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I loves me some Wes Anderson. This one is one of my favorites. What 70s kid didn't, at some point, want to be a marine biologist because of Jacque Cousteau? Or Pele. Or Evel Knievel? I know I wanted to and emulated all three. This is one I didn't need to go rewatch, as it's one I watch often. As usual, you've covered all the good stuff. Thanks, fellas, for another good breakdown. Rushmore is my favorite though, if not only for its epic soundtrack, but its sort of timelessness. Like it could exist in a few decades pretty easily.
Thanks, Marc! Now I want to see a fake biopic about a daredevil/soccer star/marine biologist who works undercover for the government during the '70s! Yes, Rushmore is amazing. The use of music is legendary. I remember seeing it (I was in LA at the time, and viewed it a month before its official release), and I could not believe what I was hearing. The uses of The Creation, Cat Stevens and especially The Who's A Quick One (which I thought only my friend and I would would jam on it even remembered) was pitch perfect.
Hey Fellas! I applaud what you are doing. Loved the Mad Maxx episodes and also efforts in trying to make sense of Steely Dan lyrics. I worked in the story department on Nightmare Before Christmas. Needless to say it was a dream job. Henry and some of us had problems with the areas you mentioned. Particularly Oogie Boogie's motivations and the lack of some kind of wrap-up with Jack and Santa's relationship. We actually storyboarded some alternative endings. During one of the few visits Tim Burton made to the SF studio where the film was being shot, the alternate endings were screened for him in the editing room. One included Dr. Finklestein operating Oogie Boogie like Ripley operating a load-lifter in Aliens. So instead of bugs inside Oogie it was the Dr. pulling levers and pulleys seated inside the burlap shell. Shocked at the attempt to answer these story questions, Burton stormed out of the editing room in a fury and kicked a hole in the studio wall plasterboard with his steel-toe boots. As you might imagine the alt endings were never mentioned to him again. If you ever want to do interviews ..... I'm game!
What a great story, Michael! Thanks for giving us such juicy details on one of our favorite holiday films. On a separate note, we really appreciate the kind words. As a fairly young podcast, getting such positive feedback from an industry vet is very satisfying. We would love to take you up on your offer to be on a future episode, and will definitely be in touch soon! Thanks again, and take care!
i was a young teen when I saw Sparks on Don Kirshner.......Kimono to Big Beat I thought was arguably one of the best run of 4 albums ever......not gonna lie....Introducing upset me immensely and I don't think I ever recovered fully..... I bought all these later albums but felt something was missing......the rock feel had changed......great job on this video...
I was 9 when it came out, but dont think i saw it for a couple years. That was the only time I saw it until I saw it was this week's topic, so watched it yesterday. It was much better than I'd imagined it would be. Given the schlockfest it inspired (looking at you "Piranha!") It was only two years after American Graffiti, but Dreyfus looks ten years older. I really enjoyed it a lot. Dave's comment bout watching movies more closely hit home, as since following PCG I've really put more effort into the smaller scenes and details. It really does make it a better experience. No real thoughts other than the three main characters were great, the shark was more effective when shown than I imagined, and thanks again for a great video.
Thanks a lot, Marc! So funny about Dreyfuss. I remember being a kid and without putting it into words, just assuming the bearded Dreyfuss was "middle aged," whatever that means. Looking back, it's so funny that he was only in his twenties. It was definitely a different time, and people were just older in many ways. I totally forgot to mention Piranha! So much fun, as only a Corman film can be, and written by a young John Sayles. So happy you enjoyed the re-watch!
@@PopCultureGraveyard BTW, Hollis, I have that Minutemen logo on my water bottle. My GF lives in "Peedro," and I've been reading a book lately called "A Wailing of a Town" an oral history of early San Pedro punk rock. It's largely about the Minutemen, but there are others as well. Pretty esoteric overall, but it's interesting hearing it from the locals.
My grandfather used to sing a song with those lyrics when we were in his pool. "I love to go swimming with bow-legged women and dive between their knees...."
Thanks, Eric! Love their foray into gospel. If that track accidentally wound up on the cutting room floor, my apologies. It was hard to keep track of all the tracks on this glorious beast of an album!
Great presentation, Mr. Hollis. You and other Love fans may be aware of the Johnny Echols/Rick Rubin interview (starting at 7:30 of the following clip: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-BycdGjVjtLU.html
I've been a dance DJ since 1980 and Freedom of Choice album was the very first record I've ever bought when it was released. I was a freshman in high school at the time so the purchase was a pretty big deal to me. My cholo buddy urged me to buy Prince's Dirty Mind album instead so he could copy it on cassette. NO! D. E. V. O.
""the same 10 to 20 rock songs" is unfair. I listened to those stations as well as WLIR/WDRE in the 1980s. In the 70s I had no record player or FM radio, just the AM top 40 stations feeding me crap like Muskrat Love. In 1980 I finally got an AM/FM cassette boom box and had to catch up with the history of good rock music on all the FM I could find, before those stations changed formats to pop or overexposed classic rock.
I am not at all surprised you guys got around to this flick. I saw it on Netflix a few years back and loved it. Offerman and Tweedy are personal friends, there's even an Offerman book where they went backpacking with George Saunders.
Whoah! I'll have to check out that book. I wonder if Tweedy and Offerman met on this film or if they're longstanding friends. I could believe they are, given how long each has been successful in "showbiz." Hopefully Dave and I will eventually get to everything cool, and I love that you beat us to the punch on this flick!
@@PopCultureGraveyard I'm not positive, but I believe they met when Tweedy did an episode of Park's n Rec, as a local music legend. Same episode Yo La Tengo as "Bobby Night Ranger" playing only "Sister Christian" over and over, while dressed as Bobby Knight. Haha
One line that has gone from a chuckle moment to near parody, is when Fallon's character asks Stillwater "You think Jagger is going to still be doing this when he's 50?"
Oof. Fellas, this one is so down my alley, if I start a comment I'll be going on forever. So, great job. I will say the only other movie I can remember a Zep song is Fast Times, which Crowe wrote about a local San Diego high school.
Great memory! Yes, Kashmir to be exact, and it's used beautifully on Rat and Stacy's date. So it's clear that Cameron Crowe has Jimmy Page on speed dial. Crazy. A little inside baseball... Back when I was living in Los Angeles for a year while the movie was being shot, my friend was in an acting class with a girl who was trying out for the film, and she had to learn the lyrics to the song Tangerine. So I although they used the song well in the film, I think it was originally conceived as a singalong on the bus, the way that Tiny Dancer was used. I don't know if they both were supposed to be sung by the characters and Tangerine got cut or if Tiny Dancer replaced it, but I can't find fault with the finished product.
@@PopCultureGraveyard funnily, Damone tells Rat to put on side 2 of Led Zep IV. Then Kashmir comes on. Haha. BTW, all the 1969 B roll was filmed in San Diego Beach towns, Mission Beach and Ocean Beach. OB, as it's known, is San Diego's famous hippie enclave. Or was. That's where William and his mom are walking while the Chipmunk's song plays. A coworker was asked to bring his 67 Impala to the Sabbath concert for background. Anyway... See? One of my favorite flicks of all time. Thanks again, Gents. PS. I love Nuggets and it's been one of the most influential disks of my life
There’s a lot of poser blokes that claim they like this band or that. You’re definitely true blue punk aficionado and I truly appreciate this in depth look into a highly underrated, brilliant punk band from the original London scene. That first record should be as lauded as Never Mind the Bollocks.
So, i am in a bar and college baseball is on. The leadoff batter in thegame steps up to 5he plate, and his name is Eli Serrano. A guy at the end of the bar yells out, "Serranos at the dish!" And looks around. Nothing. So during the next commercial, i go and grab the stool next to him and ask if there's any score in game yet. He says no. I introduce myselfand he repli3s that his name is Kevin. I wait a frew seconds and then ask Kevin? Why weren't you popular with the Chicago police department? Guy spins around and backhands me in the shoulder "Dude, you fucking got that?" I now have a new friend.
Love that story! In a world that’s all too often broken up into ugly factions, these delightfully idiosyncratic pop-culture touchstones are the true ties that bind us.
As a former employee of Thrasher Mag (1987) and loving Skateboarding in the 80's and beyond, You Hit it on the head with most of the TOP Bands! I would ADD: TSOL, D.I., and there are more but you got some of my Favs. English Band" The Damned are my Favorite by far. I'm 61 now and live in N. San Diego. Rock on!
Great additions to the list, but I had to draw the line somewhere. Hopefully this is a good starter pack for folks to get their hands dirty. Thank you for the comment! PS: I'm a big Damned fan myself and have seen them several times. So many great eras!
Saw this on a date night when it came out. I remember liking it, but when I watched your video I decided to rewatch. First thing, you could not have been more right about Elfman's score. It sounds like he was told to make it as much like a generic 80s romcom score as possible. So weird. Great cast, I was surprised at Tracey Walter's brief scene. On a personal note, I once saw Richard Foronjoy (Tony Darvo) at a Fuddruckers in Tualitin, Oregon in the 90s, and yesterday was only the 2nd time I've seen him in anything since. Looks like he just passed away a couple weeks ago. Pretty fun flick, great cast. Seems like Joey Pants was in everything back then. John Ashton, and Dennis Farina as well. Remember "Crime Story"? Thanks fellas!
That sounds like a nice date night! So happy we were able to prompt a rewatch for you. Yes, Tracey Walter is such a nice surprise here. He doesn't get to do much of his signature business, but his voice is all we need. Funnily enough your pal Foronjoy was in Repo Man with Tracey. He played the rent-a-cop. "Fuck you, Plettschner!" As I say in the episode, I loved Crime Story. I think I was about 15 when it premiered, so I was the perfect age for it! Appreciate the comment, Marc!
@@PopCultureGraveyardoh damn, you're right. I didn't recognize him out of his usual wise guy role. I love Repo Man. Best song, IMO, El Clavo y LA Cruz, the Plugz. Real banger.
Swear to God, just yesterday we were having a discussion about football and I asked my friend what he thought about Jaylen Waddle getting $76 million guaranteed and he replied "That's a...pretty respectable neighborhood. " I genuinely thought right then "Man, Hollis has got to do "Midnight Run." We always used the "Are you doing the litmus configure erastion" anytime we see each other trying to fix something or just figure something out. Joey Pants first thought will always be "Running Scared." Our Running Scared. (Maybe Eddie and the Cruisers) We play the Kevin Bacon game with Joey Pants. (And Bruno Kirby) Mannix also rolls out of moving cars more than any 45 year should. He's going to need full-time care by 60. I watched Freebie and the Bean about 100 times one summer when I was a kid. We were one of the first houses in our neighborhood to get HBO in the mid 70s, and that was on like 3 times a day
WOW! You are the ideal viewer for this episode. I'm glad that this movie is ingrained in your psyche as much as it is in ours. It was so much fun to return to this film after a long time. You can sometimes take certain films for granted once they become a collection of catch phrases and inside jokes with friends. It was a such a pleasure to find out how well this film stood up to a rewatch. "Hey, Hoppalong Cassadeech!" I love that you immediately equate Joey Pants with Running Scared. I was so into that movie as a kid--not to mention the music video with Michael McDonald and Crystal and Hines! And cancellation was the only true way to kill Mannix. Joe is probably still clinging to life in an iron lung somewhere in Peggy's basement.
@@PopCultureGraveyard we will also start saying "Oh these things go down!" when on any form of public transport. Had to become much less verbose on airplanes. Now it's just loud enough to make another laugh and possibly feel uncomfortable. Running Scared was one of the very few movies I banged the table to get a sequel. Right up until Hines' death. BTW, Dan Hedaya, awesome as always. Best 80s captain? "I do not know." (Not dont) "You are the detectives. Go, and detect." And "What are you going to do, buy a bar?"
As a huge Martin Gore fan the only Depeche Mode album.I've ever heard that I didn't like was speak and spell. Some Great Reward my Fav, 2nd Black Celebration or Mftm. Exciter is criminally underrated.
Not sure if it's true but I heard Ricky wrote the song.Give me back, my man. Based upon a childhood experience with cindy when he stole her doll and she screamed to give back by man and she'd give him anything for it.
Cheers & Kudos to Pop Culture Graveyard for a superb overview of a great & rare gem in the rock pantheon. My hunch has always been that the general Clash production approach for Sandinista was a consequence of their having been produced, in succession, by Sandy Pearlman & Guy Stephens. Talk about extremes.The Clash had experienced American AOR production with mucho "guitars-per-square inch" overdubs & repeated takes (which became too monotonous for Paul Simenon, who was also disappointed that Pearlman didn't "get" reggae), followed by an anarchic drunken madness so shambolic that the band had to lie to Guy Stevens, telling them they were taking a couple of days off, so they could concentrate on recording overdubs without the mad ranting inebriated producer staggering about, yelling & spraying spittle in everyone's face, wrestling Bill Price away from the mixing desk & pushing all the faders full up, etc etc. As evidenced by their Cost of Living EP, The Clash were especially good at producing themselves. Sandinista's main sensibility is a combination of New York's downtown psyche & nascent rap culture, combined with a heavy reggae dub stoner aesthetic (when in or out of doubt: more reverb, more echo, more track drop-outs, more bass, more farting synthesizer, more fader-playing, more tape hiss with reverb on it, more tape splicing, more Red Stripe, & keep skinning those spiffs, Mon!) previously set into motion, now reaching critical mass. The Guy Stevens production aesthetic inspired The Clash to endeavor several musical directions over the making of London Calling, and this escalated on the Sandinista sessions. The critical accusations of self-indulgence that befell Sandinista upon its release were a misunderstanding, if not total uncomprehending of, the heavy reggae dub stoner aesthetic (stick those short-sighted and oblivious critics in the spliff bunker for a two month recording session & then see what their perspective might be!). "Mensforth Hill" is an obvious example of The Clash having a great laugh in delivering what the average rock listener would expect from groups that release three LP albums--some backwards psychedelic bollocks! Where did the "psychedelic sound" begin? With The Beatles, et al, recording sound sources backwards. (PIL's "Fodderstompf" recorded off the cuff at the 11th hour, to fill out their First Edition album, may also have been an inspiration for this track). "Somebody Got Murdered" arose from director (The French Connection, The Exorcist, Sorcerer) William Friedkin asking The Clash to contribute a song to his film "Cruising." The band delivered, but Friedkin never followed up. One ingredient that makes "Corner Soul" especially haunting and stunning is Ellen Foley's backing vocal, sounding like it was sent thru a tremolo effect, or a Leslie rotating speaker. Her utterly compelling voice closes out the track. The "screeching" sound during the fade-out/fade-in on "Up In Heaven" is from a field recording The Clash made on a NYC subway train. Big kudos to Pop Culture Graveyard for pointing out the Phil Ochs reference & the meaning of "Alianza dollars", utterly lost on fans and critics in 1980. (Clash lyrics played a significant role in my ongoing liberal education. At age 14, listening to "Washington Bullets", a pal said, "Hey, this song is a Noam Chomsky primer on US foreign policy." I said, "Who's Noam Chomsky?" Within the hour I was putting the squint on Manufacturing Consent--and one book opens another. Thanks, Joe!) I was appalled to read a Clash biographer dismissing "The Crooked Beat" as "a bore." Did he get dropped on his head when he was a baby? What is the effect used on Topper's snare? Could it be an Eventide harmonizer? One big challenge for a composer is in writing a melody that is very simple yet very substantial. "The Crooked Beat" bass line meets the requirements (as does "Up In Heaven's" melodic line). Brian Eno pointed out that untrained musicians will often come up with great contributions that schooled musicians wouldn't happen upon. Paul's "Guns of Brixton" & "Crooked Beat" bass bits are very simple, they're right there quite easily under the fingers--close-interval melodies--yet Paul found them, no one else did, and they hold up with all the other classic riffs in the rock pantheon. I always have a laugh, listening to Paul's vocal, since hearing Mick describe it as "a Jamaican Marlene Dietrich"! (Paul once described Mick's guitar synthesizer as "the Dalek's hand bag"!) When Martin Scorsese first conceived of "Gangs of New York", he saw The Clash acting in it. During the Sandinista sessions, Scorsese invited The Clash to do a cameo in King of Comedy as a bunch of louts menacing Sandra Bernhard on the sidewalk. In the finished film, you barely get a glimpse of Gabby Salter and Kosmo Vinyl. Scorsese had taken the band to the bar where he'd filmed de Niro as the overweight Jake LaMotta being heckled on stage, in Raging Bull. One afternoon, the band visited Scorsese at his penthouse apartment. As they popped a cassette into his formidable sound system, the sky turned black, & a huge lighting storm erupted around them. The song blasting out of the massive speakers? "Lose This Skin". Sandinista is an intentional mixed bag that never dates from its period, only gets better with time, remaining timelessly fresh & exciting. In appreciating The Clash, one must understand their humor, which may require Americans to become reasonably viable Anglophiles. Back in the day, Gary Lucas at CBS came up with a Clash publicity tag line, "The only band that matters." That can easily be amended to 2024 terms: One of the few bands that continues to matter! CHEERS.
I love everything by this group, including "Revelation", a perfectly structured and moody jam. The effect of the beginning of the saxophone solo and the change of the rhythm section is simply impressive, delirious. Neither Brian nor Arthur liked this brilliant experiment, but well, Arthur came to believe in the seventies that Forever Changes was not a great record...
Believe me, I want to enjoy Revelation. When it opens with the harpsichord, it sounds like it's gonna go somewhere I love. But then I feel it devolves musically, and especially vocally. But I keep listening to it every year, hoping it will grow on me. And I won't give up on it. I only wish some other (more inspired?) studio takes of Revelation had turned up in the years since. Thanks for the comment.
I own the Babylon blu-ray! Such a fantastic film, very cool. And Brinsley Forde turns in a wonderful performance. I see Babylon as the badass son of The Harder They Come. It couldn't exist without the previous model, but it's got a lot more horsepower under the hood. It's very modern and holds up well today. Thanks for the comment!
@@PopCultureGraveyardand thanks for your perspective! Brinsley Forde is indeed awesome. There’s a scene where they’re restraining Beefy, and Brins pounds his fist against the brick wall-literally and figuratively. It’s a riveting scene because you feel the pain in his fist in proportion to his frustration.
Haha! Yeah, you've pretty much gotta be wearing a sweatshirt that says SENIORS on for that line to land well. Even then it's a bit of a crapshoot. But the ones that "get it" will be friends worth making. Parker is SO underrated--in everything!
Affleck was so good at being the prick bully, I have never liked him since. And it's all based on this movie. Haha. Great flick. Watched it many times, the cast was great. Thanks, fellas.
Absolutely! Everything Affleck has accomplished is even more impressive given how well he stamped himself as an unlikable bully in this film. So glad you enjoyed it, Marc!
I saw them in a packed arena in Berlin Germany in the late 80s and saw them in a packed club in DC when I came back in 91. At least they were getting the love they deserved somewhere in the world.
The live performance at Glastonbury is totally off the scale. Even better than the original studio record. In an interview, Arthur said he gave up everything to make that happen. No booze, no nothing. He knew this was his swan song, and nothing was going to mess it up.
I've been watching that Glastonbury concert about once a month for years. I agree the performances are really stirring and capture the magic of the compositions in many ways studio versions cannot. I had the pleasure of seeing Arthur during that version of Love perform twice in small clubs. Outrageously great. You're so right. He gave himself such a wonderful send off for us all to remember him by.
The rise of punk rock coincided with my teenage years. So obnoxious was the 'music' that it convinced me whatever they were for I was against. I've been vindicated in my conformism, seeing middle aged men pogoing. A more undignified sight would be difficult to behold.
I really appreciated this. I agree with the statements about The day my baby gave me a surprise (personal favorite) and Are you experienced. I’m curious why you didn’t talk about their latest releases. I agree that they made a big mistake losing Alan but if that didn’t happen Mark may have not gone on to do film scores
Loved this film and listening to other people besides just my friends and I talk about it. Then again, we are all huge Albert Brooks fans. Since before we even met. Couldn't even venture a guess how many times one of us has had "I misjudged you. I'm not perfect. Buy the box; you'll like it." Or "What are you going to do, run broke? said to us. For instance, if we were having this conversation and I said to you that I really liked that "Albert Brooks: Defending My Life" thing with Rob Reiner, you would say; "I misjudged you. I'm not perfect. Buy the box..."
Haha! I'm going on record as saying that Albert's jogging-gear exchange with his brother SuperDave is the greatest moment in any of his films. It totally sums up what's great about his performances: He's never afraid to let other people shine, and is comfortable making himself the but of jokes. All I can say is that you've got some cool friends!
What a fantastic presentation. I truly enjoyed it. I agree with you a 100% in all aspect of this episode. Richard Butler just continues to fly under the radar. We just saw the Psychedelic Furs play the House of Blues in Las Vegas last week. It was indescribable how amazing the band sounded, and how incredible he held the notes all night. Love them.
