August 9, 2024 • 33 mins
ICYMI: Hour Three of ‘Later, with Mo’Kelly’ Presents – An in-depth conversation with the incomparable actor, slam-poet-turned-musician Saul Williams, who joins the program to preview ‘The Motherboard Suite.’ Directed by Bill T. Jones and Produced in Partnership with New York Live Arts, in ‘The Motherboard Suite’ Williams “pairs tracks from his albums MartyrLoserKing and Encrypted & Vulnerable with choreography to explore the intersection of technology and race, exploitation, and mystical anarchy, where hackers are artists and activists” … PLUS – The Later Crew reviews the Mel Gibson Netflix film ‘On the Line,’ where-in Gibson stars as an “edgy radio host who is no stranger to disgruntled listeners; but one caller goes too far when he draws the host into a deadly game” - on KFI AM 640…Live everywhere on the iHeartRadio app
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (00:06):
Saul Williams has been breaking ground since his debut album,
Amethyst rock Star, was released way back in two thousand
and one, it seems like it was yesterday. After gaining
global fame for his poetry and writings at the turn
of the century, Williams has performed in over thirty countries,
read in over three hundred universities and invitations that have
spanned from the White House to the Sydney Opera House,
(00:26):
Lincoln Center, the Louver, the Getty Center, Queen Elizabeth Hall,
to countless villages, townships, community centers and prisons around the world.
Tomorrow night, August ninth, at the fourth Amphitheater right here
in the Hollywood Hills, groundbreaking actor and slam poet urn
musician Saw Williams returns and presents the Motherboard Suite, pairing
tracks from his albums with choreography. And it is my
(00:50):
joy and pleasure to welcome to letter with Moe Kelly Tonight,
Saw Williams.
Speaker 3 (00:53):
Is nice to have you back on the show. How
you doing, sir? I am doing wonderful. It's pleasure to
be here.
Speaker 2 (00:58):
Let me just start talking about the venue. The Ford
is an amphitheater. How does that impact or change your performance?
Sound of music I need not tell you, but just
for people listening, sound of music travel very differently and
it may be received differently in an outdoor venue.
Speaker 3 (01:15):
Am I warm? You are hot?
Speaker 4 (01:18):
It enhances, it enhances the experience of poetry, because, of course,
poetry is always, you know, not only connected to our
emotional space and psychological space, but also to nature, and
so to experience poetry in nature in an outdoor amphitheater
is a more visceral experience. And of course the fact
that I'm going to be there with choreographers. You know,
(01:39):
the piece that we're doing is directed by the legendary
maestro Bill T. Jones, and so it was such an
honor for mister Jones to approach me to do this
piece and this outdoor theater. We've done this show a
few times in New York around the world, but it's
the first amphitheater performance, and from the rehearsals already tell
(02:00):
you it's going to be mind blowing.
Speaker 2 (02:02):
Okay, I think you answered this question, but I'll ask
it anyway, just to be sure. Poetry is spoken word,
to your point, very powerful by themselves, very powerful in
an amphitheater setting.
Speaker 3 (02:14):
But you're adding dance, rhythmic movements and music.
Speaker 2 (02:17):
How does that add to the overall power and dissemination
of a message?
Speaker 4 (02:23):
For me as a poet who's also operated as a musician,
and as you know, been performing as a musician for years.
Even when I write without music, I'm always trying to
write poems that you can dance to. And I think
that that is sometimes the innate expression and response to
(02:43):
hearing ideas that sometimes you know, correlate with our feelings
and sentiments.
Speaker 3 (02:48):
What have you. That it makes us move, it inspires movement.
Speaker 4 (02:52):
So I think that what it does is it it
makes the you know, it's like seeing an illuminated or
illustrated text.
Speaker 3 (03:02):
You know, it make the words. It helps the words
come to life.
Speaker 2 (03:06):
Okay, let's nerd out a little bit. There are people
who may not be as familiar with spoken word as
you or me, and they maybe only know of it
through the context of poetry. You know, on a monopoia,
I am the pentameter, but spoken word has this cadence,
this rhythm all its own.
Speaker 3 (03:23):
How would you describe it.
Speaker 4 (03:25):
Well, what I'll say is that, you know, spoken word
is a part of the ancient tradition of poetry itself.
The only modern contribution that spoken word has attributed to
in the modern times is slam poetry, which is, you know,
the competitive poetry reading. But even that is ancient because
the Olympics are going on right now. But in the
first Olympics, the very first Olympics in Greece, poetry was
(03:48):
a part of the Olympics then as well.
Speaker 3 (03:50):
Speak on it.
Speaker 4 (03:51):
Yeah, And I would say that that spoken word is
a part of the tradition of poetry. Poets have lived,
i think, expressing their poems vocally before these poems became
known on the page. Some of the great poets throughout time,
like Roomy Hafeez, were known for reciting their poems. Allowed
even the first phonograph recordings that Alexander Graham Bell did
(04:14):
were with poets like Browning and Tennyson, because people had
recited those poems for years around their dinner tables, and
he thought people should hear the poets read those words themselves.
And so the cadence can be informed by new nuances
like hip hop and what have you. But not necessarily,
because all poets have different ways. Some are more thoughtful,
(04:37):
some feel more connected to like the Black Arts movement,
where you know, if I go into that.
Speaker 3 (04:42):
Style of my brother, you know that I am.
Speaker 4 (04:47):
That We must always you know, I mean, we know
what the how we imitate the elders that we admire
so much. You know that the Sonya Sanchez is, the
June Jordan's, the Maya Angelou's, Nikki Giovanni's, the Amri Barakas.
They all have their own cadence, not only in voice,
but also on the page. And the same is true
(05:08):
with contemporary spoken with poetry.
Speaker 3 (05:11):
I know and what I do and what you do.
Speaker 2 (05:14):
We're in the business of creating intimacy, creating connection, trying
to reach if not one person, maybe it's a room
full of people, but sometimes it's okay if you only
reach that one person. I suspect with you. You know,
when you've made a connection with someone, even though there
may be thousands of people staring back at you, but
(05:34):
you can tell probably tell me if I'm wrong. When
you've locked in with one person and you can mainline
everything you're saying to that person.
Speaker 4 (05:42):
Well, I really do share that sentiment with you, because
I've often felt that in writing poems that we are
planting seeds, and that we may be saying things that
fly over people's head or they don't get it in
the moment, but it may come back to them and
they may go, it may come back to them the
next day, the next year, after a breakup at some point,
and they'll go, oh, now, my get what that is about,
(06:04):
you know. And so it's there and ready for people
to receive whenever they receive it. If there is someone
there that I am connecting with, I mean, when I'm
on stage, I'm not really focusing on the people.
Speaker 3 (06:17):
I'm focusing in the spirit.
Speaker 4 (06:20):
And I am hoping and focusing on in a sense,
being spoken through and in communing, especially in an amphitheater
right in communing with all of those forces that are
there and trying to you know, magnetize that communal spirit.
And so I often, of course trust that there are
(06:40):
those who get it. And of course there's always those
who are who often feel with poets that they're like,
oh my god, this person is speaking directly to me.
Speaker 3 (06:49):
Do they read my journals?
Speaker 4 (06:50):
You know?
Speaker 3 (06:50):
Like there's often that as.
Speaker 4 (06:52):
Well, where people really think that you're speaking directly to them,
and which is.
Speaker 3 (06:57):
A beautiful experience.
Speaker 4 (06:58):
But those things happen in many spoken formats, right People
walk out of church that feeling sometimes as well, where
they feel like the pastor this week spoke directly to
the thing that they were going through.
Speaker 3 (07:09):
You know.
Speaker 4 (07:09):
Well, with poetry, we're going for something beyond any institutionalized thing,
but it is a healing force, right and we are
aiming to heal to uplift. And we're living through extraordinary
times right now that we struggle to make sense of,
you know, as we witness the actions of our country
and the upcoming elections and all of these things, and
poetry is there to help us connect these dots so
(07:33):
that we can move forward in ways with integrity.
Speaker 3 (07:36):
My guest right now on the line is Saul Williams.
He's going to be performing August ninth.
Speaker 2 (07:41):
At the Ford right here in the Hollywood Hills, and
we're going to have more on his performance coming up
in just a moment. Winbo Kelly, I'm joined on the
line by Saul Williams. Were preparing you and everyone else
for his performance tomorrow night at the Foe in the
Hollywood Hills. He's going to be performing the Motherboard Suite,
(08:04):
which is going to be pairing tracks from his albums
with choreography and of course his lyricism.
Speaker 3 (08:11):
Saul Williams.
Speaker 2 (08:11):
In the last segment, we were dancing around the word,
but we were talking about I guess the spiritual experience
of a performance like this.
Speaker 3 (08:21):
Is that the right word? Yes, it is a spiritual experience.
Speaker 4 (08:25):
You know my background is theater, and so with the
Motherboard Suite, where we are talking about connections between the
construct of race, ancestry and the emergence of technology and
what that means, and are we the technology what it
means to learn that there are African crystals inside of
all of our phones And are those crystals which are
(08:47):
called fossil fuels?
Speaker 3 (08:49):
Whose fossils are they?
Speaker 4 (08:51):
And is it our ancestors that are allowing you know,
the progress of humanity and our communication while their children
are being exploited in those minds making connections right, and
these are spiritual connections.
Speaker 3 (09:04):
Always when you.
Speaker 2 (09:05):
Talk about those connections, I know, because of my history
coming up through the church, there's a certain acknowledgment and
recognition of what you're saying. But I know when you're
in la you come here, it's a multicultural, multi ethnic
crowd which may not have that foundational baseline of commonality
of experiences. How do you go about making sure that
(09:28):
they kind of get it if they don't even get
it that night, but get it two weeks later.
Speaker 3 (09:33):
Well, this is the thing.
Speaker 4 (09:34):
Whether I'm in LA or in New York, I am
on occupied indigenous land, and the power of that land
speaks through the land, and I hope and work to
speak with it so that whatever the you know, the
multicultural dimensions of LA, and all of the class distinctions
to be found here, right, all of those things. Either way,
(09:57):
we are walking this earth, and this earth Earth has
a will of its own, and our poetry is conspiring
with the earth itself. So as you read in the
beginning like I've been able to speak, you know, and
read poems all over the world, and all over the world,
we are conspiring with the earth itself to bring the
(10:17):
forest of understanding and then blossoming of understanding into new light.
Speaker 3 (10:23):
The Earth is on our side here in LA and everywhere.
Speaker 2 (10:26):
All right, let's get into the Motherboard suite tomorrow night
at the Ford preview for us a little something of
what we might expect tomorrow.
Speaker 3 (10:34):
Well, first of.
Speaker 4 (10:35):
All, I have to say that I am once again
there collaborating with the maestro Bill T. Jones, who has
done so much for modern dance and American Black expression
and movement, and is such a meaningful voice in theater
and dance performance. You know, it's he's also the choreographer
(10:57):
of Fela the Musical, and so this collaboration is a
kind of meeting of the minds between he and I,
and then also the seven choreographers that he invited to participate,
which is very generous, right for a choreographer to invite
other choreographers, young choreographers, some from la some from around
(11:19):
the country that he invited to participate. Each one of
them is able to choose one of my songs from
a host of songs that we put together for this
or poems, and he said, I'll sit back and operate
as a director with these choreographers.
Speaker 3 (11:34):
And we'll put it together a show that time.
Speaker 4 (11:36):
So what you're seeing is a generous offering from a legend,
Bill T.
Speaker 3 (11:40):
Jones, first of all.
Speaker 4 (11:41):
So what you should expect is to witness not only
my voice, but the voice in movement of seven young
primarily women choreographers who are stepping on to that stage
and showing you where the heart and spirit is at.
Speaker 3 (12:01):
It's a meeting of the mind, so to speak.
Speaker 4 (12:04):
It's a beautiful, uplifting experience that doesn't avoid or try
to evade or escape the moment. It speaks directly to
this moment that we are living in right now.
Speaker 3 (12:16):
There's some themes that I'm getting here.
Speaker 2 (12:17):
There's spirituality, there's energy, there's intimacy, and there's honesty. But
in that I know that every audience and venue are
considerably different. Are there ever times or moments where you're
inspired to take a performance or a poetic reading in
a different direction, or an audience member maybe breaks you
(12:38):
from your trade of thought? Is there anything ever unexpected
which happens in your performances?
Speaker 3 (12:44):
All the time?
Speaker 4 (12:45):
All the time, I am always open to the feeling
of the space, to the feeling of the night, to
the feeling of what even has happened in the news
that day, and often opened to the point of shifting
what I'm going to say or how I'm going to
say it based on that information. So it always is
(13:06):
open to, you know, the possibility of shifting. It's it's
unless I was up there doing something written by Shakespeare
and it's fixed language, what have you.
Speaker 3 (13:15):
But it's not that you know, this is this is
my text, this is my music.
Speaker 4 (13:19):
And so there's a we call it poetic license that
I feel in any space in feeling alivened by the
moment and enabled to connect dots and speak to the moment,
speak to the times, which is what Ninas Moon says.
Speaker 3 (13:34):
And artist responsibility is right to speak the time.
Speaker 2 (13:37):
For all the years that you've done this, for all
the people that you've touched, for all the lives, I
would say respectfully that you've changed for the better. Have
you ever been overcome in the moment the emotions that
you sent out come back and hit you like a brick?
Speaker 4 (13:51):
Oh certainly, you know, but those are fleeting moments, you know.
I have a memory before I ever hit the stage
as a poet, you know, I was always an actor
from the time I was a kid. But I remember
seeing a tribe called Quest at the Howard Armory. I
think he was homecoming back in like ninety two, and
so they had just come out with Low End Theory
(14:14):
and I was in the front row and the Song
Award tour. I think came on and everyone started jumping.
But the album had been out for like maybe a month,
and I was close enough to see tears fall down
Q Tip's eye from watching the audience respond to his music,
and I saw him struggling through tears to get his
(14:35):
verse out. And that taught me something then, just about
that spirit of communion and what it means when the
stuff that you're building.
Speaker 3 (14:43):
To connect actually connects.
Speaker 4 (14:46):
And so, yes, there are moments on stage, there are
moments when I'm alone where it hits me. But in
those moments, you know, and that's where the spirituality and
all those things come into force.
Speaker 3 (14:58):
You know, where we are in the reality that we
are vessels.
Speaker 4 (15:02):
Right. It may have our thumb print or our signature,
but in many ways we are operating as vessels and
spokespeople for all of the energy, the spiritual force that
moved through us, and our ability to catch it in
a moment is simply that, right, And so we can
be grateful for being used at times, you know, use
(15:25):
me as a prayer that some people have at times,
you know, And I think it's simply that it's like, okay,
you know, but and so how do we avoid the
ego how do we avoid the thought of like, it's
only me, look but I did all that type of stuff.
Those are the distractions, right, Those are the things where
I think you go off the deep end actually, but yes,
(15:45):
those moments of being hit with the realities of the impact.
They come and go and you watch them and you're
grateful for them when they come, because they're balanced out
by times where you have questions like, am I wasting
my time? Am I talking to anyone? Does anybody hear me?
Am I just being a narcissistic artist, you know, thinking
(16:07):
I'm participating in something, but really I'm just glowing, smoke
up my own you know whatever, Like it's it's all
those things come, so it's a part of the balance.
Speaker 3 (16:18):
Well, we hear you, we're listening to you, and we're
receiving you.
Speaker 2 (16:21):
Saul Williams August ninth at the Ford, along with the
artistry of Bill T. Jones, they're going to present the Motherboard.
Sweet Saul Waves is always a joy to speak with you.
Make sure whenever you come to town that you come
see us.
Speaker 3 (16:35):
We certainly will thank you for your spirit and for
your energy.
Speaker 4 (16:38):
It's a pleasure to be here and I'll see those
of you who are listening.
Speaker 3 (16:41):
Who can make it out. Thank you.
Speaker 1 (16:43):
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (16:49):
Last night, I was telling you about this movie. It
was new to me, but not new in and of itself,
called on the Line.
Speaker 3 (16:58):
Mel Gibson stars.
Speaker 2 (17:00):
He stars as a shock jock radio host who feels calls.
It's a lot of radio tropes. You know, you can
fit in your favorite shock jock as far as who
he was emulating. And he has this caller. This is
in the trailer. We're not going to give you away
any spoilers, but it's in the trailer where he gets
this mysterious call and this caller takes issue with him
(17:24):
and it's threatening his family. That's all I'm going to say.
But I found it just flipping through Netflix, and I said,
what is this.
Speaker 3 (17:32):
I've never seen it. I've never heard of it.
Speaker 2 (17:34):
I think I would have been aware of any movie
starring Mel Gibson which had to do with him being
a radio host, because you know, that would be something
I'd be interested in.
Speaker 3 (17:45):
It came out in twenty twenty.
Speaker 2 (17:47):
Two and I saw it two three days ago and
I said, hey, Mark, I want you to see it. Hey, twelve,
I want you to see it. Go home and see it.
And unbeknownst to me, Stephan had already it as well.
So Stephan and I compare notes in the hall. But
it's a movie you have to watch to the end
because what happens in the middle is explained at the end.
Speaker 3 (18:10):
Things you have.
Speaker 2 (18:11):
Questions like, well, why is this or how did you
got to watch all the way through?
Speaker 3 (18:15):
With that?
Speaker 2 (18:16):
Mark saw it, Tuala saw it. They disagreed on what
they saw. Let me take a step back.
Speaker 3 (18:23):
Who wants to go first? Oh? After you please? Okay.
Speaker 5 (18:28):
I when from the beginning of this film, my onliest
thought was Moe said, you have to watch it all.
Speaker 3 (18:38):
The way to the end, whether you want to or not. Okay, buddy,
and I you said he was going first, And.
Speaker 5 (18:45):
I have to say I could not wait to get
in so I could tell you how much I enjoyed
this film. Oh, because when you get to the end
of me, I'm like, oh my god, this film was phenomenal.
I absolutely loved I'll give it an eight out of ten,
and I say eight out of ten. Because of the
things we know about radio, there are certain things that
(19:09):
he did as an air personality, and I'm like, uh, yeah, no,
that would never There are certain situations that happened at
the place that he worked where I said no, that
would never happen. And something you discussed last night. It
The only thing that's off putting about it working in
radio and him being a shock jock was him cursing
(19:29):
on air.
Speaker 3 (19:30):
That threw me.
Speaker 5 (19:31):
But you had a fantastic theory about that as well.
But I say to myself like, look, if you have
ever worked in radio, you have to see this film.
I'm talking big Boy. You and your crew, Ryan, you
and your crew, Harvey. Every one of you needs to
watch this show, especially if you work within an ensemble cast.
(19:53):
This is a fantastic radio show. And I er a
film and I don't know why it didn't get any
height because bel Gibson was actually really good in it.
It required him to act. There's no action stuff like that.
It's like he's acting the whole way through. And it
said locally.
Speaker 2 (20:11):
And let me say this, if you are connected with
the film on the line or you know mel Gibson,
reach out to us. Hit us at later Later with
mo Kelly at gmail dot com. We'd love to bring
you on and talk about the film.
Speaker 3 (20:25):
Mark Ronner.
Speaker 6 (20:26):
Your response, Well, you both mentioned the on air swearing,
and that to me just signified the lack of thinking
things through in the whole movie.
Speaker 3 (20:34):
All they had to do was say that it's satellite radio. Okay.
Speaker 6 (20:37):
Would it be that hard to think things through just
a little bit more? You set up the premise a
little bit, and there's only so much you can say
without spoiling the movie. So he plays a shock jock.
Mel Gibson does. And I don't have any problem with
his acting. I think he's a terrific actor and he's
a terrific director too. I think he's a brilliant dude.
But in terms of plot, where's the news guy in
(20:59):
the story to save the day for everybody? There's no
news guy in this staff. This could have been solved
in me.
Speaker 5 (21:05):
It could have been a fifty Mark is your issue?
Is is your the umbradge that you take with this
film that you, as a newsperson were left out?
Speaker 3 (21:14):
Tip of the Iceberg? T the Iceberg? Howard Stern had
a newsperson.
Speaker 5 (21:19):
Oh Robin does the news on Howard Stern does? She
does that news?
Speaker 3 (21:24):
We don't need to get hung up on this.
Speaker 6 (21:27):
I can talk about it as long as I did
see it's got a twenty percent positive on Rotten Tomatoes,
so that may answer your question on why you haven't
heard more about it. I'm not the only one who
thought it was crap. By the way, they definitely saved
money on sets and locations. There is approximately one location
in the whole movie, aparts from you know, the beginning
when when they're at his house.
Speaker 2 (21:47):
I don't hold that against it because there are a
lot of movies which are set within one location, like
the movie Devil, which was in an elevator.
Speaker 6 (21:55):
Yeah, you know, Yeah, what do you call those? Like
a bottle? Uh?
Speaker 2 (22:00):
I don't know, but I'm saying that's not a reason
to being a movie if it's well crafted.
Speaker 3 (22:04):
But continue, sir, No, it's fine.
Speaker 6 (22:06):
I mean, I just thought the whole thing ranged from
implausible to laughable, and there's only so much I can
say about that without spoiling the end, which I won't do.
But I mean, you know, keeping a nutcase on the air,
Actually it reminded me of a time. You know, I've
been a talk radio fan my whole life and even
listen to people I don't care for. I heard g
Gordon Lyddy once talk a woman down from suicide on
(22:26):
the air, and this started think getting me to think
of all the stuff that I've heard that we're interesting
in real life. But in this situation, there's no way
any of this, even given what we find out at
the end, any of it could have happened the cops
not intervening at once. The bad guy is some sort
of tech whiz who plans you talk too much. No,
(22:48):
I'm not going things are planned out here, not just
better than Batman ever could, but better than a whole
Delta Force team could have. It's just not a thing
that is even remotely possible even when you find everything
out at the end. I mean, cops would be swarming,
It'd be instantly on social media, cable news. You really
have to suspend your belief disbelief rather to stick with
(23:10):
this thing through the whole length of the story.
Speaker 2 (23:12):
I have a theory in that I can't share because
I don't want to ruin it for other people. But
I will say this, there are elements as far as
what we as people in radio should find very true
about when we put callers on the air the unpredictability
of that, the idea that someone's going to take what
(23:35):
we do very very personally and decide to seek retribution,
that rings very true. I don't want to say too
much about what happens in the movie, but I looked
at it through those lenses and like, yeah, it may
not happen like that, but I do wonder what comes
(23:56):
back after we put certain things out.
Speaker 6 (23:58):
Anybody who's ever been on radio, TV, you had any
kind of public entertainment job, has had things ranging from
you know, the sexual things to scary stalker things, and
that's kind of interesting about the movie. I just thought
that it went so far in a ridiculous direction that
it pulled me right out of the movie because it's
(24:18):
like this too much. Maybe maybe if you'd said it,
I don't know, like forty years ago when we didn't
have internet, social media, that kind of thing.
Speaker 3 (24:26):
But it was just like, pull back a little bit.
Speaker 6 (24:27):
This is way way too much, especially when you find
out what you find out at the end.
Speaker 7 (24:33):
Stephen, you saw it, you your thoughts please, kind of
between both of their reviews, because there was a lot
that was implausible, But like I was telling you, Mo
last night, it was entertaining, like it kept me kind
of okay. Like you said, ten minutes, I'm like, all right,
you kind of got me. I'm gonna keep watching. I'm
gonna keep watching. And you know the way we both
(24:56):
we kind of without spoiling anything, we both kind of
agreed on the way it ended once you find out everything.
But overall, I just thought it was like a fun
ride to see, especially because of the way they actually
did at least map out the way a radio station
like how we work.
Speaker 2 (25:13):
Yeah, I wouldn't give it an eight. I'm not going
to the level that Tuala did. But it's Netflix, and
for something that was included in my subscription, didn't require
me to go to the theater. It's something that I
didn't expect obviously, wasn't advertiser promoted. Did I feel like
I wasted my time? Absolutely not. Absolutely.
Speaker 3 (25:33):
What's the first thing I said to you when I
walked into the office today.
Speaker 6 (25:37):
You wanted your hour forty five minutes back, You owe
me one hour and forty four minutes.
Speaker 3 (25:43):
And you get nothing. You get nothing.
Speaker 6 (25:45):
That's about what I expected too, And also it made
me think of actual good radio movies that I want
to rewatch now. For instance, Tuala hadn't heard about this one.
There's one called Pontypool I want to recommend to everybody,
and it's kind of obscure, but it's incredibly well done.
It's about a talk radio host who crashed and burned
and he starts over at a new radio station out
(26:07):
in some remote location and some sort of I'm not
gonna say it's a zombie plague, but something starts happening
to everybody and the whole thing is focused on this
this talk show host in the radio station. Look for Pontypool.
And also that talk radio movie with Eric Bagosian that
dramatized the killing of Alan Berg.
Speaker 3 (26:28):
Terrific alan Berg true story.
Speaker 6 (26:30):
So yeah, So if you if you get through this
movie and you want to watch a good talk radio movie,
there's a couple to cleanse your palate.
Speaker 5 (26:38):
Okay, Mark, Mark is like the Grinch, This stole happiness.
Speaker 2 (26:43):
He's like that typical critic where I know so much movie,
there's no way that this could be a good movie
because I know all good movies.
Speaker 6 (26:51):
Can I not like or dislike stuff? Just like you guys?
I just recommended a couple of decent ones. What's wrong
with you, we hate America's look at the time, Mo Kelly,
George Norri Coast to Coast AM.
Speaker 3 (27:05):
When we come back.
Speaker 2 (27:18):
If I'm Kelly Live everywhere on the iHeartRadio app, be
sure to tune in tomorrow. We will be giving away
one more pair of tickets to Australian Pink Floyd and
some other giveaways. We love to give stuff away all
the time. But also remember Coast to Coast AM with
George Norri and he joins me now with a preview.
Speaker 3 (27:36):
Good evenings.
Speaker 8 (27:37):
Uh, mister Kelly, we're doing your program tonight. UFO's for
the first couple hours, Jesus of that, and then later
on Piracy on the High Seats.
Speaker 3 (27:46):
Let me just ask you very quickly.
Speaker 2 (27:48):
Yeah, I often ask you about are we going to
get to the point of disclosure where we find out
the truth of what the government knows and there'll be
a greater degree of transparency, not a goes by where
we don't see UFO stories in legitimate news outlets. But
have we gotten any closer to real disclosure?
Speaker 3 (28:08):
Not really?
Speaker 8 (28:09):
And I think if we get disclosure, it'll come from
good whistleblowers, not from government. They're just I don't know
why they're holding back, but they're just not going to
tell us.
Speaker 3 (28:18):
I mean, we're kind of like mature enough to handle
the truth, aren't we.
Speaker 9 (28:23):
I think so. By the way, should I watch that
movie this weekend?
Speaker 3 (28:27):
You've already seen it, haven't you been?
Speaker 9 (28:29):
Pieces?
Speaker 4 (28:30):
No?
Speaker 2 (28:30):
Yeah, I would watch it because I would want to
hear from someone who is a radio professional and get
your view on it.
Speaker 9 (28:38):
All right, we'll talk about it next week.
Speaker 3 (28:40):
There we go, see we can. That's a nice tease.
Look Fort, they're going to owe him an hour and
forty four minutes too. Let him be the judge of that.
Speaker 8 (28:48):
Don't prejudge actually an hour and fifty minutes because you
talked enough for ten minutes.
Speaker 3 (28:55):
Exactly. Don't you know Mel Gibson? Have you met him?
Speaker 9 (29:00):
I met him. He's a very quiet guy, but Russell
Crow is a good guy.
Speaker 3 (29:05):
Yeah. I met mel Gibson once when I was an
extra on Lethal Weapon three. But he didn't say any
much to me. Wasn't talking to us?
Speaker 9 (29:11):
Were you an extra?
Speaker 3 (29:12):
Yes? I was, Yes, I did. I did.
Speaker 8 (29:15):
As a matter of fact, can we see you if
we go back and get that tape?
Speaker 3 (29:19):
Yes?
Speaker 2 (29:19):
I have to point myself out though, because I was
a prisoner in the police station window washing, and I
can show you the scene in which Danny Glover and
Mel Gibson walk right behind me in the scene. But yes,
actually put it on my Instagram. You can find it
as one of the featured clips and everything. I put
it there at mister mol' kelly.
Speaker 9 (29:38):
A right to go see that.
Speaker 2 (29:40):
Yeah, we'll talk soon after you've seen on the line
with Mel Gibson.
Speaker 9 (29:43):
I'll forget. You're gonna owe me an hour, and.
Speaker 3 (29:47):
I won't forget you might even like it.
Speaker 2 (29:49):
All right, talk to you soon, my friend. Yeah, well
before we get out of here. Mark Ronner, I don't
know about you. You often tell me about how you
don't immediately go to sleep when you get home.
Speaker 3 (30:01):
Maybe you will watch some TV for me Thursday night.
Speaker 2 (30:05):
That's my TV catch up movie catch up night where
I try to sit down and watch the things that
I didn't have time during the week. So I will
catch up on Max and some other Netflix stuff.
Speaker 3 (30:17):
Is there anything that's in your queue? Absolutely?
Speaker 6 (30:20):
The fourth and I think final season of The Umbrella
Academy has dropped on Netflix today. It dropped today, didn't
it last night? After I finished with that abomination? You
thrust upon me. I watched a couple of the episodes,
and it's every bit as good as the first two season.
Speaker 3 (30:36):
Because this is the final season of the Umbrella Academy.
Speaker 6 (30:39):
It's such a good show, and I may make my
segment tomorrow about it. If I plows through the rest tonight.
Speaker 2 (30:44):
Well then just know I'll be right there with you,
because I'm going to go binge that the whole season
tonight when I get home.
Speaker 3 (30:51):
Each other all night.
Speaker 2 (30:52):
No, seriously, this is one of those shows where I'm
really I've been waiting on. I've loved it since the beginning,
and it's one of those things which remind me, oh, yeah,
this is why I have Netflix shows like that.
Speaker 3 (31:04):
So I got to ask you, who's your favorite character
in that? Oh? You know, was it number five?
Speaker 9 (31:08):
Yeah?
Speaker 3 (31:08):
The kid. The kid's so great.
Speaker 2 (31:10):
And he hasn't really aged in real life, even though
the seasons have been spread out.
Speaker 6 (31:16):
He's managed to keep his youthful appearance. Yeah, he's pulling
kind of a Burt Ward. He really is staying about
the same as an adolescent boy. And the first glimpse
I caught of him in the first episode of this
new season, I had to stop myself from shrieking and
laughing out loud because it's at the point where it's
kind of Pavlov and how funny he is.
Speaker 2 (31:35):
He is the star of the show, even though Elliott
Page is kind of cast.
Speaker 3 (31:41):
As the star. No, he gets top billing, but yeah
he gets top billing.
Speaker 6 (31:46):
No, no, Elliott Page, Okay, yeah, yeah, Elliot Page gets top billing.
Speaker 3 (31:50):
Yeah.
Speaker 2 (31:50):
So I don't I understand from a business standpoint, but
as far as the engine that makes the show go,
it's number five.
Speaker 3 (31:59):
We should say it though.
Speaker 6 (32:00):
It's an older man in the body of an adolescent boy,
an older, cranky, smart, alec really unpleasant man, and so
they give him the best dialogue and this kid, I
forget his name, I'll have it tomorrow, but his delivery
is just priceless.
Speaker 3 (32:16):
It's such a good show.
Speaker 2 (32:17):
If you have not seen it, you got to watch
it from season one because it's chronological in a story
that they're telling from season to season to season.
Speaker 3 (32:25):
But it is really fantastic.
Speaker 2 (32:28):
It's quote unquote a superhero television show which is based
on comic book material, but as you watch it, it's
a social treatise. It's talking about the different eras of
United States history.
Speaker 3 (32:44):
It's really layered. Highly recommend.
Speaker 6 (32:47):
It is absolutely not like all the Marvel and DC
stuff that you've been seeing lately either, if you are
even the slightest bit burned out on that, this is
not that.
Speaker 2 (32:56):
So that's tomorrow the run A Report Umbrella of Me
Season four. I'll probably pipe in as well. It's later
with Mo Kelly. We will see you tomorrow, and we're
still live everywhere on the iHeartRadio app.
Speaker 3 (33:09):
Will help you figure it out. It's kind of what
we do. K F I'm the k OST HD two
Los Angeles, Orange County, live everywhere on the elegi
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (00:06):
Saul Williams has been breaking ground since his debut album,
Amethyst rock Star, was released way back in two thousand
and one, it seems like it was yesterday. After gaining
global fame for his poetry and writings at the turn
of the century, Williams has performed in over thirty countries,
read in over three hundred universities and invitations that have
spanned from the White House to the Sydney Opera House,
(00:26):
Lincoln Center, the Louver, the Getty Center, Queen Elizabeth Hall,
to countless villages, townships, community centers and prisons around the world.
Tomorrow night, August ninth, at the fourth Amphitheater right here
in the Hollywood Hills, groundbreaking actor and slam poet urn
musician Saw Williams returns and presents the Motherboard Suite, pairing
tracks from his albums with choreography. And it is my
(00:50):
joy and pleasure to welcome to letter with Moe Kelly Tonight,
Saw Williams.
Speaker 3 (00:53):
Is nice to have you back on the show. How
you doing, sir? I am doing wonderful. It's pleasure to
be here.
Speaker 2 (00:58):
Let me just start talking about the venue. The Ford
is an amphitheater. How does that impact or change your performance?
Sound of music I need not tell you, but just
for people listening, sound of music travel very differently and
it may be received differently in an outdoor venue.
Speaker 3 (01:15):
Am I warm? You are hot?
Speaker 4 (01:18):
It enhances, it enhances the experience of poetry, because, of course,
poetry is always, you know, not only connected to our
emotional space and psychological space, but also to nature, and
so to experience poetry in nature in an outdoor amphitheater
is a more visceral experience. And of course the fact
that I'm going to be there with choreographers. You know,
(01:39):
the piece that we're doing is directed by the legendary
maestro Bill T. Jones, and so it was such an
honor for mister Jones to approach me to do this
piece and this outdoor theater. We've done this show a
few times in New York around the world, but it's
the first amphitheater performance, and from the rehearsals already tell
(02:00):
you it's going to be mind blowing.
Speaker 2 (02:02):
Okay, I think you answered this question, but I'll ask
it anyway, just to be sure. Poetry is spoken word,
to your point, very powerful by themselves, very powerful in
an amphitheater setting.
Speaker 3 (02:14):
But you're adding dance, rhythmic movements and music.
Speaker 2 (02:17):
How does that add to the overall power and dissemination
of a message?
Speaker 4 (02:23):
For me as a poet who's also operated as a musician,
and as you know, been performing as a musician for years.
Even when I write without music, I'm always trying to
write poems that you can dance to. And I think
that that is sometimes the innate expression and response to
(02:43):
hearing ideas that sometimes you know, correlate with our feelings
and sentiments.
Speaker 3 (02:48):
What have you. That it makes us move, it inspires movement.
Speaker 4 (02:52):
So I think that what it does is it it
makes the you know, it's like seeing an illuminated or
illustrated text.
Speaker 3 (03:02):
You know, it make the words. It helps the words
come to life.
Speaker 2 (03:06):
Okay, let's nerd out a little bit. There are people
who may not be as familiar with spoken word as
you or me, and they maybe only know of it
through the context of poetry. You know, on a monopoia,
I am the pentameter, but spoken word has this cadence,
this rhythm all its own.
Speaker 3 (03:23):
How would you describe it.
Speaker 4 (03:25):
Well, what I'll say is that, you know, spoken word
is a part of the ancient tradition of poetry itself.
The only modern contribution that spoken word has attributed to
in the modern times is slam poetry, which is, you know,
the competitive poetry reading. But even that is ancient because
the Olympics are going on right now. But in the
first Olympics, the very first Olympics in Greece, poetry was
(03:48):
a part of the Olympics then as well.
Speaker 3 (03:50):
Speak on it.
Speaker 4 (03:51):
Yeah, And I would say that that spoken word is
a part of the tradition of poetry. Poets have lived,
i think, expressing their poems vocally before these poems became
known on the page. Some of the great poets throughout time,
like Roomy Hafeez, were known for reciting their poems. Allowed
even the first phonograph recordings that Alexander Graham Bell did
(04:14):
were with poets like Browning and Tennyson, because people had
recited those poems for years around their dinner tables, and
he thought people should hear the poets read those words themselves.
And so the cadence can be informed by new nuances
like hip hop and what have you. But not necessarily,
because all poets have different ways. Some are more thoughtful,
(04:37):
some feel more connected to like the Black Arts movement,
where you know, if I go into that.
Speaker 3 (04:42):
Style of my brother, you know that I am.
Speaker 4 (04:47):
That We must always you know, I mean, we know
what the how we imitate the elders that we admire
so much. You know that the Sonya Sanchez is, the
June Jordan's, the Maya Angelou's, Nikki Giovanni's, the Amri Barakas.
They all have their own cadence, not only in voice,
but also on the page. And the same is true
(05:08):
with contemporary spoken with poetry.
Speaker 3 (05:11):
I know and what I do and what you do.
Speaker 2 (05:14):
We're in the business of creating intimacy, creating connection, trying
to reach if not one person, maybe it's a room
full of people, but sometimes it's okay if you only
reach that one person. I suspect with you. You know,
when you've made a connection with someone, even though there
may be thousands of people staring back at you, but
(05:34):
you can tell probably tell me if I'm wrong. When
you've locked in with one person and you can mainline
everything you're saying to that person.
Speaker 4 (05:42):
Well, I really do share that sentiment with you, because
I've often felt that in writing poems that we are
planting seeds, and that we may be saying things that
fly over people's head or they don't get it in
the moment, but it may come back to them and
they may go, it may come back to them the
next day, the next year, after a breakup at some point,
and they'll go, oh, now, my get what that is about,
(06:04):
you know. And so it's there and ready for people
to receive whenever they receive it. If there is someone
there that I am connecting with, I mean, when I'm
on stage, I'm not really focusing on the people.
Speaker 3 (06:17):
I'm focusing in the spirit.
Speaker 4 (06:20):
And I am hoping and focusing on in a sense,
being spoken through and in communing, especially in an amphitheater
right in communing with all of those forces that are
there and trying to you know, magnetize that communal spirit.
And so I often, of course trust that there are
(06:40):
those who get it. And of course there's always those
who are who often feel with poets that they're like,
oh my god, this person is speaking directly to me.
Speaker 3 (06:49):
Do they read my journals?
Speaker 4 (06:50):
You know?
Speaker 3 (06:50):
Like there's often that as.
Speaker 4 (06:52):
Well, where people really think that you're speaking directly to them,
and which is.
Speaker 3 (06:57):
A beautiful experience.
Speaker 4 (06:58):
But those things happen in many spoken formats, right People
walk out of church that feeling sometimes as well, where
they feel like the pastor this week spoke directly to
the thing that they were going through.
Speaker 3 (07:09):
You know.
Speaker 4 (07:09):
Well, with poetry, we're going for something beyond any institutionalized thing,
but it is a healing force, right and we are
aiming to heal to uplift. And we're living through extraordinary
times right now that we struggle to make sense of,
you know, as we witness the actions of our country
and the upcoming elections and all of these things, and
poetry is there to help us connect these dots so
(07:33):
that we can move forward in ways with integrity.
Speaker 3 (07:36):
My guest right now on the line is Saul Williams.
He's going to be performing August ninth.
Speaker 2 (07:41):
At the Ford right here in the Hollywood Hills, and
we're going to have more on his performance coming up
in just a moment. Winbo Kelly, I'm joined on the
line by Saul Williams. Were preparing you and everyone else
for his performance tomorrow night at the Foe in the
Hollywood Hills. He's going to be performing the Motherboard Suite,
(08:04):
which is going to be pairing tracks from his albums
with choreography and of course his lyricism.
Speaker 3 (08:11):
Saul Williams.
Speaker 2 (08:11):
In the last segment, we were dancing around the word,
but we were talking about I guess the spiritual experience
of a performance like this.
Speaker 3 (08:21):
Is that the right word? Yes, it is a spiritual experience.
Speaker 4 (08:25):
You know my background is theater, and so with the
Motherboard Suite, where we are talking about connections between the
construct of race, ancestry and the emergence of technology and
what that means, and are we the technology what it
means to learn that there are African crystals inside of
all of our phones And are those crystals which are
(08:47):
called fossil fuels?
Speaker 3 (08:49):
Whose fossils are they?
Speaker 4 (08:51):
And is it our ancestors that are allowing you know,
the progress of humanity and our communication while their children
are being exploited in those minds making connections right, and
these are spiritual connections.
Speaker 3 (09:04):
Always when you.
Speaker 2 (09:05):
Talk about those connections, I know, because of my history
coming up through the church, there's a certain acknowledgment and
recognition of what you're saying. But I know when you're
in la you come here, it's a multicultural, multi ethnic
crowd which may not have that foundational baseline of commonality
of experiences. How do you go about making sure that
(09:28):
they kind of get it if they don't even get
it that night, but get it two weeks later.
Speaker 3 (09:33):
Well, this is the thing.
Speaker 4 (09:34):
Whether I'm in LA or in New York, I am
on occupied indigenous land, and the power of that land
speaks through the land, and I hope and work to
speak with it so that whatever the you know, the
multicultural dimensions of LA, and all of the class distinctions
to be found here, right, all of those things. Either way,
(09:57):
we are walking this earth, and this earth Earth has
a will of its own, and our poetry is conspiring
with the earth itself. So as you read in the
beginning like I've been able to speak, you know, and
read poems all over the world, and all over the world,
we are conspiring with the earth itself to bring the
(10:17):
forest of understanding and then blossoming of understanding into new light.
Speaker 3 (10:23):
The Earth is on our side here in LA and everywhere.
Speaker 2 (10:26):
All right, let's get into the Motherboard suite tomorrow night
at the Ford preview for us a little something of
what we might expect tomorrow.
Speaker 3 (10:34):
Well, first of.
Speaker 4 (10:35):
All, I have to say that I am once again
there collaborating with the maestro Bill T. Jones, who has
done so much for modern dance and American Black expression
and movement, and is such a meaningful voice in theater
and dance performance. You know, it's he's also the choreographer
(10:57):
of Fela the Musical, and so this collaboration is a
kind of meeting of the minds between he and I,
and then also the seven choreographers that he invited to participate,
which is very generous, right for a choreographer to invite
other choreographers, young choreographers, some from la some from around
(11:19):
the country that he invited to participate. Each one of
them is able to choose one of my songs from
a host of songs that we put together for this
or poems, and he said, I'll sit back and operate
as a director with these choreographers.
Speaker 3 (11:34):
And we'll put it together a show that time.
Speaker 4 (11:36):
So what you're seeing is a generous offering from a legend,
Bill T.
Speaker 3 (11:40):
Jones, first of all.
Speaker 4 (11:41):
So what you should expect is to witness not only
my voice, but the voice in movement of seven young
primarily women choreographers who are stepping on to that stage
and showing you where the heart and spirit is at.
Speaker 3 (12:01):
It's a meeting of the mind, so to speak.
Speaker 4 (12:04):
It's a beautiful, uplifting experience that doesn't avoid or try
to evade or escape the moment. It speaks directly to
this moment that we are living in right now.
Speaker 3 (12:16):
There's some themes that I'm getting here.
Speaker 2 (12:17):
There's spirituality, there's energy, there's intimacy, and there's honesty. But
in that I know that every audience and venue are
considerably different. Are there ever times or moments where you're
inspired to take a performance or a poetic reading in
a different direction, or an audience member maybe breaks you
(12:38):
from your trade of thought? Is there anything ever unexpected
which happens in your performances?
Speaker 3 (12:44):
All the time?
Speaker 4 (12:45):
All the time, I am always open to the feeling
of the space, to the feeling of the night, to
the feeling of what even has happened in the news
that day, and often opened to the point of shifting
what I'm going to say or how I'm going to
say it based on that information. So it always is
(13:06):
open to, you know, the possibility of shifting. It's it's
unless I was up there doing something written by Shakespeare
and it's fixed language, what have you.
Speaker 3 (13:15):
But it's not that you know, this is this is
my text, this is my music.
Speaker 4 (13:19):
And so there's a we call it poetic license that
I feel in any space in feeling alivened by the
moment and enabled to connect dots and speak to the moment,
speak to the times, which is what Ninas Moon says.
Speaker 3 (13:34):
And artist responsibility is right to speak the time.
Speaker 2 (13:37):
For all the years that you've done this, for all
the people that you've touched, for all the lives, I
would say respectfully that you've changed for the better. Have
you ever been overcome in the moment the emotions that
you sent out come back and hit you like a brick?
Speaker 4 (13:51):
Oh certainly, you know, but those are fleeting moments, you know.
I have a memory before I ever hit the stage
as a poet, you know, I was always an actor
from the time I was a kid. But I remember
seeing a tribe called Quest at the Howard Armory. I
think he was homecoming back in like ninety two, and
so they had just come out with Low End Theory
(14:14):
and I was in the front row and the Song
Award tour. I think came on and everyone started jumping.
But the album had been out for like maybe a month,
and I was close enough to see tears fall down
Q Tip's eye from watching the audience respond to his music,
and I saw him struggling through tears to get his
(14:35):
verse out. And that taught me something then, just about
that spirit of communion and what it means when the
stuff that you're building.
Speaker 3 (14:43):
To connect actually connects.
Speaker 4 (14:46):
And so, yes, there are moments on stage, there are
moments when I'm alone where it hits me. But in
those moments, you know, and that's where the spirituality and
all those things come into force.
Speaker 3 (14:58):
You know, where we are in the reality that we
are vessels.
Speaker 4 (15:02):
Right. It may have our thumb print or our signature,
but in many ways we are operating as vessels and
spokespeople for all of the energy, the spiritual force that
moved through us, and our ability to catch it in
a moment is simply that, right, And so we can
be grateful for being used at times, you know, use
(15:25):
me as a prayer that some people have at times,
you know, And I think it's simply that it's like, okay,
you know, but and so how do we avoid the
ego how do we avoid the thought of like, it's
only me, look but I did all that type of stuff.
Those are the distractions, right, Those are the things where
I think you go off the deep end actually, but yes,
(15:45):
those moments of being hit with the realities of the impact.
They come and go and you watch them and you're
grateful for them when they come, because they're balanced out
by times where you have questions like, am I wasting
my time? Am I talking to anyone? Does anybody hear me?
Am I just being a narcissistic artist, you know, thinking
(16:07):
I'm participating in something, but really I'm just glowing, smoke
up my own you know whatever, Like it's it's all
those things come, so it's a part of the balance.
Speaker 3 (16:18):
Well, we hear you, we're listening to you, and we're
receiving you.
Speaker 2 (16:21):
Saul Williams August ninth at the Ford, along with the
artistry of Bill T. Jones, they're going to present the Motherboard.
Sweet Saul Waves is always a joy to speak with you.
Make sure whenever you come to town that you come
see us.
Speaker 3 (16:35):
We certainly will thank you for your spirit and for
your energy.
Speaker 4 (16:38):
It's a pleasure to be here and I'll see those
of you who are listening.
Speaker 3 (16:41):
Who can make it out. Thank you.
Speaker 1 (16:43):
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (16:49):
Last night, I was telling you about this movie. It
was new to me, but not new in and of itself,
called on the Line.
Speaker 3 (16:58):
Mel Gibson stars.
Speaker 2 (17:00):
He stars as a shock jock radio host who feels calls.
It's a lot of radio tropes. You know, you can
fit in your favorite shock jock as far as who
he was emulating. And he has this caller. This is
in the trailer. We're not going to give you away
any spoilers, but it's in the trailer where he gets
this mysterious call and this caller takes issue with him
(17:24):
and it's threatening his family. That's all I'm going to say.
But I found it just flipping through Netflix, and I said,
what is this.
Speaker 3 (17:32):
I've never seen it. I've never heard of it.
Speaker 2 (17:34):
I think I would have been aware of any movie
starring Mel Gibson which had to do with him being
a radio host, because you know, that would be something
I'd be interested in.
Speaker 3 (17:45):
It came out in twenty twenty.
Speaker 2 (17:47):
Two and I saw it two three days ago and
I said, hey, Mark, I want you to see it. Hey, twelve,
I want you to see it. Go home and see it.
And unbeknownst to me, Stephan had already it as well.
So Stephan and I compare notes in the hall. But
it's a movie you have to watch to the end
because what happens in the middle is explained at the end.
Speaker 3 (18:10):
Things you have.
Speaker 2 (18:11):
Questions like, well, why is this or how did you
got to watch all the way through?
Speaker 3 (18:15):
With that?
Speaker 2 (18:16):
Mark saw it, Tuala saw it. They disagreed on what
they saw. Let me take a step back.
Speaker 3 (18:23):
Who wants to go first? Oh? After you please? Okay.
Speaker 5 (18:28):
I when from the beginning of this film, my onliest
thought was Moe said, you have to watch it all.
Speaker 3 (18:38):
The way to the end, whether you want to or not. Okay, buddy,
and I you said he was going first, And.
Speaker 5 (18:45):
I have to say I could not wait to get
in so I could tell you how much I enjoyed
this film. Oh, because when you get to the end
of me, I'm like, oh my god, this film was phenomenal.
I absolutely loved I'll give it an eight out of ten,
and I say eight out of ten. Because of the
things we know about radio, there are certain things that
(19:09):
he did as an air personality, and I'm like, uh, yeah, no,
that would never There are certain situations that happened at
the place that he worked where I said no, that
would never happen. And something you discussed last night. It
The only thing that's off putting about it working in
radio and him being a shock jock was him cursing
(19:29):
on air.
Speaker 3 (19:30):
That threw me.
Speaker 5 (19:31):
But you had a fantastic theory about that as well.
But I say to myself like, look, if you have
ever worked in radio, you have to see this film.
I'm talking big Boy. You and your crew, Ryan, you
and your crew, Harvey. Every one of you needs to
watch this show, especially if you work within an ensemble cast.
(19:53):
This is a fantastic radio show. And I er a
film and I don't know why it didn't get any
height because bel Gibson was actually really good in it.
It required him to act. There's no action stuff like that.
It's like he's acting the whole way through. And it
said locally.
Speaker 2 (20:11):
And let me say this, if you are connected with
the film on the line or you know mel Gibson,
reach out to us. Hit us at later Later with
mo Kelly at gmail dot com. We'd love to bring
you on and talk about the film.
Speaker 3 (20:25):
Mark Ronner.
Speaker 6 (20:26):
Your response, Well, you both mentioned the on air swearing,
and that to me just signified the lack of thinking
things through in the whole movie.
Speaker 3 (20:34):
All they had to do was say that it's satellite radio. Okay.
Speaker 6 (20:37):
Would it be that hard to think things through just
a little bit more? You set up the premise a
little bit, and there's only so much you can say
without spoiling the movie. So he plays a shock jock.
Mel Gibson does. And I don't have any problem with
his acting. I think he's a terrific actor and he's
a terrific director too. I think he's a brilliant dude.
But in terms of plot, where's the news guy in
(20:59):
the story to save the day for everybody? There's no
news guy in this staff. This could have been solved
in me.
Speaker 5 (21:05):
It could have been a fifty Mark is your issue?
Is is your the umbradge that you take with this
film that you, as a newsperson were left out?
Speaker 3 (21:14):
Tip of the Iceberg? T the Iceberg? Howard Stern had
a newsperson.
Speaker 5 (21:19):
Oh Robin does the news on Howard Stern does? She
does that news?
Speaker 3 (21:24):
We don't need to get hung up on this.
Speaker 6 (21:27):
I can talk about it as long as I did
see it's got a twenty percent positive on Rotten Tomatoes,
so that may answer your question on why you haven't
heard more about it. I'm not the only one who
thought it was crap. By the way, they definitely saved
money on sets and locations. There is approximately one location
in the whole movie, aparts from you know, the beginning
when when they're at his house.
Speaker 2 (21:47):
I don't hold that against it because there are a
lot of movies which are set within one location, like
the movie Devil, which was in an elevator.
Speaker 6 (21:55):
Yeah, you know, Yeah, what do you call those? Like
a bottle? Uh?
Speaker 2 (22:00):
I don't know, but I'm saying that's not a reason
to being a movie if it's well crafted.
Speaker 3 (22:04):
But continue, sir, No, it's fine.
Speaker 6 (22:06):
I mean, I just thought the whole thing ranged from
implausible to laughable, and there's only so much I can
say about that without spoiling the end, which I won't do.
But I mean, you know, keeping a nutcase on the air,
Actually it reminded me of a time. You know, I've
been a talk radio fan my whole life and even
listen to people I don't care for. I heard g
Gordon Lyddy once talk a woman down from suicide on
(22:26):
the air, and this started think getting me to think
of all the stuff that I've heard that we're interesting
in real life. But in this situation, there's no way
any of this, even given what we find out at
the end, any of it could have happened the cops
not intervening at once. The bad guy is some sort
of tech whiz who plans you talk too much. No,
(22:48):
I'm not going things are planned out here, not just
better than Batman ever could, but better than a whole
Delta Force team could have. It's just not a thing
that is even remotely possible even when you find everything
out at the end. I mean, cops would be swarming,
It'd be instantly on social media, cable news. You really
have to suspend your belief disbelief rather to stick with
(23:10):
this thing through the whole length of the story.
Speaker 2 (23:12):
I have a theory in that I can't share because
I don't want to ruin it for other people. But
I will say this, there are elements as far as
what we as people in radio should find very true
about when we put callers on the air the unpredictability
of that, the idea that someone's going to take what
(23:35):
we do very very personally and decide to seek retribution,
that rings very true. I don't want to say too
much about what happens in the movie, but I looked
at it through those lenses and like, yeah, it may
not happen like that, but I do wonder what comes
(23:56):
back after we put certain things out.
Speaker 6 (23:58):
Anybody who's ever been on radio, TV, you had any
kind of public entertainment job, has had things ranging from
you know, the sexual things to scary stalker things, and
that's kind of interesting about the movie. I just thought
that it went so far in a ridiculous direction that
it pulled me right out of the movie because it's
(24:18):
like this too much. Maybe maybe if you'd said it,
I don't know, like forty years ago when we didn't
have internet, social media, that kind of thing.
Speaker 3 (24:26):
But it was just like, pull back a little bit.
Speaker 6 (24:27):
This is way way too much, especially when you find
out what you find out at the end.
Speaker 7 (24:33):
Stephen, you saw it, you your thoughts please, kind of
between both of their reviews, because there was a lot
that was implausible, But like I was telling you, Mo
last night, it was entertaining, like it kept me kind
of okay. Like you said, ten minutes, I'm like, all right,
you kind of got me. I'm gonna keep watching. I'm
gonna keep watching. And you know the way we both
(24:56):
we kind of without spoiling anything, we both kind of
agreed on the way it ended once you find out everything.
But overall, I just thought it was like a fun
ride to see, especially because of the way they actually
did at least map out the way a radio station
like how we work.
Speaker 2 (25:13):
Yeah, I wouldn't give it an eight. I'm not going
to the level that Tuala did. But it's Netflix, and
for something that was included in my subscription, didn't require
me to go to the theater. It's something that I
didn't expect obviously, wasn't advertiser promoted. Did I feel like
I wasted my time? Absolutely not. Absolutely.
Speaker 3 (25:33):
What's the first thing I said to you when I
walked into the office today.
Speaker 6 (25:37):
You wanted your hour forty five minutes back, You owe
me one hour and forty four minutes.
Speaker 3 (25:43):
And you get nothing. You get nothing.
Speaker 6 (25:45):
That's about what I expected too, And also it made
me think of actual good radio movies that I want
to rewatch now. For instance, Tuala hadn't heard about this one.
There's one called Pontypool I want to recommend to everybody,
and it's kind of obscure, but it's incredibly well done.
It's about a talk radio host who crashed and burned
and he starts over at a new radio station out
(26:07):
in some remote location and some sort of I'm not
gonna say it's a zombie plague, but something starts happening
to everybody and the whole thing is focused on this
this talk show host in the radio station. Look for Pontypool.
And also that talk radio movie with Eric Bagosian that
dramatized the killing of Alan Berg.
Speaker 3 (26:28):
Terrific alan Berg true story.
Speaker 6 (26:30):
So yeah, So if you if you get through this
movie and you want to watch a good talk radio movie,
there's a couple to cleanse your palate.
Speaker 5 (26:38):
Okay, Mark, Mark is like the Grinch, This stole happiness.
Speaker 2 (26:43):
He's like that typical critic where I know so much movie,
there's no way that this could be a good movie
because I know all good movies.
Speaker 6 (26:51):
Can I not like or dislike stuff? Just like you guys?
I just recommended a couple of decent ones. What's wrong
with you, we hate America's look at the time, Mo Kelly,
George Norri Coast to Coast AM.
Speaker 3 (27:05):
When we come back.
Speaker 2 (27:18):
If I'm Kelly Live everywhere on the iHeartRadio app, be
sure to tune in tomorrow. We will be giving away
one more pair of tickets to Australian Pink Floyd and
some other giveaways. We love to give stuff away all
the time. But also remember Coast to Coast AM with
George Norri and he joins me now with a preview.
Speaker 3 (27:36):
Good evenings.
Speaker 8 (27:37):
Uh, mister Kelly, we're doing your program tonight. UFO's for
the first couple hours, Jesus of that, and then later
on Piracy on the High Seats.
Speaker 3 (27:46):
Let me just ask you very quickly.
Speaker 2 (27:48):
Yeah, I often ask you about are we going to
get to the point of disclosure where we find out
the truth of what the government knows and there'll be
a greater degree of transparency, not a goes by where
we don't see UFO stories in legitimate news outlets. But
have we gotten any closer to real disclosure?
Speaker 3 (28:08):
Not really?
Speaker 8 (28:09):
And I think if we get disclosure, it'll come from
good whistleblowers, not from government. They're just I don't know
why they're holding back, but they're just not going to
tell us.
Speaker 3 (28:18):
I mean, we're kind of like mature enough to handle
the truth, aren't we.
Speaker 9 (28:23):
I think so. By the way, should I watch that
movie this weekend?
Speaker 3 (28:27):
You've already seen it, haven't you been?
Speaker 9 (28:29):
Pieces?
Speaker 4 (28:30):
No?
Speaker 2 (28:30):
Yeah, I would watch it because I would want to
hear from someone who is a radio professional and get
your view on it.
Speaker 9 (28:38):
All right, we'll talk about it next week.
Speaker 3 (28:40):
There we go, see we can. That's a nice tease.
Look Fort, they're going to owe him an hour and
forty four minutes too. Let him be the judge of that.
Speaker 8 (28:48):
Don't prejudge actually an hour and fifty minutes because you
talked enough for ten minutes.
Speaker 3 (28:55):
Exactly. Don't you know Mel Gibson? Have you met him?
Speaker 9 (29:00):
I met him. He's a very quiet guy, but Russell
Crow is a good guy.
Speaker 3 (29:05):
Yeah. I met mel Gibson once when I was an
extra on Lethal Weapon three. But he didn't say any
much to me. Wasn't talking to us?
Speaker 9 (29:11):
Were you an extra?
Speaker 3 (29:12):
Yes? I was, Yes, I did. I did.
Speaker 8 (29:15):
As a matter of fact, can we see you if
we go back and get that tape?
Speaker 3 (29:19):
Yes?
Speaker 2 (29:19):
I have to point myself out though, because I was
a prisoner in the police station window washing, and I
can show you the scene in which Danny Glover and
Mel Gibson walk right behind me in the scene. But yes,
actually put it on my Instagram. You can find it
as one of the featured clips and everything. I put
it there at mister mol' kelly.
Speaker 9 (29:38):
A right to go see that.
Speaker 2 (29:40):
Yeah, we'll talk soon after you've seen on the line
with Mel Gibson.
Speaker 9 (29:43):
I'll forget. You're gonna owe me an hour, and.
Speaker 3 (29:47):
I won't forget you might even like it.
Speaker 2 (29:49):
All right, talk to you soon, my friend. Yeah, well
before we get out of here. Mark Ronner, I don't
know about you. You often tell me about how you
don't immediately go to sleep when you get home.
Speaker 3 (30:01):
Maybe you will watch some TV for me Thursday night.
Speaker 2 (30:05):
That's my TV catch up movie catch up night where
I try to sit down and watch the things that
I didn't have time during the week. So I will
catch up on Max and some other Netflix stuff.
Speaker 3 (30:17):
Is there anything that's in your queue? Absolutely?
Speaker 6 (30:20):
The fourth and I think final season of The Umbrella
Academy has dropped on Netflix today. It dropped today, didn't
it last night? After I finished with that abomination? You
thrust upon me. I watched a couple of the episodes,
and it's every bit as good as the first two season.
Speaker 3 (30:36):
Because this is the final season of the Umbrella Academy.
Speaker 6 (30:39):
It's such a good show, and I may make my
segment tomorrow about it. If I plows through the rest tonight.
Speaker 2 (30:44):
Well then just know I'll be right there with you,
because I'm going to go binge that the whole season
tonight when I get home.
Speaker 3 (30:51):
Each other all night.
Speaker 2 (30:52):
No, seriously, this is one of those shows where I'm
really I've been waiting on. I've loved it since the beginning,
and it's one of those things which remind me, oh, yeah,
this is why I have Netflix shows like that.
Speaker 3 (31:04):
So I got to ask you, who's your favorite character
in that? Oh? You know, was it number five?
Speaker 9 (31:08):
Yeah?
Speaker 3 (31:08):
The kid. The kid's so great.
Speaker 2 (31:10):
And he hasn't really aged in real life, even though
the seasons have been spread out.
Speaker 6 (31:16):
He's managed to keep his youthful appearance. Yeah, he's pulling
kind of a Burt Ward. He really is staying about
the same as an adolescent boy. And the first glimpse
I caught of him in the first episode of this
new season, I had to stop myself from shrieking and
laughing out loud because it's at the point where it's
kind of Pavlov and how funny he is.
Speaker 2 (31:35):
He is the star of the show, even though Elliott
Page is kind of cast.
Speaker 3 (31:41):
As the star. No, he gets top billing, but yeah
he gets top billing.
Speaker 6 (31:46):
No, no, Elliott Page, Okay, yeah, yeah, Elliot Page gets top billing.
Speaker 3 (31:50):
Yeah.
Speaker 2 (31:50):
So I don't I understand from a business standpoint, but
as far as the engine that makes the show go,
it's number five.
Speaker 3 (31:59):
We should say it though.
Speaker 6 (32:00):
It's an older man in the body of an adolescent boy,
an older, cranky, smart, alec really unpleasant man, and so
they give him the best dialogue and this kid, I
forget his name, I'll have it tomorrow, but his delivery
is just priceless.
Speaker 3 (32:16):
It's such a good show.
Speaker 2 (32:17):
If you have not seen it, you got to watch
it from season one because it's chronological in a story
that they're telling from season to season to season.
Speaker 3 (32:25):
But it is really fantastic.
Speaker 2 (32:28):
It's quote unquote a superhero television show which is based
on comic book material, but as you watch it, it's
a social treatise. It's talking about the different eras of
United States history.
Speaker 3 (32:44):
It's really layered. Highly recommend.
Speaker 6 (32:47):
It is absolutely not like all the Marvel and DC
stuff that you've been seeing lately either, if you are
even the slightest bit burned out on that, this is
not that.
Speaker 2 (32:56):
So that's tomorrow the run A Report Umbrella of Me
Season four. I'll probably pipe in as well. It's later
with Mo Kelly. We will see you tomorrow, and we're
still live everywhere on the iHeartRadio app.
Speaker 3 (33:09):
Will help you figure it out. It's kind of what
we do. K F I'm the k OST HD two
Los Angeles, Orange County, live everywhere on the elegi
Later, with Mo'Kelly News
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