Celebrating the 50th anniversary of Jaws, released on June 20, 1975, we explore how Steven Spielberg's groundbreaking thriller forever changed Hollywood and made generations afraid to enter the water. This masterpiece demonstrates how technical limitations with the mechanical sharks led to creative brilliance, with the film relying on suggestion rather than explicit visuals.
• John Williams' iconic two-note theme has become universally recognized as the sound of approaching danger
• Movie composers like Williams create modern symphonies for film that stand alongside classical masterpieces
• 1970s disaster films like The Poseidon Adventure and The Towering Inferno capitalized on audience fears
• The Jaws poster showing a shark approaching from below extended the film's psychological impact
• Los Angeles declared today "Cheech Marin Day" to honor the comedian's contributions to Chicano art and culture
• Comedy duos like Cheech and Chong created unique chemistry that elevated counterculture humor
Join us tonight as Ken Dogg reviews new releases including "28 Years Later," Pixar's latest film, and the live-action adaptation of "How to Train Your Dragon."
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:16):
yeah, welcome, welcome, man.
I'm feeling good today forPat's peeps 286.
How can I be the man?
Will you be the man?
Hey, yesterday, on 285 withMark Farner, I had a good time.
What a good dude.
Founder of Grand Funk Railroad.
(00:38):
I'm looking out my studio windowon this Friday, 20th day of
June 2025, and I'm telling youit's just the best weather I can
ever possibly remember inCalifornia this time of year.
You know, this time of year,heck, at the end of June.
You know you're talking about105, you know, creeping up there
, it's what is it?
(00:58):
80 degrees today with abeautiful, cool breeze.
Wow, it is.
It's absolutely awesome.
So, thank you.
Here's the other super excitingthing.
Oh, man, in the next I don'tknow, let's say, month, you're
going to hear about some very,very exciting things about Pat's
Peeps.
It's going to get way, waybigger in a lot of different
(01:19):
facets, from our businesses tothis podcast and a lot more,
some appearances that we'remaking and we're just setting
the dates right now that we'rewe're going to be telling you
all about that.
I'm extremely excited aboutthat, um, and you know, as I'm
sitting here getting ready to do, uh, pat, listen to the train
(01:39):
in the background.
Can you hear that train?
Or is it just me?
You can hear back there, withmy beautiful french doors from
southgate glass in sacramento.
Support local business.
Can you hear that train?
Or is it just me?
You can hear it back there Tomy beautiful French doors from
Southgate Glass in Sacramento.
Support local business.
Can you hear that?
That sounds so nice.
I'm sitting here getting readyto do my show, my podcast, today
.
By the way, I'm also the hostof the Pat Wall Show on KMPK
(02:00):
News Radio at 93.1 FM, 1530 AMin Sacramento, on all your
streaming platforms, including,of course, your iHeart platform.
And as I'm preparing for myshow and I've got this whole
little idea, every day I've gotan idea.
And just as I'm getting readyto start, you know I always put
(02:20):
my phone on.
Oh, I didn't do that this time,I need to do that.
But I usually put my phone on.
Oh, I didn't do that this timeI need to do that.
But I usually put my phone ondo not disturb, because you know
I get a lot of phone calls andmessages and things and I just
don't want to be disturbed asI'm doing my podcast.
So, just prior to doing that,it's all in the timing those of
you who listen to my radio show.
I'm trying to keep my cigargoing.
(02:42):
Yes, I have a cigar First.
I'm trying to keep my cigargoing.
Yes, I have a cigar first timein a week.
By the way, those of youlistening to my radio show know
that on Friday nights, includingtonight, ken Dogg Jackman, my
buddy, are the, in my opinion,and you look around for yourself
and you tell me, the best moviecritic and reviewer in the
business today.
Tv radio national, local, ofcourse.
(03:04):
Ken Dogg is national by virtueof our podcasts, and this
podcast and even more.
He's the best at what he does.
He's the encyclopedia of movies.
Is that enough for you, kenDogg, for an intro?
That's way too much, thank you.
If you need more, I've got moretoo.
Speaker 3 (03:24):
Come on, Keep it coming.
Speaker 1 (03:26):
Ladies and gentlemen, let me introduce to you, for
those of you who may not know,there he is Ken Dog.
Ken Dog, da-da-da-da-da, he isKen Dog.
There he is.
Ladies and gentlemen.
That good for you.
Speaker 3 (03:43):
I love it.
That'll work, that'll work.
Speaker 1 (03:47):
Biggest Star Wars fan in the world, man.
So Ken dog, yeah, pretty much.
Yeah, you are, man.
So good to talk to you, asalways, how are?
Speaker 3 (03:55):
you, yeah, yeah, I'm doing good, you know.
I mean coming back from acouple weeks vacation,
celebrated a 27th weddinganniversary with the wonderful
Mrs.
It's been nice, kind of a nicerecharge, but I'm looking
forward to getting back to ittonight 27th year anniversary.
Speaker 1 (04:13):
I was there at your wedding.
Remember that you were.
Speaker 3 (04:16):
That's right.
That's right.
You were invited and standingup in the tall trees with some
of our shorter guests.
There's that guy.
Don't throw the garter to himor, if you do, go low.
Speaker 1 (04:28):
Go low.
It was a beautiful sunnyafternoon.
I remember that very, very welllike it was yesterday, right.
Speaker 3 (04:36):
Yeah, it was a park in Orangevale.
Yeah, it was really nice.
Congratulations to you andSherry.
Thank you.
Speaker 1 (04:42):
Thank you, yes, yes, wonderful couple to you and
thank you, thank you, yes, yes,wonderful couple.
So I'm not going to tell youwhat I was working on, ken.
I had a whole theme going and Ithink I'm going to bring this
back up, both of these thingsactually up on the show tonight,
um, and so, okay, ken willusually call me, uh, on a
usually on a thursday morning.
I missed a call yesterdaybecause I was doing the podcast
again, I had my phone on, do notdisturb.
And today he called me back,which I'm glad you did, and I'm
(05:06):
working on a theme and you callme and Ken says, among other
things, he says do you know whattoday is the anniversary of?
And what is the anniversary?
It's the 50th.
Did you say, yes, 50, big 50.
I just can't even believe.
You said that.
I wanted to make sure toclarify that and confirm that's
what you actually said, oh myGod, 50 years ago.
(05:28):
So this movie comes out of myeyes.
Speaker 3 (05:31):
I said what happened 50 years ago and you told me
yeah, I told you, it's therelease of Jaws Wow, steven
Spielberg's blockbustermasterpiece, the one that
vaulted him into thestratosphere, the one that made
people afraid to go into thewater and the one that
successfully launched a slew ofrapidly declining in quality
(05:52):
sequels.
But the first one is still oneof the greatest movies ever made
because of the way it wasfilmed.
Because of the way it wasfilmed and the history behind
that is very interesting,because originally, all of the
innovations, the music, thepoint of view, were all because
(06:16):
the three mechanical sharksnicknamed Bruce, wouldn't work
in saltwater for more than fiveminutes at a time.
Yeah, they test them in a tank,but it was a freshwater tank.
In Hollywood, they brought themout to Martha's Vineyard, they
put them in the ocean.
It's like, okay, the shark isnot working, and so they
basically Spielberg, carlGottlieb, I think an uncredited
(06:37):
John Milius and even Robert Shaw, who played Quint, had their
hands at retooling thescreenplay on the fly to make it
a, the film that you see today,uh, where you very rarely see
the shark, uh, but his presenceis everywhere.
Uh, you know what I mean?
The first shark attack.
Speaker 1 (07:00):
You don't see the show that that often.
Speaker 3 (07:03):
And, to be quite honest with you, that's kind of
the reason why shark attacks areso scary.
No sound, it's the unknown asmuch as it is the teeth.
You don't know where they'recoming from.
They can sneak up on you inabsolute silence.
They don't roar like they do inJaws 4.
Jaws for, but it's that firstshark attack on chrissy watkins
(07:30):
uh, in the opening moments ofthe original jaws is still one
of the most terrifying animalattacks.
On film she sells it.
They put a rig on her yes andshe's getting whipped around and
you get a, you get a, you getan impression, a demonstration
of massive size and powerwithout seeing a single tooth,
and then she's gone.
Yeah, right, yeah, you know, Iwould say this.
Speaker 1 (07:53):
I would add this to the mix.
I don't mean to interrupt, butI would add this.
No, not at all.
Just thinking this through andI think this had a lot to do
with people's, because youmentioned it earlier made people
afraid to go into the water atthe beach sometimes or the ocean
.
Speaker 2 (08:09):
That was a big thing.
Speaker 1 (08:12):
And you say that the shark wasn't in the movie or the
shark didn't make theappearance.
That often correct.
Is that what you said?
Speaker 3 (08:19):
Yeah, the actual physical shark you don't see
very often.
He appears a lot more towardthe end.
Speaker 1 (08:24):
What do you mean by the actual physical shark don't
see very often.
He appears a lot more towardthe end.
Speaker 3 (08:26):
What do you mean by the actual physical shark?
What do you mean by that?
Well, you, actually you feelhim.
So you'll see a dorsal finevery once in a while.
Every once in a while you'llsee the head right, um, but, but
like when, when, when thelittle boys uh munched, uh,
billy kittner.
You see, all you see is fromthe sharks.
Yeah, much Short of short of apoint of view.
(08:49):
It's all POV of the shark as hecomes up and bang and there's a
fan and that's it.
And it couldn't be some dudewith a cardboard fin doing that.
It still looks good becausethey, they, they had to and
because of that, a lot of thatstuff, it seems like when you
walk out of that film you thinkyou've seen the most disgusting
violent movie you've ever seen.
(09:09):
Like, oh my god, just likepeople oh my god.
Yeah, very much so.
But you know what that moviewas originally.
What is rated pg?
Because, like psycho, most ofthe violence is in your head.
That's a good point.
The blanks that's a good point.
They use the imagination tofill in the blanks and get away
(09:30):
with just enough violence.
You know a leg here, bloodspurting there, you know that
kind of stuff.
Yeah to to give you enough sothat your imagination, that's
that, that's the emotional rebarfor your imagination.
You build your building ofterror around it.
And that's another one of thethings about the movie.
Speaker 1 (09:48):
I would suggest there's another element that
added to that that never, evergets talked about, and I would
suggest that the shark itself,as you say, the, the, the
physical, the, the, the, theimage of the shark, the image of
the teeth, and all of thatdoesn't get shown that often.
(10:11):
But I would also suggest thatit did.
It, did, it got shown a lot andI would suggest again that this
is part of the reason thatpeople were afraid to go in the
water.
What happens when you go up tothe movie theater?
When you go up to a movietheater, what do you see?
Oh, of course, posters.
You see a poster.
(10:32):
If you look at the Jaws posterto this day, it is a very famous
poster for the movie.
The cover is like the DVD orwhatever you want to say.
The poster for the movie.
The cover is, you know, likethe DVD or whatever you want to
say.
The poster for the movie whichcame out shows the shark's head
with enormous teeth and thisbeautiful woman swimming
(10:53):
directly above the shark who waslooking directly at her.
As you say to you know, munch.
And that right there in itselfmakes you and it made me feel
like these things are lurkingright under the water and and
let's talk for a minute too, butI don't want to get too bogged
down in this, but I love this,this.
(11:13):
So, um, there's an.
Let's talk about the way thatjaws, pardon me, influenced pop
culture, because I want to tellyou one way that I think that
Jaws influenced pop culture sosince 19,.
(11:34):
When it came out 75.
So what date?
75, yeah, what date?
And what was the date?
It was today, so June 20, 1975.
Date that it was today, it's so, yeah, june 20, 1975.
Okay, so since june, 20th 1975people will always remember this
(11:57):
.
Oh yeah, if you went back toname that tune and I said I
could name this tune in one note, almost certainly two.
Speaker 3 (12:09):
You know what that is listening to that exactly, and
that is also one of the reasonswhy it John Williams score, and
this was two years before StarWars.
Right, he and Spielberg gottogether and put this theme
together so that every time theshark was around, they'd play a
(12:32):
variation of that.
So another sense is telling yousomething's wrong without even
seeing the shark, right?
So everything's on the beach,right, everything's on the beach
, like, for example, on thebeach.
Right, everything's on thebeach, like, for example, on the
beach when Billy Kittner getseaten up.
Exactly, a lot of it has to dowith the fact.
So the dog disappears, right,you know, pippin disappears and
(12:56):
then the music starts and you'relike, oh, son of a.
Speaker 2 (12:59):
It's coming.
Speaker 3 (13:00):
You don't know where it is, but it's coming.
Speaker 1 (13:03):
That's right.
There's the sense of it comingright there.
Listen to that beautiful music.
Let's talk about something realquick because, as you build up
that suspense, let's talk aboutthis for a second.
We were talking on my show theother night, ken Dogg, you were
listening about great composers.
It was Paulccartney's 83rdbirthday and I I brought up, I
(13:25):
thought, that he is.
He has to be considered andwill be remembered as, along
with others that I had on mylist, as some of the greatest
composers of all time bach,beethoven, henry mancini, bird,
baccarat and your maracon um,you know, your guy came up as
well.
Well, john Williams came up andyou mentioned to me that you
(13:45):
were listening to the radio whenwe were doing that.
Uh, and tell us what you weresaying, because I totally agree
with what you were saying aboutJohn Williams and some of this
movie music that we hear.
Speaker 3 (13:58):
Okay.
So I had an interestingepiphany because when I was
listening you had a caller whenyou were talking about Paul
McCartney and you said you knowgreatest composers of all time.
I automatically went to modern,like you know songwriters and,
and you know rock and roll andthings of that nature.
But you had a caller whostarted bringing up guys like
Mozart, bach, you know Beethoven, those guys, and at first I'm
(14:21):
all like maybe he's missing themark.
But I later found out no,that's exactly, it was on your
list.
And then I thought about it, Ihad the epiphany and when we
mentioned folks like JohnWilliams, back in the days of
Bach and those classical, theywrote symphonies to be heard in
the theater or they wrote musicfor opera which is on stage.
(14:42):
Today's composers do avariation on the same thing,
only they're writing for movies.
They're symphonies, if you will, but they're for movies.
And let's not forget television.
But you know, on the if you'rethinking big and grandiose mike
post going into tv.
Speaker 1 (15:02):
Mike post is one of my favorites, exactly terms of
what he writes.
Speaker 3 (15:04):
Exactly, exactly, ramon Giuotti.
He did all the music for Gameof Thrones and House of the
Dragon.
He has a unique sound.
Speaker 1 (15:14):
We talked about Danny Elfman.
Someone brought him up on myshow last night.
Speaker 3 (15:18):
Exactly.
Another fantastic composerNightmare Before Christmas,
notwithstanding for you,composer Nightmare Before
Christmas, notwithstanding foryou, but he is a he has.
When you hear the strains ofsome of these composers, you
know exactly who it is if you'veseen enough film.
So John Williams has a style,the late great Jerry Goldsmith
(15:41):
has a style, the late greatJames Horner has a style, and so
on and so forth.
Ennio Mor Goldsmith has a style, the late great James Horner
has a style, and so on and soforth.
Ennio Morricone has a style,right.
So they put that music togetherto film and it has a double
effect, right?
So you have the symphonic musicthat augments the score.
So when you're listening to saythe imperial march, you, if
(16:05):
you're a fan of star wars, evenif you're not, darth vader,
stormtroopers, whole nine yards,it's a very, it's a very
marital tune, right?
You know, uh, soldiers marching, and you know it's a bad guy
thing, all right, but you stilllisten to it marching.
And dun dun, dun, you know it'sa bad guy thing, all right, but
you still listen to it.
Yes, you still listen to itbecause it's good music.
So it works with the film andwithout and that's why you know
(16:27):
symphyses like the NutcrackerSuite.
It works well when you'rewatching the Nutcracker Suite,
but it also works well as apiece of its own music, and so I
think you're seeing that today,with composers you know, for
the film age, they put a lot ofheart and soul so that those
(16:48):
musical pieces stand alone.
But they're still the greatsymphonies of our time, just
related to a different type ofmedium.
Speaker 1 (17:00):
You know, here's, yes , there is the Star Wars theme,
but let's go back to theprevious.
Let's go back to Jaws for amoment.
I think there are momentsbecause you always hear that you
know the buildup that we play,but when you listen to that
(17:21):
theme it was very similar.
Many, many, many years ago Itook my mother to the concord
pavilion.
They had a looney tunes show atthe concord pavilion, big
screen showed looney tunes.
Uh, some of the people talkabout the animation, they talk
about the card, you know, um,just the characters, and what
they rarely talk about is themusic and the scores you're
talking about in looney tunes.
And they had a symphonyorchestra that would provide the
original music to the, to thefilms that we were watching, the
(17:44):
cartoons, so it was spectacularand very original.
But in the jaws theme, in, andin exactly what you're saying in
the symphonic realm uh, greatcomposers, you know, your bach,
your beethoven, mozart, all ofthose Listen to a little bit of
this Jaws theme in the middleand the complexity of this.
I assume that is an oboe and acello, and I could be completely
(18:45):
wrong, and classical musiciansmight have just laughed at me
again, though, but listen tothat, oh yeah, but it's
beautiful, man, it's just yeah.
Speaker 3 (18:55):
It's slowly layering from two notes and then moving
on and you hear those horns inthere.
He incorporates that indifferent times or different
portions of the film where theydon't have the underlying
da-da-da-da-da, they don't havethat.
So what it does is it kind ofmoves the emotion along.
(19:18):
What it does is it kind ofmoves the emotion along.
So the two-chord is in thisparticular piece, which is the
Jaws theme, goes all the waythrough just a little bit, just
a little bit, and then when itwants to raise the tension it
comes to the forefront, Whereasthey're doing a lot of other
stuff.
Like I don't know if younoticed early on in that theme,
(19:40):
you know they actually use thelower keys chords on the piano.
That done and done it done yes,you know, and it it again adds
to the holy crap.
Speaker 1 (19:50):
If you're watching the movie, the lower piano keys
are always like the key to thescary movies.
That's when they use those,those keys.
So all right, so we'll talkabout that tonight on the show.
So we'll talk about jaws.
It got me to thinking, you knowlike what other?
You know how did I think?
Maybe you suggested that, how?
What other movies becausethere's not really a lot of them
(20:11):
that really influence popculture star wars did, um, jaws
did.
And one more thing I did want tomention before we get off of
that and tell you what I wasalready working on to get your
take on that.
Um, okay, at that same time,ken dog, jackman, dogs movie
house please check out dogsmovie house.
Please, if you listen to mypodcast, check out what ken dog
(20:34):
does on dogs movie housecom.
At that very same time, we'retalking about the early to
mid-70s and I think, playing offand I'm not sure which one was
first, quite honestly, it mayhave been another one, maybe it
wasn't Jaws, maybe it was Jaws,you can tell me, but, pardon me,
hollywood was really playingoff of our fears to create a big
(20:57):
box office.
Two other examples the toweringinferno, the other, the
poseidon adventure ever since Isaw with gene hackman, ernest
borg, nine shelly winters, redbuttons that whole group.
Since I saw that movie, there'sgot to be a morning after boy uh
I don't even want to go on acruise ship not only do I get
(21:21):
seasick but I don't want to go,thanks in part to the poseidon
adventure and then again thetowering inferno.
Speaker 3 (21:27):
Pretty scary stuff at that time yeah, well, and erwin
allen, uh, was the producer onall those films.
It was one of those.
It was one of those areas orsub-genres, if you will.
That is really a product of the70s.
How many airport or airplane?
Speaker 1 (21:45):
movies did they have Airport.
Another one, yeah, airport.
I forgot about that.
Speaker 3 (21:49):
But they had airport, airport 74, airport 75, airport
76 with the Concorde, and poorGeorge Kennedy always seemed to
be stranded on that sucker, youknow that's funny.
You know, and one of the thingsthat they were learning is they
were learning how to morerealistically create practical
(22:10):
effects.
Simplistic terms, they werelearning how to blow stuff up
more realistically.
The guys like Erwin Allen saidwe can make a spectacle out of
this where it doesn't look likea toy boat.
You know, in a bathtub, right,you know, and we're splashing
around.
No, it's the Titanic.
No, no, no, they have.
You know, the pyrotechnics werebetter, the model builders are
(22:31):
better, the cameras are betterat framing it so that you could,
so that you get a sense ofscale, even if it's not, if it's
small, it still looks big, andso I think a lot of that.
It's a copycat league, as theysay in sports.
Speaker 1 (22:50):
Once, they get something good they're going to
run that sucker into the ground,go ahead.
Speaker 3 (22:54):
Sorry, yeah, but I think that's a lot of what
happened with the disaster stuff, right, because it was like, oh
God, poseidon Adventure.
Wow, people went to it indroves.
Yes, what else can we sink?
What else can we blow up?
I don't even know if they weregoing.
I don't even know if they weregoing so far as to pursue, you
know, psychologicalunderpinnings of fright.
In regular situations somebodymay have, but I bet they were
(23:14):
just going.
What can we blow?
Earthquake, right, right, whatcan we do?
Earthquake, another one,earthquake an airport.
Speaker 1 (23:23):
I forgot man you have such an encyclopedic memory for
that stuff.
Speaker 3 (23:28):
But they thanks, but they were all in the same vein,
right?
They were people with personalproblems.
People with personal problemsjump aboard or whatever you know
boat was george kenn Kennedy inthe earthquake too.
Speaker 1 (23:40):
Was he stranded because of the earthquake?
Speaker 3 (23:42):
I'll be honest with you.
I don't know.
I think that was Heston.
Speaker 1 (23:44):
I'm not 100% sure, but he was.
I'm just running with it.
Speaker 3 (23:46):
Yeah, I know, I know, I know, I know.
Speaker 1 (23:51):
I know.
So every time you say IrwinAllen, you know what I think of.
Wasn't erwin allen?
Wasn't he the uh guy that, that, uh, that did the voyage to the
bottom of the sea?
Wasn't?
that erwin allen yeah, I was akid when that was on tv.
That was, you had richardbaseheart, he had three networks
(24:12):
and uh man, you looked forwardto this show and they had this
periscope and the thing thatused to crack me up, because
you're talking about this how itdidn't look like a toy boat,
you know, in the bathtub.
I remember on Voyage to theBottom of the Sea maybe it's
just my memory playing tricks,but this is how I remember it
(24:35):
Like something would behappening, like some oh no, oh
no.
And then the next thing youknow, they'd have to look out
the periscope.
There'd be two or three of themlooking out the periscopes and
they'd all have to, and then theship would get hit like with a
big octopus or something wraparound the submarine.
And then the next thing, youknow, they'd all have to do that
thing.
Where they have to, they haveto kind of move back and forth
(24:57):
like the ship is being right youknow, I mean, they have to tilt
back and forth in sequence asit became later known the star
trek shuffle.
Speaker 3 (25:04):
We've been hit.
Everybody moved to the left.
We've been here from the otherside, everybody moved to the
right.
Some ambitious stuntman getsout of line and goes over the
railing.
It's like, yeah, you're fired,you're too, you were just
supposed to shuffle.
So yeah, and again, you knowthey didn't.
They couldn't afford gimbals.
That's acting right there, tobe honest with you.
It's like, okay, we're going totilt the camera and everybody
(25:27):
and we'll add the sound effectslater Tell everyone what a
gimbal is Okay.
So a gimbal is basically a youhave a set.
Say, basically you have a set.
Say you have the Enterprise,okay, nowadays.
And what it would be?
It would be on some sort ofhydraulic kind of hoist dealy on
the bottom.
It would be on the floor and itcould twist and turn, so the
(25:55):
people would literally have totry and hold their balance.
Yeah, right.
And so they would know which wayto go.
And as filmmaking got moreadvanced, they, they do that all
the time.
But I would imagine 67 with alow budget, because these guys
weren't giving being givenmillions of dollars to do their
thing.
Hell, I didn't even know it wasgoing to last a season, right.
And they're just like, okay, uh, everybody go this way.
And and the director's like,turn the camera that way.
(26:17):
Okay, good, turn the camerathat way.
Okay, good, turn the camerathat way.
And then in post they add thesound effects of the.
You know, whatever it ishitting the hole and it actually
, I mean, you can laugh at it,but if you're involved in the
story, it doesn't look that bad.
You know, it's a way ofcreating atmosphere on the cheap
.
It's only later, after you seeit like a million times, like we
(26:40):
all did when it was insyndication, that, huh.
I remember watching voyage tothe bottom of the sea.
Speaker 1 (26:42):
No, no, no, no, no, no, no, no, no, no, no, no, no,
no, no, no, no, no, no, no, no,no, no.
Hold up a minute.
I you were doing really goodtill you got to that point and I
was agreeing with everything asfunny as could be, and it's
true, except for one thing no,no, I never bought into that.
I I don't know how old I waswhen that show was on, but nope,
didn't buy into it.
It was so phony looking it wasokay.
Oh yeah, no, no, it was, eventhough I knew, you know I bought
(27:03):
into it because I knew it wasTV and that's about all they
could do, even when I was six,but I still knew it was kind of
phony.
Speaker 3 (27:11):
No, no, and that's what I'm saying.
I wasn't trying to say I wasnoticing when I used to watch it
.
You're talking about theperiscope, right?
Yeah, all right, so theperiscope.
They always look through theperiscope, but how many times
did they do that when they weresubmerged at like 100 feet?
I'm all like how big is thatperiscope?
We're going to look up at thewait.
(27:33):
We need to look at the surface.
No, you've got to rise first alittle bit.
Can you please, please?
You know, blow the ballast tags, do something, unless you have
a, you know, 300 foot periscope.
Oh, shoot, but you were talking.
You were talking about watchingit as a kid, right?
yeah, and see, that's wherebeing a kid really helps in
those types of things, becauseyour imagination is so fertile
(27:55):
that it fills in the blanks.
It may not look real on screenand you may on a, on a, on a
subconscious level.
No, it doesn't.
You know it looks fake but yourmind during the course of the
show is filling in those gaps,is making those special effects
in your head.
That was one of the wondersabout watching things like Star
Trek and Voyage to the BottomSea and any other things during
the sixties and seventies,because you know their target
(28:17):
audience would be like hell.
Yeah, I can believe that youknow because they were younger.
Speaker 1 (28:26):
So, on a completely different note, and you know
we're talking about all thisincredible music, probably on a
lesser scale of music, perhapscomplex music, but one that, on
the flip side, I enjoy.
Probably not the best composer,probably wouldn't put this in
(28:47):
the best composer, ken DoggDoggsMovieHousecom.
Please everyone check it out,but boy do I still love it.
Speaker 2 (28:53):
Yeah, yeah, right there.
Yeah, yeah right.
Mexican Americans don't like tojust get into gang fights and
like flowers and music, andwhite girls named Debbie too.
Mexican-americans are namedChata and Chela and Chema and
(29:14):
have a son-in-law named Jeff.
Mexican-americans don't like toget up early in the morning,
but they have to, so they do itreal slow.
Speaker 1 (29:27):
Cheech and Chong, ken Doug, cheech and Chong.
Yes, indeed, the city councilin Los Angeles proclaiming today
Cheech Marinde yeah, that'sright, baby.
In Los Angeles, to honor theChicano comedian proclaiming
today Cheech Marin Day yeah,that's right, baby.
In Los Angeles, to honor theChicano comedian, actor, art,
collector, which coincides withthe third anniversary of the
(29:50):
Cheech Marin Center for ChicanoArt and Culture in Riverside.
As the city councilman there,hugo Soto Martinez, led the
presentation in the councilchambers to recognize cheech,
who, in my opinion, ken dog is.
Um, those two right there, twoof my all-time favorites.
(30:12):
I thought, man, who we could, wecould talk about best comedy
duos on our show.
We probably have 10 differenttimes, I don't care, it's always
fun.
Not everyone's heard that orhad an opportunity to weigh in
on that, but you're from mymoney and I'm a product of the
seventies.
Um, cheech and Chong, I mean, Ijust loved Cheech and Chong.
(30:35):
So so I thought maybe tonightwe talk a little bit about
Cheech and Chong and comedy duos.
Oh, so I thought, maybe tonightwe talk a little bit about
Cheech and Chong and comedy duos.
Speaker 3 (30:41):
Oh yeah, I'm down to that.
You know how I am, because my,my soul is old enough to qualify
for social security.
Um, I, you know, I always thinkof some of the older duos uh
that always but there are somenewer ones too, and there I, I
I've been thinking of somerather unexpected ones, uh that,
(31:01):
uh, that you may not think ofas comedy duos, but they really
brought the funny to otherwiseserious or or action packed
material as well.
So so, yeah, that'd be fun.
I'd love to talk about that.
Speaker 1 (31:11):
Yeah, I think it'll be a blast.
I mean, you know again, I wasin in, uh, junior high.
I was listening to Cheech andChong.
In high school I was listeningto Cheech and Chong.
I still have the Big Bambooalbum which had a gigantic
rolling paper in it, a bigzigzag with an imprint of Cheech
and Chong, and I still have therolling paper in the album
(31:38):
itself, and not a lot of people,because way back when, a lot of
people back in those days wouldthen, of course, roll that up
into a big joint and they wouldtry to smoke it.
Speaker 2 (31:47):
but here's a little more mexican americans love
education, so they go to nightschool and they take spanish and
get a b chong is hilarious too.
Speaker 1 (31:58):
Take Spanish and get a B Chong is hilarious too
Mexican-Americans love theirnanas and their nonos and their
ninas and their ninos, Nanu nanu, ni nanono.
Speaker 2 (32:13):
Mexican-americans don't like to go to the movies
where the dude has to wearcontact lenses to make his blue
eyes brown, Cause don't theymake my brown eyes blue.
Speaker 3 (32:27):
Didn't he do the Bruce Springsteen parody a few
years after it came out, born inEast LA, that was him, wasn't?
Speaker 1 (32:34):
it.
Speaker 3 (32:34):
Born in East.
Speaker 1 (32:35):
LA.
Oh yeah, yes, exactly, oh yeah,yeah, yeah.
Speaker 3 (32:39):
And I will tell you what people who like Cheech
Marin's acting career he has.
There's a cult horror movie byRobert Rodriguez called From
Dusk Till Dawn and it's aboutvampires, basically a
vampire-owned nightclub out theedge of the border.
He plays three roles in thatmovie and he does them entirely
(33:03):
differently.
He plays a trooper, he plays avampire bartender and he plays a
cartel boss, and he does them.
I mean, they're not big rolesbut they are very, very unique
and he manages to pull off threedifferent characters in the
same movie.
Now, the movie is inherentlysilly, but yeah it's a testament
to his, to his ability, and hehas some funny lines too, uh,
(33:26):
that's dust till dawn right yousaid from dust, from dust till
dawn yeah, I'll say here's mytake on that movie and I don't
want to get too deep into that.
Speaker 1 (33:33):
Okay, because I know you, but I'm just, but I'll, but
I'll take your take on after Ireact.
No, no, no, I that movie, oneof the most disappointing movies
I've ever seen in my entirelife.
I'm watching that movie.
I'm like, hey, I'm getting intothis.
And then all of a sudden itgoes from one movie into a
completely other movie aboutvampires and I'm like what just?
Speaker 3 (33:56):
happened to the movie ?
There is no segue, there is notransition.
It goes from a Tarantino crimemovie to a vampire movie and
there's nothing gradual about it.
It turns from something thatTarantino would have done
post-pulp fiction into Talesfrom the Crypt episode, and it
(34:18):
does it so fast and again.
I'm not, and it does it so fast, yeah, and, and I, and again,
I'm not saying it's a greatmovie, I'm saying it's a cult
movie.
Speaker 1 (34:24):
No, and but what you're saying, too, is that he
does a great job acting, and hedoes he does a, he does a
fantastic job in all three roles.
Speaker 3 (34:31):
It's like, oh man, that's cool.
Speaker 1 (34:34):
Yeah, he really does, yeah.
Speaker 3 (34:36):
Yeah, especially his.
I can't say it on the air, buthe does the-.
Speaker 1 (34:40):
Yes, you can, here you can.
Speaker 3 (34:42):
Oh, he does, Okay, so the name of the bar is called
the Titty Twister.
Yep, Right, and he does thisthing.
We got this pussy, this pussy.
If you can find any better,fuck it.
Yeah.
Yeah, you know it's like okay,you know he's just, he's just
going full carnival Barker andit's funny.
I mean it works.
It works for that.
Speaker 1 (35:03):
But I do agree with you that if it had been all
about that movie, I would havewatched it.
If it had been about the otherone, I would have watched it.
Here is one of my favorites.
I just got to now I'll, by theway, I just want to say, um, so
today would be a Cheech Marinday, so I checked on Tommy, because
Tommy deserves a day too,because Tommy, to me, is equally
as funny as Cheech.
(35:23):
They are both.
Chong is as fun and as funny asCheech.
There is a day, but it's not,you know, but it's again for
both of them, and this is inClark County, nevada.
This is August 22nd, but it'sCheech and Chong Day.
If they're going to put CheechMarin Day out there, they've got
to go with Tommy Chong Day too.
Here is one of my all-time, ifI may, favorite scenes from
(35:49):
Cheech and Chong Helloheadquarters, come in
headquarters.
Speaker 2 (35:52):
This is Officer Clyde .
Use the code name.
The code name HeadquartersHeadquarters.
Come in please.
This is code name Hardhead HatHeadquarters Headquarters.
Come in please.
This is code name Hardhead HatHardhat, give me that.
Speaker 3 (36:03):
Hello, radio dispatch .
This is code name Hardhat Codename.
Speaker 2 (36:06):
Hardhat.
Do you read me Over?
What's that?
Lardass Hardhat.
Code name Hardhat.
Do you read?
Radio dispatch?
Hey, got something for you.
Lardass Hardhat Hardhat.
Do you understand?
Lard-ass?
Lard-ass, hard hat.
Radio dispatch.
Do you know who this is?
No, who is this is.
(36:28):
This is Sergeant Stadinko.
Oh yeah, you know who this is.
No, bye-bye, lard-ass.
Ha ha, ha, ha, ha, ha, ha, ha,ha ha ha ha, bye-bye, lard-ass.
Speaker 1 (36:42):
Some things make me laugh every single time Ken Dogg
.
Speaker 3 (36:50):
Yeah, you know, they had a unique chemistry and they
were.
You know.
Their funny thing about it isthat they managed to incorporate
the stoner culture withoutmaking it too stupid.
That's rare.
You know what I mean.
Culture without making it toostupid, that's rare.
You know what I mean.
If you, if you were, if youreally, you really run the risk
of you know, just getting intothe giggles part of it like if
you were high, but they stillmanage to do good stuff with it.
A lot of great yes, oh, yeahand and uh.
(37:14):
You know, you know most of thebest stuff are.
You forget about a narrative fora two hour film?
They're basically just aframework for their sketches,
which works.
And if you go into a movieexpecting that, you know other
films like the court.
I remember the Korshkinbrothers I had seen.
I had seen a couple of theother Cheats and Chow movies,
but when they decided to go intothe period and say let's do a
full story, not so much but uh,but as far as their, but as far
(37:43):
as their, as far as theirseminal work in the 70s yeah,
it's hard to beat them talkingabout the stoner culture.
Speaker 2 (37:48):
Here you go.
Speaker 1 (37:48):
Oh man, that's some heavy shit, man car completely
filled with smoke is justpassing the gigantic tube wall
back and forth am I driving?
Speaker 2 (38:05):
okay, I think we're parked man.
Oh, that is some good stuff.
Speaker 1 (38:25):
You know, I used to tell my brother, steve, both of
us are music fans and I used totell him man, I wish we could
see Cheech and Chong with warsomehow, cheech and Chong with
war, in a concert and you have acomedy act and you have a band
(38:48):
in it.
And then, one year after sayingit for many years, I read in
the paper Cheech and Chong isplaying with war, what I called
my brother.
I said you are not going tobelieve this, steve, playing at
a pier at this park in sanfrancisco on this really trippy,
foggy day.
And cheech and chong, first.
War comes out and I war is oneof, and I've had the opportunity
(39:12):
now since then to introduce warin concert.
But they come out and they playa song that instantly reminds
me of Cheech and Chong.
They just remind me of eachother.
Cheech and Chong and war right,a little bit of a Chicano
culture, right I always.
This makes me want to have a 73Buick Riviera with a chain
(39:36):
steering wheel playing this thegold rider is a little higher.
Playing Johnny the Fox and Jimmythe Weed by Thin Lizzy by the
way, this was on my Best Cowbellsong show last night.
And so what would happen is Warwould play a song and then
(39:57):
Cheech and Chong would come out.
The lights would go down on Warand then lights in this other
part in front of them would comeup and it would be like a
living room setting and it wouldbe Cheech and Chong and they
would do hey man, you know I gota.
Hey Ralph.
Hey, hey Herb, you know they'ddo a skit.
And when the skit was done thelights would go down and war
(40:20):
would start playing again.
And one of my favorite memoriesof that, speaking of Cheech
Marin, it's Cheech Marin Daytoday.
We're talking about it herewith Ken Dogg, jackman,
dogsmoviehousecom, on Pat'sPeeps 286, one of my favorite
parts of that Ken Dogg was atthe end.
They did an encore.
Well, how are they going to doan encore?
Well, here was at the end theydid an encore.
Speaker 2 (40:39):
Well, how are they going to do an?
Speaker 1 (40:40):
encore.
Well, here's how they're goingto do an encore.
War comes out and they startplaying a song.
And when?
Well, no, no, no, I take thatback First.
What happens is Cheech Marincomes out here we are in San
Francisco, and man, did I lovethis.
He comes out in a white LADodgers jersey.
(41:03):
He says Dodgers, the wholecrowd is boo Boo.
Boo, and he starts laughing.
He's taunting the crowd in SanFrancisco.
Hey man, go Dodgers.
Hey, go Dodgers.
Right behind him, the lightscome up and he's hey, go Dodgers
.
Hey, go Dodgers.
Right behind him, the lightscome up and he's just going go
(41:24):
Dodgers.
To the Giants fans.
This song plays.
It was awesome.
Why can't we be friends?
And everyone started laughing.
You know, just for the rivalry,everyone starts singing.
You know, cheech steps up tothe mic, ken Dogg, and sings
this.
I'm like, oh man, my brotherand I are looking at each other
(41:48):
like, see, this is ultra coolman.
So the Giants fans and Cheechwith his Dodger jersey are up
there and everyone's singingback and forth.
It was really cool, ken Dogg.
I can imagine.
Speaker 3 (42:06):
Yeah, that sounds like fun, yeah.
Speaker 1 (42:10):
So congratulations to Cheech Marin.
Now they just need Tommy Chong.
Hey, Ken Dogg man.
Yeah, how fun to have you on.
What do you got tonight?
I'm going to play some musichere behind us too, from Cheech
and Chong in a moment.
But tell us, what do we gotgoing here tonight on the show.
Speaker 3 (42:29):
Well, we're going to talk a little bit more about
Yaws and its impact and somekind of stories from behind the
scenes and some kind of storiesfrom behind the scenes Also.
It's been a couple weeks, soI've got some pretty darn good
movies two for the family andone not for the family at all.
Oh, but yeah, yeah, unlessyou're the type of family who
(42:55):
has the Wednesday and PugsleyAdams as their children uh, 28,
28 years, uh, 28 years later.
Uh, a sequel to the 28 dayslater revolutionary kind of
zombie-esque movie by dannyboyle released this week, and so
we'll talk about that.
And we'll talk about pixar'slatest, and we'll talk about the
live action version of how totrain your dragon and see if
(43:16):
it's worth going to, even ifit's's, you know, already been
done in animated form.
So stuff like that.
Speaker 1 (43:21):
Awesome.
I look forward to it.
Let's finish it off with someCheech and Chong.
I had this album and I had this45 when I was a teenager.
You rake my eye.
I particularly liked the longerversion where it wasn't just
the song but the kid playing therecord.
(43:43):
Man, I just bought that.
I don't care what you justbought, Get your.
Thank you, Ken Doug.
Always a pleasure man.
Thank you.
All right, Check outdogsmoviehousecom.
(44:03):
Thanks for listening to Pat'sPeeps 286.
Speaker 2 (44:10):
You caught me in the bathroom with a pair of
pantyhose.
My basketball coach?
He done kick me off the team.
I'm wearing high-heeledsneakers and acting like a queen
.
yeah, welcome, welcome, man.
I'm feeling good today forPat's peeps 286.
How can I be the man?
Will you be the man?
Hey, yesterday, on 285 withMark Farner, I had a good time.
What a good dude.
Founder of Grand Funk Railroad.
(00:38):
I'm looking out my studio windowon this Friday, 20th day of
June 2025, and I'm telling youit's just the best weather I can
ever possibly remember inCalifornia this time of year.
You know, this time of year,heck, at the end of June.
You know you're talking about105, you know, creeping up there
, it's what is it?
(00:58):
80 degrees today with abeautiful, cool breeze.
Wow, it is.
It's absolutely awesome.
So, thank you.
Here's the other super excitingthing.
Oh, man, in the next I don'tknow, let's say, month, you're
going to hear about some very,very exciting things about Pat's
Peeps.
It's going to get way, waybigger in a lot of different
(01:19):
facets, from our businesses tothis podcast and a lot more,
some appearances that we'remaking and we're just setting
the dates right now that we'rewe're going to be telling you
all about that.
I'm extremely excited aboutthat, um, and you know, as I'm
sitting here getting ready to do, uh, pat, listen to the train
(01:39):
in the background.
Can you hear that train?
Or is it just me?
You can hear back there, withmy beautiful french doors from
southgate glass in sacramento.
Support local business.
Can you hear that train?
Or is it just me?
You can hear it back there Tomy beautiful French doors from
Southgate Glass in Sacramento.
Support local business.
Can you hear that?
That sounds so nice.
I'm sitting here getting readyto do my show, my podcast, today
.
By the way, I'm also the hostof the Pat Wall Show on KMPK
(02:00):
News Radio at 93.1 FM, 1530 AMin Sacramento, on all your
streaming platforms, including,of course, your iHeart platform.
And as I'm preparing for myshow and I've got this whole
little idea, every day I've gotan idea.
And just as I'm getting readyto start, you know I always put
(02:20):
my phone on.
Oh, I didn't do that this time,I need to do that.
But I usually put my phone on.
Oh, I didn't do that this timeI need to do that.
But I usually put my phone ondo not disturb, because you know
I get a lot of phone calls andmessages and things and I just
don't want to be disturbed asI'm doing my podcast.
So, just prior to doing that,it's all in the timing those of
you who listen to my radio show.
I'm trying to keep my cigargoing.
(02:42):
Yes, I have a cigar First.
I'm trying to keep my cigargoing.
Yes, I have a cigar first timein a week.
By the way, those of youlistening to my radio show know
that on Friday nights, includingtonight, ken Dogg Jackman, my
buddy, are the, in my opinion,and you look around for yourself
and you tell me, the best moviecritic and reviewer in the
business today.
Tv radio national, local, ofcourse.
(03:04):
Ken Dogg is national by virtueof our podcasts, and this
podcast and even more.
He's the best at what he does.
He's the encyclopedia of movies.
Is that enough for you, kenDogg, for an intro?
That's way too much, thank you.
If you need more, I've got moretoo.
Speaker 3 (03:24):
Come on, Keep it coming.
Speaker 1 (03:26):
Ladies and gentlemen, let me introduce to you, for
those of you who may not know,there he is Ken Dog.
Ken Dog, da-da-da-da-da, he isKen Dog.
There he is.
Ladies and gentlemen.
That good for you.
Speaker 3 (03:43):
I love it.
That'll work, that'll work.
Speaker 1 (03:47):
Biggest Star Wars fan in the world, man.
So Ken dog, yeah, pretty much.
Yeah, you are, man.
So good to talk to you, asalways, how are?
Speaker 3 (03:55):
you, yeah, yeah, I'm doing good, you know.
I mean coming back from acouple weeks vacation,
celebrated a 27th weddinganniversary with the wonderful
Mrs.
It's been nice, kind of a nicerecharge, but I'm looking
forward to getting back to ittonight 27th year anniversary.
Speaker 1 (04:13):
I was there at your wedding.
Remember that you were.
Speaker 3 (04:16):
That's right.
That's right.
You were invited and standingup in the tall trees with some
of our shorter guests.
There's that guy.
Don't throw the garter to himor, if you do, go low.
Speaker 1 (04:28):
Go low.
It was a beautiful sunnyafternoon.
I remember that very, very welllike it was yesterday, right.
Speaker 3 (04:36):
Yeah, it was a park in Orangevale.
Yeah, it was really nice.
Congratulations to you andSherry.
Thank you.
Speaker 1 (04:42):
Thank you, yes, yes, wonderful couple to you and
thank you, thank you, yes, yes,wonderful couple.
So I'm not going to tell youwhat I was working on, ken.
I had a whole theme going and Ithink I'm going to bring this
back up, both of these thingsactually up on the show tonight,
um, and so, okay, ken willusually call me, uh, on a
usually on a thursday morning.
I missed a call yesterdaybecause I was doing the podcast
again, I had my phone on, do notdisturb.
And today he called me back,which I'm glad you did, and I'm
(05:06):
working on a theme and you callme and Ken says, among other
things, he says do you know whattoday is the anniversary of?
And what is the anniversary?
It's the 50th.
Did you say, yes, 50, big 50.
I just can't even believe.
You said that.
I wanted to make sure toclarify that and confirm that's
what you actually said, oh myGod, 50 years ago.
(05:28):
So this movie comes out of myeyes.
Speaker 3 (05:31):
I said what happened 50 years ago and you told me
yeah, I told you, it's therelease of Jaws Wow, steven
Spielberg's blockbustermasterpiece, the one that
vaulted him into thestratosphere, the one that made
people afraid to go into thewater and the one that
successfully launched a slew ofrapidly declining in quality
(05:52):
sequels.
But the first one is still oneof the greatest movies ever made
because of the way it wasfilmed.
Because of the way it wasfilmed and the history behind
that is very interesting,because originally, all of the
innovations, the music, thepoint of view, were all because
(06:16):
the three mechanical sharksnicknamed Bruce, wouldn't work
in saltwater for more than fiveminutes at a time.
Yeah, they test them in a tank,but it was a freshwater tank.
In Hollywood, they brought themout to Martha's Vineyard, they
put them in the ocean.
It's like, okay, the shark isnot working, and so they
basically Spielberg, carlGottlieb, I think an uncredited
(06:37):
John Milius and even Robert Shaw, who played Quint, had their
hands at retooling thescreenplay on the fly to make it
a, the film that you see today,uh, where you very rarely see
the shark, uh, but his presenceis everywhere.
Uh, you know what I mean?
The first shark attack.
Speaker 1 (07:00):
You don't see the show that that often.
Speaker 3 (07:03):
And, to be quite honest with you, that's kind of
the reason why shark attacks areso scary.
No sound, it's the unknown asmuch as it is the teeth.
You don't know where they'recoming from.
They can sneak up on you inabsolute silence.
They don't roar like they do inJaws 4.
Jaws for, but it's that firstshark attack on chrissy watkins
(07:30):
uh, in the opening moments ofthe original jaws is still one
of the most terrifying animalattacks.
On film she sells it.
They put a rig on her yes andshe's getting whipped around and
you get a, you get a, you getan impression, a demonstration
of massive size and powerwithout seeing a single tooth,
and then she's gone.
Yeah, right, yeah, you know, Iwould say this.
Speaker 1 (07:53):
I would add this to the mix.
I don't mean to interrupt, butI would add this.
No, not at all.
Just thinking this through andI think this had a lot to do
with people's, because youmentioned it earlier made people
afraid to go into the water atthe beach sometimes or the ocean
.
Speaker 2 (08:09):
That was a big thing.
Speaker 1 (08:12):
And you say that the shark wasn't in the movie or the
shark didn't make theappearance.
That often correct.
Is that what you said?
Speaker 3 (08:19):
Yeah, the actual physical shark you don't see
very often.
He appears a lot more towardthe end.
Speaker 1 (08:24):
What do you mean by the actual physical shark don't
see very often.
He appears a lot more towardthe end.
Speaker 3 (08:26):
What do you mean by the actual physical shark?
What do you mean by that?
Well, you, actually you feelhim.
So you'll see a dorsal finevery once in a while.
Every once in a while you'llsee the head right, um, but, but
like when, when, when thelittle boys uh munched, uh,
billy kittner.
You see, all you see is fromthe sharks.
Yeah, much Short of short of apoint of view.
(08:49):
It's all POV of the shark as hecomes up and bang and there's a
fan and that's it.
And it couldn't be some dudewith a cardboard fin doing that.
It still looks good becausethey, they, they had to and
because of that, a lot of thatstuff, it seems like when you
walk out of that film you thinkyou've seen the most disgusting
violent movie you've ever seen.
(09:09):
Like, oh my god, just likepeople oh my god.
Yeah, very much so.
But you know what that moviewas originally.
What is rated pg?
Because, like psycho, most ofthe violence is in your head.
That's a good point.
The blanks that's a good point.
They use the imagination tofill in the blanks and get away
(09:30):
with just enough violence.
You know a leg here, bloodspurting there, you know that
kind of stuff.
Yeah to to give you enough sothat your imagination, that's
that, that's the emotional rebarfor your imagination.
You build your building ofterror around it.
And that's another one of thethings about the movie.
Speaker 1 (09:48):
I would suggest there's another element that
added to that that never, evergets talked about, and I would
suggest that the shark itself,as you say, the, the, the
physical, the, the, the, theimage of the shark, the image of
the teeth, and all of thatdoesn't get shown that often.
(10:11):
But I would also suggest thatit did.
It, did, it got shown a lot andI would suggest again that this
is part of the reason thatpeople were afraid to go in the
water.
What happens when you go up tothe movie theater?
When you go up to a movietheater, what do you see?
Oh, of course, posters.
You see a poster.
(10:32):
If you look at the Jaws posterto this day, it is a very famous
poster for the movie.
The cover is like the DVD orwhatever you want to say.
The poster for the movie.
The cover is, you know, likethe DVD or whatever you want to
say.
The poster for the movie whichcame out shows the shark's head
with enormous teeth and thisbeautiful woman swimming
(10:53):
directly above the shark who waslooking directly at her.
As you say to you know, munch.
And that right there in itselfmakes you and it made me feel
like these things are lurkingright under the water and and
let's talk for a minute too, butI don't want to get too bogged
down in this, but I love this,this.
(11:13):
So, um, there's an.
Let's talk about the way thatjaws, pardon me, influenced pop
culture, because I want to tellyou one way that I think that
Jaws influenced pop culture sosince 19,.
(11:34):
When it came out 75.
So what date?
75, yeah, what date?
And what was the date?
It was today, so June 20, 1975.
Date that it was today, it's so, yeah, june 20, 1975.
Okay, so since june, 20th 1975people will always remember this
(11:57):
.
Oh yeah, if you went back toname that tune and I said I
could name this tune in one note, almost certainly two.
Speaker 3 (12:09):
You know what that is listening to that exactly, and
that is also one of the reasonswhy it John Williams score, and
this was two years before StarWars.
Right, he and Spielberg gottogether and put this theme
together so that every time theshark was around, they'd play a
(12:32):
variation of that.
So another sense is telling yousomething's wrong without even
seeing the shark, right?
So everything's on the beach,right, everything's on the beach
, like, for example, on thebeach.
Right, everything's on thebeach, like, for example, on the
beach when Billy Kittner getseaten up.
Exactly, a lot of it has to dowith the fact.
So the dog disappears, right,you know, pippin disappears and
(12:56):
then the music starts and you'relike, oh, son of a.
Speaker 2 (12:59):
It's coming.
Speaker 3 (13:00):
You don't know where it is, but it's coming.
Speaker 1 (13:03):
That's right.
There's the sense of it comingright there.
Listen to that beautiful music.
Let's talk about something realquick because, as you build up
that suspense, let's talk aboutthis for a second.
We were talking on my show theother night, ken Dogg, you were
listening about great composers.
It was Paulccartney's 83rdbirthday and I I brought up, I
(13:25):
thought, that he is.
He has to be considered andwill be remembered as, along
with others that I had on mylist, as some of the greatest
composers of all time bach,beethoven, henry mancini, bird,
baccarat and your maracon um,you know, your guy came up as
well.
Well, john Williams came up andyou mentioned to me that you
(13:45):
were listening to the radio whenwe were doing that.
Uh, and tell us what you weresaying, because I totally agree
with what you were saying aboutJohn Williams and some of this
movie music that we hear.
Speaker 3 (13:58):
Okay.
So I had an interestingepiphany because when I was
listening you had a caller whenyou were talking about Paul
McCartney and you said you knowgreatest composers of all time.
I automatically went to modern,like you know songwriters and,
and you know rock and roll andthings of that nature.
But you had a caller whostarted bringing up guys like
Mozart, bach, you know Beethoven, those guys, and at first I'm
(14:21):
all like maybe he's missing themark.
But I later found out no,that's exactly, it was on your
list.
And then I thought about it, Ihad the epiphany and when we
mentioned folks like JohnWilliams, back in the days of
Bach and those classical, theywrote symphonies to be heard in
the theater or they wrote musicfor opera which is on stage.
(14:42):
Today's composers do avariation on the same thing,
only they're writing for movies.
They're symphonies, if you will, but they're for movies.
And let's not forget television.
But you know, on the if you'rethinking big and grandiose mike
post going into tv.
Speaker 1 (15:02):
Mike post is one of my favorites, exactly terms of
what he writes.
Speaker 3 (15:04):
Exactly, exactly, ramon Giuotti.
He did all the music for Gameof Thrones and House of the
Dragon.
He has a unique sound.
Speaker 1 (15:14):
We talked about Danny Elfman.
Someone brought him up on myshow last night.
Speaker 3 (15:18):
Exactly.
Another fantastic composerNightmare Before Christmas,
notwithstanding for you,composer Nightmare Before
Christmas, notwithstanding foryou, but he is a he has.
When you hear the strains ofsome of these composers, you
know exactly who it is if you'veseen enough film.
So John Williams has a style,the late great Jerry Goldsmith
(15:41):
has a style, the late greatJames Horner has a style, and so
on and so forth.
Ennio Mor Goldsmith has a style, the late great James Horner
has a style, and so on and soforth.
Ennio Morricone has a style,right.
So they put that music togetherto film and it has a double
effect, right?
So you have the symphonic musicthat augments the score.
So when you're listening to saythe imperial march, you, if
(16:05):
you're a fan of star wars, evenif you're not, darth vader,
stormtroopers, whole nine yards,it's a very, it's a very
marital tune, right?
You know, uh, soldiers marching, and you know it's a bad guy
thing, all right, but you stilllisten to it marching.
And dun dun, dun, you know it'sa bad guy thing, all right, but
you still listen to it.
Yes, you still listen to itbecause it's good music.
So it works with the film andwithout and that's why you know
(16:27):
symphyses like the NutcrackerSuite.
It works well when you'rewatching the Nutcracker Suite,
but it also works well as apiece of its own music, and so I
think you're seeing that today,with composers you know, for
the film age, they put a lot ofheart and soul so that those
(16:48):
musical pieces stand alone.
But they're still the greatsymphonies of our time, just
related to a different type ofmedium.
Speaker 1 (17:00):
You know, here's, yes , there is the Star Wars theme,
but let's go back to theprevious.
Let's go back to Jaws for amoment.
I think there are momentsbecause you always hear that you
know the buildup that we play,but when you listen to that
(17:21):
theme it was very similar.
Many, many, many years ago Itook my mother to the concord
pavilion.
They had a looney tunes show atthe concord pavilion, big
screen showed looney tunes.
Uh, some of the people talkabout the animation, they talk
about the card, you know, um,just the characters, and what
they rarely talk about is themusic and the scores you're
talking about in looney tunes.
And they had a symphonyorchestra that would provide the
original music to the, to thefilms that we were watching, the
(17:44):
cartoons, so it was spectacularand very original.
But in the jaws theme, in, andin exactly what you're saying in
the symphonic realm uh, greatcomposers, you know, your bach,
your beethoven, mozart, all ofthose Listen to a little bit of
this Jaws theme in the middleand the complexity of this.
I assume that is an oboe and acello, and I could be completely
(18:45):
wrong, and classical musiciansmight have just laughed at me
again, though, but listen tothat, oh yeah, but it's
beautiful, man, it's just yeah.
Speaker 3 (18:55):
It's slowly layering from two notes and then moving
on and you hear those horns inthere.
He incorporates that indifferent times or different
portions of the film where theydon't have the underlying
da-da-da-da-da, they don't havethat.
So what it does is it kind ofmoves the emotion along.
(19:18):
What it does is it kind ofmoves the emotion along.
So the two-chord is in thisparticular piece, which is the
Jaws theme, goes all the waythrough just a little bit, just
a little bit, and then when itwants to raise the tension it
comes to the forefront, Whereasthey're doing a lot of other
stuff.
Like I don't know if younoticed early on in that theme,
(19:40):
you know they actually use thelower keys chords on the piano.
That done and done it done yes,you know, and it it again adds
to the holy crap.
Speaker 1 (19:50):
If you're watching the movie, the lower piano keys
are always like the key to thescary movies.
That's when they use those,those keys.
So all right, so we'll talkabout that tonight on the show.
So we'll talk about jaws.
It got me to thinking, you knowlike what other?
You know how did I think?
Maybe you suggested that, how?
What other movies becausethere's not really a lot of them
(20:11):
that really influence popculture star wars did, um, jaws
did.
And one more thing I did want tomention before we get off of
that and tell you what I wasalready working on to get your
take on that.
Um, okay, at that same time,ken dog, jackman, dogs movie
house please check out dogsmovie house.
Please, if you listen to mypodcast, check out what ken dog
(20:34):
does on dogs movie housecom.
At that very same time, we'retalking about the early to
mid-70s and I think, playing offand I'm not sure which one was
first, quite honestly, it mayhave been another one, maybe it
wasn't Jaws, maybe it was Jaws,you can tell me, but, pardon me,
hollywood was really playingoff of our fears to create a big
(20:57):
box office.
Two other examples the toweringinferno, the other, the
poseidon adventure ever since Isaw with gene hackman, ernest
borg, nine shelly winters, redbuttons that whole group.
Since I saw that movie, there'sgot to be a morning after boy uh
I don't even want to go on acruise ship not only do I get
(21:21):
seasick but I don't want to go,thanks in part to the poseidon
adventure and then again thetowering inferno.
Speaker 3 (21:27):
Pretty scary stuff at that time yeah, well, and erwin
allen, uh, was the producer onall those films.
It was one of those.
It was one of those areas orsub-genres, if you will.
That is really a product of the70s.
How many airport or airplane?
Speaker 1 (21:45):
movies did they have Airport.
Another one, yeah, airport.
I forgot about that.
Speaker 3 (21:49):
But they had airport, airport 74, airport 75, airport
76 with the Concorde, and poorGeorge Kennedy always seemed to
be stranded on that sucker, youknow that's funny.
You know, and one of the thingsthat they were learning is they
were learning how to morerealistically create practical
(22:10):
effects.
Simplistic terms, they werelearning how to blow stuff up
more realistically.
The guys like Erwin Allen saidwe can make a spectacle out of
this where it doesn't look likea toy boat.
You know, in a bathtub, right,you know, and we're splashing
around.
No, it's the Titanic.
No, no, no, they have.
You know, the pyrotechnics werebetter, the model builders are
(22:31):
better, the cameras are betterat framing it so that you could,
so that you get a sense ofscale, even if it's not, if it's
small, it still looks big, andso I think a lot of that.
It's a copycat league, as theysay in sports.
Speaker 1 (22:50):
Once, they get something good they're going to
run that sucker into the ground,go ahead.
Speaker 3 (22:54):
Sorry, yeah, but I think that's a lot of what
happened with the disaster stuff, right, because it was like, oh
God, poseidon Adventure.
Wow, people went to it indroves.
Yes, what else can we sink?
What else can we blow up?
I don't even know if they weregoing.
I don't even know if they weregoing so far as to pursue, you
know, psychologicalunderpinnings of fright.
In regular situations somebodymay have, but I bet they were
(23:14):
just going.
What can we blow?
Earthquake, right, right, whatcan we do?
Earthquake, another one,earthquake an airport.
Speaker 1 (23:23):
I forgot man you have such an encyclopedic memory for
that stuff.
Speaker 3 (23:28):
But they thanks, but they were all in the same vein,
right?
They were people with personalproblems.
People with personal problemsjump aboard or whatever you know
boat was george kenn Kennedy inthe earthquake too.
Speaker 1 (23:40):
Was he stranded because of the earthquake?
Speaker 3 (23:42):
I'll be honest with you.
I don't know.
I think that was Heston.
Speaker 1 (23:44):
I'm not 100% sure, but he was.
I'm just running with it.
Speaker 3 (23:46):
Yeah, I know, I know, I know, I know.
Speaker 1 (23:51):
I know.
So every time you say IrwinAllen, you know what I think of.
Wasn't erwin allen?
Wasn't he the uh guy that, that, uh, that did the voyage to the
bottom of the sea?
Wasn't?
that erwin allen yeah, I was akid when that was on tv.
That was, you had richardbaseheart, he had three networks
(24:12):
and uh man, you looked forwardto this show and they had this
periscope and the thing thatused to crack me up, because
you're talking about this how itdidn't look like a toy boat,
you know, in the bathtub.
I remember on Voyage to theBottom of the Sea maybe it's
just my memory playing tricks,but this is how I remember it
(24:35):
Like something would behappening, like some oh no, oh
no.
And then the next thing youknow, they'd have to look out
the periscope.
There'd be two or three of themlooking out the periscopes and
they'd all have to, and then theship would get hit like with a
big octopus or something wraparound the submarine.
And then the next thing, youknow, they'd all have to do that
thing.
Where they have to, they haveto kind of move back and forth
(24:57):
like the ship is being right youknow, I mean, they have to tilt
back and forth in sequence asit became later known the star
trek shuffle.
Speaker 3 (25:04):
We've been hit.
Everybody moved to the left.
We've been here from the otherside, everybody moved to the
right.
Some ambitious stuntman getsout of line and goes over the
railing.
It's like, yeah, you're fired,you're too, you were just
supposed to shuffle.
So yeah, and again, you knowthey didn't.
They couldn't afford gimbals.
That's acting right there, tobe honest with you.
It's like, okay, we're going totilt the camera and everybody
(25:27):
and we'll add the sound effectslater Tell everyone what a
gimbal is Okay.
So a gimbal is basically a youhave a set.
Say, basically you have a set.
Say you have the Enterprise,okay, nowadays.
And what it would be?
It would be on some sort ofhydraulic kind of hoist dealy on
the bottom.
It would be on the floor and itcould twist and turn, so the
(25:55):
people would literally have totry and hold their balance.
Yeah, right.
And so they would know which wayto go.
And as filmmaking got moreadvanced, they, they do that all
the time.
But I would imagine 67 with alow budget, because these guys
weren't giving being givenmillions of dollars to do their
thing.
Hell, I didn't even know it wasgoing to last a season, right.
And they're just like, okay, uh, everybody go this way.
And and the director's like,turn the camera that way.
(26:17):
Okay, good, turn the camerathat way.
Okay, good, turn the camerathat way.
And then in post they add thesound effects of the.
You know, whatever it ishitting the hole and it actually
, I mean, you can laugh at it,but if you're involved in the
story, it doesn't look that bad.
You know, it's a way ofcreating atmosphere on the cheap
.
It's only later, after you seeit like a million times, like we
(26:40):
all did when it was insyndication, that, huh.
I remember watching voyage tothe bottom of the sea.
Speaker 1 (26:42):
No, no, no, no, no, no, no, no, no, no, no, no, no,
no, no, no, no, no, no, no, no,no, no.
Hold up a minute.
I you were doing really goodtill you got to that point and I
was agreeing with everything asfunny as could be, and it's
true, except for one thing no,no, I never bought into that.
I I don't know how old I waswhen that show was on, but nope,
didn't buy into it.
It was so phony looking it wasokay.
Oh yeah, no, no, it was, eventhough I knew, you know I bought
(27:03):
into it because I knew it wasTV and that's about all they
could do, even when I was six,but I still knew it was kind of
phony.
Speaker 3 (27:11):
No, no, and that's what I'm saying.
I wasn't trying to say I wasnoticing when I used to watch it
.
You're talking about theperiscope, right?
Yeah, all right, so theperiscope.
They always look through theperiscope, but how many times
did they do that when they weresubmerged at like 100 feet?
I'm all like how big is thatperiscope?
We're going to look up at thewait.
(27:33):
We need to look at the surface.
No, you've got to rise first alittle bit.
Can you please, please?
You know, blow the ballast tags, do something, unless you have
a, you know, 300 foot periscope.
Oh, shoot, but you were talking.
You were talking about watchingit as a kid, right?
yeah, and see, that's wherebeing a kid really helps in
those types of things, becauseyour imagination is so fertile
(27:55):
that it fills in the blanks.
It may not look real on screenand you may on a, on a, on a
subconscious level.
No, it doesn't.
You know it looks fake but yourmind during the course of the
show is filling in those gaps,is making those special effects
in your head.
That was one of the wondersabout watching things like Star
Trek and Voyage to the BottomSea and any other things during
the sixties and seventies,because you know their target
(28:17):
audience would be like hell.
Yeah, I can believe that youknow because they were younger.
Speaker 1 (28:26):
So, on a completely different note, and you know
we're talking about all thisincredible music, probably on a
lesser scale of music, perhapscomplex music, but one that, on
the flip side, I enjoy.
Probably not the best composer,probably wouldn't put this in
(28:47):
the best composer, ken DoggDoggsMovieHousecom.
Please everyone check it out,but boy do I still love it.
Speaker 2 (28:53):
Yeah, yeah, right there.
Yeah, yeah right.
Mexican Americans don't like tojust get into gang fights and
like flowers and music, andwhite girls named Debbie too.
Mexican-americans are namedChata and Chela and Chema and
(29:14):
have a son-in-law named Jeff.
Mexican-americans don't like toget up early in the morning,
but they have to, so they do itreal slow.
Speaker 1 (29:27):
Cheech and Chong, ken Doug, cheech and Chong.
Yes, indeed, the city councilin Los Angeles proclaiming today
Cheech Marinde yeah, that'sright, baby.
In Los Angeles, to honor theChicano comedian proclaiming
today Cheech Marin Day yeah,that's right, baby.
In Los Angeles, to honor theChicano comedian, actor, art,
collector, which coincides withthe third anniversary of the
(29:50):
Cheech Marin Center for ChicanoArt and Culture in Riverside.
As the city councilman there,hugo Soto Martinez, led the
presentation in the councilchambers to recognize cheech,
who, in my opinion, ken dog is.
Um, those two right there, twoof my all-time favorites.
(30:12):
I thought, man, who we could, wecould talk about best comedy
duos on our show.
We probably have 10 differenttimes, I don't care, it's always
fun.
Not everyone's heard that orhad an opportunity to weigh in
on that, but you're from mymoney and I'm a product of the
seventies.
Um, cheech and Chong, I mean, Ijust loved Cheech and Chong.
(30:35):
So so I thought maybe tonightwe talk a little bit about
Cheech and Chong and comedy duos.
Oh, so I thought, maybe tonightwe talk a little bit about
Cheech and Chong and comedy duos.
Speaker 3 (30:41):
Oh yeah, I'm down to that.
You know how I am, because my,my soul is old enough to qualify
for social security.
Um, I, you know, I always thinkof some of the older duos uh
that always but there are somenewer ones too, and there I, I
I've been thinking of somerather unexpected ones, uh that,
(31:01):
uh, that you may not think ofas comedy duos, but they really
brought the funny to otherwiseserious or or action packed
material as well.
So so, yeah, that'd be fun.
I'd love to talk about that.
Speaker 1 (31:11):
Yeah, I think it'll be a blast.
I mean, you know again, I wasin in, uh, junior high.
I was listening to Cheech andChong.
In high school I was listeningto Cheech and Chong.
I still have the Big Bambooalbum which had a gigantic
rolling paper in it, a bigzigzag with an imprint of Cheech
and Chong, and I still have therolling paper in the album
(31:38):
itself, and not a lot of people,because way back when, a lot of
people back in those days wouldthen, of course, roll that up
into a big joint and they wouldtry to smoke it.
Speaker 2 (31:47):
but here's a little more mexican americans love
education, so they go to nightschool and they take spanish and
get a b chong is hilarious too.
Speaker 1 (31:58):
Take Spanish and get a B Chong is hilarious too
Mexican-Americans love theirnanas and their nonos and their
ninas and their ninos, Nanu nanu, ni nanono.
Speaker 2 (32:13):
Mexican-americans don't like to go to the movies
where the dude has to wearcontact lenses to make his blue
eyes brown, Cause don't theymake my brown eyes blue.
Speaker 3 (32:27):
Didn't he do the Bruce Springsteen parody a few
years after it came out, born inEast LA, that was him, wasn't?
Speaker 1 (32:34):
it.
Speaker 3 (32:34):
Born in East.
Speaker 1 (32:35):
LA.
Oh yeah, yes, exactly, oh yeah,yeah, yeah.
Speaker 3 (32:39):
And I will tell you what people who like Cheech
Marin's acting career he has.
There's a cult horror movie byRobert Rodriguez called From
Dusk Till Dawn and it's aboutvampires, basically a
vampire-owned nightclub out theedge of the border.
He plays three roles in thatmovie and he does them entirely
(33:03):
differently.
He plays a trooper, he plays avampire bartender and he plays a
cartel boss, and he does them.
I mean, they're not big rolesbut they are very, very unique
and he manages to pull off threedifferent characters in the
same movie.
Now, the movie is inherentlysilly, but yeah it's a testament
to his, to his ability, and hehas some funny lines too, uh,
(33:26):
that's dust till dawn right yousaid from dust, from dust till
dawn yeah, I'll say here's mytake on that movie and I don't
want to get too deep into that.
Speaker 1 (33:33):
Okay, because I know you, but I'm just, but I'll, but
I'll take your take on after Ireact.
No, no, no, I that movie, oneof the most disappointing movies
I've ever seen in my entirelife.
I'm watching that movie.
I'm like, hey, I'm getting intothis.
And then all of a sudden itgoes from one movie into a
completely other movie aboutvampires and I'm like what just?
Speaker 3 (33:56):
happened to the movie ?
There is no segue, there is notransition.
It goes from a Tarantino crimemovie to a vampire movie and
there's nothing gradual about it.
It turns from something thatTarantino would have done
post-pulp fiction into Talesfrom the Crypt episode, and it
(34:18):
does it so fast and again.
I'm not, and it does it so fast, yeah, and, and I, and again,
I'm not saying it's a greatmovie, I'm saying it's a cult
movie.
Speaker 1 (34:24):
No, and but what you're saying, too, is that he
does a great job acting, and hedoes he does a, he does a
fantastic job in all three roles.
Speaker 3 (34:31):
It's like, oh man, that's cool.
Speaker 1 (34:34):
Yeah, he really does, yeah.
Speaker 3 (34:36):
Yeah, especially his.
I can't say it on the air, buthe does the-.
Speaker 1 (34:40):
Yes, you can, here you can.
Speaker 3 (34:42):
Oh, he does, Okay, so the name of the bar is called
the Titty Twister.
Yep, Right, and he does thisthing.
We got this pussy, this pussy.
If you can find any better,fuck it.
Yeah.
Yeah, you know it's like okay,you know he's just, he's just
going full carnival Barker andit's funny.
I mean it works.
It works for that.
Speaker 1 (35:03):
But I do agree with you that if it had been all
about that movie, I would havewatched it.
If it had been about the otherone, I would have watched it.
Here is one of my favorites.
I just got to now I'll, by theway, I just want to say, um, so
today would be a Cheech Marinday, so I checked on Tommy, because
Tommy deserves a day too,because Tommy, to me, is equally
as funny as Cheech.
(35:23):
They are both.
Chong is as fun and as funny asCheech.
There is a day, but it's not,you know, but it's again for
both of them, and this is inClark County, nevada.
This is August 22nd, but it'sCheech and Chong Day.
If they're going to put CheechMarin Day out there, they've got
to go with Tommy Chong Day too.
Here is one of my all-time, ifI may, favorite scenes from
(35:49):
Cheech and Chong Helloheadquarters, come in
headquarters.
Speaker 2 (35:52):
This is Officer Clyde .
Use the code name.
The code name HeadquartersHeadquarters.
Come in please.
This is code name Hardhead HatHeadquarters Headquarters.
Come in please.
This is code name Hardhead HatHardhat, give me that.
Speaker 3 (36:03):
Hello, radio dispatch .
This is code name Hardhat Codename.
Speaker 2 (36:06):
Hardhat.
Do you read me Over?
What's that?
Lardass Hardhat.
Code name Hardhat.
Do you read?
Radio dispatch?
Hey, got something for you.
Lardass Hardhat Hardhat.
Do you understand?
Lard-ass?
Lard-ass, hard hat.
Radio dispatch.
Do you know who this is?
No, who is this is.
(36:28):
This is Sergeant Stadinko.
Oh yeah, you know who this is.
No, bye-bye, lard-ass.
Ha ha, ha, ha, ha, ha, ha, ha,ha ha ha ha, bye-bye, lard-ass.
Speaker 1 (36:42):
Some things make me laugh every single time Ken Dogg
.
Speaker 3 (36:50):
Yeah, you know, they had a unique chemistry and they
were.
You know.
Their funny thing about it isthat they managed to incorporate
the stoner culture withoutmaking it too stupid.
That's rare.
You know what I mean.
Culture without making it toostupid, that's rare.
You know what I mean.
If you, if you were, if youreally, you really run the risk
of you know, just getting intothe giggles part of it like if
you were high, but they stillmanage to do good stuff with it.
A lot of great yes, oh, yeahand and uh.
(37:14):
You know, you know most of thebest stuff are.
You forget about a narrative fora two hour film?
They're basically just aframework for their sketches,
which works.
And if you go into a movieexpecting that, you know other
films like the court.
I remember the Korshkinbrothers I had seen.
I had seen a couple of theother Cheats and Chow movies,
but when they decided to go intothe period and say let's do a
full story, not so much but uh,but as far as their, but as far
(37:43):
as their, as far as theirseminal work in the 70s yeah,
it's hard to beat them talkingabout the stoner culture.
Speaker 2 (37:48):
Here you go.
Speaker 1 (37:48):
Oh man, that's some heavy shit, man car completely
filled with smoke is justpassing the gigantic tube wall
back and forth am I driving?
Speaker 2 (38:05):
okay, I think we're parked man.
Oh, that is some good stuff.
Speaker 1 (38:25):
You know, I used to tell my brother, steve, both of
us are music fans and I used totell him man, I wish we could
see Cheech and Chong with warsomehow, cheech and Chong with
war, in a concert and you have acomedy act and you have a band
(38:48):
in it.
And then, one year after sayingit for many years, I read in
the paper Cheech and Chong isplaying with war, what I called
my brother.
I said you are not going tobelieve this, steve, playing at
a pier at this park in sanfrancisco on this really trippy,
foggy day.
And cheech and chong, first.
War comes out and I war is oneof, and I've had the opportunity
(39:12):
now since then to introduce warin concert.
But they come out and they playa song that instantly reminds
me of Cheech and Chong.
They just remind me of eachother.
Cheech and Chong and war right,a little bit of a Chicano
culture, right I always.
This makes me want to have a 73Buick Riviera with a chain
(39:36):
steering wheel playing this thegold rider is a little higher.
Playing Johnny the Fox and Jimmythe Weed by Thin Lizzy by the
way, this was on my Best Cowbellsong show last night.
And so what would happen is Warwould play a song and then
(39:57):
Cheech and Chong would come out.
The lights would go down on Warand then lights in this other
part in front of them would comeup and it would be like a
living room setting and it wouldbe Cheech and Chong and they
would do hey man, you know I gota.
Hey Ralph.
Hey, hey Herb, you know they'ddo a skit.
And when the skit was done thelights would go down and war
(40:20):
would start playing again.
And one of my favorite memoriesof that, speaking of Cheech
Marin, it's Cheech Marin Daytoday.
We're talking about it herewith Ken Dogg, jackman,
dogsmoviehousecom, on Pat'sPeeps 286, one of my favorite
parts of that Ken Dogg was atthe end.
They did an encore.
Well, how are they going to doan encore?
Well, here was at the end theydid an encore.
Speaker 2 (40:39):
Well, how are they going to do an?
Speaker 1 (40:40):
encore.
Well, here's how they're goingto do an encore.
War comes out and they startplaying a song.
And when?
Well, no, no, no, I take thatback First.
What happens is Cheech Marincomes out here we are in San
Francisco, and man, did I lovethis.
He comes out in a white LADodgers jersey.
(41:03):
He says Dodgers, the wholecrowd is boo Boo.
Boo, and he starts laughing.
He's taunting the crowd in SanFrancisco.
Hey man, go Dodgers.
Hey, go Dodgers.
Right behind him, the lightscome up and he's hey, go Dodgers
.
Hey, go Dodgers.
Right behind him, the lightscome up and he's just going go
(41:24):
Dodgers.
To the Giants fans.
This song plays.
It was awesome.
Why can't we be friends?
And everyone started laughing.
You know, just for the rivalry,everyone starts singing.
You know, cheech steps up tothe mic, ken Dogg, and sings
this.
I'm like, oh man, my brotherand I are looking at each other
(41:48):
like, see, this is ultra coolman.
So the Giants fans and Cheechwith his Dodger jersey are up
there and everyone's singingback and forth.
It was really cool, ken Dogg.
I can imagine.
Speaker 3 (42:06):
Yeah, that sounds like fun, yeah.
Speaker 1 (42:10):
So congratulations to Cheech Marin.
Now they just need Tommy Chong.
Hey, Ken Dogg man.
Yeah, how fun to have you on.
What do you got tonight?
I'm going to play some musichere behind us too, from Cheech
and Chong in a moment.
But tell us, what do we gotgoing here tonight on the show.
Speaker 3 (42:29):
Well, we're going to talk a little bit more about
Yaws and its impact and somekind of stories from behind the
scenes and some kind of storiesfrom behind the scenes Also.
It's been a couple weeks, soI've got some pretty darn good
movies two for the family andone not for the family at all.
Oh, but yeah, yeah, unlessyou're the type of family who
(42:55):
has the Wednesday and PugsleyAdams as their children uh, 28,
28 years, uh, 28 years later.
Uh, a sequel to the 28 dayslater revolutionary kind of
zombie-esque movie by dannyboyle released this week, and so
we'll talk about that.
And we'll talk about pixar'slatest, and we'll talk about the
live action version of how totrain your dragon and see if
(43:16):
it's worth going to, even ifit's's, you know, already been
done in animated form.
So stuff like that.
Speaker 1 (43:21):
Awesome.
I look forward to it.
Let's finish it off with someCheech and Chong.
I had this album and I had this45 when I was a teenager.
You rake my eye.
I particularly liked the longerversion where it wasn't just
the song but the kid playing therecord.
(43:43):
Man, I just bought that.
I don't care what you justbought, Get your.
Thank you, Ken Doug.
Always a pleasure man.
Thank you.
All right, Check outdogsmoviehousecom.
(44:03):
Thanks for listening to Pat'sPeeps 286.
Speaker 2 (44:10):
You caught me in the bathroom with a pair of
pantyhose.
My basketball coach?
He done kick me off the team.
I'm wearing high-heeledsneakers and acting like a queen
.
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