Frank Meyer (Streetwalkin' Cheetahs/Fear) on the Repo Man (1984) Soundtrack and The Film's Influence on Punk Rock

Episode Transcript
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Speaker 1 (00:17):
My name is Ryan Pack and I'm at Paul Barlows.
This is soundtrackt Your Life, where we speak with the
guests about a soundtrack that is important to them today.
Our guest is musician, author, and director Frank Meyer. Frank
is Frank. Frank has just released his new album, Living
Between the Lines, which came out on March eleventh. It's

(00:39):
the first album he's released under his own name, So
welcome again, Frank.

Speaker 2 (00:45):
Thank you. Uh. And that's not to say that I
had a bunch of aliases, like I'm some sort of
music outlaw that you know, I had to use, like
fake Frank, that was Frank Miller for a while. It's
more that for most of my career, I've always been
in a band, either as the lead singer or the
guitar player, whatever my role is. And I finally just
sort of, after years of doing it as a band guy,

(01:08):
eventually sort of decided to make a solo record because
why not.

Speaker 1 (01:11):
Yeah, and it's a great record, and you have some
of your friends that you've played with in pass on
the album, So why don't you talk about kind of
the album as a whole and how that came together.

Speaker 2 (01:23):
Yeah, I mean Essentially, the band I've been in the
longest is called the Streetwalking Cheetahs and la based kind
of punk rock and roll band. And I also have
done work with a lot of other musicians. Eddie Spaghetti
from the Supersuckers and I made an album together that
was sort of like a collaborative record in the tradition
of like when like Willie Nelson and Wheel and Jennen's

(01:45):
like two outlaws of go make a record together. And
that was actually the first record that said like Frank
Meyer on it. You know. Every other record was Sreewalking Cheetahs,
or my band in Europe Trading Aces, or I was
singing for James Williamson from the Stooges for a while,
those records came out as James Williamson or we had
a band James Williamson the Pink Cards. But eventually I

(02:06):
think it was kind of the record with Eddie Spaghetti.
I just liked the idea that there was this. It
wasn't really on purpose. It wasn't like I was trying
to strike out, you know, like I got to get
out of the Cheetahs or something like that. It was
more that the pandemic happened, and like there wasn't you know,
all of our bands got sort of grounded for a while,
and Eddie and I are buddies and we lived near
each other, and we just started kind of working on

(02:26):
stuff to keep ourselves busy and eventually put that out
as an album. That record did well, and that kind
of got me thinking like, oh, maybe this is a
good setup for me to do some solo stuff. And
I also liked the idea that I could if I
went out with like a band doing my solo material,
I could play kind of like any material for my catalog.
I could play, Hey, here's a Cheetah song, here's a

(02:46):
James Williamson song, here's a song from the a Spaghetti record.
And then I guess really the only real big musical
goal with the record is I just didn't want it
to sound like any of my other albums, because what's
the point of its being kind of like a fast, punk,
rock and roll record. People go, well, yeah, you do
that in the Cheetahs. If it sounds like the Stooges,
they go, well, you got you play with the guy
in the Stooges. We've already do that, you know. So

(03:07):
I kind of decided that I wanted to go in
a more soulful, kind of bluesy direction, but with lots
of pop hooks. I was sort of embracing my inner
Amy Winehouse and even little Taylor Swift once in a while.
I mean, not like any of the songs are overtly
that pop, but definitely leaning into the idea of just
trying to write really accessible pop hooks. You know, my

(03:29):
favorite artist, Tom Petty The Stones. These guys write great
songs that have great hooks and that's why they're classic. Yeah.

Speaker 3 (03:35):
You hear a lot of Tom Petty in the record,
and they mean that in the most complimentary way.

Speaker 2 (03:38):
It's it's I'm a big fan.

Speaker 1 (03:40):
Yeah, it's got a very really great feel. Eddie Spaghetti
is on the record. Shiry Currie is also on there.

Speaker 2 (03:49):
Yeah, I kind of wanted to put people that like
that I had a personal connection with. So, you know, Eddie,
like I said, we made an album together and he
was sort of among the inspirations to sort of strikeout
on my own. And Lisa from the Bell Rays my
band and her band go go way far back from
the nineties when we've started off, when we were all

(04:11):
young and silly and ridiculous, but she's an old friend
of mine. We've done a lot of collaborating and Shari
Curry is not only a huge inspiration because the Runaways
were huge for me, like really really huge band for
me and very inspirational. And I'm also a big movie buff.
And she was an actress with a great, you know,
sort of movie career, but she also discovered the streetwalking Cheetahs.

(04:34):
Like she she came to one of our early gigs
and kind of championed us and got up on stage
and everyone you know around La was Loo's his band
that Scheri Curry is sitting in with all the time.
And so that kind of got us signed and got
our records to our whole career started making records and stuff.
So you know, I wanted to have people. I just
want to have like a bunch of random guests. It
was like, if someone's gonna do something, I want to
write a song that means something to us and where

(04:56):
we're you know, making some really cool art together.

Speaker 1 (04:59):
You know, yeah, that's a really great record. Now these days,
you don't hear a lot of guitars anymore in music.

Speaker 2 (05:07):
A lot of guitar on this record. I mean, that's
what I you know, I started as a guitar players,
so I'm always gonna lean towards kind of guitar bassed music.
But there's certainly much more keyboards, and there's horn sections,
there's ukulele. The two instruments that I kind of hate
the most are ukulele and a toy piano. And the

(05:27):
new single off the record, Blue Radio, literally starts off
with ukulele and a toy piano. But it was only
because I was trying to I was giving myself a
songwriting challenge, and I was like, I want you know,
I was like, I was listening. I learned. I learned
how to play shake It Off by Taylor Swift for
this like cover band thing, Like these guys I knew
were doing like a night of playing random covers and

(05:49):
they were like, hey, will you play a bass in
this thing? And I said sure, and they just gave
me a list of covers and most of them were
in kind of my wheelhouse, and I was like, shake
it Off by Taylor Swift, all right, whatever. But as
I was learned it, and I really wasn't that familiar
with it, I was like, what a great pop song
this is, and I really just kind of grew to
love it and it kind of got me interested in
the idea of like what is that formula? Like there's

(06:11):
a lot of formulas I've delved into and kind of like, oh,
I can do this kind of thing like that. I
was like, well, I've never even dipped my toe in
that water of writing something so slick like that. So
it hardly sounds like Taylor Swift, but that was kind
of the jumping off point, was to like write something
in that vein. I think it probably came off more
like Amy Winehouse meets Cheap Trick or something, but that's okay.

Speaker 1 (06:33):
Yeah, that's a pretty good combination.

Speaker 2 (06:36):
Right.

Speaker 1 (06:38):
So if you want to check out the record, the
lead singles baby Dynamite, which is a great way to
kick off a record. But by the time this episode
has come out, you can check out the whole thing,
and I recommend that you do.

Speaker 2 (06:48):
So, thank you. I usual be recommending that to other
people because I've heard yes, yes, you don't mean herement
to me. I made it myself, so I've heard it
actually a number of times. But to the other people
outside of this conversation, yes you should pick it. Up.
It's terrific. Yeah.

Speaker 1 (07:07):
So, Frank, today we are going to talk about the
nineteen eighty four Alex Cox film Repoman. So, Frank, why
did you select Repaman for us today?

Speaker 2 (07:19):
Well? Repoman had a big influence on me as a
kid in a lot of ways. The main one was
the soundtrack. It was really kind of the first punk
movie that I ever saw, and I saw it around
the time that I also saw Rock and Roll High
School with the Ramones, And there was Declined the Western Civilization,
which was a documentary. So you know, my parents had

(07:40):
this early kind of West Coast version of HBO, this
cable network called the Z Channel. There's a documentary on it.
And the Z Channel was sort of like an early
curated movie channel. And I say curated, and this is
before anyone used the term curated, but like they would
show lots of foreign films and lots of underground films,
lots of documentaries, lots of music films, so stuff that

(08:04):
like maybe at the time weren't mainstream enough for HBO
or didn't have a wide enough audience for them to
bother like purchasing, because they, you know what, sort of
like purchased these movies for a while to show them
on their channel, and so Z channel showed a lot
of real offbeat stuff, and so I saw a lot
of cool stuff, and I got exposed to a lot
of indie movies and a lot of punk rock movies,

(08:25):
kind of all around the same time, probably around like
sixth grade or fifth or sixth grade, something like that
of grade school. And the thing about Repo Man is
the soundtrack is sort of a best of La punk
from the early eighties. So it's got Black Flag and
Circle Jerks, it's got Fear, it's got the Plugs who

(08:45):
became the Crusados, It's got a bunch of great LA
bands like that, and then it's also got iggy pop
with Steve Jones of the Sex Pistols, which I didn't
know that at the time, but now I even know
that doing the title track. So it's a really that
And you know my band, it's called the Street walk
in Cheetahs, named after an iggy pop song. And the
way I very first heard iggy pop was the Repo

(09:07):
Host Wow. I also, yeah, so that's kind of a
big connected side. I love that song, and that took
me on the journey to the iggy pop I also now
play guitar in the band Fear, and Fear is on
that soundtrack as well, and that's the soundtrack that introduced
me to Fear Wow. So you know, if you look
at it, not only was it did it sort of
send me on my way as a little punk rock

(09:28):
loving youth, but it also had a direct influence because
like I started a band influenced by one song on there,
and I joined a band based on another song on
there that I'm in right now, So that all is
kind of cool. The other thing about that movie is
Emilia Westevez in that movie. There was another movie he
made right around the same time called Nightmares, and it

(09:50):
actually has Leaving in it as well, and has Moon Zappa,
and it's kind of a horror anthology movie from about
eighty two, something like that, eighty one or something like that.
I saw that my mom used to take us horror
movie so I saw the movie like in the theater
at the North Hollywood UA six. I remember every movie
that I saw at that theater, and I love that movie.

(10:12):
And in that movie Nightmares, he kind of is playing auto.
He's in the exact same outfit. He's listening to punk
rock on his walkmn He's like, hey, don't even talk
to me. He's like totally attitudical, you know, he's great
and so. And in that movie, he basically he's playing
this video game that like he can't win, and he
breaks into the arcade and plays it after hours and

(10:33):
like the video game like like erupts and all the
characters come out and he has to like fight Space
Invaders and he gets killed. The next morning they come
in the video game, and Auto is a character in
the video game. I mean not Auto, but Amelio. So
I loved Amelia from that. I loved him from Repo Man.
I kind of feel like there's a period in my
if you went through my old photo albums or whatever

(10:54):
that like where I kind of dressed, you know. I
would wear like the jeans with the rips and then
like the flannel tied around and the punk rock shirt
and I had the slicked hair, and I was basically
trying to be a young Amelia Steves for at least
a good solid year of my life. Based on the movie,
I could see it.

Speaker 3 (11:10):
Did you have the one ear ring?

Speaker 2 (11:11):
Though? Oh very much so the little one? Oh yeah,
Except the problem is I didn't I didn't. I let mine.
I didn't. The ear ring thing wasn't for me. I didn't.
I don't know for me. At the time, everyone had
poofy hair, and my hair was super curly and kind
of wouldn't go like I couldn't really make it go
like eighties and poofy like everyone. And so everyone had

(11:32):
had the dangly you know, all the ear rings and
stuff had like the bon jovie thing, and I couldn't
do that, and so what I would wear. It kind
of just drew attention to the awkwardness of my face
and like my bad hair. And I my mom told
me because she did them with cork and a pin
and ice, she did what a mom? Wow? Yeah, yeah yeah.

(11:54):
And when she told me that if if she's again,
if you know, if you if you take it out
for more than like a day or two, it's gonna feel,
you know, seal over. And after about five days, I
was like, I just took it out and let it
seal over. I don't like it. I know, I love
any tattoos either. I'm the only musician I know I
have no tattoos, no piercings, nothing.

Speaker 3 (12:12):
Okay, I respect it, I respect it. I am curious,
so you're your experience with reputman, Did you know about
the soundtrack before you knew about the movie, because this
is one of those rare cases where the movie kind
of exists because of the soundtrack.

Speaker 2 (12:29):
Yeah, you know, I want to say, I think I
saw the movie first on like I said, on Z Channel,
and then sought out the soundtrack because I loved the movie,
and then got really obsessed with the soundtrack and started
going to the record store and buying albums by the
bands that were on the soundtrack, you know, because I
remember buying the Fear record. Well, the Fear Record was

(12:51):
probably the first one of those where I went out
and bought the record based on the song from the soundtrack.

Speaker 3 (12:57):
Right. It's interesting because so MCA Records, which is the
subsidiary of Universal at the time, they see the soundtrack
and they go, is there a movie attached to this,
because we want to release it.

Speaker 2 (13:10):
Yeah, it's a great punk compilation, right, burgeoning scene, right.

Speaker 3 (13:14):
And they have this, you know, on Shoot label San
Andreas where they're like, we really want to see this
to see the light of day. What's the movie? And
so weirdly the record label pressured Universal into releasing the movie,
and then I think the soundtrack went on to sell
like fifty thousand copies, which is not too shabby for
something relatively small. And then it becomes this kind of

(13:34):
more cult classic, probably from z TV, which I've never
heard of, and now I want to know everything about it.

Speaker 2 (13:40):
There's a it's called Z Channel and it will there's
a documentary that came out maybe I don't know us
five six years ago, maybe longer, about Z Channel and
kind of its influence on indie film and sort of
spreading art movies and indie films in America at a
time in early cable when there was that many networks

(14:01):
and basically the ones that there were were just getting
whatever they could get, meaning like there wasn't a lot
of stuff that they could get at that time because
not everything was made available because the idea of cable
movie paid TV networks was a new thing, and so
like licensing deals weren't in place. A lot of people
just were like, well, no, we're not giving you our
movies a show on your cable thing, and you know

(14:23):
what I mean, Like they was just this a crazy idea.
So HBO and Showtime, Cinemax, Select TV on TV. Those
were all the early ones, and all of them would
just put on whatever the fuck they could get, you
know what I mean, Like that that was the lineup,
but just whatever they could get in whatever licensing deal
they could do. If they could run it eight times

(14:43):
a day, they'd run at eight times a day. They
could run it once a month, they'd run it once
a month. Sometimes they'd do these deals for these one
off you know, sort of like comedy things and stuff,
you know, But mainly they just took where a Z
channel was. Like I said, they they would have a
month of foreign films. Dost boot I saw when I
was a kid, I saw all the Stanley They had

(15:04):
a Stanley Kubrick Festival in like nineteen eighty two, you
know what I mean, like showing and you know, I
saw Barry Lydon when I was a kid. I saw,
I saw there was a they did. It would do
like a month of Australian movies. And again this is
when I'm like eight years old, six years old. I
mean might here's another thing parents in in that in
my parents are if they didn't give I.

Speaker 3 (15:24):
Can carry oh yeah no absolutely, let go.

Speaker 2 (15:27):
Yeah. They didn't give a fuck about any idea of
the an idea that their kids shouldn't watch something, or
that something was more adult, or that something was incredibly dangerous.
My parents would let us, you know, like we lived
kind of up in the hills, and they would just
let us ride our bike for like miles on our
own on a Saturday, just like we're gonna go to
the theater seven miles away and just ride our bikes.

(15:49):
And they'd be like, all right, see you later and
cut to like seven pm. Or we're like huffing it
up this hillboy, like this is such a mistake. Don't
call mom. She'll never let us feel through it again.
And and like they would listen, you know, here's the
other thing that was on Z channel. All the Emmanuel
movies you know you remember ye not for children? Yeah, oh,

(16:09):
absolutely not for children. I've seen every single one. I
could tell you everything about Sylvia, Crystal and Bo Derek
because these were the stars is of a lot of
Z Channel things. And my parents just didn't care. They'd
be like, honey, we're going to sleep. We left the
Z channel on for you. We were like.

Speaker 3 (16:26):
Fabulous, that's amazing.

Speaker 2 (16:29):
Yeah, Or back then it was like click, you know,
you had like the clickers.

Speaker 3 (16:32):
Oh yeah, and there we're eighties kids too. And I
do feel like this is why, this is why gen
X is built so differently, because there was so much
more freedom to explore. Uh, there was a lot. There
was a lot less. Like my parents didn't give a ship.
If I was watching Nightmare on Elm Street with my
older sister at like five, it was not like, what

(16:52):
are you doing, We don't care.

Speaker 2 (16:55):
And if you were terrified, they were like, great, now
I don't I don't have to tell my kids some
scary miround detail. Wes Grayman just did it for me.
This is great. Hopefully she'll shut up at night, you
know what I mean. I mean, I remember my parents
took me and my brother to this movie called Evil Speak.
It was my mom took and see this movie called

(17:16):
Evil Speak, and it was about a young Clint Howard
and he summons the devil through his computer at Catholic
school where he's being relentlessly related and so of course,
once he gains the power of you know, computer Satan,
he then you know, summons the devil and beheads and
and kills all of his classmates and all of the

(17:37):
people that bellieve. Yeah, that's per the trophes. So at
one at one point he summons all the pigs and
the pigsty to to barnstorm into the pe teachers, you know,
bungalow while she's showering naked, fully naked, and these pigs
come in and are eating this naked woman. And and
I'm maybe like seven or eight years old, and my

(17:59):
brother's like, I mean, we're little kids, like I mean, maybe,
I mean this is eighty one. Maybe I was ten,
maybe I'm ten, and my brother's like seven, like, but
way too young to be watching this. This is my
mom's reaction as the pigs are eating the nude woman
blood and trails boobs everywhere she turns. She goes, I
think I've had about enough. I'll be in the lobby
reading a book. You come to me when this is done,

(18:21):
and left us there and went onto the lobby and
opened up her Stephen King or Clive Barker because she
loved horror. She just thought this was distasteful, but she
had no problem with us watching. In fact, she didn't
want to disrupt. She's like, you guys, stay here. She
was like, two come to me.

Speaker 3 (18:35):
So far for me, but you know, have fun you
switch to set after. Yeah, great, amazing, that's that's so great.
So I'm getting the impression that you did grow up
in LA or the La area.

Speaker 2 (18:47):
Frank, Yeah, I grew up in La my brother and I.
My brother's an actor who you guys probably know from
a lot of stuff. He's in a lot of nineties stuff,
and I mean he's still an actor, but a lot
of people known because his big hit movies. He did,
like a whole bunch of big nineties ones like In
a Row. And he and I were exposed to a

(19:09):
lot of art and artists very early on in our career,
just growing up in the valley in the early eighties
and getting to and our stepdad was an entertainment attorney,
and so we had opportunities, you know, as a kid
would go to concerts and maybe our folks would have

(19:30):
backstage passes and we would go back. And it wasn't
so much like, oh, we got to meet celebrities, and
it was more that like we got to sort of
see that there was this other side to like the
big show that you saw was like, oh, but there's
the artist hanging there with his wife, and there's the
lighting guy, and like you kind of got the sense of,
like that there's a production involved, and then he would
take us sometimes to like TV tapings, you know, like

(19:51):
when they would film TV shows, and you'd kind of
get to see that, like, oh, they go cut and
everyone kind of takes them in and has a cigarette
and they're like normal people. So I think for my
brother and I growing up in that atmosphere, this idea
that like I could become a musician and my brother
could become an actor didn't seem like super far fetched

(20:12):
because we were kind of growing up around it enough.
Like our parents weren't artists or celebrities or anything, but
like we were sort of surrounded by a lot of that,
so it was easy enough when I got inspired to
play music and I was like, oh, I think I
might want to be a little rock star or whatever.
My sort of original version of that dream was, which
was probably I want to be a rock star, you know.
It was like, you know, I want to be a

(20:34):
rock star like him, you know what I mean, like
like that's guy's dad, or like my buddy's kid, or
like this guy know who has a band, you know
what I mean. Whereas if you were like maybe in
the middle of Kansas City. The idea of being a
movie star or a film director or a musician might
seem impossible because you're like, I don't know anyone doing
these things here, Like there was no film industry here.

(20:56):
It's like one bar that has bands that I can't
get into, Like hey supposed to do, you know what
I mean? So, I don't know. I think we just were.
We were very fortunate in that in that realm.

Speaker 3 (21:06):
Yeah, and I think it probably that was probably a
contributing factory, you know, being in LA and having access
to this movie, being interested in this movie, being you know,
culturally interested in the punk scene. If you're in Kansas,
you probably were, like, you know, trading tapes. You weren't
necessarily as in it. This is very much an LA movie.
I think at one point the script was supposed to

(21:28):
be more of a road movie, but it's very much
like nineteen eighty four LA and.

Speaker 1 (21:32):
Now Downtown, specifically.

Speaker 3 (21:34):
Downtown only specifically at Los Angeles has never looked shittier
than it looks in this movie. I mean it is.
There's no traffic, just chef's kiss, no traffic looking real shabby.

Speaker 2 (21:45):
I also love that there's all these cool little touches
to where like like every time he goes to see
his parents, they've got like these religious shows that are
thing that's really outraged, very apocalyptic, just we're gonna take
all your money, every right, and the parents are just
sort of like in front of the TV. And then
whenever there's products around at either in his house or

(22:07):
at the store, at the liquor store, the bottles just
say like alcohol or fear or wine or food, you
know what I mean, Like every quest place like it's
this weird kind of alternate reality in a way where
like they just there's just a lot of things that
are a little off right. It tweaked about that movie,
which I still love, but I think as a kid

(22:28):
that was definitely one of those early films where I
was like, oh, whoa, you can like kind of just.

Speaker 3 (22:33):
Be Weird's got a great point of view. It's it's
been described as punk rock meets science fiction in Ronald
Reagan's house, which is pretty real.

Speaker 2 (22:42):
I can see that. Yeah, I can see that.

Speaker 3 (22:45):
It's got a great point of view. Though, it's got
a great sensibility about it that is very much its
own wavelength.

Speaker 2 (22:51):
Uh, there's a lot of great quotes. Yeah, let's get
sushi and not pay or come on, man, let's go
do some crimes.

Speaker 3 (23:01):
I've been repeating that, let's do some crimes in my head.
But it's all about that delivery. The delivery in this
movie is so good. To Harry Dean Stanton, right, it
is so good.

Speaker 2 (23:11):
Yeah, ordinary fucking people, man, he's doing lines with cocaines.
Ordinary fucking people's.

Speaker 1 (23:17):
Life is intense.

Speaker 2 (23:19):
It's always intense, is always intense. Yeah, And I love
like there's just all this crazy stuff in that film too,
and a lot of it. I love that they kind
of don't even bother explaining too much because it allows
you as the viewer to like kind of put together
your own version of this universe. But like there's like
a rival Repo gang that's that's menacing them throughout the movie,

(23:41):
like pulling up and be like fuck you and like
trying to smash their car and getting in fight. They
never really explain like what is going on with that
or why. It's just this idea that like, hey, repo's life,
this man's life is always crazy, you know, do you
know what's going down? So there's like rival repo gangs.
There's like the government is all around the city with

(24:01):
these like trucks that are like scooping up homeless people
and like looking for like aliens. And there's this sort
of kind of like you said, the Ronald Reagan sort
of like government is like right in your shit on
this movie, and you know, sort of on the streets
kind of watching you. I love that idea. There's definitely
a sci fi aspect with the whole aliens in the

(24:22):
trunk and the ending and all that stuff, and then
the punk rock aspect, and then there's an odd sort
of kind of love story with Auto and that girl.
But I love it because they both kind of acknowledge
that they don't really care or care about each other,
but kind of like, yeah, but you're kind of entertaining me.
Now this is fun, so hey cool, and like that's sort.

Speaker 1 (24:42):
Of enough until the end where he's just like fuck that,
I'm getting in the car.

Speaker 2 (24:45):
Yeah, no, yeah, I know, which is great, you know
what I mean. She's like put Auto, you know. Yeah.
It's a great movie, and like you said, it has
a great sensibility. It walks a great line between being
kind of a reverent and aloof and yeah, feeling very
much like it's saying something about you know, Los Angeles
at that time in society and kind of like the

(25:08):
working class and the government is just you know, it's
not like a huge conspiracy movie thing, but it's definitely
got a lot of little messages going on about society
at that time.

Speaker 1 (25:17):
Yeah, the world building in this movie is great. You know,
this Reproman code and then you've got the lady with
the metal hand and.

Speaker 2 (25:29):
Glove.

Speaker 3 (25:29):
But that's fine, We're gonna.

Speaker 2 (25:31):
Accept that it's supposed to be a metal hand budget. Yeah,
budget exactly exactly, but yeah, you're right. I never thought
about that. But yeah, there's a lot of sort of
like world building in this and then the whole scientist
who's like running around town and he's like, you know,
dying from radiation from the aliens, and then again and again,

(25:52):
they don't really give you much of his backstory. So
he briefly gives in that one scene before he just
passes out, you know, like when Auto finally runs into him,
he kind of he's sort of hallucinating and dying from radiation.
He kind of spouts off a little bit of his
story and then that's it, you know, But I like
that they just leave a lot of things kind of

(26:12):
hanging like that.

Speaker 1 (26:14):
Yeah, and in between all this is some great music.

Speaker 2 (26:19):
Yeah you got that. Ryan Partner another good companion piece
piece to this film. If you want to kind of
see the real life version in a way, minus the
aliens and you know, roaming gangs of Repo Man Repo
Man is watch Decline over the Western Civilization. The first

(26:41):
one because there's three of them, and the second one
is equally as incredible, but for completely different reasons. But
the first one is a documentary made by Penelope Fears
right around the same time, and it's a same and
maybe you guys have even talked about this on your show.
I don't know that yet. It's a it's a documentary
out to la punk scene from this exact era, and

(27:03):
it has Fear and it has the Circle Jerks and
it has Black Flag. It also has X. It also
has Alice Bag and the Germs, And it's a really
amazing movie because it basically kind of gives you a
day in the life of each band, followed by their
performance and you get to see this great range because

(27:24):
there's all these you know, like Darby Crash for instance,
is like cooking eggs in his apartment and like he's
sober ish at the time, and he's like kind of
this like cute kid, and he's like real political and
he's telling you all this stuff and he's kind of
lovable when he's making eggs. And then they show him
on stage like eight hours later, and he's totally fucked
up and a wreck and you don't understand anything he's

(27:46):
and it's mayhem and chaos and you're just like, whoa,
what happened? I mean, drugs is what happened. But like
it's crazy and that's got it's got Fear. The first
three minutes of the Fear performance is just a series
of fights, you know what I mean, There's massive brawls
going on. You get to see John Doe and Eggzine
being just these brilliant poets, and you know, the whole

(28:09):
thing is just like it's a really great it's like
the real life version of what was going on that
kind of inspired Repo Man in the first place, the
music in the La punk scene, in the underground scene
in downtown La.

Speaker 1 (28:19):
Yeah, we we haven't covered that film. We have covered well.

Speaker 2 (28:22):
You just did. Now you're good. You could just scratch
that off too.

Speaker 4 (28:25):
We did.

Speaker 1 (28:25):
Bet Spears obviously went on to do Wayne's World one,
so we didn't bring it up.

Speaker 2 (28:31):
Yeah, and she actually she did. She did has done
a couple other movies that are very LA punk. There's
a movie she did called Dudes that has Leaving from
Fear as the Bang bad guy. And remember when you
were saying before that there was an early version of
Repo Man where it was more like a road movie.

(28:52):
That's kind of what Dudes. Dudes is like. Two punk
rockers go on this road trip and end up pissing
off a biker gang. We're trying to murder them, and
they kind of go out in the desert and they
take peyote and they have these visions and they're gonna
fight these guys, and the whole thing is set to
like punk rock and from the eighties LA It starts
off in the LA Clubs as John Cryer is the
League guy. It's great Dudes, who's sort of in that vein.

(29:15):
And she did another movie that's really really fucked up
called The Boys next Door and it's with Charlie Sheen
and Maxwell Callfield and a young rooum Zappa is briefly
in it, and Patty Darbavillo. I think it is his name. Anyways.
This movie, which came out in the same stretch of

(29:36):
eighties kind of LA and takes place in LA during
the same time, is essentially these two guys from just
outside like Palmdale or something, you know, like an hour
or two outside of LA. They graduate high school and
basically just say fuck it, let's just go on a
let's just go do whatever we want. On their way
out of school, they literally like run over one of

(29:58):
their classmates, like center over the roof, get into a fight, hit,
you know, they get pulled out of the car, get
into a huge fist like tear off, go to LA
and basically beat, rape, and murder everyone they run across.
There's homophobic stuff, but I mean it's the eighties, so
like everything is homofolk, but I mean it's overtal like
they're like, let's get that guy. They beat up an

(30:20):
old lady, and like nothing redeeming happens the entire movie.
Like one guy just gets killed and then the other
guy kind of just goes like, well, I guess, and
that's it. Like it's the craziest movie because it's sort
of like keeps building up, like you're like, my god,
I hope we're gonna learn something from all this just
violence and maym there's no reason for any of this
to be happening. And then like nothing happens. That's it.

(30:42):
It just ends.

Speaker 3 (30:43):
And it's so funny because I feel like, at the
end of the day, that's kind of the that's kind
of the punk rock ethos.

Speaker 2 (30:49):
I mean, there's nothing more rock than that. But I
mean it's one of those movies. I've told people about
it many times and then they're always at the end like, wow,
this sounds really fast, And I always ended the conversation
with the women and it with you, but don't watch
this movie. It's fucked up. It's on you can watch
it on TV. It's it's there right now for you
to watch. But I'm telling you it's like I can't
honestly say I'm recommending it, but I mean it as

(31:11):
a like, as an example of something I'm like, well,
this is a great example of like you want to
talk about a fucked up, neolistic punk rock movie from
la in the eighties where everything just goes horribly wrong,
you know what I mean. That's this movie. There's another
one called Vice squad. That's kind of like that too.
But it's a little bit a little class here. I
mean not really, but you know what I'm saying, Like

(31:32):
like there's the this is like the neolistic side of
all of all the neolism.

Speaker 1 (31:38):
You know, it makes that makes Repo Man look like
a fairy tale.

Speaker 2 (31:42):
Yeah, man is like a fun wrong compared to some
of the other crazy la.

Speaker 3 (31:47):
Punk just kittens and rainbows compared to the real.

Speaker 2 (31:50):
Life aliens in the trunk. Who hasn't had that?

Speaker 3 (31:55):
I love it so fucking much when the one the
one punk guy opens the trunk and he just like
turns into a radioactive skeleton when he gets exposed, and
then he just becomes a pair of like combat.

Speaker 2 (32:05):
Boots, boots but like steamy, Like what's like.

Speaker 3 (32:08):
Ste yeah, you know, so it's what a great what
a scene?

Speaker 2 (32:12):
Yeah? And I also I love like when he's in
the bed first time you meet Auto, when they're in
the grocery store and he's with the guy that actually
is a Xander Slash from the Circle Jerks he's he's
with and they're kind of having that argument and then
the boss and he pushes the guy and then the
boss comes over and yells at and he just goes fuck you,
fuck you, you know, and it's like, literally the first

(32:35):
time you meet this guy, he basically beats up on
what's clearly like his best friend, tells his boss to
fuck off, and walks out the door. I when I
was thirteen, I was like, I love this guy. I
love this this is that's my guy. That's my guy.
I need to get a sweatshirt, so I tie rum
a waist.

Speaker 1 (32:54):
And then like almost no reaction to being China. It's
just like ah man and then like moveh yeah.

Speaker 2 (33:02):
Yeah. He literally just like grabs a.

Speaker 1 (33:04):
Jack like I thought you wanted a beer?

Speaker 2 (33:08):
Yeah yeah. And also that you know what also doesn't
You're just reminded me of another thing that's cool about
that movie or makes it kind of a time capsule,
is when he leaves to go get the beer, he
walks outside, and he walks through the house and goes
outside to get the beer, and like in the parking
lot are just a bunch of kids to a boom

(33:28):
box playing punk rock just in a circle in a
mosh pit like twelve though it's not even you know
what I mean, It's not like a concert or anything.
There's no band playing. They've just like got Fear the
Circle Jerks or whatever blasting, and they're just like, let's go,
just like you know, in a circle, running around having
a mosh pit. I'm like, when I was a kid,
I was like, that's happens at teenage parties. I gotta

(33:52):
I gotta get some of these parties. Man, Like this
looks awesome. Beat up on your friends, drink a bunch
of beer, listen to Circle Dirks.

Speaker 1 (33:59):
I think it's funny that. So we're talking about Fear
the Band for the first time on this podcast, but
we did talk about Flash Dance, so Leaving is in
that movie as well.

Speaker 2 (34:09):
He's in a lot of great movies. He's in Flash Dance.
I mean, he's most famous for he's mister Body and
Clue in the original Clue movie. He's the guy that
summons everyone to the house and then gets killed and
spends the rest of the movie, you know, as a corpse.
And he's in a great movie with Tommy Lee Jones
called Bad Move and Rising. He's in that movie Nightmare,
as I told you about. I mean, he's been a

(34:30):
ton of movies. I mean, if you look at his
IMDb He's been in a lot of stuff. He was
even on Oh what was that sitcom? One with Angela
and Tony Dance the Boss. Yeah, he was Angela's country
sort of biker boyfriend who sang in a country band

(34:50):
in a couple episodes of Who's the Boss. He was
also on the Flash Dance TV show. He's he's done
a lot of stuff and now he's in a band
with me, a huge I've seen all of his stuff.
I'll mention movies Lee's in that Lee has like you know,
He's like, oh, yeah, well that's right, you know what
I mean, Because I mean, I'll e made a lot

(35:11):
of movies, you know what I mean. But I'll be like, Lee,
you remember when you did that one thing, that movie
Poles Pounders. It never came out, but I've seen footage
of it on YouTube and He's like, what are you
talking about.

Speaker 1 (35:21):
I've seen Lee play with the Food fightters Prayer, that
Sound City documentary, and I remember in the documentary, Uh,
I think Dave Rel's like, I can't believe that sound
comes out of that guy's mouth.

Speaker 2 (35:33):
He still got it, man, I mean it's crazy. He's
still like that voice is there. He still plays a
mean harmonica. He's still got the pipes and the attitude,
and he looks good. You know. I think that guy's
gonna be singing punk rock like that, you know, till till,
you know, forever, as long as he's got a you know,

(35:54):
a breath to give, it's gonna be going.

Speaker 1 (35:59):
My friend Wendy, her fiance, is a big, huge punk
rock guy, and I remember when they first started dating,
like she just kind of likes she's kind of a
pop girl. He kind of likes a little bit of everything.
And she got so visibly upset when she talked about
how he brought her to see Fear for the first time.

Speaker 2 (36:18):
If fear's a rough one, if you're not familiar with
what you're getting into, because they're not really a normal
punk rock band in a lot of ways. You know,
the music is is very angular and chaomic, and there's
a lot of jazz and prog elements going on within

(36:39):
very short, simple, fast punk rock. Some of the songs
and I can say this because I've had to learn
all the songs. Some of them are really straight ahead.
They're fast, and they've got some little poly rhythm stuff,
but like they're pretty straight ahead and then some of
them are absolutely banana cakes difficult. And I was asking
the drummer, spit stick, so you using the current lineup
of Fear and uh, I was asking spit like because

(37:03):
you know he wrote a lot of this stuff with Lee,
Like why what is happening? How you guys could write
a song with three chords like I Don't care about
you and then write a song like we Destroy the Family.
That's just like this mind fuck of a of a
rhythm happening. And he's like, oh, well, you know a
guitar player was an engineer and a mathematician.

Speaker 3 (37:23):
And I'm like, explains it, Yeah.

Speaker 2 (37:26):
All right, because I wasn't good at math and still
am not. So there's that. Uh So, you know, it's
been challenging learning learning some of that stuff. But I'm
a huge fan. I mean I grew up on Fear,
as we talked about with this connection with repo man
and stuff, and yeah, Lese Lee still got it and
the music still to me is just really challenging and awesome.

(37:47):
And we just made a new album called The Last
Time and it just came out a few months ago
and it sounds Filo Kramer, the original guitar player. You
co wrote a bunch of songs on it, and it
sounds like classic old Fear. It sounds great, it's a killer.
I'm on it, so it's even better of course, but
you know, or worse, depending on whether you like what

(38:08):
I bring to the table.

Speaker 1 (38:09):
But so in twenty twelve, there was a tribute album
that came out called a Tribute to Repo Man and
Mike Watt and the Second Men cover the Fear song
and it's pretty Mike Wat does a pretty good job,
like you know no One's gonna be leaving, Yeah, and
then and then replacing the guitars with Oregon's pretty awesome.

Speaker 2 (38:29):
There's a great cover. Megadath does Foreign Policy on one
of their more recent albums, and that's a really good
Fear cover if you like if you like the Mega Death.
There's been a bunch of Fear covers over the years.
I mean, I've got Soundgarden from these BBC sessions doing
I Don't Care About You and Guns N' Roses. I

(38:51):
believe also do I Don't Care About You on Spaghetti Incident.
So there's been. In fact, my band The Streetwalking Cheetahs
does Christmas on a Christmas covers tribute album from a
while back. So you know, a lot of us have
been covering Fear for many years.

Speaker 3 (39:08):
Yeah, the tribute album is surprisingly surprisingly okay. Actually yeah
to this, Yeah, it's surprisingly okay, and the songs are
good exactly. The songs are good, and it's there are
some pretty heavy hitters contributing. I'm not going to acknowledge
the Amanda Palmer involvement, but other than that, it's not bad.

Speaker 2 (39:25):
I'm really upset that I didn't even know about that,
and quite frankly, had I known about it, I would
have absolutely muscled my way in on that. I've been
on enough tribute album but a lot of times you
kind of got to know someone involved to get, you know,
get on that list before all, especially with something like
repel Man, there's only what you know, twelve songs that
can be chosen. If it's like a Rolling Stones tribute album,

(39:46):
then there's a you know, you could do a double
album or something. So anyways, now that I know there's
a Repelman tribute album, I will have to check it out.

Speaker 1 (39:53):
I think Frank Blank is on it, and then you know,
obviously they afore mentioned Mike Wad and the second man.
I mean speaking of La punk rock.

Speaker 2 (40:01):
Icons, right, yeah, absolutely.

Speaker 3 (40:04):
I feel like this is a good transition into talking
about the Plugs, which is these songs you can't buy
the plugs, which are so central to you repo man,
you can't stream them.

Speaker 2 (40:16):
Well, so the deal. I don't know all the legalities,
but most of the Plug stuff is out of print,
and I think the plugs, I don't know what label
they were on. I would wild guess they were on IRS,
and IRS had at one point a deal with Warner
Brothers or Sire or something like that, but a lot
of that IRS stuff is out of print now, so

(40:37):
I don't know what happened. But that was a label
that had a lot of great alternative music in punk
rock and new wave in the early eighties, and a
lot of that catalog unless it kind of got renegotiated
elsewhere by maybe some of the bigger bands. A lot
of it seems to be in limbo at the moment.
But the Plugs are interesting because the Plugs were like
a teenage East La Latin Tree, and they went on

(41:02):
to change their name and change their style and became
the Crusados. And the Crusados were interesting because their singer
is Titoliva and Teteroliva, you know from he had a
solo career, but he also is in the movie from
Dust Till Dawn, the Quentin Tarantino, Robert Rod he's the
guy playing when the whole thing erupts in the Vampires

(41:24):
and all of a sudden the bands on stage and
they're like Monk Vampire. He's a regular. He's the guy
in all movies.

Speaker 3 (41:30):
He's been in Machete once on a time in Mexico.

Speaker 2 (41:34):
And he's done music for all those and stuff. And
then the other and the other guy that was in
the Plugs and the Crusados, that's he's no longer with
us was a guy named Charlie Quintega and Charlie or
known as Challo, was the drummer in Bob Dylan for
a while, and he was in Izzy Stradlin and the
Juju Hounds, and he was in one of my favorite,

(41:56):
uh sort of unknown LA bands from the nineties called
the Havelinas. And so he was another guy that just
kind of had a long, really great career before he
sadly passed away.

Speaker 3 (42:06):
As Yeah, I mean, these these songs that are in
reputman I think are really they're so good, and there's
so worth discovering and finding, whether you find them on
you know, vinyl or something out of print or however
you have to get your hands on them, they're really incredible.
I'll claveo E. La Cruz that appears on the radio
when Auto first reposed the car and he's in this
kind of sketchy neighborhood. That cover of Secret Agent Man,

(42:29):
the Johnny Rivers song Secret is so good. There's also
so much surf influence in particularly in their songs. But
I think, like throughout the.

Speaker 2 (42:38):
Movie, I'm pretty sure that they that there's at least
one Plugs album, and that there's also I think there's
like a Plugs collection. Again, I don't think any of
it's on digital now, but you could probably find on
vinyl or great thing to look for that stuff on
is a discogs or also, I mean, quite frankly, one
thing I've discovered, if you're the patients to bother tracking

(43:02):
it all down, is that everything's on YouTube. So if
you just look them up on YouTube, what I mean,
you might have to go track by track or whatever,
but like you know, you can rip stuff off YouTube,
you know. But anyways, the Plug's definitely made at least
one album and some singles. I mean, I shouldn't take definitely,
but I'm pretty feel like I could picture it that
they made an album some singles and it's just all

(43:23):
out of print right now. And the Crusados record is
great too. They might have made more. There's one in particular,
the first one that I had back in the day,
and it's awesome. It's kind of it's sort of like
the Plugs, but more bluesy rock, like they were kind
of almost like a bit more Lows Lobos with a
bit of a Stevie ray Vaughn kind of thing. Good stuff.

Speaker 1 (43:46):
So, speaking of music, in the film, we have a
Circle Jerks cameo in the nightclub, but they're not playing
as the Circle Jerks. They're playing it's kind of like
this lounge band and.

Speaker 2 (43:57):
They're doing a Circle Jerk song, but they're doing a
loud version of it, which is great because for the
longest time, I didn't even know that was an actual
punk rock song, Like I just thought it was He's
a you know, shoe bitty doo bty doo wah wah
wah wah wob yeah, and it like the hook is
on He's like when the ship hits the fan, it's

(44:18):
like all like stony and mellow. I just thought that
was them sort of on stage riffing from when they
shot the scene. And then I late, you know, years later,
picked up like a Circle Jerks record. It was like,
oh my god, that's a real song.

Speaker 3 (44:30):
That's so great.

Speaker 2 (44:31):
Yeah.

Speaker 3 (44:31):
And then Auto's sitting there in the sam club like
he used to like these guys.

Speaker 2 (44:36):
Yeah, I know, right, I can't believe it he used
to like these guys. Yeah, it's a great line. Yeah.
And like I said, the Xander Slash from the Circle
Jerks is is in Uh, He's in a few scenes
in the movie, but mainly the most memorable one is
he's in that opening scene with Auto in the grocery store,

(44:57):
which is you know, now that it's funny you say that,
I never thought about that connection before. And this isn't
anything like that deep but kind of nerdy, But like
that's almost kind of implying that, like the character that
Xander Slosh is playing is Xander Slash from the Circle
Jerks because like basically he's working a day job with
this guy. Then he goes and sees the guy's band

(45:19):
later in the movie, and they've become a lounge act
and he even acknowledges like I can't believe that he
used to like his band, which would be the because
they're doing a Circle Jerks song like an update of it.
So it's kind of Actually it's just another weird little
meta like unit world building Alex Cox thing in that
movie is you can kind of like, wait, is he
even playing a character or is that just supposed to

(45:40):
be Like anyway, I've seen this movie.

Speaker 3 (45:44):
Well, there definitely know there are definitely layers.

Speaker 2 (45:47):
So I think about these. I think about these kind
of things a lot.

Speaker 1 (45:51):
I thought it was so great, like the line deliveries
in this movie, like when Duke is about to die
in the convenience store, like, uh, I'd like to say
that this is all society's fault, and then Emilia said
as like, you're like just a suburban punk kid.

Speaker 2 (46:09):
It's a suburban punk.

Speaker 3 (46:10):
The comedy of this movie hits. I was surprised at
how funny it actually is.

Speaker 4 (46:16):
Uh.

Speaker 3 (46:16):
And I think they use them music in interesting ways
to heighten that comedy. There's that great cover of Pablo
Picasso by the Burning Sensations.

Speaker 2 (46:25):
I love that, such a first of all.

Speaker 3 (46:28):
Yes, like a plus plus plus cover.

Speaker 2 (46:32):
That actually might be one where I like to cover
more than the original, although I really like the originals.

Speaker 3 (46:36):
It's John Richmond, and John Richmond's an acquired taste, right, Like
he's he's a weird dude. He's one of my favorites,
but he's bizarre.

Speaker 4 (46:44):
There's something about Richmond, yes, well yeah, no, absolutely, that's
him and and Jonathan Richmond, like you said, he's already
kind of got this dry, slightly sardonic sound.

Speaker 2 (46:56):
Of his vocals and everything, and but like but their
cover of it is like they're just leaning way hard
and like it just sounds like the guy just doesn't
even want to be there all as he's singing. Yeah,
you know, it just sounds so bored, and it's like
he's taking a song where the guy sounds bored and
then like out bored.

Speaker 3 (47:14):
It's so great, and it's so great because it's used.
You know, it's playing on the radio when Emilio is
trying to pick up the girl, and you know, the
lyrics are all about how like Pablo Picasso tried to
get like pick up women and was never called an apshole,
not like you you're an asshole everyone.

Speaker 2 (47:33):
He's driving down the street, and the lyrics as you
drive right in your dorado, you know the color of
an avocado. By the way, is there any other lyric
in a rock and roll song that rhymes with avocado?

Speaker 3 (47:50):
I can't think, you know, But this is what makes
Jonathan Richmond so great to me, because he's out there
doing things that like nobody else would right because they
seem stupid, but somehow he's pulling them on.

Speaker 2 (48:01):
I guarantee somewhere out there there's an eminem freestyle with
avocado in it. But beyond that word smith, I feel
like it's very.

Speaker 3 (48:09):
Yeah, well, I mean rhyming avocado and El Dorado is
just inspired inspired. I don't think you can say enough
to you about how much you know nineteen eighty four.
Like car culture, Chicano culture is like really infused throughout
this movie too. Both of those things are really important.
I think that Tarantino like owes a little bit of

(48:30):
a debt to this film because I see so much
of like Reservoir Dogs, and I see so much of
pulp fiction in a lot of this movie.

Speaker 2 (48:39):
Also, you know, I just thought about this now that
you kind of mentioned that, But like there was a
whole rash of movies from this era where there's some
car chase sequence down in the Yes, so many, there's
this one. There's Terminator too, has a classic one. There's
Grease obviously is the big one, although I don't know,

(49:01):
I can't remember if that's supposed to it is supposed
to take place in southern California, because yeah, and then, uh,
what's the other big one. We'll reap a man obviously,
but there's another big one too. But yeah, back then,
apparently it was like a thing like I've been putting
this way. I've lived in La my whole life. I've
never once gone like walked down into those rivers, were

(49:22):
driven my car. There's so many questions raised. I'm like,
how do I get my car out of there? If
I drive it down there? What if like the way,
I can't you know, get back up? What if they're
fucking floods, you know what I mean? Like, what if
they're just the whole thing floods. I won't even walk
down there quite frankly, but I certainly not bringing my
car down there. But meanwhile, all these movies, people just like,
let's go raise, you know, tear it tearing down you

(49:45):
know these La Yeah.

Speaker 1 (49:46):
I feel like it was a trope of the eighties
where like I'll meet you there, we'll race our car,
I'll meet you down.

Speaker 2 (49:52):
There, one of us.

Speaker 3 (49:54):
Yeah, and then meanwhile it's like it's cheap to film here.

Speaker 2 (49:56):
So but at the same time, like I like I said,
I've lived in La. I don't know anyone that's ever
done that, not that much of it. I mean, it's
a trope in the movies. But I mean if you
were like, say, slam dancing, I go, yeah, yeah, La
slam dancing, punk rock. Yeah, yeah, that's that checks out,
you know what I mean? If you were like, oh,

(50:17):
gang culture, big yeah, definitely checks out. I've lived in
La my whole life. I've seen a lot of cribs
and a lot of bud But like, how many times
have you and your bow has gone down to the
La River with those cars and like no, no, no,
cars are expensive, right exactly? Yeah, And and and when
I hear the word river, I don't know about you guys,

(50:38):
and I'm no linguist, but I think of a tremendous
body of water, and to my knowledge, cars generally are
not associated with tremendous bodies of water, and therefore my
sensibility says, don't take your car into anything that says real.

(50:59):
That's me. I'm a Capricorn, you know what I mean?
I don't know, you know.

Speaker 1 (51:02):
I mean. My my five year old daughter the other
day said, Dad, you don't drive a car on on
the water, right, And I said, no, that's that's when
you use a boat.

Speaker 2 (51:12):
Right, Yeah, like a ferry. You put your car on
a boat and it takes you across the water. You
drive your car on water. I mean, you know, I mean,
I guess a what are those things called those hovercrafts
or hyder those things you see and like in the
in the in the Florida Everglades or something. You know, sure, okay,
but you know most people are cruiser not on the

(51:34):
l A River.

Speaker 3 (51:35):
No, do not come on, do not come to La
rent a car and expect that you're going to go
recreate anything there. It's no.

Speaker 2 (51:45):
What you're gonna get is an army of angry homeless
people chasing you out of Los Angeles because you've driven
your car through the La River where you know, at
the moment currently a lot of them are yeah.

Speaker 1 (51:58):
M hmm, unless you're trying to re create a what
is it the Boys next Door?

Speaker 2 (52:02):
Then then ruh, that's a good point. Well, good callback,
by the way, thank you, thank you. I was a
good one. Yeah, excellent. I'm gonna I'm gonna i'll mark
that down. Good. I had a call back n Yeah, yeah,
I've been yeah, exactly.

Speaker 1 (52:19):
Fifty two minutes and thirty seconds.

Speaker 2 (52:21):
I got the time. I got got the time. So
running back back, yeah, it's like if running backwards up
in the corner. I one time. I'll tell you this,
people people in show business are sometimes so dumb. I
was working on a major TV network at uh, well,
I'll tell you it doesn't matter. I was working at NBC.
It was an NBC matters when I wasn't playing, when
I wasn't playing rock and roll for a long time,

(52:43):
I was working in TV, and I was a producer
and director and stuff. And uh, I had a guy
who was like the executive of a network, meaning and
this guy had come from big TV networks, Like he
wasn't just some like you know, hot shot dude that
just got it. This is a guy who like developed
show built networks new you know, presumably had seen dailies,

(53:04):
you know, i e. Rough cuts, raw footage dailies. So
one of our jobs was putting together TV commercials and
promos and stuff like that. And a lot of times
we would be putting them together before the episodes were
even completed. So we would get rough cuts of TV
shows and start to write and cut the promos from

(53:25):
the rough cuts, you know, and the idea, I mean,
you would swap out the you know, if the footage
wasn't color corrected, if it still had time code, whatever,
you'd swap out all that footage. Once you kind of
got the overall greenland, I'm like, yes, we like this
overall piece. And so I had this piece due on
like Wednesday, and like on Monday, my boss, who was
already very very aggressive, very passive aggressive, but let's just

(53:48):
say aggressive, came to me. It's like, Meyer, I'm gonna
need to see that promo. And I'm like, that promo's
not due till wednesday, and I just got the raw
footage in this morning. We've got like a very early cut.
But like, give me you know, any time, like any
time for this No, No, I want to see it
in my office now, all right. So I go to
my editor, let me get the current cut. He's like,

(54:08):
you can't show him. That is a rough cut. Has
not even got the color corrected. You know, it's still
got time coders. And I'm like, yeah, I know. But
the guy runs the network, he knows what time code
is in color correction. Let's just show him what we got.
He wants to see it. I'm not gonna say no.
So I go in and I show him this thing
and he's looking at it and he's like, hmm, color
doesn't look great. I mean, first off, I didn't direct

(54:30):
any of the footage that he's looking at. I just
put together the promom. But and then I'm like, all right,
well it's not done. And then he goes and what
the spinning number in the corner? What's the spinning number
in the corner? Is what the guy who ran the
network said to me. And I was just like, I
was like, I got to get out of this business,

(54:50):
Like this is insanity.

Speaker 1 (54:53):
That reminds me of Paul F. Tompkins was doing a
comedy bit and he used to work at a hat
store Aladelphia, and he's like, some of the dumbest people
come into the store. Some guy came in and was like,
can you get me like a what a king hat?
And he's like, you mean a crown?

Speaker 3 (55:15):
Amazing?

Speaker 2 (55:16):
Yeah, people are ridiculous. I during the pandemic when like
everything shut down, you know, and that's like me and
Eddie's Spaghetti started making that record because we had nothing
to do. And then slowly, you know, restaurants and places
were opening up if you serve food, and they would
be like, okay, you can come out in the patio,
but you have to be like every other table and

(55:38):
you're twenty feet apart. And then eventually it was like, okay,
we can have some sort of entertainment out here in
the patio outside, but it's got to be like one person.
We can have bands. It could be like a DJ,
or maybe an acoustic guy in the corner twenty five
feet away, you know, whatever you could pull off so
that people could go back and start to feel like
they were getting back to life. And so, you know,

(55:59):
my job and furloughed at the time, and then I'm
laid off and like everyone else, I'm unemployed for during
the pandemic, and all of a sudden I hear that
venues are starting to do shows again. So I went
around to every venue and was like, I'll play, like
what do you got? And they'd be like, well, can
you do three sets of acoustic on a Wednesday night?
You know, I'd be talking to some guy that ran
a pizza place or whatever, you know, and I'd be like, hell, yeah,

(56:20):
I can. So I booked four nights a week at
four different venues, doing three sets hour long night. Every
single four nights, three sets, three hours by myself, doing
a mix of covers and rizzles, literally singing for my
supper Pami Rent, singing all night. It was great. It
was career building. I learned all these great lessons blah
blah blah, but it was fucking horrible. And and here

(56:42):
would be an example why I'm playing a pizzaia on
a Thursday night at like midnight, playing a Rolling Stone
song and a drunk guy walks up to me, puts
his hand, goes out hey man, puts his hand on
my guitar, like on the neck of the guitar, like
prevents me from playing, stops me, and I'm I go, yes, sir,
can I help you? And he pulls out ten bucks

(57:04):
and goes, can you play something by the Rolling Stones?
And I was in the middle of playing Rolling Stone
song when he stopped me, interrupted me, and I was
give me that. I took his money stuck in my
pocket and picked up the fucking song right from where
I stopped him before sit down. Send me dead Flowers
by every morning, and I just in my head, I'm

(57:27):
just like, people are the worst.

Speaker 3 (57:29):
They are, truly, people are the worst.

Speaker 2 (57:30):
You got you two are great?

Speaker 3 (57:31):
You yeah again, present company excluded. Generally speaking, people are
the worst.

Speaker 2 (57:37):
Yeah yeah, I don't know they're familiar with people, but
they're the Yeah.

Speaker 1 (57:40):
I mean I've heard, I've heard since you know, people
have come back to doing shows, like people just like
you just talk or do they just film the whole thing?
You remember? Do you not remember what it was like
to go to shows?

Speaker 3 (57:53):
Well, no, people either don't remember or they just simply
haven't learned the etiquette. Because some people, if you're young,
maybe you skit like an entire formative period where you
don't know that you're not supposed to be a dick
at shows, Like you don't know that there's a level
of respect for not like shouting out shit at artists.
But then at the same time, like I've been to
a lot of different shows across genres, and maybe those

(58:15):
people have always been there, they're just worse.

Speaker 2 (58:17):
I'm not sure. Yeah, I mean, I don't know. I'm
well trained in this arena because my career and you know,
my band, The Streetwalking Cheetahs, we came up in LA
in the mid nineties, which was sort of the height
of the shoegazer for sure, and kind of the alternative scene.
So not only was the this was before everyone was
on their cell phones, but it was during a period

(58:39):
where people would come to the show and then just
kind of nothing, yeah, not really react, not really care,
like barely clap, and then even worse, the fucking bands
were on stage like dragon guitars looking down looking forward.
So we were so annoyed by that that when we
would play and this became kind of our act, was

(58:59):
like we would essentially jump off the stage and grab
the microphones and take the whole fucking show out into
the middle of the crowd and start to fuck with
people and climb on their tables and smash their glasses
over and just do whatever we could to kind of
get them arise out of them essentially, and it became
a great training ground and it also became a great
way to kind of develop you know, crowd work as

(59:21):
they call it, which was, you know, the idea that
like you kind of size up the room and if
they're with you and you can just stay on stage
and do your thing, you do that. But if you
need to get out there and take the show to
the people, you kind of know how to react on
a dime and essentially also not be offended by people
not paying attention to you. Like I said, I came
up in Los Angeles. No one gives a fuck about
you in Los Angeles, and everyone's in a band, and

(59:43):
everyone's an actor, and everyone thinks they're better and more
famous than you. So if you're going to go on stage,
you kind of have to have pretty thick skin, especially
playing rock and roll. Like in two thousand. You want
to talk about thick skin, try playing rock and roll
in twenty twenty five, anywhere in the world, especially a
big city Los Angeles. Like it's not you know, it's
not what it once was in terms of being It's

(01:00:05):
not like rock and rolls dead or anything, but it's
not like kids aren't running out and going to bars
on a Wednesday night seeing rock bands the way that
they wouldn't sneak it out of their ass and stuff,
and there's not these sort of scenes the way that
there is where it's like, oh my god, in La
there are fifty great bands right now, Like there might
be five great bands, but but you know, not to
sound like an old guy or anything, but like, but
when I came up with more than five. There's a

(01:00:27):
lot of great music going on in like every city,
Like you go to San Francisco, you go to New York,
you go to Detroit, you go to Kansas City, there's
this hotbed of just like kick ass rock, punk, metal,
alternative music, whatever was going on. And I think just
as far as live music goes now, there's just not
as much of a scene for it for you know,

(01:00:47):
kind of essentially live rock and roll, live live music.
So it's just you know, again, you just gotta have
thick skins. So I don't care if people are on
the I really could care less, like whatever, Like when
I get on stage, you'd be hard pressed to not
be paying attention because we put on a lot of
energy with whatever band I do, and there's a lot

(01:01:08):
of effort to sort of connect with the crowd, and
so part of my job, I feel like is literally
to get to connect with the crowd in whatever way
I sort of feel appropriate for that room, in that crowd,
So I don't necessarily get upset if people aren't paying attention.
But I'm also used to the idea that, like, well,
my job is to get their attention, So I'm you know,

(01:01:28):
kind of going all these tricks and stuff that I
do to make sure that suddenly whatever I'm doing is
more interesting than we'll tek.

Speaker 3 (01:01:34):
Yeah, this is a good segue, I think into talking
about one of our greatest showmen, the godfather of punk,
Piggy Pop himself, who is responsible for the title track
on Reboman, and he does it with something of a
supergroup behind him, Steve Jones from the Sex Pistols on guitar,

(01:01:57):
I think Blondie's entire rhythm section of but Nigel Harrison
and Clem Burke so pretty incredible that they made that
come together. My understanding is they made it come together
because at the time, Iggy Pop was pretty pretty down
and out and just like needed the money.

Speaker 1 (01:02:13):
And apparently like the movie.

Speaker 3 (01:02:16):
And his manager loved the movie, and you know, Iggy
Pop was just like, well, yeah, this is like a
blessing to me because it's in ninety eighty four. I
don't think Iggy Pop had like the respect that he
enjoys now and Web was not was not exactly at
like the peak of his career. And I think much
in what we're describing right like ninete eighty four not

(01:02:38):
like it's kind of like a hostile time for outsider music.

Speaker 2 (01:02:43):
He a few years later he had a comeback with
the Blah Blah Blah album, which Bowie produced. Bowie had
had a great knack for bringing out the best in him,
and so he this was sort of like between the
eras of you know, he had had Lust for Life
and the Passenger and that era or the Idiot and

(01:03:08):
Lust for Life, or his pair of records that Bowie
produced after the Stooges, and then he had a run
of solo records that weren't doing that great, and then
he re teamed with Bowie to do an album called
Blah Blah Blah, and that clot was sort of the
first of Iggy's sort of climb back and then climb
into like the legendary status that he arrived at, but

(01:03:29):
after years and years, and this was definitely during that
sort of lower period. I think, if memory serves, he
was living in LA around this time, and he did
a bunch of stuff with Steve Jones. Steve Jones actually
plays all over the Blah Blah Blah album, and I
think this is kind of the beginning of their relationship,
and that was sort of maybe the not the end,

(01:03:51):
but the end of this period of them collaborating. And
in between they did a bunch of demos and stuff
that have come out on some box sets and stuff,
but essentially those about it looks like a year two
period where Iggy was bopping around LA a lot working
with Steve Jones. Steve Jones at this time was officially
a solo artist. I think he had to deal with

(01:04:11):
MCA and was making his solo records at the time.
I think Iggy might even be on one of Steve
Jones's solo records. So they were definitely kind of tight
around this time. And all those blondie guys I think
all lived in LA at this point too, even though
they were New York ban A lot of those guys
moved to LA. Clen Burke and those guys, so that
kind of checks out. And Yeah, he's the greatest. I mean,

(01:04:34):
all the stuff I was just talking about as far
as you know, for lack of a better term, my
kind of philosophy about playing live and kind of you
know what the duty of the front person and the
singer and the performer is a lot of that comes
from Iggy. You know, it's just seeing Iggy play, hearing
those bootlegs of the Stooges and you know, the concerts

(01:04:57):
that just sounded so out of control, and you know,
growing up being such a fan, he was always so
confrontational and and such a risk taker live, I mean
physically like physically taking risks, you know, leaping off stages
and crawling over glass and all this stuff. And he
kind of had this real sense of like genuine danger,

(01:05:18):
not like showbiz danger, but like actual danger, like fuck,
this guy might actually be out of his mind right
now and might kill himself, you know what I mean,
or kill us. But whereas you know, like another guy
that might be in that you know, not even in
the same conversation, but like on the other hand, whereas
someone like a gig Allen was known for all this

(01:05:41):
like rude and crazy behavior, except that a it bordered
on offensive because you know, he was involving like poop,
but also he didn't have the music to be right.
You know, Iggy was writing always from the stooges throughout
his career, on the high points the low points. Iggy
was always an interesting songwriter. He always was making challenging
music and he always had something to say. And so

(01:06:05):
when you pair this really really interesting, very vocal artist
with a really really individual point of view with this
philosophy of showmanship and a front man who's willing to
kind of do whatever it takes to have an effect
on the audience, you know, he either wants you to

(01:06:26):
go home a fan, or he wants you to go
home mortified over what you've just seen. But the idea
is you're not going to go home not remembering that
you saw a gybop. And I always kind of subscribe
to that theory, you know. James Brown is another big
influence as a performer. Angelo Moore from Fishbone for me,
he was a big influence, and David Lee, Roth, the

(01:06:47):
Van Halen, all big influences, all very different frontmen, but
I think all of them had this great kind of
charisma and this great way of connecting with the audience,
way that a lot of their counterparts maybe didn't or
didn't do as genuine.

Speaker 1 (01:07:05):
I love how David Lee Roth kind of like prowls
around the stage, like there's a certain struts and an
energy that he has, or you can like, well and
don't look at him.

Speaker 2 (01:07:15):
Dave. Dave's thing that I always thought was such a
cool kind of point of view is that like you
were at a party and he was the host of
the party. So he's like the ringleader of this three
piece circus of debauchery, or he's he's the uh, the guy,
the toast master, like the greatest, loudest, craziest party with

(01:07:36):
all your best friends ever. And so his old thing
was always kind of he's laughing, you know, these arms
are always open, big smile on his face. He's kind
of talking to everyone like he's a little waisted, and
it's the sort of always playing to the back of
the room, just like you'd see all these heavy metal
performers around that time. They were also like er and angry,
and David Eddie just had these smiles and they're drinking

(01:07:58):
beers and it just looked like this backyard party. I mean,
they always kind of said Van Halen was like the
ultimate Pasadena, our barbecue, backyard party band that made it big.
And I feel like that's what the best of their
concerts were. Certainly when Dave was was the front man,
is that sense of like, we gotta go to Van Halen,
it's gonna be the greatest party ever, you know what
I mean. And then you'd go and it's like it

(01:08:19):
was the greatest party ever, and everyone was going crazy,
and you know, everyone was having a good time, and
the band was having a good time, and the music
lent itself to having a good time. It was good
time party music, you know, good stuff. And Dave was
funny too, Like a lot of guys weren't that funny.
Dave was funny, you know.

Speaker 1 (01:08:37):
Speaking of funny, Harry Dean Stanton is amazing in this film, sure,
And he's got like a great like sort of like
downtrod and energy, especially like in his movies in the eighties,
like and Pretty Pretty and Fink Like he's so good.
But he's so good at being like a little like
like I need to get like you want him to
get a shit together?

Speaker 2 (01:08:58):
Yeah, yeah, what you. Bow Man's life is always intense.
He's very intense in that movie and it's great because
he's playing it very straight. Everyone else is kind of
being a little bit more irreverent, but he's playing it really,
really straight and dramatic, which is exactly the right way
to do that. You know, he's in a lot of
David Lynch movies. Hardian stand and it kind of makes sense.

(01:09:21):
You know, he's got that intensity and he's got that
you know, he's just a really unique, unique guy. He's
got a unique way that he delivers his lines, almost
like a Christopher walking or something. Ye like, he's all
whatever you do. You know, it's he's gonna bring something
that you're like, well, I didn't see that coming, Like,
you know, great actor. He's great in this movie. He's

(01:09:42):
great in lots of movies. The Hardian Stanton is in
a lot of my favorite movies, and he's I've been
on a David Lynch kick recently, and you.

Speaker 1 (01:09:50):
Know, I recently saw him in a documentary. So they
just re released dig, which is about the Brian's Jones
Sound massacred Dandy Warholl's sort of relationship viewed and at
one point the Brian's Jonestown Massacre moves to Portland. The
Dandy Warhols are like, yeah, it's great to see you guys,
but you can't stay with us. So they end up

(01:10:10):
getting like some shitty apartment and they have a party
and it's like two in the morning and all of
us and all of a sudden, like Harry Dean stands
just hanging out with the Brian Jonestown Massacre and it's
just and then I think the narrators, one of the
guys from the bandit he his leg. I don't know

(01:10:30):
what just happened, but like Harry Dean stands like sitting
on my bed, just like rock, just like jamming.

Speaker 2 (01:10:38):
Wow. When The Streetwalking Cheetahs first got signed a Bomb
Records by a guy named Greg Shaw, who was kind
of a la rock impresario. He signed a bunch of
real influential artists. He did Iggy Pop's Kill City Record,
among other things, which was the first album Iggy made
after the Stooges, and he did Josie Cotton's Johnny Are

(01:11:01):
You Queer Now? And the Plumsoles Million Miles Away, And
he ended up signing The Streetwalking Cheetahs and the same
weekend that he which clearly must have been a party weekend,
the same weekend that he signed us. He signed Brian
Domestown Mascer to their first record deal, and he signed
this band called the US Bombs, who were a notorious

(01:11:23):
drug fueled skater punk band at the time. And you know,
it was like we thought us little streetwalking cheetahs at
the time, thought that we were kind of badass with
our little attitudes, and we drank beer and smoked weed occasionally,
might do a little something else, but like we thought
we were pretty bad ass. And then we started doing
some shows with the US Bombs, who were, like, I mean,

(01:11:45):
doing drugs at a level that I could even believe.
And then the Brian Jones down Massacre, who were all
just asleep because they'd all done heroin, you know what
I mean. They were just like conked out all the time,
Like it was crazy. I realized really quickly that I
was like kind of an am mature in a lot
of this rock stars shit. When I started hanging out
with bands like Brian Jonestown Massacre and Dwayne Peters of

(01:12:06):
the US Bombs, these guys were like professional rock stars,
like at a level that my body and constitution can't handle.

Speaker 1 (01:12:16):
Okay, so speaking of rock stars, this will be our
last sort of questions. So, your brother plays I want
to exactly call him a rock star, but he plays
the lead singer of a band called Love Burger and
Can't Hardly Wait?

Speaker 2 (01:12:29):
You sure, do you.

Speaker 1 (01:12:30):
Feel like you have any influence on your brother's performance?
And I'm move indirectly or directly.

Speaker 2 (01:12:36):
I don't know if I have any influence over that.
It was around the time that so Brecken was the
original drummer in the Streetwalking Cheetahs, and around the time
that he was in the band was when he did
Clueless and Can't Hardly Waite and sort of it was
in that era. I mean, I don't know the exact
timeline of those movies, but that's essentially the era. One

(01:12:58):
of the reasons why he didn't Maine in the band
was simply because he started getting all these gigs in
a row and was having to go shoot. And we
were getting music gigs, and we had just gotten signed
to Bomb Records, and we wanted a little bit more
of a commitment, like, Hey, we're going to make this
record and go tour. And he's like, well, I just
got this other movie and I'm gonna be out of town.
And we're like all right, what articulator. But you know,

(01:13:20):
he's my brother. So it wasn't like a big fight
or anything, which is like, hey, let's do our own thing.
Breckin was all, like I said, kind of going back
to the beginning of conversation, like we were always these
little creative kids, Like we were always playing music, and
we would like put on plays for our parents, like
and like put on an album and then let's sink it,
like we were making a music video, and we had,

(01:13:40):
you know, a little superreat cameras and would make movies
and stuff. And so Brecan very early on went into acting,
and I very early on learned how to play guitar.
But along the way, like I continued making films and
went into filmmaking as well, and he continued playing music
and kept some you know, version of a music career together.
So even when he was doing all that nineties stuff,

(01:14:03):
a lot of folks don't know he was playing drums
in the street walking cheetahs. And then in the early
two thousands, when Rage Against the Machine first broke up
and Tom Morello was doing his band The night Watchman,
Breckon was the drummer The night Watchman for a while,
he played with Tom Morello on his side project band
Street Sweeper Social Club. Both of us played in Wayne

(01:14:24):
Cramer's band for a while. So Brecan always kind of
maintained some version of a music career, but his passion
was acting. For me, my passion was music, but for
a long time I was making my living, you know,
as a director and a writer and doing sort of
my other interests. But both of us were always just
kind of creative kids. So meaning as far as going

(01:14:45):
back to Ken Hardley Way, him and Seth Green, Seth
Green was always not always but from the early nineties,
him and Breckon were like best friends, and he was
always around in the early Cheetahs days. They had a
band that I produced at one point. And so Seth
and Brecon being in a band in a movie at

(01:15:05):
that time with all those people, because all of them
were kind of hanging around that scene, like, you know,
all of that kind of checks out. None of that
was surprising at the time, you know. And Brecon, you know,
recon can uh, recon can wrap all of Ice Ice
Baby by Vanilla Ice word for words. So he's got
he's got a lot of musical talent and he always

(01:15:26):
has and uh, we still you know, we still occasionally
do do music stuff or other things together and we
hang out all the time. But you know, he's still
interested and still does music. And yeah, a lot of
people don't know. Brecon is the voice of Joseph and
King of the Hill, the animated show by Mike Judge.
And he also has been doing Robot Chicken with Seth

(01:15:50):
Green's Day one and he eats a lot of the
voices and a lot and he writes a lot of
those sketches and stuff. And what's funny about that is
that when when I first met Seth, probably around ninety
ninety one or something, so he was still a teenager
all that. Like the toys they use the Robot Chicken.
I'm sure now they're doing it all with computer animation,

(01:16:11):
but at the time when they originally made that show,
they were doing stop action, old school you know, stop
action type stuff, and that all stemmed from the fact
that that was Sess's genuine hobby. Seth would go and
like he would take I'll ever forget this. He took
a he Man action figure and he took like a
lighter and he would kind of heat up the features

(01:16:31):
so that he could remold them and change them and
then he and then he would like take off the
costumes and paint the hair and add new customs. So
he won time for my brother's like birthday or something,
gave Brecon and he made the whole packaging a David
Lee Roth action figure and it was basically just a
refashion that he had and gave it a mic stand

(01:16:52):
and you know, and the whole thing. So when when
at some point Brecan told me like, oh, you know,
Seth got this deal and we're gonna go make this
uh this show where we're gonna take you know, action
figures and make like dumb you know, parodies and stuff.
I was like, yeah, I mean, of course you're gonna
do that. Well, I mean that's that feels very hones. Yeah.

Speaker 1 (01:17:13):
Well, I'm very proud of myself that I didn't call
Franklin Meyer today. I was having that problem ever since
this interview.

Speaker 2 (01:17:21):
I'm good with it. I get everyone, man, I get Franklin, Frankie, Francis, Francine, Frankels,
I get Cheech, I get is it Paco or Pedro
one of those means frank I get a lot, I
get a lot of you know, Francisco Oscar Meyer. I

(01:17:45):
have two hot dogs to hot Frankfurter and Oscar Mile.
You don't think I've heard you don't think I've heard
every every hot dog pun that anyone could do, you
know what I mean? Hey, you want some? Yes, I
know fries with that shake, I get it. I can.
You know I hear them all like I got them all. Hey,
you know, yes, I know. I'm named after a hot dog.

(01:18:07):
Oscar My fuck off.

Speaker 1 (01:18:09):
Well, you know, because your brother's name is Breckon. So
I was like Franklin, right, yeah, Franklin and Bash.

Speaker 2 (01:18:15):
So you know, you should look up. This is a
funny little thing if you look up on YouTube. When
I worked at NBC, I worked for this network called
the G four Network, and then we had a show
called Attack of the show. Olivia Munn was on it
and she was one of the hosts and stuff, and
they had Breckon on the show when he was doing
Franklin and Bash. And they asked me like, hey, frank
you know I was the I was one of the

(01:18:36):
producers and I did a lot of digital shorts and
stuff for them, and they were like, your brother's coming
on the show. We should have you interview him, and
I was kind of like, okay. I mean I don't
really do a lot of on camera interview stuff. Not
like I wasn't comfortable with it, It was more like, why
would you want me to? They were say, you know
you're funny, He's funny. You guys will be funny to
get okay? And I sat down and the very first

(01:18:56):
thing they wanted me to ask was about Franklin, and
I started kind of riffing as if I'd seen the show,
but I hadn't seen the show. And my brother immediately
calls me out. He goes, you haven't seen the show,
have you? And I'm like, no, I've totally seen the
show and he goes, yeah, which one am I Frank?
And I won't spoil it, but go on YouTube. Go

(01:19:19):
on YouTube and look Frank Frank Breckenmeier up that interviews
on there. It is hysterical, all real. It's so ridiculous
that it feels like it's scripted. I promise you. The
whole thing is. It's embarrassing, but it's hilarious. So good
you who sits around and watches movies with their brother
and you know you know what I mean? Like I

(01:19:40):
I'm very happy about his career, but I'm not sitting
there watching Franklin and Bash and road Trip on my
spare time. I've had enough. Like I grew up with
this I grew up with this guy. I've watched him
on TV now. If anything, I turned the channel as
soon as I hear his voice come on, Like, I mean,
he's a very he's very nice man, but come on.

Speaker 3 (01:20:00):
Dinner, Like listen, I love you, bro, but like you
cannot make me watch road Trip.

Speaker 2 (01:20:03):
It's no no. And if I do somehow get forced
to watch one of these, then I don't call him
for like two weeks to like balance, you know what
I mean, Because it's like, you know what I mean,
Like it's enough, it's enough. It's great.

Speaker 1 (01:20:18):
Yeah, like the first couple of projects, sure, but after
a while.

Speaker 2 (01:20:21):
Yeah, yeah, I saw the early stuff, you know what
I mean, Like yeah, now, I mean, guys, he's an
adult man, I'm gonna watch him on after a while.

Speaker 1 (01:20:28):
It's just like, yeah, yeah, I'm glad that work is
your work is fine.

Speaker 2 (01:20:32):
It's psychotic. It's like it's like watching him on a webcam,
you know what I mean, watching reading lines.

Speaker 1 (01:20:38):
Come on, why would I watch my brother play somebody else.

Speaker 2 (01:20:42):
It's embarrassing. I know who he is. I know he's
not that guy that lawyer on that show. So sorry,
but I'm not buying any of this because I know
if he if I was a buy, then he's a superhero.
Then I'm supped. Then I'm to buy with a cheese.
Now that's all bullshit.

Speaker 3 (01:20:57):
So that's uh, that's okay, this is all staying in.
I haven't seen Franklin Bash either.

Speaker 2 (01:21:07):
I mean, I'm sure it's terrific. I've still never wanted
to see frank I'm not totally sure which one he
is to this day, but I know he was on
the show, and I know it's about gorgeous shirtless lawyers
that run on the beach, which is you know normally
that would be my type of show.

Speaker 1 (01:21:27):
Not with your brother in it.

Speaker 2 (01:21:29):
No, but not with that No, and the guy from
Staved by the Bell. Come on, I don't need that
in my life. This is why my brother and I
don't talk anymore.

Speaker 1 (01:21:39):
By the way, mom, kidding, Well, thank you so much
Frank for being on our podcast. You got it, so
if you so, if you are interested in keeping up
with Frank, he can go to the Frankmeyer dot com.

Speaker 2 (01:21:56):
Yeah, because there's a lot of Germans named frank Meyer
from what I understand on the internet. When I looked
myself up, I was like, damn, a lot of frank
Myers and they're all.

Speaker 3 (01:22:07):
They love their sausage, you know, yeah they do.

Speaker 2 (01:22:11):
Yeah. So I became the and then my first one
was frank Meyer six sixty six, which I thought was adorable,
but uh, not so much with the other people. An
occasionally I would get on like like a podcast or
something where you know, it would be like, I mean,
I've necessarily done a lot of religious ones, but like
I directed a bunch of I wrap this up, I

(01:22:32):
know where, but I directed a movie. I directed a
few documentary films and one of them is about this
rapper and the rapper is very religious and as his director,
he and I were doing a bunch of podcasts together
and sometimes they'd be like and you can catch director
frank Meyer the frank Meyer sixty six six, and I
was like, I gotta.

Speaker 3 (01:22:51):
Just check it with the number of the beast.

Speaker 2 (01:22:53):
Yeah. Yeah. It's like I'm doing all this building of
like my credibility and like, oh man, I've been working
with this guy for so long and then they're like,
and uh, the uh White Devil. If you'd like to
get in touch with him, he's a frank Meyer six
six six. Just to make sure that's clear, godless.

Speaker 1 (01:23:10):
So Frankmeyer dot com. New album out now, Thank you
the lines. Check it out. It's a great rock record.
You can get on all streaming platforms. If band Camp
Friday is coming up, you can buy it on band
camp Friday. Sure, but yeah, thank you so much. We'd

(01:23:34):
love to have you back. If you don't, yeah, you
got it.

Speaker 2 (01:23:38):
Man. As you can tell, I enjoy spinning a yarn.

Speaker 3 (01:23:41):
And need to spend punk rock like go to philosopher historian.
You're like, we have to ask you about.

Speaker 2 (01:23:50):
Sure, And I'm a big movie buffer. I can talk
pretty much movies all day long. And I'm as you
can tell, I'm super nerdy.

Speaker 1 (01:23:56):
With perfect combo for us right on gang.

Speaker 2 (01:24:01):
Well, great to talk to you and great to meet you.
And I will send me the links and stuff, and
I'll promote all this stuff on the on the social
media's and the the MySpace and the friends.

Speaker 3 (01:24:10):
And uh definitely friend star.

Speaker 1 (01:24:12):
Yeah yeah, perfect, thanks, Right, I'll go in.

Speaker 3 (01:24:16):
The check soundtrack sixt six six, for instance.

Speaker 1 (01:24:18):
Soundtrack your Life six six six, and you can follow
us at soundtrack your Life on and you can follow
us at soundtrack yourdlife dot next on, dou s gu
soundtrack cast on Instagram and our patroon. If you want
to support us is a hey trend dot com sas

(01:24:39):
heye trend dot com, slast soundtrack for Life where we
have phonus episodes, early access episodes and soon we'll have
a subsecond. So thank you and uh we'll catch you
next time.

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