: about the music industry, there was this whole section where

904
00:51:44,920 --> 00:51:47,759
Speaker 2: you know, obviously like all like TVT Records, which I

905
00:51:47,760 --> 00:51:52,200
Speaker 2: don't even know if they exist anymore, but they were

906
00:51:52,200 --> 00:51:55,600
Speaker 2: trying to court. There was all this conversation about how

907
00:51:55,760 --> 00:51:58,560
Speaker 2: the Brian Jonestownasker was like a favorite of every A

908
00:51:58,680 --> 00:52:01,319
Speaker 2: and R person in the industry, and that was that's

909
00:52:01,360 --> 00:52:05,160
Speaker 2: probably true. I mean I remember them being very talked

910
00:52:05,200 --> 00:52:08,759
Speaker 2: about like the next big thing. They were. I mean,

911
00:52:09,360 --> 00:52:12,000
Speaker 2: everybody had them on the tip of their tongues in

912
00:52:12,040 --> 00:52:14,040
Speaker 2: this era, whether or not you wanted to admit it.

913
00:52:15,480 --> 00:52:18,520
Speaker 2: But it was that feeling of like who was gonna

914
00:52:18,520 --> 00:52:21,719
Speaker 2: be able to tame this monster? Like who's gonna be

915
00:52:21,760 --> 00:52:24,040
Speaker 2: able to make the Brian Jones Tamask are a viable

916
00:52:24,160 --> 00:52:27,120
Speaker 2: commercial band? And that's kind of what I saw in

917
00:52:27,160 --> 00:52:29,920
Speaker 2: the documentary was TVT being like, we're gonna do it.

918
00:52:29,920 --> 00:52:32,239
Speaker 2: We're gonna be the ones that could make them show up,

919
00:52:32,400 --> 00:52:34,600
Speaker 2: and they're gonna make a hundred albums with us, and

920
00:52:34,640 --> 00:52:37,040
Speaker 2: they're gonna stop doing drugs and stop fighting and we're

921
00:52:37,040 --> 00:52:39,719
Speaker 2: gonna make a million, tillion fucking dollars. And obviously that

922
00:52:39,760 --> 00:52:42,719
Speaker 2: did not happen. But it's the same instinct that all

923
00:52:42,760 --> 00:52:46,160
Speaker 2: these other people had towards Anton in the documentary, which

924
00:52:46,160 --> 00:52:49,840
Speaker 2: is that I'm gonna be the person that grounds this person.

925
00:52:50,320 --> 00:52:54,120
Speaker 2: I'm gonna be next to this person who's extremely interesting

926
00:52:54,440 --> 00:52:58,680
Speaker 2: and charismatic and fucked up and all the things, and

927
00:52:58,760 --> 00:53:03,759
Speaker 2: I'm gonna like be the avatar, the person that can

928
00:53:04,000 --> 00:53:07,239
Speaker 2: get it and be by their side. And I feel

929
00:53:07,239 --> 00:53:09,600
Speaker 2: like that's kind of like Joel at the end of

930
00:53:09,640 --> 00:53:12,320
Speaker 2: the day. He was like, yeah, you know, I'm gonna

931
00:53:12,320 --> 00:53:14,600
Speaker 2: be the one in the band that, like, I mean,

932
00:53:14,640 --> 00:53:19,520
Speaker 2: I'm part of it, but I'm also like I'm aware

933
00:53:20,480 --> 00:53:22,680
Speaker 2: of things to a certain day.

934
00:53:22,800 --> 00:53:25,000
Speaker 1: Yeah, I mean they had to fly Joel to the

935
00:53:25,120 --> 00:53:30,080
Speaker 1: record label meetings in place of Anton to like make

936
00:53:30,120 --> 00:53:34,040
Speaker 1: sure they got this contract sign basically.

937
00:53:33,880 --> 00:53:37,359
Speaker 2: And listen, not for nothing, not to sound like some

938
00:53:37,840 --> 00:53:44,360
Speaker 2: fucking Tenacious D character in the Tenacious D Show. But

939
00:53:44,400 --> 00:53:47,160
Speaker 2: I remember being in San Francisco in nineteen ninety nine

940
00:53:47,160 --> 00:53:49,560
Speaker 2: and going to a mod party. I went to a

941
00:53:49,680 --> 00:53:54,440
Speaker 2: mod party in somebody's house, and every dude looked like Joel.

942
00:53:55,120 --> 00:53:58,000
Speaker 2: Every dude looked like him, and they drove away on

943
00:53:58,040 --> 00:54:02,920
Speaker 2: their little Vespas and the Lambrettas, and they were all

944
00:54:03,000 --> 00:54:11,279
Speaker 2: like coked out assholes. So there was a lot of

945
00:54:11,400 --> 00:54:14,280
Speaker 2: Joels back in that era. Okay, I love.

946
00:54:14,400 --> 00:54:17,040
Speaker 1: That you brought up the Tenacious DTV show. We need

947
00:54:17,080 --> 00:54:19,120
Speaker 1: to go in a deep dive. Maybe we can dedicate

948
00:54:19,160 --> 00:54:21,880
Speaker 1: a whole episode to the Tenacious DTV show.

949
00:54:21,920 --> 00:54:25,239
Speaker 2: Not to be like Captain Ed's being like Mama Cass

950
00:54:25,320 --> 00:54:28,280
Speaker 2: or no, what does he say? He goes Janis Joplin

951
00:54:28,480 --> 00:54:32,480
Speaker 2: was washing dishes and throwing up. Then the cops busted

952
00:54:32,600 --> 00:54:35,200
Speaker 2: a total set up, Like that was me just now

953
00:54:35,239 --> 00:54:40,120
Speaker 2: talking about indie sleeves and brit pop. There's the part

954
00:54:40,200 --> 00:54:40,560
Speaker 2: he was like.

955
00:54:42,080 --> 00:54:45,120
Speaker 1: Mama Cass was doing cheese balls in the backs that

956
00:54:45,560 --> 00:54:50,000
Speaker 1: speed mixed with cheese.

957
00:54:50,280 --> 00:54:53,440
Speaker 2: I mean, this is the thing about being old, is

958
00:54:53,440 --> 00:54:56,239
Speaker 2: that your every day is like Yo, every story I

959
00:54:56,320 --> 00:54:58,640
Speaker 2: tell is gonna be that it's gonna be you come

960
00:54:58,800 --> 00:55:02,360
Speaker 2: closer and closer to Captain Ed, who owns a fucking

961
00:55:03,200 --> 00:55:06,680
Speaker 2: stupid little store and just regales young people with like

962
00:55:06,719 --> 00:55:09,719
Speaker 2: their fucked up stories of their childhood. And I'm like,

963
00:55:10,120 --> 00:55:12,439
Speaker 2: I'm doing it right now. This is a podcast that's

964
00:55:12,440 --> 00:55:15,760
Speaker 2: making me into captain Ed. Oh my god.

965
00:55:16,360 --> 00:55:18,319
Speaker 1: It was interesting in the documentary because there are people

966
00:55:18,320 --> 00:55:20,239
Speaker 1: who are like self aware of what's going on, and

967
00:55:20,280 --> 00:55:22,799
Speaker 1: one of them I felt like was Miranda Richards. Yes,

968
00:55:22,840 --> 00:55:25,840
Speaker 1: I always enjoyed when they interviewed her because she was

969
00:55:25,880 --> 00:55:27,840
Speaker 1: like kind of in the band, but she was like

970
00:55:28,040 --> 00:55:31,120
Speaker 1: not enough to where she's like living with them or

971
00:55:31,200 --> 00:55:33,520
Speaker 1: like she was able to remove herself, so it wasn't

972
00:55:33,560 --> 00:55:38,319
Speaker 1: like totally she didn't get totally like dirtied by them,

973
00:55:38,600 --> 00:55:43,040
Speaker 1: but she had these quotes about Anton and like their

974
00:55:43,120 --> 00:55:46,960
Speaker 1: bad behavior, and she's like, they're emulating these bad boys

975
00:55:46,960 --> 00:55:50,560
Speaker 1: from the sixties with their drug habits and their fighting

976
00:55:50,640 --> 00:55:54,000
Speaker 1: and stuff. But all those bands did the drugs after

977
00:55:54,040 --> 00:55:58,440
Speaker 1: they became famous, and Brian Jonestown Massacre aren't even famous yet,

978
00:55:58,640 --> 00:56:00,359
Speaker 1: you know, And it's like it.

979
00:56:00,360 --> 00:56:04,600
Speaker 2: Is kind of a reverse engineer scenario going on, because yeah,

980
00:56:04,680 --> 00:56:08,799
Speaker 2: that's their biggest like, I think the big question coming

981
00:56:08,840 --> 00:56:15,960
Speaker 2: out of something like dig xx is saying, like, what

982
00:56:16,160 --> 00:56:19,120
Speaker 2: could they have like if they just completely cleaned up,

983
00:56:19,320 --> 00:56:23,760
Speaker 2: could they have made it? Could they have now been

984
00:56:23,920 --> 00:56:27,600
Speaker 2: on the like reunion tours that the Dandy Warhols are on,

985
00:56:28,560 --> 00:56:32,400
Speaker 2: you know, making a lot of money at festivals, you know.

986
00:56:32,520 --> 00:56:35,359
Speaker 2: I mean, I think the biggest thing that came out

987
00:56:35,400 --> 00:56:40,919
Speaker 2: of this redux of dig XX, which wasn't in the

988
00:56:41,160 --> 00:56:44,359
Speaker 2: first documentary from two thousand and four, was obviously when

989
00:56:44,360 --> 00:56:46,480
Speaker 2: they got back together and what was it twenty twenty

990
00:56:46,480 --> 00:56:49,120
Speaker 2: three in Australia and then they just fucking kicked each

991
00:56:49,120 --> 00:56:53,960
Speaker 2: other's ass again. Yeah right, and.

992
00:56:53,880 --> 00:56:56,600
Speaker 1: They're like in their fifties and sixties and they're fighting

993
00:56:56,640 --> 00:57:00,520
Speaker 1: on stage again, and it's like I couldn't believe it,

994
00:57:00,760 --> 00:57:04,960
Speaker 1: and it wasn't really an act necessarily.

995
00:57:05,239 --> 00:57:06,759
Speaker 2: Well, and like, this is the thing that I think

996
00:57:06,800 --> 00:57:10,839
Speaker 2: is really interesting because I remember when that happened, all

997
00:57:10,880 --> 00:57:13,720
Speaker 2: the comments, like everybody that I knew that was posting

998
00:57:13,760 --> 00:57:16,560
Speaker 2: about this story were people of my age, Like they

999
00:57:16,560 --> 00:57:19,800
Speaker 2: were like, oh, look at these fucking tools back at

1000
00:57:19,800 --> 00:57:22,919
Speaker 2: it again. Glad that you know I didn't see them

1001
00:57:22,960 --> 00:57:26,240
Speaker 2: back in two thousand and one because you know, I

1002
00:57:26,280 --> 00:57:28,600
Speaker 2: have friends that have tried to see them in the

1003
00:57:28,640 --> 00:57:31,440
Speaker 2: past and they can't get their shit together. They were

1004
00:57:31,440 --> 00:57:35,160
Speaker 2: always fighting. It was kind of just like a mixed

1005
00:57:35,160 --> 00:57:36,960
Speaker 2: bag on whether or not you were actually gonna see

1006
00:57:36,960 --> 00:57:39,280
Speaker 2: them perform music, I guess, but it was like, you know,

1007
00:57:39,360 --> 00:57:41,200
Speaker 2: people by age that were kind of like, I can't

1008
00:57:41,200 --> 00:57:43,800
Speaker 2: believe these assholes are fifty and they're still doing this right.

1009
00:57:45,000 --> 00:57:49,280
Speaker 2: But I think it's what's really interesting about the nostalgia

1010
00:57:49,360 --> 00:57:52,720
Speaker 2: trip of this is I look at a band like Oasis,

1011
00:57:53,520 --> 00:57:56,640
Speaker 2: who right now is probably the most popular band on

1012
00:57:56,720 --> 00:58:01,720
Speaker 2: planet Earth. Yeah, it's a mix between people by Asian

1013
00:58:01,800 --> 00:58:03,680
Speaker 2: people who loved them back in the day, and then

1014
00:58:03,760 --> 00:58:11,840
Speaker 2: like new fans like gen Z or even like late

1015
00:58:11,960 --> 00:58:18,800
Speaker 2: millennial fans who probably came to Oasis based on stuff

1016
00:58:18,840 --> 00:58:23,960
Speaker 2: like TikTok and that kind of stuff, who have definitely

1017
00:58:24,000 --> 00:58:30,080
Speaker 2: internalized their bad boy behavior as something to be funny

1018
00:58:30,200 --> 00:58:31,120
Speaker 2: or to be want.

1019
00:58:31,160 --> 00:58:31,280
Speaker 3: Like.

1020
00:58:32,000 --> 00:58:35,560
Speaker 2: So I'm kind of like, well, Oasis is now fucking

1021
00:58:35,640 --> 00:58:38,280
Speaker 2: selling out the Rose Bowl and I know people who

1022
00:58:38,320 --> 00:58:41,720
Speaker 2: are paying thousands of dollars to see them in Australia

1023
00:58:41,800 --> 00:58:46,400
Speaker 2: weirdly enough, and it's they're kind of costing on a

1024
00:58:46,520 --> 00:58:49,280
Speaker 2: sort of similar line, which is this just like bad

1025
00:58:49,400 --> 00:58:55,880
Speaker 2: British guy behavior and fighting. I don't know what their

1026
00:58:55,960 --> 00:58:58,040
Speaker 2: secret sauce is. I don't know if they wrote better

1027
00:58:58,120 --> 00:59:00,640
Speaker 2: songs or they were able to get their shit together

1028
00:59:01,040 --> 00:59:03,080
Speaker 2: in a better way. But you know, it's like.

1029
00:59:04,800 --> 00:59:06,360
Speaker 1: I don't know. Yeah, I mean, I feel like they

1030
00:59:06,400 --> 00:59:10,440
Speaker 1: were just they were just they were probably able to

1031
00:59:10,560 --> 00:59:14,200
Speaker 1: write better songs, slightly better maybe, and then they were

1032
00:59:14,240 --> 00:59:17,880
Speaker 1: able to keep it together slightly better, like just like

1033
00:59:18,240 --> 00:59:22,200
Speaker 1: you know, but yeah, what's the difference. They're like printing

1034
00:59:22,280 --> 00:59:26,840
Speaker 1: billions of dollars and you know, Anton Nucomb is hanging

1035
00:59:26,880 --> 00:59:28,160
Speaker 1: out in Berlin now.

1036
00:59:28,480 --> 00:59:28,720
Speaker 4: I know.

1037
00:59:28,760 --> 00:59:32,600
Speaker 2: It just makes you wonder if Anton Newcomb had just

1038
00:59:32,880 --> 00:59:40,760
Speaker 2: worn more Stone Island parkas and not done heroin and

1039
00:59:40,840 --> 00:59:43,840
Speaker 2: only had really done the drugs and the drinking that

1040
00:59:43,880 --> 00:59:50,680
Speaker 2: Liam Gallagher had still fought just as much as as

1041
00:59:50,720 --> 00:59:52,920
Speaker 2: he'd always had, but he could just if he just

1042
00:59:52,920 --> 00:59:57,400
Speaker 2: made those slight adjustments, would they now be Oasis? Could

1043
00:59:57,400 --> 00:59:59,479
Speaker 2: they now be selling out the Rose Bowl?

1044
01:00:00,240 --> 01:00:03,040
Speaker 1: Yeah? I think it's a timing issue too, because I

1045
01:00:03,080 --> 01:00:04,640
Speaker 1: think Oasis came out like.

1046
01:00:04,640 --> 01:00:06,080
Speaker 2: Just a few years before.

1047
01:00:06,240 --> 01:00:10,640
Speaker 1: Yeah, you know, so, I don't know, it's interesting and

1048
01:00:10,680 --> 01:00:14,760
Speaker 1: I mean I think the watching dig XX made it

1049
01:00:16,040 --> 01:00:18,520
Speaker 1: because I didn't see this in two thousand and four.

1050
01:00:18,560 --> 01:00:20,520
Speaker 1: But if you watch that movie in two thousand and four,

1051
01:00:20,680 --> 01:00:23,240
Speaker 1: you'd probably be like, oh, he's going to be dead

1052
01:00:23,280 --> 01:00:27,320
Speaker 1: in a year. Yeah, And there was a darker undercurrent

1053
01:00:27,400 --> 01:00:31,400
Speaker 1: to it. And so watching dig XX, it's like, Hey,

1054
01:00:31,440 --> 01:00:34,520
Speaker 1: no one in the band died, and they comment on that,

1055
01:00:35,120 --> 01:00:38,000
Speaker 1: and that's sort of surprising, to be honest.

1056
01:00:38,360 --> 01:00:43,640
Speaker 2: Yeah, I actually know shit. Actually did Google to see

1057
01:00:43,720 --> 01:00:45,200
Speaker 2: if he had died, because I was like, maybe I'm

1058
01:00:45,240 --> 01:00:48,400
Speaker 2: remembering wrong. Did he die? I don't think so, but

1059
01:00:48,440 --> 01:00:52,240
Speaker 2: I'll check. I'm happy that he's still alive. I'm happy

1060
01:00:52,320 --> 01:00:55,919
Speaker 2: that anybody that you know, anybody that partied as hard

1061
01:00:55,920 --> 01:00:59,440
Speaker 2: as him and is still alive. I'm like tip of the.

1062
01:00:59,400 --> 01:01:05,000
Speaker 1: Hat right truly. I mean it seemed like an impossible

1063
01:01:05,080 --> 01:01:06,680
Speaker 1: task by the end of that movie.

1064
01:01:07,800 --> 01:01:10,480
Speaker 2: Well, I don't know, I feel like I'm sorry if

1065
01:01:10,480 --> 01:01:13,080
Speaker 2: I had all these disjointed thoughts this episode.

1066
01:01:13,240 --> 01:01:15,960
Speaker 1: It just was it touched a part deep within you.

1067
01:01:16,000 --> 01:01:21,840
Speaker 2: Millie Well, and I kept thinking to myself, like, is

1068
01:01:21,880 --> 01:01:28,200
Speaker 2: this why like gen Z are so neutered and careful

1069
01:01:28,520 --> 01:01:32,320
Speaker 2: about everything, is because their parents were this their parents

1070
01:01:32,360 --> 01:01:36,080
Speaker 2: were around in the Brian Jonestown massacre Dandy Warhol's era.

1071
01:01:37,160 --> 01:01:41,640
Speaker 1: Yeah, that is an interesting question of did this have

1072
01:01:41,720 --> 01:01:49,440
Speaker 1: an impact on why gen Z is so chaste and boring?

1073
01:01:49,720 --> 01:01:52,880
Speaker 2: Hell, I feel like two of the Dandy Warhols became

1074
01:01:52,960 --> 01:01:54,439
Speaker 2: real estate agents or something.

1075
01:01:54,560 --> 01:01:54,720
Speaker 4: Right?

1076
01:01:54,760 --> 01:01:55,560
Speaker 2: Am I wrong about that?

1077
01:01:55,760 --> 01:01:58,040
Speaker 1: Yeah? Well one of them did, no, and one of

1078
01:01:58,040 --> 01:02:04,360
Speaker 1: the former members of Brian Jonestown also did to real

1079
01:02:04,480 --> 01:02:05,120
Speaker 1: estate agents.

1080
01:02:05,880 --> 01:02:12,439
Speaker 2: Crazy got to love the coked out rocker to real

1081
01:02:12,520 --> 01:02:13,840
Speaker 2: estate agent pipeline.

1082
01:02:14,760 --> 01:02:15,280
Speaker 1: Jesus.

1083
01:02:16,160 --> 01:02:17,840
Speaker 2: Well, I don't know what else to say.

1084
01:02:17,920 --> 01:02:21,480
Speaker 1: I feel like, again, there's nothing else too sick.

1085
01:02:21,400 --> 01:02:26,600
Speaker 2: I have, Like I was having so many feelings when

1086
01:02:26,640 --> 01:02:30,360
Speaker 2: I was watching this again. I started questioning my own

1087
01:02:31,080 --> 01:02:36,200
Speaker 2: participation in the scene, being like should I have had

1088
01:02:36,240 --> 01:02:40,000
Speaker 2: my hair this way? Should I have maybe instead gone

1089
01:02:40,040 --> 01:02:43,880
Speaker 2: a different route, maybe like gone to seminary school or something.

1090
01:02:43,880 --> 01:02:48,280
Speaker 2: I don't know. This it felt very like almost kind

1091
01:02:48,280 --> 01:02:51,280
Speaker 2: of like wow, I can't believe anybody that partied like

1092
01:02:51,320 --> 01:02:55,760
Speaker 2: this in this era is alive. And I knew people

1093
01:02:55,800 --> 01:02:58,240
Speaker 2: who partied way harder than I did. I mean, I

1094
01:02:58,280 --> 01:03:00,800
Speaker 2: was a fucking prude compared to some these other people

1095
01:03:00,840 --> 01:03:06,640
Speaker 2: I knew so I don't know, I I have nostalgia

1096
01:03:06,720 --> 01:03:12,000
Speaker 2: for it. I had a great time, Like they were like, unfortunately,

1097
01:03:12,080 --> 01:03:15,520
Speaker 2: it is true, like Indye Sleeves was really fun and

1098
01:03:15,600 --> 01:03:18,520
Speaker 2: it was really fun to be a DJ, and like

1099
01:03:19,200 --> 01:03:24,120
Speaker 2: it was really fun to have sweaty bangs and to

1100
01:03:24,200 --> 01:03:28,320
Speaker 2: be messy and like smoke a bunch of cigarettes and

1101
01:03:28,720 --> 01:03:29,920
Speaker 2: do shots. It was fun.

1102
01:03:30,720 --> 01:03:33,000
Speaker 1: Well, I think Indie Sleeves also, you know it's in

1103
01:03:33,040 --> 01:03:36,920
Speaker 1: the title indie, it still felt like this is our music.

1104
01:03:37,240 --> 01:03:40,360
Speaker 1: It didn't feel even though it was you know, major

1105
01:03:40,480 --> 01:03:43,280
Speaker 1: labels putting it out a lot of the times, it

1106
01:03:43,320 --> 01:03:46,360
Speaker 1: did feel like there was some ownership and it wasn't

1107
01:03:46,400 --> 01:03:51,720
Speaker 1: the mainstream where I don't know, if you go dancing

1108
01:03:51,760 --> 01:03:56,200
Speaker 1: out at a club now, all the music would feels

1109
01:03:56,240 --> 01:03:59,040
Speaker 1: like it would most like you brought up Sabrina Carpenter.

1110
01:03:59,200 --> 01:04:02,480
Speaker 1: It's like she's incredibly famous. It's like, I don't know,

1111
01:04:02,560 --> 01:04:07,120
Speaker 1: it feels like there's some sort of musical genre or

1112
01:04:07,240 --> 01:04:13,640
Speaker 1: like the indie music level isn't there anymore? You know?

1113
01:04:14,240 --> 01:04:16,760
Speaker 2: Yeah, I mean that is a huge topic of conversation,

1114
01:04:16,920 --> 01:04:18,840
Speaker 2: and I you know, I know, we tried to crack

1115
01:04:18,880 --> 01:04:20,800
Speaker 2: it a little bit with the K Pop episode but

1116
01:04:20,840 --> 01:04:24,720
Speaker 2: it was like, yeah, I just think the entire music

1117
01:04:24,760 --> 01:04:28,560
Speaker 2: industry has changed. I think culture has completely changed. I think,

1118
01:04:28,720 --> 01:04:31,280
Speaker 2: you know, what we valued back then or not what

1119
01:04:31,320 --> 01:04:35,080
Speaker 2: people value anymore. Like nobody cares about selling out, nobody

1120
01:04:35,120 --> 01:04:39,240
Speaker 2: cares about like, you know, trying to be you know,

1121
01:04:39,800 --> 01:04:43,000
Speaker 2: respectful and classy and and have a you know, like

1122
01:04:43,360 --> 01:04:45,880
Speaker 2: everybody thinks in terms of brands. Everybody thinks in terms

1123
01:04:45,920 --> 01:04:48,439
Speaker 2: of making money, you know, I mean even older people.

1124
01:04:48,440 --> 01:04:50,760
Speaker 2: I mean Oasis is making a fucking cash grab as

1125
01:04:50,760 --> 01:04:52,920
Speaker 2: we speak. We talked about them, Yeah, I mean they're

1126
01:04:54,200 --> 01:04:58,760
Speaker 2: printing fucking money and probably making their limited edition merch

1127
01:04:59,560 --> 01:05:02,040
Speaker 2: that you know, you can only get for like three

1128
01:05:02,160 --> 01:05:04,400
Speaker 2: hundred dollars a day of show. So it's like we're

1129
01:05:04,400 --> 01:05:07,840
Speaker 2: also coming to it. It's just this new era of capitalism,

1130
01:05:07,840 --> 01:05:10,680
Speaker 2: I suppose. But I do like it when it was

1131
01:05:10,680 --> 01:05:14,120
Speaker 2: a little raw, a little rough around the edges, you know.

1132
01:05:14,560 --> 01:05:16,840
Speaker 2: I mean, again, the music industry was still involved. It

1133
01:05:16,880 --> 01:05:20,480
Speaker 2: couldn't have been that. We're not talking about true underground

1134
01:05:21,280 --> 01:05:25,160
Speaker 2: you know, Anton Newcomb type of shit. We're talking about

1135
01:05:26,440 --> 01:05:29,680
Speaker 2: just a different form of the same machine. But it

1136
01:05:29,840 --> 01:05:33,640
Speaker 2: was at least on the bar and club level and

1137
01:05:33,720 --> 01:05:39,080
Speaker 2: just like the hanging out level. Yeah, it was pretty

1138
01:05:39,120 --> 01:05:43,400
Speaker 2: fucked up and fun. And I'm happy if you're alive.

1139
01:05:44,160 --> 01:05:46,560
Speaker 2: I'm happy for you, I'm happy for us.

1140
01:05:48,200 --> 01:05:50,600
Speaker 1: Well, that's a great way to end this conversation. Okay,

1141
01:05:51,160 --> 01:05:53,120
Speaker 1: I'm happy. I'm happy you're alive.

1142
01:06:02,800 --> 01:06:03,240
Speaker 4: Okay.

1143
01:06:03,560 --> 01:06:08,880
Speaker 2: So we have a really great guest for this round

1144
01:06:09,120 --> 01:06:13,000
Speaker 2: of what we call my area of expertise, which is basically,

1145
01:06:13,080 --> 01:06:17,000
Speaker 2: we bring on somebody that we like to talk about

1146
01:06:17,400 --> 01:06:25,120
Speaker 2: their specific passion for film, and very niche passion sometimes,

1147
01:06:26,200 --> 01:06:29,840
Speaker 2: and this is no exception, our guest is a dear

1148
01:06:29,880 --> 01:06:33,000
Speaker 2: old friend of mine. He is the writer and editor

1149
01:06:33,040 --> 01:06:36,440
Speaker 2: of the daily baseball news and culture newsletter Cup of Coffee,

1150
01:06:36,960 --> 01:06:40,360
Speaker 2: which you should all be subscribing to if you haven't already.

1151
01:06:41,040 --> 01:06:44,200
Speaker 2: And he's written the books Rethinking Fandom, how to Beat

1152
01:06:44,200 --> 01:06:47,600
Speaker 2: the Sports Industrial Complex at its own game, Stars of

1153
01:06:47,680 --> 01:06:51,600
Speaker 2: Major League Baseball, and Legends of Major League Baseball. And

1154
01:06:51,760 --> 01:06:54,960
Speaker 2: he was the former lead National Baseball writer for NBC Sports,

1155
01:06:55,000 --> 01:06:57,760
Speaker 2: where he launched and edited the baseball blog Hardball Talk,

1156
01:06:58,040 --> 01:07:01,120
Speaker 2: which is how I even know is to be honest,

1157
01:07:01,600 --> 01:07:03,720
Speaker 2: But he's a good friend. I can't wait to talk

1158
01:07:03,760 --> 01:07:08,360
Speaker 2: to him. He's going to provide an amazing little nugget

1159
01:07:08,560 --> 01:07:13,200
Speaker 2: of expertise, and here he is. Please welcome Craig Calcaterra.

1160
01:07:13,560 --> 01:07:15,920
Speaker 3: Welcome, Craig, Hey, thanks for having me.

1161
01:07:15,960 --> 01:07:20,240
Speaker 2: Guys, we are stoked about this. This is I've been

1162
01:07:20,480 --> 01:07:22,320
Speaker 2: wanting you to come on the pod for a while.

1163
01:07:22,480 --> 01:07:25,760
Speaker 3: Not gonna lie, well, I was jealous because, like, you've

1164
01:07:25,800 --> 01:07:28,360
Speaker 3: had like a couple of really good podcasts in the

1165
01:07:28,400 --> 01:07:30,560
Speaker 3: past that I'm like, boy, that's a podcast I would

1166
01:07:30,600 --> 01:07:33,480
Speaker 3: totally go on. And now there's one I'm on. So

1167
01:07:33,520 --> 01:07:34,280
Speaker 3: this is fantastic.

1168
01:07:34,440 --> 01:07:41,439
Speaker 2: Yeah, well, let's talk. You are obviously deeply steeped into

1169
01:07:41,440 --> 01:07:45,960
Speaker 2: the world of baseball, and uh, I mean you put

1170
01:07:46,000 --> 01:07:49,360
Speaker 2: out a daily baseball newsletter and that shit is in

1171
01:07:49,440 --> 01:07:54,160
Speaker 2: my inbox at like seven am or something. It's like

1172
01:07:54,200 --> 01:07:56,880
Speaker 2: the news. It's like it comes in with like the news,

1173
01:07:56,960 --> 01:07:58,480
Speaker 2: which is so fantastic.

1174
01:07:59,000 --> 01:08:01,800
Speaker 3: So my past life before I was a sports writers,

1175
01:08:01,880 --> 01:08:04,640
Speaker 3: I was a lawyer. And when you're a lawyer, you

1176
01:08:04,680 --> 01:08:06,680
Speaker 3: live and die by the clock. And so when I

1177
01:08:06,760 --> 01:08:08,760
Speaker 3: started to be a blogger, I thought, oh, I'm gonna

1178
01:08:08,760 --> 01:08:10,880
Speaker 3: sit in my pajamas and do whatever the hell I want.

1179
01:08:10,920 --> 01:08:13,160
Speaker 3: And then I realized, no, I can't do that. I

1180
01:08:13,240 --> 01:08:16,479
Speaker 3: have to have a schedule and a regiment, and so yeah,

1181
01:08:17,000 --> 01:08:19,200
Speaker 3: I put that thing out every day. It's never out

1182
01:08:19,479 --> 01:08:20,400
Speaker 3: after seven o'clock.

1183
01:08:20,520 --> 01:08:22,479
Speaker 2: Oh my gosh, it's fantastic. It has like all the

1184
01:08:22,520 --> 01:08:25,720
Speaker 2: scores from the games of the previous night. It's just

1185
01:08:25,760 --> 01:08:28,880
Speaker 2: it's like essential. Like I said, it's like getting the newspaper.

1186
01:08:29,080 --> 01:08:31,760
Speaker 2: It's fabulous, and you work really hard on it. So

1187
01:08:31,760 --> 01:08:34,920
Speaker 2: I just wanted to say it is appreciated by us.

1188
01:08:34,960 --> 01:08:38,839
Speaker 1: But are you optimistic about the Minnesota Twins feature?

1189
01:08:39,640 --> 01:08:43,559
Speaker 3: Oh yeah, no, see I'm not really optimistic about the Twins,

1190
01:08:43,560 --> 01:08:46,439
Speaker 3: and I'm really sorry for my Minnesota friends out there.

1191
01:08:46,560 --> 01:08:49,439
Speaker 3: But no, man, that's just bad news.

1192
01:08:49,520 --> 01:08:52,680
Speaker 1: It's a dark time. This has been a very dark season.

1193
01:08:52,520 --> 01:08:54,360
Speaker 3: And it's that good for the Braves either. So neither

1194
01:08:54,439 --> 01:08:57,080
Speaker 3: of you guys are in good shape at all as

1195
01:08:57,080 --> 01:08:59,559
Speaker 3: far as baseball fandom going forward.

1196
01:08:59,760 --> 01:09:05,479
Speaker 2: Dog right now, she's jumped shipped. I mean, I don't

1197
01:09:05,520 --> 01:09:08,120
Speaker 2: know we've actually spoken in depth about this, Craig, but

1198
01:09:08,240 --> 01:09:11,360
Speaker 2: like you know, I don't know. A couple a while ago, actually,

1199
01:09:11,600 --> 01:09:16,520
Speaker 2: even prior to moving to LA, I was like those Braves,

1200
01:09:16,800 --> 01:09:19,000
Speaker 2: I don't know, they're pissing me off with the whole

1201
01:09:19,080 --> 01:09:20,080
Speaker 2: stadium issue.

1202
01:09:20,439 --> 01:09:23,640
Speaker 3: So yeah, White Flight Stadium in Cobb County is not

1203
01:09:23,720 --> 01:09:26,840
Speaker 3: exactly the best place to watch baseball anymore. I don't think.

1204
01:09:27,280 --> 01:09:30,320
Speaker 2: Oh yes, I totally agree, and being as I grew

1205
01:09:30,400 --> 01:09:32,080
Speaker 2: up in Cobb County, it's extra.

1206
01:09:31,880 --> 01:09:32,519
Speaker 3: Personal for me.

1207
01:09:34,600 --> 01:09:38,120
Speaker 2: But but I will say that, like, you know, when

1208
01:09:38,160 --> 01:09:40,920
Speaker 2: it comes down to baseball, I mean, like there was

1209
01:09:40,960 --> 01:09:44,639
Speaker 2: a period for a while where you know, I kind

1210
01:09:44,640 --> 01:09:46,920
Speaker 2: of was, like I was, I've been a super fan

1211
01:09:47,000 --> 01:09:49,720
Speaker 2: my entire life, but that there were days where I

1212
01:09:49,840 --> 01:09:53,559
Speaker 2: wasn't kind of every day, you know, And now I'm back.

1213
01:09:53,640 --> 01:09:57,040
Speaker 2: I'm back to every day. Like I bought the MLB

1214
01:09:58,439 --> 01:10:01,040
Speaker 2: All Access thing and I am checking in with your

1215
01:10:01,040 --> 01:10:02,519
Speaker 2: newsletter every single day.

1216
01:10:02,960 --> 01:10:06,360
Speaker 3: Well, on the one hand, that's great. On the other hand,

1217
01:10:06,520 --> 01:10:08,280
Speaker 3: I hate to break it to you, but like there's

1218
01:10:08,320 --> 01:10:12,959
Speaker 3: this well known like sociologists have written patterns, like papers

1219
01:10:12,960 --> 01:10:17,120
Speaker 3: about how baseball fandom works. And the classic model is

1220
01:10:17,439 --> 01:10:19,559
Speaker 3: you're really into it when you're a little kid. You

1221
01:10:19,640 --> 01:10:21,640
Speaker 3: sort of get out of it when you're cool and

1222
01:10:21,680 --> 01:10:23,920
Speaker 3: you have, you know, a life in your twenties and stuff,

1223
01:10:24,080 --> 01:10:26,960
Speaker 3: and then middle age is when it grabs everybody and

1224
01:10:27,080 --> 01:10:29,840
Speaker 3: drags you back into it. And I started to become

1225
01:10:29,840 --> 01:10:32,559
Speaker 3: a full time baseball writer when I was about thirty eight,

1226
01:10:32,760 --> 01:10:35,120
Speaker 3: and you know, I'm in my fifties now, so it's

1227
01:10:35,160 --> 01:10:37,559
Speaker 3: right in the wheelhouse. And I know you're younger than me, Millie,

1228
01:10:37,560 --> 01:10:38,799
Speaker 3: but welcome.

1229
01:10:40,479 --> 01:10:42,200
Speaker 2: Is that the beginning of the end.

1230
01:10:42,960 --> 01:10:45,120
Speaker 3: But it's a long end. It's a long end.

1231
01:10:45,880 --> 01:10:48,439
Speaker 2: Well, that's actually really interesting because I think part of

1232
01:10:49,520 --> 01:10:52,120
Speaker 2: I think part of what I like about baseball specifically

1233
01:10:52,360 --> 01:10:55,160
Speaker 2: versus other sports. I mean, I really only really only

1234
01:10:55,479 --> 01:10:59,040
Speaker 2: follow basketball besides baseball, is that there is this like

1235
01:10:59,320 --> 01:11:02,600
Speaker 2: very pleasing tempo to baseball because it's like long seasons.

1236
01:11:03,120 --> 01:11:05,680
Speaker 2: It feels like a almost like a show that you

1237
01:11:05,880 --> 01:11:08,280
Speaker 2: watch every night or something. You know, It's like you're

1238
01:11:08,560 --> 01:11:11,160
Speaker 2: checking in with your team, your boys, and you're just

1239
01:11:11,200 --> 01:11:13,920
Speaker 2: like and I think maybe there is something to that

1240
01:11:13,960 --> 01:11:16,240
Speaker 2: in my middle age where I'm like, yeah, I just

1241
01:11:16,280 --> 01:11:18,240
Speaker 2: want to like come home and do my thing and

1242
01:11:18,320 --> 01:11:22,160
Speaker 2: check in with my show, follow my show, and like, yeah,

1243
01:11:22,200 --> 01:11:25,800
Speaker 2: I can totally understand why you'd pick it back up

1244
01:11:25,880 --> 01:11:26,559
Speaker 2: later in life.

1245
01:11:26,640 --> 01:11:29,080
Speaker 3: So a lot of people have romanticized it as far

1246
01:11:29,120 --> 01:11:31,400
Speaker 3: as that whole Oh, it's the background sound of summer,

1247
01:11:31,600 --> 01:11:34,080
Speaker 3: and that's true. That's absolutely how I agree with it.

1248
01:11:34,120 --> 01:11:36,680
Speaker 3: But the one thing that I think of it as

1249
01:11:37,080 --> 01:11:40,760
Speaker 3: the most applicable is it's like watching Network TV back

1250
01:11:40,800 --> 01:11:43,840
Speaker 3: in the day when there were twenty three episodes and yeah,

1251
01:11:43,920 --> 01:11:46,280
Speaker 3: you know what, Look, if you miss one episode of

1252
01:11:46,360 --> 01:11:49,880
Speaker 3: Hunter on Friday night, you're gonna be fine to watch

1253
01:11:49,960 --> 01:11:52,280
Speaker 3: Hunter the next week. You didn't miss anything. It's the

1254
01:11:52,320 --> 01:11:56,280
Speaker 3: stakes are so very, very low, And that's what I

1255
01:11:56,320 --> 01:11:58,599
Speaker 3: love about baseball. Once you get to a certain age,

1256
01:11:58,760 --> 01:12:01,720
Speaker 3: you don't need the drama. You don't just want to.

1257
01:12:01,880 --> 01:12:04,599
Speaker 1: I was gonna I was going to compare it to Cheers,

1258
01:12:04,920 --> 01:12:08,479
Speaker 1: like just well, like watching the show Cheers actually, like

1259
01:12:09,000 --> 01:12:11,200
Speaker 1: you're kind of like I want to check on, check

1260
01:12:11,240 --> 01:12:12,720
Speaker 1: in on my buddies, you know.

1261
01:12:12,800 --> 01:12:13,800
Speaker 2: It's so comforting.

1262
01:12:14,000 --> 01:12:16,519
Speaker 3: Yeah, there's like this whole parasocial of oh man, that

1263
01:12:16,640 --> 01:12:19,160
Speaker 3: Catcher girl mustache. That's fantastic. I have no idea what's

1264
01:12:19,160 --> 01:12:21,240
Speaker 3: happened for the last month, but but he looks good.

1265
01:12:21,280 --> 01:12:23,439
Speaker 3: You know. It's totally casual like that. That's what I

1266
01:12:23,439 --> 01:12:24,000
Speaker 3: love about it.

1267
01:12:24,360 --> 01:12:27,920
Speaker 2: Yeah, for sure, I and my Dodger fandom right now

1268
01:12:27,960 --> 01:12:30,320
Speaker 2: is at an all time high because I'm just like, oh, well,

1269
01:12:30,320 --> 01:12:32,479
Speaker 2: they've got a lot of Asians on that team. I

1270
01:12:32,520 --> 01:12:36,240
Speaker 2: am here for that, and I just love the whole

1271
01:12:36,479 --> 01:12:39,479
Speaker 2: I don't know, I mean the idea that they are,

1272
01:12:40,120 --> 01:12:43,000
Speaker 2: you know, even on social media, like I follow the Dodgers'

1273
01:12:43,000 --> 01:12:45,879
Speaker 2: Instagram and stuff, and it's like they're behind the scenes,

1274
01:12:45,920 --> 01:12:49,799
Speaker 2: like messing around and having fun. I'm like, they're my friends.

1275
01:12:49,920 --> 01:12:50,719
Speaker 2: I love them.

1276
01:12:50,920 --> 01:12:53,840
Speaker 3: They they love me too. So they get it right.

1277
01:12:53,880 --> 01:12:55,680
Speaker 3: They get it totally right the Dodgers do. As far

1278
01:12:55,720 --> 01:12:56,600
Speaker 3: as that whole.

1279
01:12:56,479 --> 01:12:59,040
Speaker 2: Experience, yeah, one hundred percent.

1280
01:13:00,320 --> 01:13:03,320
Speaker 1: Okay, so let's get down to business.

1281
01:13:03,400 --> 01:13:03,559
Speaker 4: Yeah.

1282
01:13:03,560 --> 01:13:05,840
Speaker 2: I was gonna say, we're not even really making that

1283
01:13:05,840 --> 01:13:09,120
Speaker 2: heart of a shift because it's interesting. When you brought

1284
01:13:09,200 --> 01:13:12,759
Speaker 2: up your area of expertise, I was like, of course,

1285
01:13:14,240 --> 01:13:17,679
Speaker 2: but why don't you tell everybody what is your area

1286
01:13:17,720 --> 01:13:18,440
Speaker 2: of expertise?

1287
01:13:19,520 --> 01:13:25,320
Speaker 3: My area of expertise is are actors who play athletes

1288
01:13:25,320 --> 01:13:28,080
Speaker 3: in movies? And whether they do a good or a

1289
01:13:28,120 --> 01:13:31,559
Speaker 3: bad job convincing you that they're an athlete irrespective of

1290
01:13:31,600 --> 01:13:35,240
Speaker 3: how they act, irrespective of characterization or anything else. Do

1291
01:13:35,280 --> 01:13:38,920
Speaker 3: they like allow you to suspend disbelief that they could

1292
01:13:38,960 --> 01:13:41,439
Speaker 3: be a ballplayer or a football player, a basketball player

1293
01:13:41,520 --> 01:13:42,560
Speaker 3: or something like that.

1294
01:13:42,560 --> 01:13:45,000
Speaker 2: That's a good one oh, man, I really thought about this.

1295
01:13:45,240 --> 01:13:48,679
Speaker 2: I mean, I'm sure you have, like, Okay, so for you,

1296
01:13:49,400 --> 01:13:53,759
Speaker 2: is there someone that's like miles ahead of the rest

1297
01:13:53,920 --> 01:13:55,760
Speaker 2: or is I mean, is there just like one or

1298
01:13:55,800 --> 01:13:59,080
Speaker 2: even two people that are performances that you're like this is?

1299
01:13:59,640 --> 01:14:01,800
Speaker 2: I feel like they're actually an athlete.

1300
01:14:02,320 --> 01:14:05,040
Speaker 3: There are two actually that the two of them stand

1301
01:14:05,160 --> 01:14:07,519
Speaker 3: head and shoulders above everybody else. One of them is

1302
01:14:07,640 --> 01:14:09,040
Speaker 3: kind of a cheap, but I don't think it's a

1303
01:14:09,040 --> 01:14:13,000
Speaker 3: big cheap And the actors are Kevin Costner and Burt Reynolds.

1304
01:14:14,160 --> 01:14:14,479
Speaker 2: Wow.

1305
01:14:14,600 --> 01:14:16,799
Speaker 3: Bert Burt Reynolds is a bit of a cheap because

1306
01:14:16,800 --> 01:14:19,280
Speaker 3: he was a college football player at Florida State in

1307
01:14:19,320 --> 01:14:22,120
Speaker 3: the fifties, and he would have gone pro. He could

1308
01:14:22,120 --> 01:14:23,680
Speaker 3: have been in the NFL and could have been a

1309
01:14:23,680 --> 01:14:25,599
Speaker 3: big star, but he blew out his knee and so

1310
01:14:25,640 --> 01:14:28,599
Speaker 3: then he shifted gears and got into acting. And his

1311
01:14:28,680 --> 01:14:34,160
Speaker 3: two biggest sports movies were The Longest Yard and Semi Tough, which,

1312
01:14:34,360 --> 01:14:36,080
Speaker 3: in both of which he plays a football player. So

1313
01:14:36,080 --> 01:14:38,920
Speaker 3: it's not that hard, but he does it so much

1314
01:14:39,000 --> 01:14:42,559
Speaker 3: better than even ex athletes who play roles that are

1315
01:14:42,560 --> 01:14:44,960
Speaker 3: in their same sport. He just does it great. Plus

1316
01:14:45,080 --> 01:14:47,799
Speaker 3: he did a NASCAR driver once in a horrible, horrible

1317
01:14:47,840 --> 01:14:51,560
Speaker 3: movie called Stoker Race that I watched when I was

1318
01:14:51,600 --> 01:14:55,360
Speaker 3: a kid. Would look they look Turkle's chicken. I know

1319
01:14:55,400 --> 01:14:59,839
Speaker 3: this that that's one of the underrated ned baby vehicles

1320
01:15:00,400 --> 01:15:04,360
Speaker 3: as far as I'm concerned. But Burt Reynolds and then

1321
01:15:04,439 --> 01:15:07,439
Speaker 3: and then Kevin Costner just I don't even like Kevin

1322
01:15:07,479 --> 01:15:09,439
Speaker 3: Costner very much. I tend to not like him in

1323
01:15:09,479 --> 01:15:10,960
Speaker 3: most of the roles he plays. I don't know what

1324
01:15:11,040 --> 01:15:15,120
Speaker 3: about him that I don't like. But between Bull Durham

1325
01:15:15,600 --> 01:15:18,680
Speaker 3: for the Love of the Game and Tim Cupp, he

1326
01:15:18,880 --> 01:15:23,919
Speaker 3: was an extraordinarily convincing baseball player, an extraordinarily convincing golfer

1327
01:15:25,320 --> 01:15:27,760
Speaker 3: just so much better. Maybe he went into the wrong field.

1328
01:15:27,800 --> 01:15:33,200
Speaker 1: Frankly, Yeah, he carries himself like an athlete, like he

1329
01:15:33,320 --> 01:15:37,479
Speaker 1: has such body confidence even in non athlete movies, the

1330
01:15:37,560 --> 01:15:41,439
Speaker 1: way he walks, it's just there's a casual comfort in

1331
01:15:41,479 --> 01:15:44,519
Speaker 1: his body that I feel like a lot of athletes have.

1332
01:15:45,000 --> 01:15:46,680
Speaker 1: And so I think that's part of the reason that

1333
01:15:46,720 --> 01:15:49,639
Speaker 1: he is such a convincing athlete in all these movies.

1334
01:15:50,160 --> 01:15:52,799
Speaker 3: There's that, and there's also the fact that the sweet

1335
01:15:52,800 --> 01:15:54,960
Speaker 3: spot for him and all three of those movies I mentioned,

1336
01:15:55,320 --> 01:15:58,920
Speaker 3: he's playing sort of a once great athlete at the

1337
01:15:59,000 --> 01:16:02,920
Speaker 3: end of the line. And I'm guessing a lot of actors,

1338
01:16:02,960 --> 01:16:05,040
Speaker 3: whether they're in their thirties or forties, when they filmed

1339
01:16:05,120 --> 01:16:08,760
Speaker 3: those kinds of roles, don't want to let themselves look

1340
01:16:09,000 --> 01:16:12,799
Speaker 3: kind of half washed up, and for some reason, Costner

1341
01:16:12,800 --> 01:16:15,280
Speaker 3: does a great job of that. He still has the

1342
01:16:15,360 --> 01:16:18,439
Speaker 3: arrogance and the ego that every athlete has to have

1343
01:16:18,479 --> 01:16:20,840
Speaker 3: to be great, and probably is just part of who

1344
01:16:20,920 --> 01:16:24,719
Speaker 3: Kevin Costner is, frankly, but he manages to make himself

1345
01:16:24,720 --> 01:16:28,200
Speaker 3: look vulnerable as an athlete too, and not many do

1346
01:16:28,280 --> 01:16:28,920
Speaker 3: that well.

1347
01:16:29,160 --> 01:16:32,160
Speaker 2: So Okay, so now we've got Burt Reynolds and Kevin

1348
01:16:32,160 --> 01:16:39,479
Speaker 2: Costner sort of the elite actor slash athletes. Right, what

1349
01:16:39,600 --> 01:16:44,680
Speaker 2: are some other memorable because there's because I when I

1350
01:16:44,760 --> 01:16:47,280
Speaker 2: was like looking things up, I was like, there have

1351
01:16:47,320 --> 01:16:50,200
Speaker 2: been so many actors that have played athletes in one

1352
01:16:50,320 --> 01:16:53,880
Speaker 2: form or another, and yeah, some of them, you're like,

1353
01:16:54,560 --> 01:16:57,799
Speaker 2: they're just wearing a uniform and they're not doing anything

1354
01:16:58,040 --> 01:17:02,040
Speaker 2: beyond that, right, Right, And then you know, you've got

1355
01:17:02,320 --> 01:17:06,240
Speaker 2: certain other actors that are actually like on the field,

1356
01:17:06,360 --> 01:17:09,120
Speaker 2: and like maybe you know, if they're playing baseball, they're batting,

1357
01:17:09,200 --> 01:17:11,800
Speaker 2: or they're doing something like I think of stuff like

1358
01:17:11,840 --> 01:17:15,360
Speaker 2: major league or whatever. So is what would be like

1359
01:17:15,400 --> 01:17:17,559
Speaker 2: the next tier down? Like, what are there some like

1360
01:17:18,080 --> 01:17:22,280
Speaker 2: you know, maybe not inherent to the you know, like

1361
01:17:22,439 --> 01:17:25,840
Speaker 2: the Costner or Burt Reynolds model, but like good enough.

1362
01:17:26,600 --> 01:17:30,439
Speaker 3: The next tier down. I'm going to split the next

1363
01:17:30,479 --> 01:17:32,840
Speaker 3: tier into two separate categories.

1364
01:17:32,920 --> 01:17:33,599
Speaker 2: Fair fair.

1365
01:17:33,680 --> 01:17:38,280
Speaker 3: The first one are sort of one offs peer actors

1366
01:17:38,320 --> 01:17:42,560
Speaker 3: no athletic background to speak of, who just sort of

1367
01:17:42,640 --> 01:17:44,840
Speaker 3: nailed it and maybe they didn't do a lot of it,

1368
01:17:44,880 --> 01:17:47,639
Speaker 3: but they nailed it. And one is DeNiro in Raging Bowl.

1369
01:17:48,120 --> 01:17:51,240
Speaker 3: Yes sure, which yeah, I mean, he's de Niro. He

1370
01:17:51,960 --> 01:17:54,960
Speaker 3: that's what he did, right, That's what he does. He

1371
01:17:55,080 --> 01:17:57,880
Speaker 3: was just so convincing as a boxer. And I know,

1372
01:17:58,000 --> 01:17:59,880
Speaker 3: you know, Jake Klamata was full of crap, but you know,

1373
01:18:00,040 --> 01:18:02,559
Speaker 3: he even said by the time that movie was done filming,

1374
01:18:02,600 --> 01:18:05,320
Speaker 3: he looked like a credible middleweight, like he could have

1375
01:18:05,520 --> 01:18:09,560
Speaker 3: bucked And that's you know, being a method actor becoming

1376
01:18:09,600 --> 01:18:11,320
Speaker 3: a boxer. Maybe that works. But he looked great. And

1377
01:18:11,520 --> 01:18:13,559
Speaker 3: he's never done anything that else that makes you think, oh,

1378
01:18:13,560 --> 01:18:16,439
Speaker 3: he could be an athlete. And then the other one

1379
01:18:16,479 --> 01:18:21,439
Speaker 3: is Charlie Sheen in Major League. Charlie Sheen, wild thing, Yes,

1380
01:18:21,560 --> 01:18:24,680
Speaker 3: wild thing. You know. I'm sure he probably played you know,

1381
01:18:24,920 --> 01:18:27,240
Speaker 3: high school baseball at you know, Malibu High School, wherever

1382
01:18:27,240 --> 01:18:29,920
Speaker 3: the hell he went. But he looked like a pitcher

1383
01:18:30,160 --> 01:18:32,759
Speaker 3: and not just a picture. He looked like a closer,

1384
01:18:32,760 --> 01:18:35,880
Speaker 3: which is a very specific, you know, brand of pitcher

1385
01:18:35,960 --> 01:18:38,040
Speaker 3: for non sports fans out there. He's the guy that

1386
01:18:38,080 --> 01:18:39,720
Speaker 3: comes in in the ninth inning to lock it down

1387
01:18:39,720 --> 01:18:43,080
Speaker 3: at the end. Those guys have a whole thing about them.

1388
01:18:43,120 --> 01:18:47,200
Speaker 3: They're they're half insane. They're very intense because they're coming

1389
01:18:47,240 --> 01:18:50,840
Speaker 3: in in very tight situations and stressful situations. They just

1390
01:18:50,960 --> 01:18:53,080
Speaker 3: carry themselves into a certain way. They look like they're

1391
01:18:53,120 --> 01:18:56,040
Speaker 3: about ready to die at all times. But they managed

1392
01:18:56,080 --> 01:18:59,280
Speaker 3: to get the job done. And Charlie Sheen in Major League,

1393
01:19:00,040 --> 01:19:02,800
Speaker 3: in addition to having a great wind up, great form,

1394
01:19:03,320 --> 01:19:05,519
Speaker 3: if you believe the lore from the set, he was

1395
01:19:05,600 --> 01:19:08,040
Speaker 3: hitting you know, in the eighties on his fastball, which

1396
01:19:08,080 --> 01:19:12,240
Speaker 3: is very very good. But he also nailed the whole

1397
01:19:12,280 --> 01:19:15,040
Speaker 3: composure and deportment part of it. He looked like he

1398
01:19:15,160 --> 01:19:17,240
Speaker 3: was probably about ready to have a nervous breakdown, but

1399
01:19:17,280 --> 01:19:19,840
Speaker 3: held it together. And that's exactly what a closer does.

1400
01:19:20,720 --> 01:19:23,160
Speaker 1: You know something I noticed in a lot of movie

1401
01:19:23,200 --> 01:19:26,160
Speaker 1: sports movies, part like the movement that is the most

1402
01:19:26,200 --> 01:19:29,120
Speaker 1: noticeable that they're doing it wrong is throwing a baseball.

1403
01:19:29,479 --> 01:19:32,280
Speaker 1: For some reason that that stands out. I see that

1404
01:19:32,400 --> 01:19:36,720
Speaker 1: in I just watched the movie Ephis. Have you seen His?

1405
01:19:36,840 --> 01:19:40,799
Speaker 3: I was gonna mention Ethis, okay that those guys.

1406
01:19:41,360 --> 01:19:43,599
Speaker 1: I just was like, you're not throwing the baseball right

1407
01:19:43,640 --> 01:19:45,240
Speaker 1: a lot of these guys, but just so, it just

1408
01:19:45,400 --> 01:19:48,639
Speaker 1: it sticks out more than any other. You can't fake

1409
01:19:48,680 --> 01:19:49,200
Speaker 1: it as much.

1410
01:19:49,240 --> 01:19:51,080
Speaker 3: I feel like to go off on a bit of

1411
01:19:51,120 --> 01:19:55,639
Speaker 3: an Ethis tangent. Carson Lund, the writer and director of Ethos,

1412
01:19:55,800 --> 01:19:58,840
Speaker 3: came to my town, Columbus, Ohio a few months ago

1413
01:19:59,040 --> 01:20:01,439
Speaker 3: for a screen and I got to go to the

1414
01:20:01,479 --> 01:20:03,559
Speaker 3: screening and I did a Q and A with him

1415
01:20:04,520 --> 01:20:07,040
Speaker 3: about the movie Ethis and a couple beers of them.

1416
01:20:07,080 --> 01:20:10,960
Speaker 3: Great guy, And the big question I had was how

1417
01:20:10,960 --> 01:20:13,840
Speaker 3: did you find these guys? And were they actually good

1418
01:20:13,840 --> 01:20:16,360
Speaker 3: baseball players? How much of this was magic? And he

1419
01:20:16,400 --> 01:20:18,320
Speaker 3: said they, you know, they put out the ad or

1420
01:20:18,360 --> 01:20:21,759
Speaker 3: the notice or whatever for guys who have some baseball experience,

1421
01:20:21,760 --> 01:20:24,720
Speaker 3: and a lot of them lied because that's what you do.

1422
01:20:25,920 --> 01:20:28,200
Speaker 3: But they looked the part, so he made it work. Sure,

1423
01:20:28,760 --> 01:20:31,200
Speaker 3: And the throwing was the hardest thing. Guys can kind

1424
01:20:31,200 --> 01:20:33,800
Speaker 3: of pretend to hit running is not that hard. And

1425
01:20:33,800 --> 01:20:35,360
Speaker 3: then some of the guys were supposed to be, you know,

1426
01:20:35,479 --> 01:20:37,920
Speaker 3: fifty five year old, out of shape dudes who did

1427
01:20:37,920 --> 01:20:40,719
Speaker 3: a very good job of doing that. But the throwing

1428
01:20:40,960 --> 01:20:42,680
Speaker 3: was the hardest part. And you know, you got to

1429
01:20:42,720 --> 01:20:44,280
Speaker 3: be a little you got to be a little careful

1430
01:20:44,320 --> 01:20:47,360
Speaker 3: with that, yeah, and not to skip around too much.

1431
01:20:47,400 --> 01:20:52,200
Speaker 3: But that that gives me the absolute worst athlete actor

1432
01:20:52,800 --> 01:20:55,120
Speaker 3: in any movie I've ever seen. And I think he's

1433
01:20:55,160 --> 01:20:57,960
Speaker 3: so far he's farther ahead of the bad ones than

1434
01:20:58,040 --> 01:21:00,439
Speaker 3: Kevin Coster and but Reynolds are ahead of the good ones.

1435
01:21:00,640 --> 01:21:02,800
Speaker 3: And I'm talking about Freddie Prince Junior in the movie

1436
01:21:02,920 --> 01:21:03,599
Speaker 3: Summer Catch.

1437
01:21:04,520 --> 01:21:05,240
Speaker 4: Wow.

1438
01:21:06,320 --> 01:21:10,440
Speaker 6: We just talked about him.

1439
01:21:10,200 --> 01:21:12,920
Speaker 3: Summer Summer Catch. You know, it's supposed to take place

1440
01:21:12,920 --> 01:21:15,080
Speaker 3: on the Cape Cod League, which is where sort of

1441
01:21:15,160 --> 01:21:18,519
Speaker 3: elite college level players play in the summer as they're

1442
01:21:18,560 --> 01:21:20,719
Speaker 3: trying to up their draft stock. So if you're playing

1443
01:21:20,720 --> 01:21:23,760
Speaker 3: on the Cape Cod League, you're pretty good. And uh,

1444
01:21:24,240 --> 01:21:27,599
Speaker 3: Freddie Prince Junior looks like he saw baseball for the

1445
01:21:27,640 --> 01:21:30,439
Speaker 3: first time when he got to the set. He has

1446
01:21:30,520 --> 01:21:32,960
Speaker 3: this weird hitch in his throw that looks like he's

1447
01:21:33,520 --> 01:21:36,000
Speaker 3: kind of throwing a frisbee or kind of throwing a football,

1448
01:21:36,040 --> 01:21:38,439
Speaker 3: but like at an amusement park to try to get

1449
01:21:38,479 --> 01:21:42,400
Speaker 3: like a prize, not like he's an athlete. And you

1450
01:21:42,479 --> 01:21:45,080
Speaker 3: could watch that movie and know nothing about the production

1451
01:21:45,200 --> 01:21:47,360
Speaker 3: of it and know that the director wanted to kill

1452
01:21:47,439 --> 01:21:52,760
Speaker 3: himself every single day, and the editor whoever edited that

1453
01:21:52,880 --> 01:21:56,759
Speaker 3: movie needs just a special oscar for how many cuts

1454
01:21:56,800 --> 01:21:59,040
Speaker 3: in one throwing motion you could do to make it

1455
01:21:59,080 --> 01:22:02,679
Speaker 3: look credible. Is the absolute worst throwing a baseball, which

1456
01:22:02,760 --> 01:22:04,120
Speaker 3: a lot of us do when we're a little kid.

1457
01:22:04,200 --> 01:22:06,240
Speaker 3: I don't know what happened to Freddy Prince Junior, though.

1458
01:22:07,560 --> 01:22:09,559
Speaker 1: That's fascinating. And we you know, Milly and I are.

1459
01:22:09,800 --> 01:22:12,120
Speaker 1: I would say we're fans of Freddy Prince Junior. So

1460
01:22:12,240 --> 01:22:14,200
Speaker 1: it's it's it's hard for us to hear this, but you.

1461
01:22:14,160 --> 01:22:18,680
Speaker 2: Know, listen, he could be really good, you know, communicating

1462
01:22:19,040 --> 01:22:23,080
Speaker 2: his sadness and she's all that, but also be bad

1463
01:22:23,280 --> 01:22:24,560
Speaker 2: at throwing.

1464
01:22:24,320 --> 01:22:27,040
Speaker 1: A base he's actually okay.

1465
01:22:27,160 --> 01:22:28,880
Speaker 3: In the rest of that movie is you know, the

1466
01:22:28,960 --> 01:22:31,479
Speaker 3: rom com elements and whatever the hell else is going

1467
01:22:31,479 --> 01:22:34,120
Speaker 3: on in that movie. He you know, he's credible. He

1468
01:22:34,240 --> 01:22:36,200
Speaker 3: just you know, they can't have any baseball. They should

1469
01:22:36,240 --> 01:22:38,080
Speaker 3: have said it in like a ping pong setting or

1470
01:22:38,080 --> 01:22:38,640
Speaker 3: something like that.

1471
01:22:38,680 --> 01:22:42,519
Speaker 2: I don't know, Oh, I have I completely Matthew Lillard

1472
01:22:42,600 --> 01:22:45,120
Speaker 2: is in this movie too. This is oh yeah, this

1473
01:22:45,200 --> 01:22:47,919
Speaker 2: is okay, s this is a two thousand and one classic.

1474
01:22:48,120 --> 01:22:53,360
Speaker 1: This is en my wheelhouse early two thousands. You want

1475
01:22:53,400 --> 01:22:56,679
Speaker 1: to say, yeah, Jessica Beal's in it. I just want

1476
01:22:56,680 --> 01:22:58,799
Speaker 1: to say it. Back to the ephis point. I loved

1477
01:22:58,840 --> 01:23:01,559
Speaker 1: Ephis and that didn't like. I actually thought it worked

1478
01:23:01,560 --> 01:23:03,439
Speaker 1: for that movie because they are a bunch of like

1479
01:23:03,680 --> 01:23:06,559
Speaker 1: club slobs and the slubs and so that was fine.

1480
01:23:06,560 --> 01:23:09,080
Speaker 1: But I did just notice the throwing motion was off

1481
01:23:09,120 --> 01:23:09,679
Speaker 1: in that movie.

1482
01:23:09,920 --> 01:23:12,439
Speaker 3: Yeah, And Carson Lunz said that it was hard to

1483
01:23:12,479 --> 01:23:14,479
Speaker 3: get around, but it ultimately worked, and I think he's right.

1484
01:23:14,520 --> 01:23:17,040
Speaker 3: I think it totally worked because what that movie was

1485
01:23:17,080 --> 01:23:19,599
Speaker 3: trying to communicate so totally. So if you went into

1486
01:23:19,600 --> 01:23:21,559
Speaker 3: that movie, and I know a lot of people in

1487
01:23:21,600 --> 01:23:25,000
Speaker 3: the sports internet space whenever a sports movie comes out,

1488
01:23:25,320 --> 01:23:27,200
Speaker 3: everybody wants to talk about it, and there are some

1489
01:23:27,280 --> 01:23:30,080
Speaker 3: people that are just sort of dogmatic about it. Wasn't

1490
01:23:30,080 --> 01:23:33,080
Speaker 3: believable because that guy you can't do that with esis don't.

1491
01:23:33,120 --> 01:23:35,520
Speaker 3: In fact, it defeats the purpose of ethis.

1492
01:23:35,640 --> 01:23:37,559
Speaker 2: You know what I was thinking, because you know, I

1493
01:23:37,640 --> 01:23:40,400
Speaker 2: was like coming up with some choices. I was thinking, like,

1494
01:23:40,560 --> 01:23:44,480
Speaker 2: who are like my favorite actors? Now this is probably

1495
01:23:45,840 --> 01:23:48,320
Speaker 2: I don't know how faithful this is to your area

1496
01:23:48,360 --> 01:23:51,080
Speaker 2: of expertise, but it's certainly like my favorite. I think

1497
01:23:51,080 --> 01:23:55,759
Speaker 2: he's probably my favorite actor playing an athlete in any movie,

1498
01:23:55,920 --> 01:23:58,280
Speaker 2: and that's Paul Newman and slap Shot.

1499
01:23:58,640 --> 01:24:03,080
Speaker 1: Oh he took mine, Melian, Did I really love? I

1500
01:24:03,160 --> 01:24:05,280
Speaker 1: love Paul Newman and Slapshot. I love Slapshot.

1501
01:24:05,400 --> 01:24:09,240
Speaker 3: He is well partially he just nails even more so

1502
01:24:09,320 --> 01:24:13,400
Speaker 3: than Costner the whole athlete at the end of the line, attitude,

1503
01:24:13,439 --> 01:24:15,439
Speaker 3: and you know, he's Paul Newman, so of course he's

1504
01:24:15,479 --> 01:24:18,599
Speaker 3: going to handle the acting piece of that better than

1505
01:24:18,920 --> 01:24:23,160
Speaker 3: Costner is I think, even though Costner is okay, but

1506
01:24:23,320 --> 01:24:26,599
Speaker 3: he's a credible skater. You know, he was pretty credible

1507
01:24:26,640 --> 01:24:28,760
Speaker 3: with that. Now he does get out class because one

1508
01:24:28,800 --> 01:24:31,200
Speaker 3: of the guys I mentioned I wrote down earlier that

1509
01:24:31,240 --> 01:24:33,760
Speaker 3: I wanted to bring up is one of his co

1510
01:24:33,840 --> 01:24:38,240
Speaker 3: stars in that movie, Michael an Keen. Yes, he he

1511
01:24:38,360 --> 01:24:40,600
Speaker 3: You know, most people might know him as he was

1512
01:24:40,600 --> 01:24:43,960
Speaker 3: the sheriff on Twin Peaks, but he was he was

1513
01:24:44,000 --> 01:24:46,439
Speaker 3: in Slap Shot is like he played Ned Braydon, who

1514
01:24:46,560 --> 01:24:49,160
Speaker 3: was like the young prospect or whatever. He's almost a

1515
01:24:49,200 --> 01:24:52,000
Speaker 3: bit of a cheap too, because he's he's from Canada

1516
01:24:52,080 --> 01:24:54,040
Speaker 3: and he grew up playing youth hockey and he got

1517
01:24:54,080 --> 01:24:57,080
Speaker 3: a scholarship to play hockey at the University of New

1518
01:24:57,080 --> 01:24:59,800
Speaker 3: Hampshire or somewhere like that, and he looks amazing. He

1519
01:25:00,080 --> 01:25:03,120
Speaker 3: might be one of the best athletes I've seen who's

1520
01:25:03,160 --> 01:25:06,479
Speaker 3: an actor in a movie. He's skates. There's this thing

1521
01:25:06,560 --> 01:25:09,000
Speaker 3: in hockey about skating with your head up, and anybody

1522
01:25:09,000 --> 01:25:11,439
Speaker 3: who learns how to play hockey when you're young, the

1523
01:25:11,600 --> 01:25:13,360
Speaker 3: biggest thing is you're looking down at the puck, You're

1524
01:25:13,360 --> 01:25:15,080
Speaker 3: looking down where your skates are going. You got to

1525
01:25:15,160 --> 01:25:16,639
Speaker 3: learn to skate with your head up and just let

1526
01:25:16,680 --> 01:25:19,479
Speaker 3: everything go otherwise. He just does that perfectly, and it's

1527
01:25:19,560 --> 01:25:21,800
Speaker 3: it's notable because there are a couple pros there are

1528
01:25:21,800 --> 01:25:23,240
Speaker 3: a couple of ringers in that movie who are also

1529
01:25:23,280 --> 01:25:25,320
Speaker 3: doing it, but whenever the actor types and even Paul

1530
01:25:25,400 --> 01:25:27,000
Speaker 3: Newman has his head down quite a bit. So i'n

1531
01:25:27,080 --> 01:25:28,519
Speaker 3: king just totally nails it well.

1532
01:25:28,640 --> 01:25:30,479
Speaker 2: I mean, I would be remiss if I didn't mention

1533
01:25:30,720 --> 01:25:33,640
Speaker 2: maybe my favorite hockey movie of all time, which is

1534
01:25:33,680 --> 01:25:36,879
Speaker 2: The Cutting Edge starring dB Sweety.

1535
01:25:37,840 --> 01:25:41,120
Speaker 1: I can't remember how dB looked out on the rink.

1536
01:25:41,360 --> 01:25:44,519
Speaker 1: How much of a good I think it's pretty good.

1537
01:25:45,200 --> 01:25:46,800
Speaker 3: I mean I see that one, so I don't know

1538
01:25:46,880 --> 01:25:47,640
Speaker 3: I'm missing.

1539
01:25:49,840 --> 01:25:55,320
Speaker 2: Face. Oh it's yeah, it's definitely a fame. I now know.

1540
01:25:55,680 --> 01:26:00,479
Speaker 2: Mori Kelly is, you know, the the romantic uh lead

1541
01:26:00,520 --> 01:26:04,120
Speaker 2: in that movie with him. I'm not sure if she

1542
01:26:04,520 --> 01:26:07,120
Speaker 2: was skating all the time. It was a little hard

1543
01:26:07,160 --> 01:26:09,280
Speaker 2: to tell, but it felt like he was skating, like

1544
01:26:09,320 --> 01:26:12,200
Speaker 2: when they were doing shots of him, like it seemed

1545
01:26:12,240 --> 01:26:16,000
Speaker 2: like he was on skates moving around like he had,

1546
01:26:16,160 --> 01:26:19,880
Speaker 2: you know, full autonomy. I'm not sure if that was her,

1547
01:26:20,040 --> 01:26:21,519
Speaker 2: but I don't know. I could be wrong. It's been

1548
01:26:21,560 --> 01:26:22,519
Speaker 2: a minute since I've seen it.

1549
01:26:22,560 --> 01:26:25,400
Speaker 3: But better than Talia Shiro and Rockies.

1550
01:26:25,880 --> 01:26:31,400
Speaker 2: Yes, yes, definitely definitely. Well, Okay, let me ask you this.

1551
01:26:31,479 --> 01:26:36,280
Speaker 2: I'm gonna throw a curveball, no pun intended. What about

1552
01:26:36,360 --> 01:26:38,680
Speaker 2: I think we can the punch? Okay, let's intend it

1553
01:26:39,000 --> 01:26:39,479
Speaker 2: this time?

1554
01:26:40,400 --> 01:26:41,320
Speaker 1: Can we intend it?

1555
01:26:41,520 --> 01:26:41,600
Speaker 2: All?

1556
01:26:41,680 --> 01:26:41,800
Speaker 4: Right?

1557
01:26:41,840 --> 01:26:44,240
Speaker 2: You're the producer. Yes, you're gonna make a note of it.

1558
01:26:44,600 --> 01:26:51,160
Speaker 2: What about the inverse? Is there an athlete who is

1559
01:26:51,600 --> 01:26:52,960
Speaker 2: an incredible actor?

1560
01:26:55,560 --> 01:26:57,960
Speaker 3: The first answer I would give for a yes on

1561
01:26:58,080 --> 01:26:59,960
Speaker 3: that I don't think counts, but I got him man

1562
01:27:00,080 --> 01:27:04,559
Speaker 3: to him anyway is Kurt Russell. Because Kurt Russell was

1563
01:27:04,560 --> 01:27:06,840
Speaker 3: an actor first. Obviously it was a Disney child actor

1564
01:27:06,920 --> 01:27:09,240
Speaker 3: and whatever. But he also he was a baseball player

1565
01:27:09,240 --> 01:27:12,519
Speaker 3: and he played fairly high level minor league baseball for

1566
01:27:12,600 --> 01:27:15,800
Speaker 3: the team his dad owned. The Portland team back in

1567
01:27:15,840 --> 01:27:18,720
Speaker 3: the latest seventies I think was Portland Mavericks. There's a

1568
01:27:18,760 --> 01:27:21,599
Speaker 3: documentary about them a few years ago that was really

1569
01:27:21,640 --> 01:27:24,000
Speaker 3: really good. But Kurt Russell was a very credible player

1570
01:27:24,000 --> 01:27:26,080
Speaker 3: for them. I don't think he counts though, because he

1571
01:27:26,120 --> 01:27:28,360
Speaker 3: was an actor first and he was obviously going to

1572
01:27:28,360 --> 01:27:35,080
Speaker 3: go back to that. The category that dominates that are wrestlers,

1573
01:27:34,360 --> 01:27:37,160
Speaker 3: and a lot of that is because you know, they're

1574
01:27:37,160 --> 01:27:39,840
Speaker 3: showman anyway. You know, if you're a baseball player you're

1575
01:27:39,840 --> 01:27:42,160
Speaker 3: not trying to play to the crowd necessarily, but wrestlers

1576
01:27:42,200 --> 01:27:43,960
Speaker 3: have to and they do a great job. So, you know,

1577
01:27:44,040 --> 01:27:47,479
Speaker 3: Dwayne the Rock Johnson's a great example. Dave Bautista has

1578
01:27:47,479 --> 01:27:49,439
Speaker 3: done a really good job. Roddye Weimer might be my

1579
01:27:49,479 --> 01:27:52,000
Speaker 3: favorite because They Live is one of my top five

1580
01:27:52,000 --> 01:27:52,840
Speaker 3: movies of all time.

1581
01:27:52,920 --> 01:27:55,840
Speaker 1: Yes, so those scena is really funny.

1582
01:27:55,920 --> 01:27:59,679
Speaker 3: Yeahina, he's gotten really good, especially TV. But him playing

1583
01:28:01,280 --> 01:28:05,200
Speaker 3: that peacemaker, Yeah, peacemaker, he's he's really good in that. Really,

1584
01:28:05,200 --> 01:28:08,559
Speaker 3: his timing is great. A couple others are football players.

1585
01:28:09,360 --> 01:28:11,559
Speaker 3: Terry Crews is good. Terry Crews played in the NFL

1586
01:28:11,600 --> 01:28:18,200
Speaker 3: for a while. Carl Weathers. Carl Weathers is great because

1587
01:28:18,240 --> 01:28:20,200
Speaker 3: he was an NFL player. He played for the Oakland

1588
01:28:20,280 --> 01:28:22,439
Speaker 3: Raiders for about a year in the early seventies and

1589
01:28:22,439 --> 01:28:25,840
Speaker 3: then obviously everybody knows him as Apollo Creed, but he

1590
01:28:25,960 --> 01:28:28,200
Speaker 3: was an amazing boxer in that. So not only could

1591
01:28:28,240 --> 01:28:30,880
Speaker 3: he act and he played the sort of Muhammad Ali

1592
01:28:30,960 --> 01:28:33,360
Speaker 3: stand in that was Apollo Creed and did a very

1593
01:28:33,600 --> 01:28:35,800
Speaker 3: convincing job of it, but he looked the part as

1594
01:28:35,800 --> 01:28:38,040
Speaker 3: a boxer too, even though that wasn't his sport. So

1595
01:28:38,120 --> 01:28:39,960
Speaker 3: he's very underrated as far as that goes.

1596
01:28:40,080 --> 01:28:43,000
Speaker 2: Well, that's it's it's interesting you mentioned this because you

1597
01:28:43,000 --> 01:28:46,559
Speaker 2: know my day job, I'm a film programmer, and I

1598
01:28:46,640 --> 01:28:50,200
Speaker 2: did I just recently did a stunt, as we call them,

1599
01:28:50,240 --> 01:28:54,800
Speaker 2: which is basically like a night or several days worth

1600
01:28:54,800 --> 01:28:58,080
Speaker 2: of you know, themed programming or whatever. And it was

1601
01:28:58,240 --> 01:29:00,560
Speaker 2: basically to celebrate the beginning of the NFL. Elison and

1602
01:29:00,600 --> 01:29:06,080
Speaker 2: I program a channel that is primarily blaxploitation. And there's

1603
01:29:06,120 --> 01:29:10,320
Speaker 2: a lot of blaxploitation stars that were former NFL players,

1604
01:29:10,400 --> 01:29:13,679
Speaker 2: and so you've got like Fred Williamson and Jim Brown

1605
01:29:13,800 --> 01:29:17,040
Speaker 2: and Bubba Smith and Carl Weathers and Bernie Case. I mean,

1606
01:29:17,080 --> 01:29:22,040
Speaker 2: you obviously have oj which we won't mention, but it's yeah,

1607
01:29:22,080 --> 01:29:24,680
Speaker 2: but it's it's really interesting because and there's actually this

1608
01:29:24,760 --> 01:29:28,160
Speaker 2: movie called The Black Six, which I feel like came

1609
01:29:28,160 --> 01:29:31,840
Speaker 2: out in the early seventies, but it was the entire cast.

1610
01:29:31,920 --> 01:29:35,080
Speaker 2: It's like a black biker gang movie, and all of

1611
01:29:35,120 --> 01:29:38,639
Speaker 2: the actors are football players, and I feel like there's

1612
01:29:38,680 --> 01:29:42,040
Speaker 2: like there was this weird pipeline from football player to

1613
01:29:42,280 --> 01:29:44,400
Speaker 2: black's rotation actor happening in Hollywood.

1614
01:29:44,400 --> 01:29:45,920
Speaker 1: At some point the seventies certainly.

1615
01:29:45,960 --> 01:29:48,080
Speaker 3: Yeah, guys that played football in like the late sixties,

1616
01:29:48,120 --> 01:29:50,400
Speaker 3: early seventies, it was just this huge pipeline. And the

1617
01:29:50,560 --> 01:29:53,000
Speaker 3: part of it is they're big, so they looked intimidating

1618
01:29:53,000 --> 01:29:54,880
Speaker 3: in a lot of their action movies or crime movies

1619
01:29:55,000 --> 01:29:58,080
Speaker 3: or whatever. But there's something about the charisma of that

1620
01:29:58,200 --> 01:30:02,200
Speaker 3: era of football players. And you know, you mentioned Bubba Smith,

1621
01:30:02,240 --> 01:30:04,000
Speaker 3: but there are also you know, a couple of white

1622
01:30:04,000 --> 01:30:08,680
Speaker 3: players Terry Bradshaw and Merlin Olsen and Alex Carriso.

1623
01:30:09,240 --> 01:30:10,160
Speaker 1: I'm written down.

1624
01:30:10,080 --> 01:30:13,840
Speaker 3: All about the same age, all coming into movies in

1625
01:30:13,880 --> 01:30:18,240
Speaker 3: the seventies at some point, and it fed into that

1626
01:30:18,240 --> 01:30:20,200
Speaker 3: whole you know, the whole North Dallas forty and all

1627
01:30:20,200 --> 01:30:22,240
Speaker 3: that kind of like it was sort of the last

1628
01:30:22,560 --> 01:30:26,880
Speaker 3: years of the NFL being the wild West with outlaws

1629
01:30:26,920 --> 01:30:30,480
Speaker 3: and crazy people and whatever was drawing people to football

1630
01:30:30,960 --> 01:30:33,200
Speaker 3: in the sixties and into the early seventies. I think

1631
01:30:33,320 --> 01:30:36,519
Speaker 3: lent itself very well. The big personalities and acting, Yeah

1632
01:30:36,560 --> 01:30:36,840
Speaker 3: it is.

1633
01:30:36,920 --> 01:30:38,880
Speaker 1: I wrote this down. I was why are there so

1634
01:30:38,880 --> 01:30:41,280
Speaker 1: many NFL players that end up actors? It seems more

1635
01:30:41,320 --> 01:30:45,840
Speaker 1: than any other sport, football players end up having somewhat

1636
01:30:45,880 --> 01:30:50,280
Speaker 1: successful acting careers. And it is sort of odd because

1637
01:30:50,280 --> 01:30:54,679
Speaker 1: their faces are hidden in the sport itself, unlike other sports,

1638
01:30:54,720 --> 01:30:58,160
Speaker 1: but yet they find their way to the movies. I

1639
01:30:58,160 --> 01:30:58,920
Speaker 1: don't know, it's sort.

1640
01:30:58,760 --> 01:31:02,720
Speaker 3: Of interesting not to go two armchair psychiatrists with it,

1641
01:31:02,840 --> 01:31:06,439
Speaker 3: But I think that you need a certain level of

1642
01:31:06,479 --> 01:31:10,559
Speaker 3: ego and confidence in football that you don't necessarily need

1643
01:31:10,600 --> 01:31:12,760
Speaker 3: in the other sports because someone is going to hit

1644
01:31:12,800 --> 01:31:15,519
Speaker 3: you hard all the time. Yeah, and if you don't

1645
01:31:15,520 --> 01:31:17,960
Speaker 3: think I'm going to hit them harder or I'm going

1646
01:31:18,040 --> 01:31:20,599
Speaker 3: to persevere, you're not going to last long in football,

1647
01:31:20,600 --> 01:31:23,160
Speaker 3: whereas baseball has just kind of a bunch of boring dudes. Frankly,

1648
01:31:23,720 --> 01:31:27,080
Speaker 3: it's a leap full enormies all the time. But in football,

1649
01:31:27,560 --> 01:31:29,600
Speaker 3: you don't make it to the highest levels if you

1650
01:31:29,640 --> 01:31:32,360
Speaker 3: don't have a certain confidence that probably translates pretty well

1651
01:31:32,360 --> 01:31:32,759
Speaker 3: to acting.

1652
01:31:33,120 --> 01:31:35,839
Speaker 2: Yeah, yeah, you know what I was thinking, because obviously

1653
01:31:35,840 --> 01:31:39,519
Speaker 2: I feel like we can make the correlation that you know,

1654
01:31:39,960 --> 01:31:44,880
Speaker 2: wrestlers and football players turn actors primarily go into the

1655
01:31:45,000 --> 01:31:48,680
Speaker 2: action movie genre, right, wouldn't you say so? I was

1656
01:31:48,720 --> 01:31:51,240
Speaker 2: trying to think of, like maybe an athlete that would

1657
01:31:51,320 --> 01:31:54,920
Speaker 2: appear in something like a rom com or something, and

1658
01:31:55,120 --> 01:31:56,920
Speaker 2: the only one I could really think of and I

1659
01:31:56,920 --> 01:32:00,439
Speaker 2: don't you know this is again is probably like Jason Lee,

1660
01:32:00,600 --> 01:32:01,840
Speaker 2: who was a skateboarder.

1661
01:32:02,120 --> 01:32:04,760
Speaker 1: Right, I have an answer for this too, well, go

1662
01:32:04,800 --> 01:32:07,479
Speaker 1: ahead tell me more. So there's an actor. His name

1663
01:32:07,560 --> 01:32:12,080
Speaker 1: is Namdi Asamuga, and he was a really good football player.

1664
01:32:12,120 --> 01:32:14,080
Speaker 1: He was like a shutdown corner in the league. And

1665
01:32:14,120 --> 01:32:17,280
Speaker 1: he's forty four now, but he is like primarily he

1666
01:32:17,320 --> 01:32:19,559
Speaker 1: was in a movie called Sylvie's Love that's like a

1667
01:32:19,680 --> 01:32:22,479
Speaker 1: romantic movie. He's the lead in it with Tessa Thompson.

1668
01:32:22,920 --> 01:32:26,400
Speaker 1: So he's not like super well known, but he's a

1669
01:32:26,439 --> 01:32:30,759
Speaker 1: successful actor right now who's in like more thoughtful movies

1670
01:32:30,920 --> 01:32:33,400
Speaker 1: as an actor. And he was like a really good

1671
01:32:33,439 --> 01:32:34,160
Speaker 1: football player.

1672
01:32:34,160 --> 01:32:35,800
Speaker 2: Does he play a football player in the movie or

1673
01:32:35,880 --> 01:32:36,280
Speaker 2: is he play?

1674
01:32:36,720 --> 01:32:37,040
Speaker 4: No?

1675
01:32:37,040 --> 01:32:38,000
Speaker 1: No, No, he doesn't.

1676
01:32:38,280 --> 01:32:38,559
Speaker 3: Wow.

1677
01:32:38,680 --> 01:32:42,880
Speaker 1: No, he's like he's he's like graduated to like actual movies.

1678
01:32:42,960 --> 01:32:44,240
Speaker 2: Wow. Fascinating.

1679
01:32:44,360 --> 01:32:46,640
Speaker 3: So that's pretty good, yeah, because you usually see the

1680
01:32:46,680 --> 01:32:50,479
Speaker 3: tough guy, and if you do see somebody in a

1681
01:32:50,520 --> 01:32:53,840
Speaker 3: non tough guy, non action thing, they're often playing themselves

1682
01:32:54,000 --> 01:32:56,960
Speaker 3: or versions of himself. Like you know, Lebron James was

1683
01:32:57,040 --> 01:32:59,320
Speaker 3: in train Wreck, but he was playing Lebron James and

1684
01:32:59,360 --> 01:33:02,400
Speaker 3: the whole of his being there was Hey, it's Lebron James.

1685
01:33:02,880 --> 01:33:06,559
Speaker 2: Yeah. Yeah, I'm like I was like kind of pressed

1686
01:33:06,560 --> 01:33:08,599
Speaker 2: to find somebody. I was like, well, Jason Lee, I mean,

1687
01:33:08,640 --> 01:33:11,040
Speaker 2: you know, skateboarding is this sport. He's good, Yeah, he's good.

1688
01:33:11,120 --> 01:33:12,320
Speaker 1: Yeah.

1689
01:33:12,360 --> 01:33:14,600
Speaker 2: But also, you know, then you've got the artolds of

1690
01:33:14,640 --> 01:33:19,320
Speaker 2: the world, if you know, basically starting out in action

1691
01:33:19,560 --> 01:33:23,360
Speaker 2: and then eventually making his way to kindergarten cop and

1692
01:33:23,439 --> 01:33:26,599
Speaker 2: things of that nature. But I don't know, this isn't

1693
01:33:26,880 --> 01:33:30,240
Speaker 2: this is such a fascinating subject because it does feel

1694
01:33:30,320 --> 01:33:32,960
Speaker 2: like I don't know. I mean, do you think that

1695
01:33:33,080 --> 01:33:35,120
Speaker 2: there are I think we were talking about this with

1696
01:33:35,320 --> 01:33:39,880
Speaker 2: Josh Fatam a while back about the sort of the

1697
01:33:40,000 --> 01:33:44,240
Speaker 2: new scene of movies like who, like who besides wrestlers?

1698
01:33:44,360 --> 01:33:49,200
Speaker 2: Do you see any of this? You know, these athletes

1699
01:33:49,200 --> 01:33:52,160
Speaker 2: who are still acting in that way that maybe they

1700
01:33:52,160 --> 01:33:54,559
Speaker 2: were doing it in like the seventies and eighties perhaps,

1701
01:33:54,720 --> 01:33:56,880
Speaker 2: or like even in the nineties with the martial arts

1702
01:33:56,880 --> 01:34:00,720
Speaker 2: movies like the Jackie Chan movies and you know, oh

1703
01:34:00,760 --> 01:34:02,719
Speaker 2: my god, I'm planking on his fucking name, Oh John

1704
01:34:02,760 --> 01:34:05,639
Speaker 2: Claude van Dam or something. Oh yeah, who do you

1705
01:34:05,680 --> 01:34:09,519
Speaker 2: do you see anybody now who is kind of in

1706
01:34:09,560 --> 01:34:12,960
Speaker 2: both worlds, like an athlete that's acting and does a

1707
01:34:12,960 --> 01:34:15,719
Speaker 2: pretty good job, or you know, I'm.

1708
01:34:15,600 --> 01:34:18,160
Speaker 3: Not seeing a lot. Part of it is just the

1709
01:34:18,160 --> 01:34:22,200
Speaker 3: way the business of sports works. In the All the

1710
01:34:22,240 --> 01:34:26,720
Speaker 3: athletes now are so very well media trained, and they're

1711
01:34:26,840 --> 01:34:30,800
Speaker 3: they're told and taught to not say anything controversial. Ever,

1712
01:34:31,560 --> 01:34:34,799
Speaker 3: the personality is kind of drained out of them by design,

1713
01:34:35,280 --> 01:34:38,160
Speaker 3: so you don't get headlines, bad headlines about you or something,

1714
01:34:38,400 --> 01:34:42,120
Speaker 3: and so that I think sort of mitigates against those

1715
01:34:42,160 --> 01:34:45,160
Speaker 3: personalities coming through to the extent. There should be some

1716
01:34:45,320 --> 01:34:48,360
Speaker 3: or could be some NBA players who are sort of

1717
01:34:48,400 --> 01:34:50,360
Speaker 3: at the end of their career right now, because in

1718
01:34:50,439 --> 01:34:54,040
Speaker 3: the NBA that will switch to let's be boring, only

1719
01:34:54,080 --> 01:34:56,280
Speaker 3: really started about three or four years ago, and there's

1720
01:34:56,320 --> 01:34:58,760
Speaker 3: this whole generation of NBA players. I'm thinking of guys

1721
01:34:58,800 --> 01:35:01,280
Speaker 3: like Kevin Durant. Yeah, I have no idea if he

1722
01:35:01,320 --> 01:35:03,280
Speaker 3: has any skills. I don't have any idea if he

1723
01:35:03,320 --> 01:35:05,720
Speaker 3: wants to act, but just based on his you know,

1724
01:35:05,760 --> 01:35:07,840
Speaker 3: his social media presence in the sort of interviews he

1725
01:35:07,880 --> 01:35:10,479
Speaker 3: gives and stuff, there's a whole bunch of NBA players

1726
01:35:10,479 --> 01:35:14,040
Speaker 3: who probably would be amazing, whether it's comedy roles or

1727
01:35:14,160 --> 01:35:16,320
Speaker 3: you know, whether it's the guy in the chair, you know,

1728
01:35:16,320 --> 01:35:18,559
Speaker 3: in an action movie or something that would just be

1729
01:35:18,600 --> 01:35:21,800
Speaker 3: great because they're quick and they're funny as hell. And

1730
01:35:22,000 --> 01:35:24,160
Speaker 3: there's also that arrogance about it that the old football

1731
01:35:24,160 --> 01:35:26,680
Speaker 3: players probably had that someone needs to tap into that.

1732
01:35:26,720 --> 01:35:27,600
Speaker 3: Maybe they just don't want to.

1733
01:35:27,920 --> 01:35:30,720
Speaker 2: Yeah, Aliston, I think if Jimmy Butler wants to be

1734
01:35:30,800 --> 01:35:33,400
Speaker 2: an actor, he should. He's funny and well.

1735
01:35:33,439 --> 01:35:37,719
Speaker 1: I got to point out Minnesota Timberwolves. My guy Anthony Edwards.

1736
01:35:37,720 --> 01:35:40,160
Speaker 1: He did act in a movie with Adam Sandler and

1737
01:35:40,160 --> 01:35:42,280
Speaker 1: he was, i mean, played a basketball player, but he

1738
01:35:42,360 --> 01:35:44,040
Speaker 1: was very good and charismatic.

1739
01:35:44,080 --> 01:35:48,639
Speaker 3: And it Kevin Garnett too. Kevin Garnett was Yes, Kevin Garnett, Yeah, Jebs, Yes,

1740
01:35:48,920 --> 01:35:51,479
Speaker 3: which I'm sure he did a good job. But I'm

1741
01:35:51,520 --> 01:35:53,840
Speaker 3: never watching that movie again because the anxiety level.

1742
01:35:54,040 --> 01:36:01,840
Speaker 2: Oh, I'm with you, I was amazing. Well, listen, I

1743
01:36:02,400 --> 01:36:05,479
Speaker 2: mean this has been amazing. Craig. I'm so glad that

1744
01:36:05,479 --> 01:36:09,800
Speaker 2: you were here to give your analysis on these athletes

1745
01:36:10,600 --> 01:36:14,200
Speaker 2: or these actors turned athletes and then athletes turn actors.

1746
01:36:15,960 --> 01:36:17,559
Speaker 2: I don't know, Casey, is there anything else you want

1747
01:36:17,600 --> 01:36:18,639
Speaker 2: to bring up before we.

1748
01:36:19,360 --> 01:36:21,040
Speaker 1: No, this is great. I feel like I could keep

1749
01:36:21,120 --> 01:36:24,640
Speaker 1: riffing on this forever. But this was so fantastic and

1750
01:36:24,680 --> 01:36:26,640
Speaker 1: it was yeah, so great meeting you and getting to

1751
01:36:26,640 --> 01:36:27,439
Speaker 1: talk to you about this stuff.

1752
01:36:27,479 --> 01:36:29,320
Speaker 3: Craig, Thank you so much for having me. This was

1753
01:36:29,360 --> 01:36:29,920
Speaker 3: a lot of fun.

1754
01:36:30,520 --> 01:36:32,320
Speaker 1: Is there anything you want to plug that we haven't

1755
01:36:32,320 --> 01:36:33,040
Speaker 1: plugged already?

1756
01:36:33,400 --> 01:36:35,960
Speaker 3: Nah, just a cup of coffee news every day. I'm

1757
01:36:35,960 --> 01:36:37,080
Speaker 3: not going anywhere.

1758
01:36:36,680 --> 01:36:39,240
Speaker 2: Cool and so where. So basically if you just type

1759
01:36:39,240 --> 01:36:43,599
Speaker 2: in cup of coffee you'll find the subscription options and everything.

1760
01:36:44,280 --> 01:36:47,120
Speaker 3: The website is cupocoffeeanews dot com or if you just

1761
01:36:47,320 --> 01:36:48,559
Speaker 3: search cup of Coffee on there.

1762
01:36:49,680 --> 01:36:52,080
Speaker 1: Cool, fabulous. Craig.

1763
01:36:52,320 --> 01:36:52,960
Speaker 3: Thanks again.

1764
01:36:53,280 --> 01:36:56,320
Speaker 2: You're amazing and we'd love to have you back sometime.

1765
01:36:56,479 --> 01:36:58,000
Speaker 2: So thanks again.

1766
01:36:58,160 --> 01:36:58,519
Speaker 3: Thank you.

1767
01:37:08,160 --> 01:37:12,880
Speaker 1: All Right, everybody, that was great talking to Craig. Love Craig.

1768
01:37:13,040 --> 01:37:19,320
Speaker 1: Love Craig, love baseball, Love the conversation. I love that topic.

1769
01:37:19,600 --> 01:37:21,559
Speaker 1: It was great. He's like great meeting him.

1770
01:37:21,600 --> 01:37:23,680
Speaker 2: He's like one of these people that I love that

1771
01:37:23,800 --> 01:37:27,679
Speaker 2: loves loves loves sports but also loves loves loves movies

1772
01:37:27,720 --> 01:37:28,240
Speaker 2: and music.

1773
01:37:29,080 --> 01:37:33,280
Speaker 1: Yeah, so it's great. I feel like you and I

1774
01:37:33,320 --> 01:37:35,280
Speaker 1: are like that, MILLI. We like sports, but we like

1775
01:37:35,439 --> 01:37:37,559
Speaker 1: movies and music too. I thought that's a special type

1776
01:37:37,560 --> 01:37:39,439
Speaker 1: of person because I hate when people I don't know

1777
01:37:39,479 --> 01:37:42,799
Speaker 1: if you ever encountered this. I encountered this in film school,

1778
01:37:42,840 --> 01:37:47,320
Speaker 1: and I don't know, in improv groups where it'd be like, oh,

1779
01:37:46,920 --> 01:37:51,599
Speaker 1: who's watching the sports ball tonight or that kind of bullshit.

1780
01:37:51,720 --> 01:37:54,280
Speaker 2: You know, of course, of course hate these people. I

1781
01:37:54,320 --> 01:37:56,360
Speaker 2: know so many people like that. I know people like

1782
01:37:56,560 --> 01:37:58,840
Speaker 2: I grew up in the nineties. Of course, if you

1783
01:37:59,000 --> 01:38:04,400
Speaker 2: liked art, you didn't like sports. Neverthe two shall meet.

1784
01:38:04,479 --> 01:38:07,040
Speaker 2: But you know what, that's changing, And actually I think

1785
01:38:07,040 --> 01:38:11,479
Speaker 2: it's probably overcorrecting because there are certain people I'm just

1786
01:38:11,479 --> 01:38:19,640
Speaker 2: gonna dangle this out there that are sports people that

1787
01:38:20,560 --> 01:38:22,680
Speaker 2: try to go too hard in the paint to use

1788
01:38:22,680 --> 01:38:27,840
Speaker 2: a sports metaphor when it comes to art, and they're

1789
01:38:27,840 --> 01:38:32,000
Speaker 2: not shooting very well if you know what I'm saying.

1790
01:38:33,280 --> 01:38:38,320
Speaker 1: Interesting, do you mean people who are like into sports

1791
01:38:39,200 --> 01:38:40,679
Speaker 1: but think they know a lot about art?

1792
01:38:41,000 --> 01:38:44,800
Speaker 2: Correct you can know both things, but you can also

1793
01:38:44,880 --> 01:38:46,320
Speaker 2: don't forget what you know more.

1794
01:38:46,960 --> 01:38:52,439
Speaker 1: Okay, Millie, what do you have for us for employees' picks?

1795
01:38:53,360 --> 01:38:53,639
Speaker 4: Okay?

1796
01:38:53,720 --> 01:38:56,639
Speaker 2: Okay, So I was like, let's just go straight down

1797
01:38:56,640 --> 01:39:02,360
Speaker 2: the line. Let's do another music documentary. My favorite music documentary.

1798
01:39:02,400 --> 01:39:05,000
Speaker 2: It's actually more of a performance, like it's more of

1799
01:39:05,080 --> 01:39:08,800
Speaker 2: a concert, but that it has like wrap rounds of

1800
01:39:09,560 --> 01:39:16,559
Speaker 2: documentary stuff happening is a little documentary called depeche Mode

1801
01:39:16,640 --> 01:39:19,080
Speaker 2: one oh one that was made in nineteen eighty nine

1802
01:39:19,120 --> 01:39:24,639
Speaker 2: by Da Pettabaker. And this shit is so good, dude,

1803
01:39:24,840 --> 01:39:30,679
Speaker 2: I rewatch it probably every year. Who I will tell

1804
01:39:30,720 --> 01:39:35,599
Speaker 2: you with authority that if you go to the desert

1805
01:39:35,800 --> 01:39:40,440
Speaker 2: and do mushrooms and watch it, it will be a fantastic experience.

1806
01:39:43,120 --> 01:39:45,280
Speaker 2: But Depeche Mode is one of my favorite bands of

1807
01:39:45,280 --> 01:39:50,720
Speaker 2: all time, and like this era of depeche Mode is

1808
01:39:51,240 --> 01:39:55,400
Speaker 2: my favorite era. It's sort of like their late eighties

1809
01:39:55,479 --> 01:40:02,439
Speaker 2: early nineties music for the masses violate, like when they're

1810
01:40:02,479 --> 01:40:08,400
Speaker 2: wearing like leather pants but then cowboy hats and like

1811
01:40:08,560 --> 01:40:14,000
Speaker 2: leather jackets. It's almost kind of like electronic music by

1812
01:40:14,080 --> 01:40:18,200
Speaker 2: way of like they figured out what rockabilly is and

1813
01:40:18,280 --> 01:40:21,080
Speaker 2: went to Sun Records for a day and did a tour.

1814
01:40:21,400 --> 01:40:26,759
Speaker 1: Is this like uh personal Jesus correct era correct?

1815
01:40:27,040 --> 01:40:31,120
Speaker 2: So it's basically like so the documentary focuses on the

1816
01:40:31,200 --> 01:40:34,200
Speaker 2: tour that they did for Music for the Masses, which

1817
01:40:34,240 --> 01:40:39,200
Speaker 2: is their album that came out in the late eighties,

1818
01:40:40,360 --> 01:40:46,200
Speaker 2: and I I mean between Music for the Masses and

1819
01:40:47,880 --> 01:40:53,600
Speaker 2: Violator Dog. I mean I just was like it was

1820
01:40:53,640 --> 01:40:55,760
Speaker 2: like Music for the Masses one oh one, which is

1821
01:40:55,800 --> 01:40:59,959
Speaker 2: basically the live album from the concert, and then Violator.

1822
01:41:00,760 --> 01:41:06,800
Speaker 2: I'm just like peak depeche Mode for me, Peak depeche Mode,

1823
01:41:06,840 --> 01:41:11,080
Speaker 2: and they're like my favorite boy band of all time. Honestly,

1824
01:41:11,080 --> 01:41:13,519
Speaker 2: they're so good. But anyway, this documentary is really interesting

1825
01:41:13,520 --> 01:41:16,360
Speaker 2: because they did the show at the Rose Bowl, but

1826
01:41:16,400 --> 01:41:18,960
Speaker 2: then there's also this like section where basically they took

1827
01:41:19,040 --> 01:41:21,439
Speaker 2: like a group of fans and put them on a

1828
01:41:21,479 --> 01:41:23,799
Speaker 2: tour bus and they kind of like toured with the band.

1829
01:41:24,720 --> 01:41:28,080
Speaker 2: Interest So it's all these like kind of cool like

1830
01:41:28,600 --> 01:41:31,000
Speaker 2: people in their twenties that are like dancing at the

1831
01:41:31,040 --> 01:41:33,599
Speaker 2: shows and they're kind of like on a tour bus

1832
01:41:33,640 --> 01:41:38,360
Speaker 2: like hanging out together while they're on tour with Depeche Mode.

1833
01:41:38,439 --> 01:41:43,040
Speaker 2: It was kind of fun and it looks amazing. And

1834
01:41:43,160 --> 01:41:47,800
Speaker 2: also just to tie it back to I suppose Brian Jonestown,

1835
01:41:47,840 --> 01:41:52,519
Speaker 2: Masacer Dave Gohan from Depeche Mode successfully kicked his own

1836
01:41:52,560 --> 01:41:57,759
Speaker 2: heroin addiction and became even hotter, which is a fucking

1837
01:41:57,760 --> 01:41:59,920
Speaker 2: incredible story, so very good.

1838
01:42:00,760 --> 01:42:05,720
Speaker 1: You know, we've been talking about selling out and in

1839
01:42:05,840 --> 01:42:11,439
Speaker 1: the music and you know capitalism, and there's no band

1840
01:42:11,600 --> 01:42:18,200
Speaker 1: that sold out less than Fugazi, which is a punk

1841
01:42:18,280 --> 01:42:23,240
Speaker 1: band from Washington, DC that started in the late eighties

1842
01:42:23,360 --> 01:42:25,880
Speaker 1: and went through the early two thousands. They're on like

1843
01:42:25,920 --> 01:42:30,080
Speaker 1: an indefinite hiatus, but there is a documentary about them

1844
01:42:30,080 --> 01:42:34,599
Speaker 1: by the great filmmaker Jem Cohen. It's called Instrument from

1845
01:42:34,680 --> 01:42:37,519
Speaker 1: nineteen ninety nine. It's a lot of concert footage. It's

1846
01:42:37,560 --> 01:42:41,880
Speaker 1: kind of an impressionistic style documentary where it's like it

1847
01:42:42,000 --> 01:42:46,120
Speaker 1: just sort of weaves in between concert footage and then

1848
01:42:46,160 --> 01:42:50,599
Speaker 1: the band, and it's it's a vibe and it would

1849
01:42:50,640 --> 01:42:53,400
Speaker 1: be a great movie to put on at a party

1850
01:42:53,560 --> 01:42:55,400
Speaker 1: just because it looks great and it's just sort of

1851
01:42:56,400 --> 01:43:02,800
Speaker 1: flows between, you know, interview and footage. It's not very structured,

1852
01:43:03,479 --> 01:43:05,240
Speaker 1: and but it's really interesting and there's like a lot

1853
01:43:05,240 --> 01:43:09,960
Speaker 1: of great concert performances, a lot of great performances of Fugazi.

1854
01:43:09,479 --> 01:43:10,160
Speaker 2: On the road.

1855
01:43:10,680 --> 01:43:14,360
Speaker 1: You know, they were road dogs. They toured all the time.

1856
01:43:15,240 --> 01:43:18,639
Speaker 1: The ticket prices were like never they were all ages shows,

1857
01:43:18,760 --> 01:43:22,519
Speaker 1: never above five bucks, and they really did it, you know,

1858
01:43:22,640 --> 01:43:24,960
Speaker 1: and they were like really well organized, and you know,

1859
01:43:25,040 --> 01:43:27,639
Speaker 1: they're straightedge, so they never drank or did any drugs

1860
01:43:28,120 --> 01:43:32,040
Speaker 1: and maybe that's why they were able to be so disciplined.

1861
01:43:32,120 --> 01:43:36,320
Speaker 1: But it's a great documentary and I love Fugazi and

1862
01:43:36,800 --> 01:43:39,400
Speaker 1: I put it on all the time just to like

1863
01:43:39,640 --> 01:43:42,559
Speaker 1: watch a few minutes of it because it's Wonderful's great.

1864
01:43:42,680 --> 01:43:46,000
Speaker 1: Check out Instrument. It's on the Criterion channel right now.

1865
01:43:46,000 --> 01:43:49,840
Speaker 2: Actually, Oh, is it because they have that? Isn't there

1866
01:43:49,840 --> 01:43:53,360
Speaker 2: like a music documentary theme? No, there might be.

1867
01:43:53,760 --> 01:43:56,040
Speaker 1: They have like more movies of Jim Cohen too.

1868
01:43:56,080 --> 01:44:02,400
Speaker 2: Oh I see, I see so yeah, check it out.

1869
01:44:02,720 --> 01:44:06,120
Speaker 2: Great recommendation, my fellow.

1870
01:44:05,760 --> 01:44:08,400
Speaker 1: Employee, have you seen Instrument? Hell?

1871
01:44:08,520 --> 01:44:11,679
Speaker 2: Yeah, dude, are you kidding me? Who are you kidding?

1872
01:44:11,840 --> 01:44:15,720
Speaker 2: You know what's interesting that we're gonna you know. You

1873
01:44:15,760 --> 01:44:17,880
Speaker 2: know what's interesting that we have not brought up is

1874
01:44:18,560 --> 01:44:20,880
Speaker 2: there's actually a lot of music documentaries.

1875
01:44:21,680 --> 01:44:23,000
Speaker 1: We didn't touch upon that at all.

1876
01:44:23,040 --> 01:44:25,960
Speaker 2: I know, there's a lot a lot of my favorite

1877
01:44:26,000 --> 01:44:31,519
Speaker 2: bands there's a documentary about them. I always find music

1878
01:44:31,560 --> 01:44:33,839
Speaker 2: documentaries fascinating, even if they're terrible.

1879
01:44:34,280 --> 01:44:36,880
Speaker 1: I'm always like, they can be really bad, but they're

1880
01:44:36,920 --> 01:44:40,120
Speaker 1: interesting and I find them sort of relaxing.

1881
01:44:40,280 --> 01:44:42,320
Speaker 2: Yeah, I mean, I was trying to go back to

1882
01:44:42,360 --> 01:44:43,800
Speaker 2: think of what some of my favorite ones are. I

1883
01:44:43,840 --> 01:44:46,600
Speaker 2: was like, dude, I have like too money to count. Like,

1884
01:44:46,720 --> 01:44:49,519
Speaker 2: I love the documentary about Big Star. I love the

1885
01:44:49,520 --> 01:44:54,799
Speaker 2: documentary about Morphine, you know. I love the documentary about

1886
01:44:55,000 --> 01:44:57,559
Speaker 2: Benjamin Smoke, which we talked about, like, I think that's

1887
01:44:57,560 --> 01:45:03,320
Speaker 2: a gem Cohen documentary. Actually, so many good docs about

1888
01:45:03,640 --> 01:45:06,760
Speaker 2: about even like really really small bands that I never

1889
01:45:06,840 --> 01:45:12,240
Speaker 2: thought i'd never find anything out about. So yeah, I

1890
01:45:12,240 --> 01:45:14,280
Speaker 2: don't know, kind of spoiled for choice, and like you,

1891
01:45:14,720 --> 01:45:18,360
Speaker 2: I think they're all entertaining if even if they're terrible.

1892
01:45:18,600 --> 01:45:22,120
Speaker 2: So well, hopefully one day I'll get the Casey O'Brien

1893
01:45:23,280 --> 01:45:30,240
Speaker 2: Gripes and Grits doc. Graps and Grits. People really loved that,

1894
01:45:30,280 --> 01:45:30,880
Speaker 2: by the way.

1895
01:45:31,400 --> 01:45:34,679
Speaker 1: They did glad to hear it. They loved they loved

1896
01:45:34,720 --> 01:45:37,160
Speaker 1: having my mom on too. That people seem to really

1897
01:45:37,240 --> 01:45:37,519
Speaker 1: enjoy it.

1898
01:45:39,560 --> 01:45:43,080
Speaker 2: They're loving you, baby, They're loving you.

1899
01:45:44,640 --> 01:45:47,680
Speaker 1: Okay, you know, yeah, well that's nice. That's nice to hear.

1900
01:45:48,320 --> 01:45:53,719
Speaker 1: Uh Meleie, that's our show in the future. If you'd

1901
01:45:53,800 --> 01:45:56,960
Speaker 1: like to email us for film advice, a grap or

1902
01:45:56,960 --> 01:46:01,679
Speaker 1: a grit, email us at movies at exactlyrightmedia dot com.

1903
01:46:01,720 --> 01:46:05,000
Speaker 1: You can also send in a voicemail. Just record a

1904
01:46:05,080 --> 01:46:08,599
Speaker 1: voicemail on your phone that's under a minute and email

1905
01:46:08,680 --> 01:46:13,720
Speaker 1: it too Dear Movies at exactly rightmedia dot com.

1906
01:46:13,760 --> 01:46:19,640
Speaker 2: Absolutely follow us on our socials if you will. We

1907
01:46:19,680 --> 01:46:25,120
Speaker 2: are at Deer Movies I Love You on Facebook and Instagram.

1908
01:46:25,200 --> 01:46:28,280
Speaker 2: Our letterbox handles are at Casey le O'Brien and at

1909
01:46:28,560 --> 01:46:29,320
Speaker 2: MD Jericho.

1910
01:46:29,680 --> 01:46:32,120
Speaker 1: And listen to Dear Movies I Love You on the

1911
01:46:32,160 --> 01:46:36,360
Speaker 1: iHeartRadio app, Apple Podcasts or wherever you get your podcasts.

1912
01:46:37,560 --> 01:46:41,400
Speaker 1: Please yes and rate and review our show. Please oh

1913
01:46:41,520 --> 01:46:42,759
Speaker 1: positively preferred.

1914
01:46:42,800 --> 01:46:44,840
Speaker 2: Oh oh oh next week. I just looked.

1915
01:46:45,200 --> 01:46:48,720
Speaker 1: Huh, we're watching The King of Comedy from nineteen eighty two.

1916
01:46:49,280 --> 01:46:52,120
Speaker 2: Yeah, we're gonna talk about We kind of dangled this

1917
01:46:52,200 --> 01:46:54,960
Speaker 2: a little bit a few episodes ago. When we were

1918
01:46:54,960 --> 01:46:57,439
Speaker 2: talking we stumbled into Yeah, we were talking about Bona

1919
01:46:57,880 --> 01:47:02,160
Speaker 2: by Lino Broca. We're gonna do an episode about obsessed

1920
01:47:02,200 --> 01:47:02,880
Speaker 2: fan movies.

1921
01:47:04,400 --> 01:47:07,040
Speaker 1: Can't wait to get into it. You remember in Tenacious

1922
01:47:07,080 --> 01:47:09,959
Speaker 1: D TV show when they have an obsessed fan.

1923
01:47:10,080 --> 01:47:10,519
Speaker 3: Do I.

1924
01:47:12,000 --> 01:47:16,120
Speaker 2: Total love knife materials. Also, my favorite is John cy

1925
01:47:16,160 --> 01:47:19,400
Speaker 2: Rally is Bigfoot. Yeah, and he just comes to the

1926
01:47:19,439 --> 01:47:22,160
Speaker 2: show and he's like, tell him it was Bigfoot. No,

1927
01:47:22,479 --> 01:47:25,760
Speaker 2: you just tell him it was a friend. And then

1928
01:47:25,800 --> 01:47:26,840
Speaker 2: he comes he comes back.

1929
01:47:28,880 --> 01:47:30,559
Speaker 1: Actually because you're telling Bigfoot, they might not know.

1930
01:47:31,520 --> 01:47:38,480
Speaker 2: He's like, thanks, see you. That ship is fucking genius.

1931
01:47:38,800 --> 01:47:42,560
Speaker 1: Anyways, Millie, thank you for taking a trip back to

1932
01:47:44,120 --> 01:47:46,880
Speaker 1: a different time in our lives, a different time in

1933
01:47:46,920 --> 01:47:47,519
Speaker 1: your life.

1934
01:47:47,840 --> 01:47:52,519
Speaker 2: Thanks thanks for letting me be that like annoying captain

1935
01:47:52,640 --> 01:47:56,760
Speaker 2: ed Yes, that like stupid boomer dude. That's like remember Woodstock.

1936
01:47:56,880 --> 01:47:58,760
Speaker 2: It was fucking incredible.

1937
01:47:59,120 --> 01:47:59,639
Speaker 4: You know what.

1938
01:48:00,479 --> 01:48:04,080
Speaker 1: Sometimes the past was fun. Is that a crime? I

1939
01:48:04,120 --> 01:48:04,680
Speaker 1: don't think so.

1940
01:48:04,880 --> 01:48:06,040
Speaker 2: No, it's not a crime.

1941
01:48:07,400 --> 01:48:10,839
Speaker 1: All right, see you later, Millie. All right, bye bye,

1942
01:48:11,320 --> 01:48:12,920
Speaker 1: bye bye.

1943
01:48:14,080 --> 01:48:17,280
Speaker 2: This has been an exactly right production hosted by me

1944
01:48:17,680 --> 01:48:21,360
Speaker 2: Millie to Cherico and produced by my co host Casey O'Brien.

1945
01:48:21,560 --> 01:48:25,360
Speaker 1: This episode was mixed by Tom Bryfogel. Our associate producer

1946
01:48:25,400 --> 01:48:28,720
Speaker 1: is Christina Chamberlain, our guest booker is Patrick Cottner, and

1947
01:48:28,800 --> 01:48:30,679
Speaker 1: our artwork is by Vanessa Lilac.

1948
01:48:30,840 --> 01:48:33,760
Speaker 2: Our incredible theme music is by the best band in

1949
01:48:33,760 --> 01:48:35,680
Speaker 2: the entire world, The Softies.

1950
01:48:35,920 --> 01:48:39,840
Speaker 1: Thank you to our executive producers Karen Kilgareff, Georgia hart Stark,

1951
01:48:40,000 --> 01:48:42,880
Speaker 1: Daniel Kramer and Milli. To Jericho, we love you.

1952
01:48:42,960 --> 01:48:46,160
Speaker 3: Goodbye Beker