Songs That Are Movie Titles

You get it!

Episode Transcript

Speaker 1 (00:00):
Welcome to listen to this. This is the podcast dedicated
to bringing you stories behind the artists, behind the songs,
and hopefully we are introducing you to old songs have
influenced all the music that you hear today. The goal
is I want you to hear an artist that you
might not normally listen to and search out their music
on whatever streaming service you subscribe to, or maybe just

(00:21):
buy it on physical media. We invite you to subscribe, comment,
and as always, please tell your friends about this podcast.

Speaker 2 (00:29):
Every episode has a.

Speaker 1 (00:30):
Theme, and today's is songs that are also movie titles.

Speaker 3 (00:35):
Never in the history of the United States a monster
of such size and power.

Speaker 4 (00:41):
Welcome to listen to this, a podcast that brings you
the stories behind the songs and artists, with a theme
to tie it all together.

Speaker 2 (00:49):
Here's your hosts, Eric Letty.

Speaker 1 (00:52):
My wife and I are huge fans of the channel
TCM Turner Classic Movies and we watch a lot of
moviespecial classic ones. It got me thinking, what about songs
that are also titles of movies? Well, the concept sounded
like fun, and I think we put together a fantastic
episode for you this week. In fact, I think it

(01:14):
might be We'll have to see how the season plays out,
but I think this might be actually my favorite episode
of the season. We have a lot of clips for
you to play for you today, so let's not waste
any time and let's get it started.

Speaker 5 (01:40):
Pretty moment walking down the street, Pretty Alma, you've kind
of like lummy, pretty Alma. Ill manyub no one, goodlod
be good as you mercy, pretty woman? Won't you pardon me?

(02:09):
Pretty woman? I couldn't help but see pretty woman? Then
you'll lovely?

Speaker 6 (02:18):
This can be?

Speaker 7 (02:20):
Are you lonely just like me? Wow? Pretty warm on
comple wild, pretty warm on cockle wild, Pretty warm, and

(02:41):
give you a smile to me?

Speaker 2 (02:44):
Tell me how to get to Beverly Hills.

Speaker 8 (02:45):
Sure for five bucks?

Speaker 2 (02:48):
You can't show it you for directions?

Speaker 9 (02:49):
I can do anything I want to, baby, I am
monks all.

Speaker 10 (02:52):
Right, okay, can change for twenty for twenty, I'll show.

Speaker 11 (02:55):
You a person. Wow, impressed?

Speaker 12 (03:02):
You kidding me?

Speaker 13 (03:03):
I come here all the time.

Speaker 2 (03:05):
Well, color me happy.

Speaker 1 (03:06):
There's a sofa in here for two? What is this
curly adiship word?

Speaker 14 (03:12):
She's in sales?

Speaker 2 (03:13):
Touchstone Pictures presents the story of a date.

Speaker 15 (03:16):
A date is business that led to a deal.

Speaker 2 (03:18):
I have a business proposition for him.

Speaker 7 (03:20):
I'm going to be in town until Sunday, like you
spend a week with me.

Speaker 1 (03:24):
I was Roy Orbison with a pretty woman. Roy Orbison
was writing with his songwriting partner Bill D's at his
house when he told Dees to get started writing by
playing anything that came to mind. Orbison's wife, Claude Dette,
came in and said she was going to go into
town to buy something, and Orbison asked if she needed

(03:45):
any money, and D's cracked, Pretty women don't need no money. Inspired,
Orbison started singing pretty Woman walking down the street and
it just took off from there. Bill D's recalls quote,
He's saying it while I was banging my hand down
on the table in a rhythm. And the same time
she returned, we already had the song. I love the song.

(04:07):
From the moment that rhythm started. I could hear the
heels clacking on the pavement. Click click click, the pretty
woman walking down the street in a yellow skirt with
red shoes. We wrote, Oh, pretty Woman on a Friday.
By the next friday, we had already recorded it. By
the next friday, it was out. It was the fastest
thing I ever saw. This was Roy Orbison's.

Speaker 2 (04:27):
Last big hit.

Speaker 1 (04:28):
His career faded pretty fast, actually, but was revived in
the eighties when prominent musicians like Bruce Springsteen and Dylan
and George Harrison cited him as an influence and then
invited him to join various projects. He was inducted to
the Rock and Roll Hall of Fame and then joined
the Traveling Wilbury's with Dylan and Tom Petty, George Harrison

(04:48):
and Jeff Lynn. And he was enjoying this kind of
career revival though, but he unfortunately died of a heart
attack in nineteen eighty eight of age fifty two.

Speaker 9 (05:13):
God again, Off Goda, Get had to get off.

Speaker 16 (05:21):
From this raw.

Speaker 9 (05:27):
Goda gate Hold gonea Get need to get hold of
My cryd.

Speaker 13 (05:40):
No, the motion picture that shows what America's all time
number one bestseller first put into.

Speaker 9 (05:46):
Words again, Hold, God.

Speaker 17 (05:52):
I wasn't much of a man living with you needed,
but that's all bad.

Speaker 18 (05:56):
I'm straightened out now.

Speaker 8 (05:58):
Without heart.

Speaker 3 (06:00):
Makes me feel nine feet tall.

Speaker 15 (06:03):
Dolls the instant turnoff for instant blood, instant excitement of
them at hell.

Speaker 1 (06:16):
That was Dion Warwick with Valley of the Dolls. This
was actually a cover of the theme song to the
motion picture about the successful but drug addled an unfulfilled actress.
One of the stars of the film, Barbara Parkins, actually
suggested that Dion Warwick would be suited to sing the vocals,

(06:37):
but instead Dorri Previn sang it in the motion picture,
partly due to contract complications. Warwick did do her own
cover of this song, though, as you heard, we previously played.
This is common practice back then, and her version was
actually the much more successful version.

Speaker 19 (07:06):
The rough floats It flows through the sea.

Speaker 17 (07:11):
Wherever that river goes, That's where I want to be.

Speaker 11 (07:16):
Flowed over the floor.

Speaker 2 (07:20):
Itch was walshed down, taken.

Speaker 11 (07:23):
From this room to sun.

Speaker 2 (07:30):
The town.

Speaker 15 (07:36):
All he wanted was to be free, and that's the way.

Speaker 2 (07:43):
It turned out to be.

Speaker 11 (07:46):
Flow the floor.

Speaker 17 (07:49):
Itch was washed down to me from his role.

Speaker 2 (07:55):
To sue.

Speaker 17 (08:12):
To to this.

Speaker 1 (08:24):
That was the band the Birds with the Ballad of
Easy Writer. The star and script writer of Easy Writer,
Peter Fonda, had wanted Bob Dylan to write the film's
theme song. However, when he approached the King of folk rock,
he declined.

Speaker 2 (08:40):
Instead, Dylan quickly.

Speaker 1 (08:42):
Scribbled a lyric fragment on a napkin before telling Fonda
to give this to Roger McGuinn. The Birds front man,
took Dylan's lines, turning them into the first verse, and
then expanded upon them with his own lyrical and musical contributions.
The version of the country tinged tune used in the
film and included on the Easy Writer's soundtrack album is

(09:05):
mcgwinn singing and playing acoustic guitar while fellow Bird Jene
Parsons accompanies him on harmonica. The version that the Birds
would later release, though as a single and include on
their Ballad of Easy Writer album, is completely a different
take and performed at a much quicker tempo. When Dylan
saw the private screening of Easy Writer and realized that

(09:27):
he had been credited as a co writer on its
theme song, he actually telephoned mcgwinn and demanded that his
name be removed from the credits. He really, really, really
did not want to be involved. It's believed that Dylan
disowned the tune as he really didn't like the film's ending,
had nothing to do with the song itself. In Revolution
in the Error, the author Clinton Hyland writes that Dylan's

(09:51):
problem with the film's ending was that there was justice
for the two men who shot the main characters dead.
For those uninitiated into the film, spoiler alert, it ends
with a two main protagonist played by Dennis Hopper and
Peter Fonda, being shot as they ride their motorcycles through Louisiana.

Speaker 2 (10:08):
Dylan wanted to see.

Speaker 1 (10:09):
The killers pickup truck explode with them in it.

Speaker 16 (10:38):
Now up, like you said, I said, look my.

Speaker 11 (10:56):
Dad, No. Yeah.

Speaker 1 (11:36):
The City of the Dead is a great movie, and
that song by the Clash is a pretty great song
City of the Dead. For a long time, City of
the Dead was actually one of the most popular Clash
songs not to be released on any album. It actually
only appeared as the B side to a nineteen seventy
seven single called Complete Control. It was then included on

(11:57):
a Rarities like compilation album Black Market Clash, and then
it had a super re release and it was called
Super black Market Clash. Singer Joe Strummer admitted in later
interviews that around mid to late nineteen seventy seven he
was suffering from severe clinical depression was incredibly disillusioned with

(12:17):
the future of the punk rock movement. This explains why
the lyrical themes of this song, in particular as well
as other B side from around this period. The Prisoner's
another great example. They're very dark and very cynical. City
of the Dead is the first Clash song to feature
additional instrumentation beyond just the bass, guitar, drums and vocal quartet.

(12:39):
In this particular case, the recording features a saxophone pianos,
the latter played by Steve Nevy from Elvis Costello and
the Attractions. The Clash were at all times greatly influenced
by Bruce Springsteen, and this influence can be heard in
the rich production and in the musical style. The title
City of the Dead is drawn from an obscure nineteen

(13:02):
sixties British horror movie of the same name starring Christopher Lee.
Guitarist Mick Jones of the Class would frequently introduce it
live as being a song about being dead from the
neck up, a nod to common zombie horror film convention.
Actually it's a pretty good flick and it is worth
a view.

Speaker 12 (13:37):
Be seeing you.

Speaker 2 (13:42):
You know, the old familiar place mame, this heart of mine.

Speaker 9 (13:55):
Embraces all days through it, that small cafe.

Speaker 20 (14:13):
The park across.

Speaker 2 (14:17):
The way, that shit.

Speaker 6 (14:24):
Carossin, that chestnut tree.

Speaker 16 (14:32):
The wish in.

Speaker 1 (14:33):
Way that was Billy Holiday with I'll Be seeing You.
It's a sentimental ballad and it was originally written for
the nineteen thirty eight Broadway musical comedy Right This Way
by Sammy Faine and Irvin Kol. It was performed in
the musical by the singer Tamara Dreson during the third

(14:54):
act Wall seated downstage at a little cafe table. Right
This Way close after only fifteen performances, but the tune
actually became a jazz standard and has been covered by
many musicians. The song became a huge emotional hit during
World War Two in a country where many loved ones

(15:14):
were serving far away overseas. A recording by Bing Crosby
became a hit in nineteen forty four, reaching number one
for the week of July first. However, for many it's
the Billie Holiday version that was recorded with Eddie Haywood
and his orchestra the same year that is the best known,
though some believe that a live version recorded live in

(15:36):
the Carnegie Hall in nineteen fifty six was Miss Lady
Days best rendering of the song. I, however, liked the
one I just played for you. That's my personal favorite.
Frank Sinatra, though, did record multiple version of the songs,
initially with Tommy Dorsey and his orchestra in nineteen forty
and then two slower interpretations in nineteen sixty one and
sixty two. This was the song Johnny Carson Stevie Wonder

(16:01):
to sing him to close out his thirty year Tonight
Show run. The movie, by the Way, has Joseph Cotton
and Shirley Temple. Here's a clip of the trailer.

Speaker 11 (16:13):
I didn't want to hurt cut.

Speaker 16 (16:15):
I didn't know.

Speaker 15 (16:17):
I'll be seeing You is a suspense filled drama, yet
filled with romance. I'll leave you alone.

Speaker 11 (16:26):
You're just fishing.

Speaker 8 (16:28):
You want me to ask you to.

Speaker 11 (16:29):
Stay, Glass, please stay.

Speaker 15 (16:43):
I'll be seeing you as a heartwarming love story filled
with laughter. I'll be seeing you as a stirring drama
filled with unknown terror.

Speaker 3 (17:10):
Been days and confused for so long, It's not true.

Speaker 18 (17:16):
Wandered a warm and never bargain for you. Lots of
people talking fuel them, no soul love.

Speaker 2 (17:27):
A woman was created vil.

Speaker 14 (17:47):
You affused, telling all of your life NDS baby Alone
on the hypno track sleep Baby.

Speaker 1 (18:04):
Name That was the band led a zeppelin with Dazed

(18:27):
and Confused This track is based on an acoustic song
with the same title that Jimmy Page heard folk singer
Jake Holmes perform when Page was a member of the Yardbirds.
They played on the same bill with Holmes at the
Village Theater in New York City. Holmes version is about
an acid trip, but contains many of the same elements

(18:48):
that made their way into the led Zeppelin version, a
walking bassline, a paranoid lyrics, and a overall spooky sound.
Holmes said quote, we were on the bill with the Yardbirds.
He performed there and blew the place apart with the song,
and that's what Jimmy Page saw. From then on, I
gathered from the Yardbirds that Page sent somebody to get

(19:09):
my album. He did a great job, but he certainly
ripped me off. The Yardbirds played the song in concert,
but never recorded a studio version. Led Zeppelin's version was
not credited to Jake Holmes, as Page felt that he
changed enough of the melody and added new enough lyrics
to escape a plagiarism lawsuit. While Holmes took no action

(19:31):
at the time, he did later contact Page regarding the matter.
Holmes finally filed a lawsuit in twenty ten, alleging copyright
infringement and naming the led Zep guitarist as co defendant.
It was the favorable judgment for organist Matthew Fisher in
the Wider Shade of Pale case that convinced Holmes to

(19:52):
finally sue, as precedent was set that songwriting credits could
be challenged in British courts. Years after the fact, Holmes
settled with Page and the case was dismissed. In twenty twelve.
The songwriting credit was changed to the rather cryptic Jimmy Page,
inspired by Jake Holmes. A version of Page performing this

(20:15):
song with the Yardbirds can be found on a nineteen
seventy one release Live Yardbirds. This version is listed as
I'm confused, not dazed and confused. Jake Holmes, who wrote
the song on which it's bass, never hit it big
as a recording artist himself, but you've definitely heard his
work because he wrote many famous jingles, including be all

(20:37):
that you Can be in the Army and be.

Speaker 2 (20:42):
A Pepper for Doctor Pepper.

Speaker 1 (20:44):
The movie is a nineteen ninety three cult classic and
Matthew McConaughey's first movie appearance.

Speaker 6 (20:53):
Hey, I've been man, Hey, man, he's carne You know
what are some I was going many pretty good. How's
it going with you?

Speaker 8 (21:05):
Say?

Speaker 9 (21:05):
Man, you got a joint?

Speaker 4 (21:09):
Uh no, not on me.

Speaker 5 (21:11):
Man.

Speaker 21 (21:14):
It'd be a lot cooler if he did. Alright, alright, alright.

Speaker 11 (21:33):
Some mix.

Speaker 3 (21:34):
Never can you even though you're feeling flack not the
man to stop here that it can't do follow you
to shut.

Speaker 11 (21:46):
The old way has two up.

Speaker 16 (21:50):
Other staver there, don't ever do it.

Speaker 2 (21:52):
Now, don't have the answer.

Speaker 3 (21:54):
The cod does a how people don't have with somebody else.

Speaker 13 (21:59):
I now.

Speaker 11 (22:03):
Adusan the can you can? You can? You said? Can
you can? You can? You kind of.

Speaker 3 (22:28):
Data Ana child of Sattage of that station.

Speaker 11 (22:36):
Noted the changes China.

Speaker 2 (22:39):
Even though you know me and I know you're just
sus s s.

Speaker 3 (22:46):
Now you don't know the several Sista, can you worry about?
Sing faith bosting, just get with the face of those
and many things that abilious passive forgive.

Speaker 1 (23:12):
Love the movie, Love the song, Love It All. That
was Elvis Costello with high fidelity.

Speaker 22 (23:18):
You know.

Speaker 1 (23:18):
In the nineteen seventies and eighties, manufacturers of audio equipment
often marketed their products as high fidelity or abbreviated version
high five, indicating that it could help create a quality
listening experience.

Speaker 2 (23:33):
Well.

Speaker 1 (23:33):
Fidelity also means loyalty, so if you have fidelity in
a cause, you would never waver from it.

Speaker 2 (23:40):
Well.

Speaker 1 (23:41):
In Costello's song, he uses the marketing jargon as a
play on words, telling the story of couples who cheat
infidelity and how they justify their own actions. Costello spoke
of the song where he described it as an incredibly
sad delusion of a song in which a couple finds
themselves in different rooms with different lovers, one of them

(24:02):
still irrationally believing that their pledge will endure all the faithlessness.
This is one of Costello's favorites. He explained, this is
a pretty exciting record. It's a very raw singing and
a great rhythm track. We cut it in Holland, where
we had nothing else to do except go mad inside
the studio. The movie called High Fidelity was released in

(24:24):
the year two thousand. It starts John Cusack and Jack Black.
The film, which is based on a nineteen ninety five book,
is set in a record store where music geekdom abounds.
The song doesn't actually appear in the film, oddly enough,
but Costello's song ship Building actually does. Among sanct deemonious

(24:46):
record store employees, Costello was a favorite, so it's fitting
that he is on the soundtrack along with Dylan, the
band's stereo lab and the Velvet Underground. And actually, as
you will see from this clip, the movie would fit
in quite nicely with this podcast.

Speaker 2 (25:01):
Rob, it's your turn.

Speaker 15 (25:04):
Okay, I feel kind of basic today.

Speaker 10 (25:06):
Top five side ones track ones Jennie Jones Clash from
the Clash, Let's get it on, Marvin Gayem, Let's get
it on.

Speaker 3 (25:16):
Nirvana smells like teen spear off nevermind, Well, no, Rob.

Speaker 15 (25:19):
That's not obvious enough, not at all. How about point
of no return?

Speaker 2 (25:22):
On point of no return Lewis, so you can.

Speaker 3 (25:24):
Get up the white light, White Heat, Velvet Underground, Okay,
that would be on my live.

Speaker 2 (25:29):
Though not on mind Massive Attack, No Protection. The song
is radiation ruling the name.

Speaker 1 (25:35):
Kind of a new record in a minute, Very nice, Rob,
A slide declaration of new classic status slipped into a
list of old safe ones.

Speaker 2 (25:44):
Very pussy. Excuse me, I was in a minute.

Speaker 5 (25:49):
Couldn't it be.

Speaker 2 (25:49):
Any more obvious than not? Rob? How about I don't
know the Beatles.

Speaker 1 (25:52):
How about fucking fucking Beethoven track one, side one of
the Fifth Symphony.

Speaker 2 (25:58):
How can someone who has no interest in me? Is
it going to record store?

Speaker 11 (26:01):
He said?

Speaker 22 (26:02):
Two men one now, little black middle wage jumped into
a white car when out upstates please and just that
him out of time, Just d here captain women boys,
MRIs once.

Speaker 11 (26:14):
Up there wo.

Speaker 22 (26:15):
He took him to the infirmary and on this man
could hardly see. He told him he could act tet
a fan of your team. Then more in the morning.

Speaker 11 (26:36):
In her room, and he They took him in the hospital.

Speaker 22 (26:40):
And everyone him obscirps loon.

Speaker 11 (26:42):
A man looks up to his word, dying.

Speaker 3 (26:45):
I see why you bring him in here, for he's
a guy.

Speaker 22 (26:49):
Here's the story of the hurricane, the man the authorities
came to play or something that he never done in prisons,
elban what the dad speaking to be the cham yet
out of the world. Four months later, the ghetto's on

(27:18):
play Rubens in South America fighting for his name well
out the next to Bradley still in the rama, ringgames
and the cats up.

Speaker 7 (27:27):
On the scoose.

Speaker 22 (27:28):
Nay, I'm looking for somebody to blame. Remember that murder
that you happened in a bah. Remember you said you
saw that getaway car thinking luck to flame all in
the law. I think it might have been that fighter
that you saw running the night.

Speaker 16 (27:45):
Don't forget that you are wife.

Speaker 1 (27:48):
Mister Bob Dylan with Hurricane and the song and the
movie is about Ruben Hurricane Carter, a boxer who spent
nineteen years in jail for a murder that Dylan felt
and many others felt that he did not commit. Carter's
case is complex, and it's filled with tons of legal
missteps on both sides. On June seventeenth, nineteen sixty six,

(28:12):
three white people were gunned down at a bar in Patterson,
New Jersey, called the Lafayette Grille. Witnesses described two black
men as the murderers. Police pulled over Carter and his
friend John Artist, who were black but otherwise didn't fit
the description of the killers. They were released, and Carter
resumed his boxing career, losing a fight on August sixth,

(28:34):
but two months later he and Artists were charged with
the murders.

Speaker 2 (28:38):
Well.

Speaker 1 (28:39):
The case hinged on the testimony of Arthur Bradley and
Alfred Bellow to white men with extensive criminal records, who
claimed that they were en route to rob a factory
when they witnessed the shooting, check out that as an alibi,
and Carter and Artists were the real killers.

Speaker 2 (28:56):
Carter was sentenced to.

Speaker 1 (28:58):
Thirty years in life and Artists fifteen to life. Bradley
and Bello got reduced sentences for their crimes that they committed.
In prison, Carter worked relentlessly to tell his story in
an effort to earn his freedom. Many sympathized with his cause,
including a writer who helped him publish his autobiography, The

(29:18):
Sixteenth Round, from number one contender to number four five
four seven two. It was published in nineteen seventy four.
Carter had a copy sent to Dylan, who read it
and really took up the cause, writing a song about
him and raising money for him on his nineteen seventy
five Rolling Thunder review tour. Soon after Carter's book was published,

(29:40):
Bradley and Bellow actually changed their stories, claiming they were
coerced into their testimony. In nineteen seventy six, Carter and
Artist's convictions were overturned, but months later were again convicted
in a second trial. In nineteen eighty five, the case
reached the Supreme Court, and this time Carter and artists
were ext honerated for good. Carter, unfortunately died in April

(30:04):
of twenty fourteen, age seventy six. His professional boxing record
was twenty seven, twelve and one. Dylan visited Carter in
prison on December seventh and nineteen seventy five, and the
next day raised over one hundred thousand dollars for his
defense fund at the Madison Square Godden Concert with his
Rolling Thunder Review, which featured Joan Biaz, Joni Mitchell, and ROBERTA.

Speaker 2 (30:27):
Flack.

Speaker 1 (30:27):
Dylan and his Review held another charity concert in Hurricane,
Illinois in the Astrodome, where they were joined by Stevie
Wonder and Isaac Hayes.

Speaker 6 (30:52):
Modame Andy call money the wrestling, Yeah.

Speaker 11 (31:09):
Not buy twenty one?

Speaker 6 (31:11):
Checking some chests and yeah yeah yeah, mister fred Lessian
the breakfast spunce. Yeah yeah, yeah, Let's wait, twistern, let's play.

Speaker 12 (31:28):
Rest Yeah, yeah, see you in heaven.

Speaker 21 (31:34):
If you made.

Speaker 12 (31:41):
Now Andy, did you hear about this worm? Tell me
how you're locking the pint?

Speaker 11 (31:49):
Andy?

Speaker 16 (31:50):
How you get that out?

Speaker 2 (31:51):
Altste Are we losing times?

Speaker 11 (31:57):
If you believe the.

Speaker 16 (32:02):
Man?

Speaker 11 (32:10):
Nothing?

Speaker 1 (32:13):
That was Rim with Man on the Moon. It was
inspired by the late comedian Andy Kaufman. When he was
a teenager. RM lead singer Michael Stipe saw Kaufman on
Saturday Night Live and has cited him as a huge
influence ever since. People and things that are mentioned in
the song are Mata hoopl life, Monopoly, Twister, risk Checkers, Chess,

(32:38):
The Game twenty one, wrestler Fred Blassy, Elvis, Presley, Moses, Sir,
Isaac Newton, even Charles Darwin. Kaufman was known for his
Elvis impersonations, which he once performed on Saturday Night Live.
Stipe ties one of his own on the line, hey Baby,
are we losing touch? That part of the song. The

(33:00):
lyric mister Fred Blassie and the Breakfast Mess refers to
Kaufman's movie My Breakfast with Blossy. This was the movie
that Kaufman was filming when he met his girlfriend. After
Rim called it quits in twenty eleven, Michael Stipe said
that this would be the song he would most misperforming,

(33:20):
particularly watching the effect of that opening bassline on a
sea of people at the end of a show. That
is as easy song as there possibly is to sing.
It's hard to sing a bad.

Speaker 2 (33:31):
Note on it. He added.

Speaker 1 (33:33):
This was used as the title for the nineteen ninety
nine movie about Andy Kaufman starring Jim Carrey. Rim did
the soundtrack, which of course included this song.

Speaker 13 (33:49):
Hello, I am Andy.

Speaker 2 (33:53):
I want to be the biggest star in the world.

Speaker 1 (33:56):
You acts like I'm at your old and I'm not
looking at everybody else.

Speaker 2 (34:00):
I really like what you did out there. I'm not
a comedian. I don't want to go for cheap laughs. Sure,
what's wrong with this guy?

Speaker 1 (34:07):
They detest you.

Speaker 2 (34:08):
That means quird success.

Speaker 4 (34:10):
Forty million people are watching you covering week hearty time
for lattack.

Speaker 2 (34:14):
Some of us on Saturday Night Live think and the
confidence of comic genius.

Speaker 8 (34:18):
Thank you very much.

Speaker 15 (34:19):
You just don't respect anything. You said some pretty inflammatory things.

Speaker 12 (34:24):
I'm sorry.

Speaker 21 (34:25):
I'm sorry.

Speaker 2 (34:26):
I've always got to be one to bet them. This
guy is so obnoxious. That's good old fashioned entertainment.

Speaker 20 (34:31):
Churche my dazy alasy like Da Wong cats as.

Speaker 8 (35:33):
Is.

Speaker 11 (35:35):
I thought that.

Speaker 20 (35:39):
Will tes basing.

Speaker 11 (35:43):
My job, my cap.

Speaker 1 (35:52):
We all know that song that's Black Sabbath with Iron Man.
Song is about a man who travels through time and
sees the end of the world. On his way back
to Earth to warn the human race, he goes through
a magnetic storm and is turned into iron. Nobody believes
him about the end of the world, and he gets mad,

(36:14):
taking out his rage on the human race and thus
bringing about the end of the world that he saw.
Sabbath bassist and lyricist Geezer Butler explained Ozzy Osbourne put
the idea in his head quote, I was walking down
the street one day and thought, what if there were
a bloody great bloke made out of metal woke in
about That's how I would say in my accent. Fittingly,

(36:39):
iron Man is a landmark in a heavy metal genre.
It's a massive guitar riff and a sci fi apocalyptic lyrics.
It has everything that the heavy metal genre had become
known for. And let's face it, Black Sabbath has pretty
much been a major influence on every metal band that
has followed, a specially British acts like Iron Maiden or Saxon.

Speaker 2 (37:01):
Or Judas Priest.

Speaker 1 (37:03):
Sabbath guitarist Tony Iomi came up with the guitar riff
in the studio when drummer Bill Ward started playing the big,
foreboding bass drum beat. Iomi created a wash of sound
by bending his string, which is where Ozzy's I Am
iron Man vocal comes in, and then he blasts into

(37:24):
the riff.

Speaker 2 (37:26):
Quote.

Speaker 1 (37:27):
Most of the riffs I've done, I've come up with
on the spot, and that was one of them. He said,
it just came up. It went with the drum that
Bill was playing. I just saw this thing in my
mind of someone creeping up on you, and it just
sounded like that in the riff. In my head, I
could hear it like a monster awakening. So I came
up with that riff to match what was in my head.

(37:48):
The comic book superhero iron Man first appeared in nineteen
sixty three in Marvel Comics, but has had little in
common with the character depicted.

Speaker 2 (37:57):
In this song.

Speaker 1 (37:58):
The comic iron Man as a regular person Tony Stark,
who gets his powers from the suit.

Speaker 2 (38:04):
In the two thousand and eight movie.

Speaker 1 (38:06):
Iron Man, starring Robert Downey Junior, or r DJ as
his friends call him, the song plays at the end
of the film when Stark tells the press, I'm iron Man.
Oddly enough, though the movie actually opens up with the
song Back in Black by ac DC.

Speaker 2 (38:23):
They save Iron Man to the very end, eat.

Speaker 16 (39:13):
No body, she got.

Speaker 4 (39:17):
No she would say, she would ski.

Speaker 11 (39:30):
Chap.

Speaker 1 (39:54):
That was Susie and the Bansheese with Kiss Them for Me.
The song is about a tribute to the eighteen fifties
and sixties blonde bombshell actress Jane Mansfield, who, by the way,
is the mother of Law and Order star Marishka Hargate. She,
along with two other adults, were killed in a grisly
car accident on the way to New Orleans for a gig.

(40:15):
The song includes Manfield's famous catchphrase Davoon. Kiss Them for
Me is also the title of a nineteen fifty seven
movie that Mansfield starred in with Carrie Grant. In the US,
this was the only top forty hit for Susie in
the Banshees. They fared much better in the UK, where
they were pretty big stars.

Speaker 15 (40:38):
Ladies and gentlemen.

Speaker 10 (40:40):
If Carrie Grant seems a bit in a hurry, please
forgive him. He's about to take off on leave, and
he's determined to crowd more wine, women and song into
four days than any man ever attempted. While he upholds
the stoutest tradition of the US Navy I.

Speaker 16 (40:56):
Feel so helpless, all those first aid courses.

Speaker 7 (41:00):
Well, I'll tell you what.

Speaker 15 (41:02):
Could you just get onto the blanket with me?

Speaker 11 (41:05):
What?

Speaker 7 (41:06):
Well?

Speaker 15 (41:06):
Would you deny me a little body heat?

Speaker 16 (41:09):
I thought you were sick.

Speaker 9 (41:11):
Jeas dam jeez theam jeez them for me.

Speaker 19 (41:54):
The lights turned on and the curtain fall and when
it was over it felt like a dream. They stood
at the stage door and big for a scream.

Speaker 2 (42:09):
The agents had paid.

Speaker 19 (42:11):
For the black limousine that waited outside in the rain.

Speaker 2 (42:18):
Did you see them?

Speaker 19 (42:23):
Did you see them?

Speaker 2 (42:35):
Didn't you see them in the river?

Speaker 11 (42:40):
They were there to wait for you.

Speaker 2 (42:45):
Could you tell that the empty.

Speaker 17 (42:48):
Quiver, brown skin in the inn on the banks? That
was bout a narrow hell, Broken Arrow?

Speaker 1 (43:02):
That was the band Buffalo Springfield with Broken Arrow and
Neil Young wrote this after breaking up with the group
because of what he called an identity crisis. He quickly
returned to the band and recorded this song. In a
Rolling Stone interview about what broke up Buffalo Springfield, Young

(43:22):
said quote, I was going crazy, you know, joining and
quitting and joining again. I began to feel like I
didn't have to answer or obey anyone. I just needed
more space. Meanwhile, his Buffalo Springfield band mate Stephen Steeles
kind of actually concurs, saying, in part, we were of
the age where you could very easily get the diva

(43:42):
syndrome before we've even sold any records or anything like that,
and that's what was in that case. He was so
laden with talent, All of us were, this whole bunch
that we were just hitting the tracks going so fast
that we went right into the wall with.

Speaker 2 (43:57):
No skid marks. We just spun out.

Speaker 1 (44:00):
The track took over one hundred hours to record, which
is a really long time, which was basically an eternity
by nineteen sixty seven standards, where they were used to
cutting a song in an afternoon. Broken Arrow sometimes draws
raised eyebrows for being so oddly arranged, rather like the
Beatles kind of psychedelic periods such as Revolution Number nine.

(44:21):
Perhaps it was this song which longtime Young collaborator David
Briggs had in mind when he said quote, when you
make rock and roll, the more you think, the more
you stink. Dewey Martin, who is Buffalo Springfield's drummer, saying
the first verse of mister Soul in this tune. The
track was produced by Jack Nitski and the jazzy piano

(44:42):
soul at the end is by Don Randy of the
Wrecking Crew, who I always like to point out when
they're on a track not satisfied with using the name
one time. In nineteen ninety six, Young released an album
titled Broken Arrow. I guess he wasn't done with it.
The mo movie Broken Arrow is a cheesy, kind of
a Mission Impossible type ripoff movie with John Travolta from

(45:06):
the nineties.

Speaker 16 (45:34):
Some Times and.

Speaker 21 (45:39):
Beyond.

Speaker 11 (45:39):
Have we all have some? If we all.

Speaker 13 (45:52):
We know that the.

Speaker 11 (45:55):
Always do lean on me.

Speaker 2 (46:02):
When you're nuts, Allow me you breath, now that you came.

Speaker 20 (46:15):
In long.

Speaker 23 (46:18):
Glem, somebody to me lead, swallow your bread, Imma have me.

Speaker 11 (46:34):
You need to bone.

Speaker 1 (46:41):
That was lean on Me by the fabulous Bill Withers.
And Bill has talked about this song specifically. Quote this
was from my second album, and by that time I
could afford to buy myself a little Wurlitzer electric piano.
So I bought this piano, and I was sitting there
just running my fingers up and down the piano.

Speaker 2 (46:58):
In the course of doing the music.

Speaker 1 (47:00):
That phraseing kind of crossed my mind. And so you
go back and say, oh, I like the way this
phrase lean on me sounds with this song, and then
you say, how would I make a conclusion to that statement?

Speaker 2 (47:12):
What would I say that would cause me to say.

Speaker 1 (47:15):
Lean on me? At that point, it's between you and
your actual feelings and your morals and what you really like.
It's who you're really thinking about and who really counts
on you. So lean on me when you're not strong
is a feeling of supporting another person that you love
very much. Withers did not record this song until he
was thirty two years old. He was in the US

(47:37):
Navy for nine years, then worked at a factory making
parts for airplanes. This is often the first song children
learn to play on the piano because they don't have
to change fingers. You just put your fingers in one
position and go up and down the keyboard. As he
explained when he wrote it, it's was just him playing
around on the keys and it sounded good to him.

Speaker 2 (47:57):
This was used as the title.

Speaker 1 (47:59):
And theme song to a nineteen eighty nine movie about
the inner city high school that is having troubles, and
it stars Morgan Freeman. It's based on a true story
and it shows how principal Joe Clark used his very
brash and unorthodox teaching methods to help unify a troubled school.

Speaker 11 (48:39):
One Why.

Speaker 9 (49:27):
You William.

Speaker 1 (49:39):
The Chaffons with One Fine Day.

Speaker 2 (49:41):
The song is.

Speaker 1 (49:42):
About a girl who had a crush on a boy
and who doesn't appear interested in her. She expects that
he'll eventually fall for her and waits eagerly for that day,
maybe one Fine Day. One Fine Day was written by
songwriters Carol King and Jerry Goffin. Obviously we've mentioned them before,
who were both married. It was intended for their babysitter,

(50:03):
who have also talked about before, Little Eva, who had
the hit a year earlier.

Speaker 2 (50:08):
With the song lok Emotion.

Speaker 1 (50:10):
Well, her voice did not sound right when they recorded it,
so they sent the offer out to the Chaffons to
sing it, who were coming off another fine hit called
He's So Fine, which went to number one in nineteen
sixty three. Carol King played piano on that track and
was familiar with the group. The Chaffons took One Fine

(50:30):
Day to number five in July of sixty three. Well,
four different versions of One Fine Day actually charted, which
is really interesting. Julie Budd took it to number ninety
three and nineteen seventy six Rita Coolidge and nineteen seventy
nine got it as high as number sixty six, and
Carol King, who co wrote the song, became a top
recording artist in the seventies when she went out on

(50:52):
her own. In nineteen eighty, she released an album called
Pearls Songs of Goffin and King, where she performed some
of the hits that she wrote with goff And in
the sixties.

Speaker 2 (51:00):
Well.

Speaker 1 (51:01):
Her version of One Fine Day was released as a
single and it went to number twelve, doing best of
all of them. This was used as the title and
theme song for a nineteen ninety six romantic comedy starring
George Clooney and Michelle Pfeiffer.

Speaker 2 (51:14):
It's about two people who meet on the.

Speaker 1 (51:16):
Worst day of both of their lives, of course, until
they fall in love. A version by Natalie Merchant was
also included on the soundtrack.

Speaker 2 (51:27):
OW we have to take your friend Maggie to school
and we can't be late because of your field trip.

Speaker 9 (51:35):
Hi Jack, how Melanie Parker Parker, I let her know
that you don't need it to take Maggie.

Speaker 11 (51:41):
To school for you?

Speaker 2 (51:42):
Is that your school starts. I don't know that five
starts around nine. Everything starts around nine. I'm gonna miss
the boats and we'll make it. I promise, come back,
my god, cat.

Speaker 3 (51:57):
Big All right, you must be Christien's ex husband.

Speaker 16 (52:01):
You must be.

Speaker 13 (52:03):
You don't forget to call Melanie Parker's under line three times.

Speaker 3 (52:07):
Wait wait, wait, wait wait, there's this guy who has
not only roumined my day, but Sam's as well.

Speaker 8 (52:12):
Your mommy.

Speaker 11 (52:16):
Just want to know if you're wearing patties. Eh.

Speaker 10 (52:19):
Let's say I watch the kids while you do your presentation,
and then you watch it for me later on the
day while I do the column. I only let incredibly
responsible people.

Speaker 2 (52:27):
Watch incredibly responsible daddy.

Speaker 1 (52:30):
Let's sick tech your honey times.

Speaker 11 (52:34):
I think.

Speaker 3 (52:38):
What loves all.

Speaker 12 (52:41):
And when suit.

Speaker 11 (52:55):
I've got my friends and I had my friends when
we were buys and the scene.

Speaker 1 (53:34):
That was Neil Young with the song Philidelphia and Young
wrote this for the Jonathan Demi movie Philadelphia, starring Tom
Hanks as a lawyer who's dying of AIDS. Demi first
cut the title sequence of Philadelphia to the song Southern
Man by Neil Young and asked Young to write a
song kind of like it for the movie. Well, Young

(53:58):
gave him this, which he used at the end of
the film. Still needing a song for the open, he
called Bruce Springsteen, who wrote Streets of Philadelphia. Demi wanted
musicians not typically associated with AIDS causes for his movie
because he wanted a mainstream audience to take an interest
in the film. Demi spoke further about getting Neil Young

(54:19):
to compose a song for the film in a Rolling
Stone interview. He said, quote, I thought what we needed
is the most up to the minute guitar dominated American
rock anthem about injustice to start the movie off.

Speaker 2 (54:31):
Well, who can do that? Well, Neil Young can do that.

Speaker 1 (54:34):
So we edited a title sequence to Southern Man to
help him see how his music could power the images
that we were working with. He said, I'll try. Six
weeks later he said, Hi, it's Neil. I'm sending a tape.
So in comes a song. We were crying the first
time we heard it, and I went, oh, my god,
Neil Young trusts this movie more than I do. The

(54:54):
melancholic nature of Young's contribution actually led Demi to switching
it to the end rather than the opening of the
song because he thought it fit better as a closing
statement about the movie. It was actually nominated for an
Oscar in nineteen ninety four for Best Original Song.

Speaker 2 (55:09):
It wound up.

Speaker 1 (55:10):
Losing two Bruce Springsteen for a song from the same movie,
Streets of Philadelphia That kind of interesting.

Speaker 23 (55:24):
Mom and Dad would show it dropped me off the
grab Joes, I kicked and screams, please.

Speaker 12 (55:34):
Take Grant, Take Bara, Bala, Bala Take Balata, Galanta, Gala,
met the Tales and stuff bad.

Speaker 24 (55:57):
Good Take Melatan, Realty, relative Dealentate, Relati, Melotical.

Speaker 3 (56:12):
Semi god stop.

Speaker 11 (56:15):
Go out by Lad I Can.

Speaker 8 (56:22):
Tech Co Glad Come Rama Dead Co, Lag Come Valade,
Lad Come La teg Co.

Speaker 20 (56:33):
Valade, Dinner Dream, A bad wisty look up the.

Speaker 11 (56:46):
Coal.

Speaker 1 (56:48):
That was the band nirv Vana with the song Sliver
never played on radio. Glad I was able to play
it for you today, But it's a semi autobiographical song
about being deserted by your parents. The words were written
by Kurt Cobain and tells a story about a little
boy left at his grandparents' house while he's screaming to
go home. Dan Peters from the group mud Honey played

(57:11):
drums on this track like Nirvana, mud Honey came out
of the Seattle music scene and for a while we're
doing much better. Nirvana went through four drummers before finding
Dave Grohl and Peters just played on this one show
with the band, but it was enough to get this
recording that inspired the Weezer track Heart Songs. Weezer leader

(57:33):
Rivers Cuomo told Rolling Stone magazine about hearing this song
for the first time, and I think he sums up
pretty well.

Speaker 2 (57:39):
Quote.

Speaker 1 (57:39):
I was working at a Tower Records on Sunset Boulevard
in the spring of nineteen ninety one, and another cashier, Harold, said, hey, Rivers,
this is something you might like. It's called Nirvana. As
soon as I heard Mom and Dad went to a show.
In the opening lyrics, I immediately started dancing around. It
was exactly how I felt, and they were putting it
to music, and it inspired me to do the same thing.

(58:00):
I literally started a band within weeks. As evidence that
Nirvana didn't sell out with their never Mind album, Kirk
Cobean points to Sliver and the Song About a Girl
as early tracks with these pop sensibilities and catchy melodies.
They were always in his quiver. Another movie from nineteen

(58:20):
ninety three Sliver with Sharon Stone, Billy Baldwin and Tom Barringer.
I apparently I'm picking a lot of nineties movies here,
but it was a pretty decent movie that is more
known for nudity and love scenes than anything else.

Speaker 11 (58:39):
Central Air additionally, absolutely thrilling.

Speaker 10 (58:44):
I love you, Carly Norris knew what she wanted.

Speaker 22 (58:50):
I'll take.

Speaker 2 (58:52):
The prestigious address.

Speaker 11 (58:54):
So you're moving in today, welcome to one thirteen. Did
I get here?

Speaker 2 (58:59):
I will Aki, You're doing it an incredible view. Would
you look at her? She's a boy here.

Speaker 11 (59:10):
She can't get it out.

Speaker 2 (59:11):
But from the moment she moved in.

Speaker 11 (59:14):
Nowhere where would I send you?

Speaker 2 (59:18):
Someone was watching.

Speaker 22 (59:42):
What's Your Mother?

Speaker 23 (59:44):
Taylor believes bet releve that.

Speaker 11 (59:49):
Moon you get boo.

Speaker 1 (59:56):
But that was the artist Brian Fairy, and the song

(01:00:37):
was called The Right Stuff, with lyrics that compare a
woman to a force of nature. The Right Stuff explores
the risks of falling for such a formidable female, despite
the potential consequences. Former Roxy Music frontman Brian Faery is
powerless and resisting her charms. He sings her Nature's wild.

(01:00:58):
It's hard to beat the Right Stuff. It's Mountain, high
River Deep the Right Stuff. The music for the Right
Stuff was written by The Smith's guitarist Johnny Mahr and
adapted from the Big Mouth Strikes Again b side called
Money Changes Everything from The Smith's. Smith's frontman Morrissey is
said to have declined to write the lyrics for Money

(01:01:21):
Changes Everything, so it was kept as an instrumental until
Ferry was introduced to the song and sang it. Mar
recalled being asked to play on the Right Stuff. He said,
quote fairy didn't even know who I was, but he
was looking for co writers and someone suggested me to him.
Someone played him some Smith's records and he went, oh,

(01:01:42):
this guy plays guitar, all right, I want it to
sound like this, and invited me down to the City
studio and asked me to recreate it. I said, I
don't need to recreate it. I'm the one who wrote it.

Speaker 2 (01:02:17):
You Ship ran a cloud put this.

Speaker 22 (01:02:18):
Way their machine ship mean all my white stag, start
play you ship find the same.

Speaker 12 (01:02:24):
Amazed the ball by shipping that water had.

Speaker 2 (01:02:27):
A mim You weren't saying ways walking out.

Speaker 12 (01:02:30):
Down on the ground.

Speaker 11 (01:02:32):
She got to sound a bred of hide.

Speaker 12 (01:02:34):
Nice cloud you wish her to a took in.

Speaker 11 (01:02:37):
To back, I take you wanna ride for head of
a time? I take rown a ride to pass or had.

Speaker 2 (01:02:45):
Time we tried to tell you.

Speaker 11 (01:02:48):
Ain't abide a clove this pass? What n time it?
Time to take me?

Speaker 14 (01:02:53):
She must be hout of one.

Speaker 11 (01:02:55):
Of the crazy dreams. She been a side on the beat.

Speaker 16 (01:02:58):
So mean and made a feel.

Speaker 1 (01:03:05):
That was from Iron Maiden, and that was From Here
to Eternity. It's the last song of what they call
the Charlotte Saga, which is a series of Iron Maiden
songs featuring the same character Charlotte, the Harlot and twenty
two Acacia Avenue. I've, by the way, played both of
those other songs for you in previous seasons. In this song,

(01:03:28):
Charlotte meets a man on a motorcycle and she rides
with him. The line they took a spill at the
Devil's Bend means they were in the wreck and Charlotte dies.
The movie From Here to Eternity one Sinatra his first
oscar and is a classic Hollywood movie with Sinatra, Montgomery,
Cliff Burt Lancaster, Deboraher and Donna Reed. It's a hell

(01:03:50):
of a movie.

Speaker 2 (01:03:56):
You two dumb crazy scroll balls.

Speaker 11 (01:03:58):
What are you trying to do?

Speaker 2 (01:03:59):
Get yourself?

Speaker 8 (01:04:00):
What are you doing about?

Speaker 11 (01:04:01):
Of the road?

Speaker 13 (01:04:02):
My friend praw and I is sitting there discussing the weather.
Your friend, Eh, you are me, aren't you know? You
gotta take care of this man. Homes just bound to
get him sooner or later. Here's the best thinking soldier
in the whole army.

Speaker 2 (01:04:17):
You'll both got rocks on your head. Angelo, Angelo, what
I figured you'd be here?

Speaker 21 (01:04:30):
A choice?

Speaker 2 (01:04:34):
I don't prove.

Speaker 22 (01:04:35):
I escaped just like I said, just like I figured,
in the back of a truck on the top.

Speaker 11 (01:04:43):
They rode me right out, just like I figured.

Speaker 1 (01:04:46):
Well, if this episode was a movie, this is where
the end credits would start rolling, cue the closing music score,
and the words the end in giant times new Roman
font would appear on your screen. And and so in
that case, we must bring you our final song before
the movie's over. And the song that is a movie
title is going to be one that brings me back

(01:05:09):
to my teenage years in the nineties. And the song
and the movie is called Can't Hardly Wait by the
band The Replacements Can't Hardly Wait mutated from an obvious,
obvious suicide song into a more opaque and kind of
a less controversial one by the time it came out.
Replacements frontman Paul Westerberg wrote it after completing recording sessions

(01:05:34):
for the band's third studio album called Let It Be
in nineteen eighty four. Well that version recorded for their
fourth album tim in nineteen eighty five, but it was
left off the track list. It is unambiguously about a
guy driving into a water tower to kill himself. It
mentions someone else abandoning him and the lines I'll be
sad in heaven and you won't follow me there, but

(01:05:57):
is otherwise a clearcut meditation on his own chaotic life
and his desire to end it. By the time the
song was finally released on their next album, Pleased to
Meet Me in nineteen eighty seven, actually a really good album,
Westerberg obfuscated the suicide aspect to the point that it
was impossible to even really detect, and in this newer

(01:06:18):
version the lyrics are directed outward to some unnamed person
to whom Westerberg is writing a letter to the thing
that Westerberg can't hardly wait for is getting home and
going to sleep. Knowing the song's origin, we can frame
sleep as death, but even then, the rest of the
lyrics don't make much sense. In the original demo, which

(01:06:40):
was eventually leaked, the thing he can't hardly wait for
is distressingly clear. I'll be sad in heaven if I
don't find a hole in the gate, climb on top
of the scummy water tower, screaming death.

Speaker 2 (01:06:52):
Can't wait?

Speaker 1 (01:06:54):
Well, I can't hardly wait, wait till it's over. And
like most Replacements songs, this one never came close to
charting because they weren't super popular mainstream, but they were
a great band and you should listen to them. Did
earn lots of critical acclaim, and it is considered one
of the band's best. And as for the movie, it's
a cheesy nineties classic about teenagers attending a party, trying

(01:07:17):
to fall in love and not knowing what they're gonna
do with their life before they go off to college.
It kind of sums up what being a teenager feels like. Well, anyways,
I hope you felt like this was a great episode.
I really enjoyed it. It was a lot of fun
to put together. I hope you enjoyed all the movie
clips in there as well, and of course please recommend
this podcast to a friend. And the replacements are a

(01:07:38):
pretty great band. I think you should turn this song up.
We'll see you next week.

Speaker 7 (01:08:02):
Sword's gotta stand then I can borrow.

Speaker 11 (01:08:09):
I promise not spool in.

Speaker 7 (01:08:11):
Fresher lies stand flash in the evening.

Speaker 11 (01:08:24):
Dry and Jesus lives be signent. He knows any smokes

(01:08:47):
way up a number.

Speaker 16 (01:08:50):
Of stone.

Speaker 22 (01:08:53):
Ashtray floors during the coffee filthy jokes.

Speaker 11 (01:09:00):
See Hellnesome shoe Shine.

Speaker 4 (01:09:12):
Thank you for listening to listen to this, please recommend
to a friend, and don't forget to rate, review, and subscribe.
For more podcasts and online content, please visit this isfunner
dot com.

Speaker 11 (01:09:24):
This is Funner