WEBVTT
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Gosh, it's gonna get the bugger nil Anthrastray and second
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gone momachocal numbers.
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So we gonna tell it's all gone, all gone.
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No, I don tell it's all no.
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But we're making of our own nose, never gotten worry
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about our own frost Paul real job, women got room ball,
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knee cap free cot we were room balls. I've got
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a point the bringing to myself, sending too long and worry.
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On the shelf for them too far health.
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I'm gotta be checking that d come.
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Kenya.
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They need to s give me, do not.
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Ship me, never gash.
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I'm a show.
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Welcome back midnight viewers to found the Malone's weekly round up.
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I'm found them alone and with me as always is
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my pal My Pug, my partner Ripley Jean say hi,
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rip No, that isn't our usual theme song, and this
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isn't our usual theme. We're going back to the motherland
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for this one last. It's it's about to get away.
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Too irish on this podcast. Too irish, No such thing,
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Sure you're irish? Do you not know your own name?
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Ripley gene O'Shaughnessy maguire O'Shea Lynch malone. Well it isn't Korean, sweetie,
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and we're here to give you three streaming recommendations, and
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well two streaming and one theatrical, because that's how it's
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been working out lately. And as usual, we're gonna start
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with the absolute most current one. Like I said, this
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one's still in theaters, and you should go get in
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the car, drive to the theater, buy a ticket, skip
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the concession stand because you've wisely stopped at a convenience
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store or a grocery store, and you've already secreted upon
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your person several candy bars and at least two cans
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of soda that are now so cold that they might
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blow your cover. Now, of course that aroma of popcorn
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is alluring, but after three bites, it's going to be samey,
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and it's going to be greasy, and you're not really
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going to enjoy the rest of it. But you're going
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to keep on crunching away mechanically into the first reel.
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So now that we've avoided all of those pitfalls of
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the movie coming experience, you can enjoy the film. I
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think I'll have a hard time finding it's better this year.
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This is kneecap.
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Tell me something about you, something you've never told anyone else.
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I'm a rapper.
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Eighty thousand.
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The varied speakers in Ireland be fuck each gan, tanga
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a la Nasho, bavers, hypercom rappers.
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You may know the words if you don't understand the language.
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Asphon as you pray for horse for cure, George goes
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to you, ocus wrench, Bates can.
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Well he abide, abi w.
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A, show boys and ruling it Oh it yes.
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For Kyoto if we like grandmar when she's blast us
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bend you on hip hop, your do I look like
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I want to read subtitles here.
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See budget and you should have this series.
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The knock at the door before they knock of the door,
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him and his wee peals music, strong attention from all
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the wrong places. Not I'm gonna h double od no
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life scum. Well, I end up pastin and and I know.
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You have a life, the career, the future.
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Remember I can take it all away from you like
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that special delivery. More music every day.
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I am not captured. As a psychological victory against the occupiers.
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So called Irish language rappers promoting anti social behavior and
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followed stups to talk of enough time it's just use
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the thing. You never want to see you again.
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I never want to see you.
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Look good.
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It's phone fogs and no harmony.
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Got those hoods after you say this that it doesn't need.
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To be hearing.
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He's here a certainness rate to speak Irish about That
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band has been criticized for chanting out of British.
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So good game, Larcherpellier Escape, there are some seers naharam us,
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Why don't you just speak? The Queen's Anglice.
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Ran to Doctor Drena again.
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On April tenth, nineteen ninety eight, the Good Friday Agreement
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was signed and for the first time in thirty years,
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hostilities in Northern Ireland ended. The conflict that had come
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to define every aspect of life was now gone. Two
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of the three picks tonight deal directly with the Troubles,
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as most Irish entertainment seems to do. But this first choice, Kneecap,
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is a contemporary film and it should be seemingly the
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most irrelevant, based loosely as it is, on the lives
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of a couple of former drug dealers turned unexpected hip
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hop superstars, but the film gives the mess look at
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life post troubles I've seen, and moreover actually gives us
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a glimpse of how fucked up the whole region continue
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used to be in the wake of those years of
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division and hatred. Like the recent hit show Dairy Girls,
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it's giving a voice to a generation who previously only
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ever been portrayed as victims of the violence. And voice
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is an important thing. It's nearly the most important aspect
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of Kneecap. Voice and the language used here. That's Gaelic,
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a foreign language in its native land. It's about its
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importance as a national identity and as a form of freedom.
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Remember that Goofy riverdance craze, that stiff armed, only moving
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below the waist dancing that developed during the years when
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all Irish culture was outlawed. You could dance on one
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side of a wall and be seen as standing still
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on the other. That's how hard and oppressed people will
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fight to feel free. When Kneecap hit the scene back
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in twenty eighteen, it was easy to dismiss them as
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a gimmick. Two white kids in Ireland rapping in English
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and Irish. It reminded me a bit of Blood of Abraham.
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Remember them, I doubt it, but they were a solid group.
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They just had nothing to say anyway. Kneecap seemingly also
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had nothing to say. But it's the fucking way they're
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saying it. Resistance they came up against that forms the
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basis of the film. It's a fictionalized account of their
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formation and their rise amidst the real life events of
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a referendum in Northern Ireland to give the Irish language
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equal standing to English, a privilege the Welsh had been
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enjoying since nineteen ninety three. Okay, time for an annoying
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autobiographical pause. Fond Malone's a pseudonym, But I'm pretty goddamned
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Irish and I grew up in Boston in the seventies
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and eighties. I was surrounded by Sullivan's and Splanes and
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McCoy's and Murphy's, and there was a period of my
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life in high school where I felt pretty well defined
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by my Irishness. If it wasn't the Pogues or the
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water Boys, I wasn't listening, I'd be watching Mickey Rourke
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movies and reading about the troubles in the nineteen sixteen Revolution,
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devouring the works of Brendan Bayen and James Joyce, But
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even if you'd ask me then if there are any
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forms of film or TV out there expressing the actual
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feelings and frustrations of those living through those situations, I'd
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have said no. I'd have said it was all ponderous
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purple prose, poor theatrical nonsense, no better than TV movie
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of the weekly artistry. Certainly, nothing is surefooted with a
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singular vision that allows flights of fancy equal weight to
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scenes of genuine, harrowing violence that we get here. This
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film could have been Spice World. It could have been Disorderlies,
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remember Disorderlies with the fad Boys. It could have been
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Purple Rain, which it mostly resembles. And when I saw
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the trailer for Neecap, I assumed that that's all. It
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was going to be a Purple Rain or eight Mile
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style fictional biopic. Nothing too weighty, nothing too flighty, just
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an honest story of music lifting up a musician and
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bringing them glory and Kneecap Is that, oh my, yes,
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with enough fiction to even out the fact. But I
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know this is sacrilege. It's better than Purple Rain, not
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the soundtrack, obviously, I'm not an idiot. You got a
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mouth on you lately, We'll see how your attitude changes
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at supper time, little lady. The three leads are charming
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as fuck, and they can act. Man. One of them
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has Michael Fassbender playing his dad, and he holds his
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own against him. The direction is ingenious and innovative. The
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script is smart and funny. The music is killer. Here's some.
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It's gonna be a Plaud's.
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It's it's going for at a bird. I sink a
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quick turn down fire and not of birth for calling
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me a fruit, for trying to take the alert.
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I believe we bought a red anymore?
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This COMPLI cash. Do you want it in your chest,
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or your knees or your head? Did you prove he
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has the lead?
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You can back you complete, you can kill us well
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my name, you can change journey.
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But you're all the fucking sim.
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If I see this in high school, trust me, I'd
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be fluent in Gaelic right now as is. I'll have
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to settle for listening to these two hoods shouting in
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it on the radio, and definitely in this movie. I
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intend to see this one a lot. I loved it.
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I can recall only two recent films that made me
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openly weep with Joy Dolomite is my name. When Rudy
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Raymore got up into that light, and multiple times throughout
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this film, multiple yeah, well you're tough. Oh you've got soul?
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How appropriate? I guess that means it's time for rips picks.
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Thank you, HP, you have once again crystallized my thoughts exactly. Okay,
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here's the non ira A film in the bunch and
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I did see this in high school and while it
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didn't inspire me to start a band, I did run
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out and buy a bunch of Wilson Pickett records afterwards.
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This is Alan Parker's film of Roddy Doyle's novel The Commitments?
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Have you got sold? If so, the world's hardest working
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band is looking to contact ja rappers putting the band together?
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Can you a singer? What men say?
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Who that Zeppelin?
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O'Connor, Barrie Model, John Bias, Johnny Mitchell Wings?
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Well?
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What kind of music are we going to be playing
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to me?
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So, so.
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That's what you got to measure up to that. But
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like maybe you're a little boys.
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Have to see if you could play before I play
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for them. You're trying to tell me you.
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Play with Bob King, Martha Reeves, Sam Cook Oldest Ready.
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That's you're looking at the commitment. Let's keep relations on
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a professional basis. We professionally have never been paid.
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It feels much better than an applied versation than another applied.
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Part f Oh, You've got to.
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Yes, Yes A Collectments.
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I'm Black and I'm Proud.
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M h.
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In the mid to late nineteen eighties, Roddy Doyle wrote
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about the working class in Dublin. His Barrytown trilogy has
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become a bit of legend. All three have been adapted
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into films, all starring Cole Meeni, which is a bit
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of a feat considering each of the books were adapted
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by different studios and different filmmakers, but the most successful
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in terms of film and the film's popularity was The Commitments.
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It's the story of Jimmy Rabbit, an enterprising young lad
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who decides to gather together a group of similarly directionless
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youth to form a soul band like Kneecap. It's the
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story of the oppressed finding their voice in the similarly
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oppressed culture of African American artists, a fact that is
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not lost on the characters of each of the films.
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We're talking about cultural appropriation is a real problem when
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it's about using that bit of culture without respect and
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no other motive than a few miserable dollar bills with
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the aid of an aging trumpet player, a role originally
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meant for Van Morrison, but I guess after a disastrous
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meeting with Alan Parker, Morrison agreed to let him use
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his music and wanted nothing more to do with the project.
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Rabbit assembles a fearsome band or the makings of one.
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I am a sucker for band formation films, particularly when
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the plot isn't predicated on their success. I don't mean
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artistically or creatively. I mean I don't need them to
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win a Battle of the Bands or get some crawl
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at the end informing us that there eventually were a
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massive success somehow. The stories of Ulso Rans or never
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was Those are way more impactful to me. I'm thinking
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about like that thing you do. He's speaking of fictional
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bands in their biopinks. Can we get a figurin Dan
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in the Modal Nodes movie, you know, the Cantena band
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from the original Star Wars. Get them on like a
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road trip movie, like out on Tour, visiting all the
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dives in the Outer Rim trying to make it big
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on chorus ants someday just an idea. Anyway, The Commitments
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was made by Alan Parker. He was the filmmaker behind
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Bugsy Malone, where children star as adults in a nineteen
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thirties gangster drama that's also a musical with Tommy Guns
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that you'd cream pies. And he made Pink Floyds to
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the Wall, that's a film everyone will tell you to
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watch when you're high and you will instantly regret doing so.
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And he made Fame, which I think is pretty much
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perfect except for casting Barry Miller as a praeto Rican.
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He's operating here from a place of pure musicale, which
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is rare after films like Mississippi Burning and Birdie. There
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are no oppressive themes, no aggressive hatred, just a bunch
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of working class kids fighting for their own identity and
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fighting with each other to create something joyous in the
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midst of a crushing existence. None of the performances musically
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are going to replace the original artists on your turntable.
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If you have a turntable, what's a turntable? Oh God,
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what am I going to do with you? But just
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like anytime you see someone performed live. There's something electric
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at play, and it should be noted that the performances
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you see in the film are in fact recorded live.
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Parker recognized that the scruffy, rag taggedness of the whole
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affair was its charm, and while ultimately music won't save
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them from their economic situation or even their social situations,
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it does show them a new way of thinking of surviving,
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of thriving in the face of adversity. How it's impossible
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for anyone to keep you down when you have the
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strains of midnight hour thrumbing in your head. We're running
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an Irish time machine here, young We started now the
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contemporary age, and then we jump back to the early nineties.
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Where will we end up next? The twenties? Were you crazy?
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That's a little too old timey for the popular music
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in Ireland theme we're going for here? Would you settle
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for the nineteen seventies a splendid because that's where we're
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going back to Belfast, back to the tunes, back to
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Terry Hooley and good vibrations.
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Once upon a time, the Messettia Belfast, there lived a
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boy named Terry.
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Do you want to come back to my mom and Dods.
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No.
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Do you want to go back to my MoMA?
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Dodds No, I want to open a record. Shove we
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in every kind of beautiful record on our shops.
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I'll put that record right.
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So what you're nick and a record?
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Will you record us to you?
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Not that good? If you don't care records soon, I'd
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be too late.
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Would you say your name was Sar?
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That's the first thing I ever recorded? Everybody has everybody?
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Does he have any good looking friends?
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What is wrong with cigs?
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Jas? It was all going to be absolutely thank you
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trust me. You gave me the best two minutes of
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my life.
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John, It's so good. I'm going to do something I've
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never done before.
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Jess. We made it. We cracked the code, but we
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did it with items money couldn't buy. Six of Christians
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isn't a record shot, it's not a level that's so
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liable person.
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This one's on Prime and I just happened upon it. Honestly.
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It's from twenty thirteen, and it is a biopic of
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Terry Hooley, who had a pretty mundane existence growing up
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in Belfast in the fifties and the sixties. Sure he
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had only one eye, but he had lots of friends,
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which would change once the troubles arrived in a late sixties.
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Suddenly all of his old Protestant friends were more than dismissive,
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they were aggressive. He watched the dreams of all the
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sixties peace and love disintegrate, and now all that was
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left was rancor on both sides, not just amongst the civilians,
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but the threat of violence from both the RUC and
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the IRA hung over everything. So Hooley did what any
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self respecting music lover would do. He opened a record
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shop in the most heavily bombed street in Belfast. He
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was a visionary in the mold of Hilly Crystal, who
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opened a music venue to feature bluegrass and country music
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in the Bowery in New York City, which turned into
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CBGB's Hooley opened a shop featuring reggae when that would
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become Belfast ground zero for punk rock, with Holey eventually
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producing and releasing a clutch of important Irish artists. The
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film is anchored by Richard Dormer as Hooley, a kind
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of musical ed Wood who pulls people into his sphere
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through sheer enthusiasm. It also has a young Jody Whittaker
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years from becoming the doctor as Terry's long suffering wife.
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It gets a bit formulating at the end, attempting to
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expose Hooy's unsavory elements while simultaneously absolving him. It has
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one of those bullshit scenes you'll see in biopanks where
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every character who was wronged during the course of the
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film shows up to let them know that all is
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forgiven and they really understand that they didn't mean it.
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And it's predicated on a concert that will save the shop. Yesh,
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But that's a small price to pay for the story
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that comes before and the music that you get to
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hear throughout, which, while leaning in the direction of punk,
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doesn't pretend that there weren't other forms of music going
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on at the same time. Anything that can get our
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lead on stage singing a cover of a sunny Bono
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tune as an active defiance gets a pass. In my book,
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Good Vibrations was the name of the shop, it's the
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name of the film, and it's something I hope will
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be leaving you with today. That's because I'm corny. I'm
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Corny Collins. You should come on my show. Oh it's
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a dancing show. I'm sorry, you need rhythm and coordination
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in order to dance. See how that feels? Not very good?
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00:19:35.319 --> 00:19:39.920
I'd say apology accepted. And you're a fine dancer, and
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you're a fine listener, and I mean fine. Thank you
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once again for joining us here this week and every week,
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week in, week out. Tune in again on Friday midnight
341
00:19:49.759 --> 00:19:52.720
viewing the Horror Anthology podcast. We'll be back where will
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00:19:52.799 --> 00:19:54.599
be taking a look at two episodes of Tanels from
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00:19:54.640 --> 00:19:57.799
the Dark Side, two of the best Halloween Candy and
344
00:19:57.920 --> 00:20:01.039
the Satanic Piano. Do you want to drop me a line,
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00:20:01.119 --> 00:20:04.480
go ahead at Father Malone seventy one at gmail dot com.
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00:20:04.599 --> 00:20:06.319
If you want to support the show, head over to
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00:20:06.400 --> 00:20:09.720
Patreon dot com slash Father Alone. You get episodes early
348
00:20:09.839 --> 00:20:12.400
and commercial free, and we've got exclusives over there that
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00:20:12.480 --> 00:20:15.200
you're not gonna hear on the regular feed. And if
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money's tight, I've got my money in the next room
351
00:20:17.359 --> 00:20:19.960
trying to make me diamonds. It's so goddamn tight. You're
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00:20:20.000 --> 00:20:22.640
gonna help us immeasurably just by giving us a five
353
00:20:22.680 --> 00:20:25.200
star rating on whatever app you're listening to the show on,
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00:20:25.880 --> 00:20:28.240
or just tell a friend to tune in on behalf
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of myself and Ripley Gene. We'll sign off with a
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line from Kneecap that lad has made something of himself
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despite you, and if you're thinking of getting in his way,
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I'll show you a woman gone to war. Very fucking irish,
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speaking of fuck your.
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Morning, Come shop denistrats, come bring cloys. Coma fucker say
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about me?
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I thought were the job?
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What the focused up?
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00:21:07.920 --> 00:21:10.680
When art we were making Josh sitting in the flat
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sipping noise, cons and smoke and roll because all the
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best jobs are taken by the dogs.
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Switchy planck can cracking, must play fun love the fast
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kind of says Cat.
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I thought I'm buying tick chunking this.
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Hit the stats on the pass and I chunk of turns.
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00:21:25.599 --> 00:21:28.400
Come Alina sol on area, so I joh
1
00:00:00.440 --> 00:00:05.559
Gosh, it's gonna get the bugger nil Anthrastray and second
2
00:00:05.599 --> 00:00:06.639
gone momachocal numbers.
3
00:00:06.639 --> 00:00:08.359
So we gonna tell it's all gone, all gone.
4
00:00:08.439 --> 00:00:10.000
No, I don tell it's all no.
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But we're making of our own nose, never gotten worry
6
00:00:13.400 --> 00:00:16.640
about our own frost Paul real job, women got room ball,
7
00:00:16.920 --> 00:00:19.440
knee cap free cot we were room balls. I've got
8
00:00:19.480 --> 00:00:23.079
a point the bringing to myself, sending too long and worry.
9
00:00:22.920 --> 00:00:25.760
On the shelf for them too far health.
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00:00:25.800 --> 00:00:28.359
I'm gotta be checking that d come.
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Kenya.
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00:00:31.359 --> 00:00:33.679
They need to s give me, do not.
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00:00:33.960 --> 00:00:36.320
Ship me, never gash.
14
00:00:36.359 --> 00:00:36.880
I'm a show.
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00:00:39.880 --> 00:00:43.039
Welcome back midnight viewers to found the Malone's weekly round up.
16
00:00:43.119 --> 00:00:45.920
I'm found them alone and with me as always is
17
00:00:46.039 --> 00:00:50.600
my pal My Pug, my partner Ripley Jean say hi,
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00:00:50.799 --> 00:00:54.359
rip No, that isn't our usual theme song, and this
19
00:00:54.479 --> 00:00:56.960
isn't our usual theme. We're going back to the motherland
20
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for this one last. It's it's about to get away.
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Too irish on this podcast. Too irish, No such thing,
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Sure you're irish? Do you not know your own name?
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Ripley gene O'Shaughnessy maguire O'Shea Lynch malone. Well it isn't Korean, sweetie,
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and we're here to give you three streaming recommendations, and
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well two streaming and one theatrical, because that's how it's
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been working out lately. And as usual, we're gonna start
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with the absolute most current one. Like I said, this
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one's still in theaters, and you should go get in
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the car, drive to the theater, buy a ticket, skip
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the concession stand because you've wisely stopped at a convenience
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store or a grocery store, and you've already secreted upon
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your person several candy bars and at least two cans
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of soda that are now so cold that they might
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blow your cover. Now, of course that aroma of popcorn
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is alluring, but after three bites, it's going to be samey,
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and it's going to be greasy, and you're not really
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going to enjoy the rest of it. But you're going
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to keep on crunching away mechanically into the first reel.
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So now that we've avoided all of those pitfalls of
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the movie coming experience, you can enjoy the film. I
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think I'll have a hard time finding it's better this year.
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This is kneecap.
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Tell me something about you, something you've never told anyone else.
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I'm a rapper.
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Eighty thousand.
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The varied speakers in Ireland be fuck each gan, tanga
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a la Nasho, bavers, hypercom rappers.
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You may know the words if you don't understand the language.
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Asphon as you pray for horse for cure, George goes
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to you, ocus wrench, Bates can.
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Well he abide, abi w.
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A, show boys and ruling it Oh it yes.
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For Kyoto if we like grandmar when she's blast us
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bend you on hip hop, your do I look like
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I want to read subtitles here.
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See budget and you should have this series.
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The knock at the door before they knock of the door,
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him and his wee peals music, strong attention from all
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the wrong places. Not I'm gonna h double od no
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life scum. Well, I end up pastin and and I know.
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You have a life, the career, the future.
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Remember I can take it all away from you like
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that special delivery. More music every day.
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I am not captured. As a psychological victory against the occupiers.
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So called Irish language rappers promoting anti social behavior and
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followed stups to talk of enough time it's just use
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the thing. You never want to see you again.
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I never want to see you.
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Look good.
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It's phone fogs and no harmony.
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Got those hoods after you say this that it doesn't need.
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To be hearing.
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He's here a certainness rate to speak Irish about That
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band has been criticized for chanting out of British.
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So good game, Larcherpellier Escape, there are some seers naharam us,
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Why don't you just speak? The Queen's Anglice.
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Ran to Doctor Drena again.
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On April tenth, nineteen ninety eight, the Good Friday Agreement
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was signed and for the first time in thirty years,
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hostilities in Northern Ireland ended. The conflict that had come
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to define every aspect of life was now gone. Two
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of the three picks tonight deal directly with the Troubles,
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as most Irish entertainment seems to do. But this first choice, Kneecap,
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is a contemporary film and it should be seemingly the
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most irrelevant, based loosely as it is, on the lives
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of a couple of former drug dealers turned unexpected hip
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hop superstars, but the film gives the mess look at
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life post troubles I've seen, and moreover actually gives us
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a glimpse of how fucked up the whole region continue
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used to be in the wake of those years of
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division and hatred. Like the recent hit show Dairy Girls,
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it's giving a voice to a generation who previously only
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ever been portrayed as victims of the violence. And voice
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is an important thing. It's nearly the most important aspect
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of Kneecap. Voice and the language used here. That's Gaelic,
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a foreign language in its native land. It's about its
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importance as a national identity and as a form of freedom.
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Remember that Goofy riverdance craze, that stiff armed, only moving
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below the waist dancing that developed during the years when
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all Irish culture was outlawed. You could dance on one
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side of a wall and be seen as standing still
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on the other. That's how hard and oppressed people will
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fight to feel free. When Kneecap hit the scene back
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in twenty eighteen, it was easy to dismiss them as
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a gimmick. Two white kids in Ireland rapping in English
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and Irish. It reminded me a bit of Blood of Abraham.
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Remember them, I doubt it, but they were a solid group.
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They just had nothing to say anyway. Kneecap seemingly also
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had nothing to say. But it's the fucking way they're
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saying it. Resistance they came up against that forms the
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basis of the film. It's a fictionalized account of their
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formation and their rise amidst the real life events of
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a referendum in Northern Ireland to give the Irish language
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equal standing to English, a privilege the Welsh had been
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enjoying since nineteen ninety three. Okay, time for an annoying
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autobiographical pause. Fond Malone's a pseudonym, But I'm pretty goddamned
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Irish and I grew up in Boston in the seventies
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and eighties. I was surrounded by Sullivan's and Splanes and
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McCoy's and Murphy's, and there was a period of my
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life in high school where I felt pretty well defined
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by my Irishness. If it wasn't the Pogues or the
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water Boys, I wasn't listening, I'd be watching Mickey Rourke
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movies and reading about the troubles in the nineteen sixteen Revolution,
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devouring the works of Brendan Bayen and James Joyce, But
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even if you'd ask me then if there are any
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forms of film or TV out there expressing the actual
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feelings and frustrations of those living through those situations, I'd
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have said no. I'd have said it was all ponderous
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purple prose, poor theatrical nonsense, no better than TV movie
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of the weekly artistry. Certainly, nothing is surefooted with a
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singular vision that allows flights of fancy equal weight to
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scenes of genuine, harrowing violence that we get here. This
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film could have been Spice World. It could have been Disorderlies,
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remember Disorderlies with the fad Boys. It could have been
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Purple Rain, which it mostly resembles. And when I saw
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the trailer for Neecap, I assumed that that's all. It
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was going to be a Purple Rain or eight Mile
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style fictional biopic. Nothing too weighty, nothing too flighty, just
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an honest story of music lifting up a musician and
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bringing them glory and Kneecap Is that, oh my, yes,
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with enough fiction to even out the fact. But I
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know this is sacrilege. It's better than Purple Rain, not
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the soundtrack, obviously, I'm not an idiot. You got a
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mouth on you lately, We'll see how your attitude changes
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at supper time, little lady. The three leads are charming
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as fuck, and they can act. Man. One of them
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has Michael Fassbender playing his dad, and he holds his
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own against him. The direction is ingenious and innovative. The
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script is smart and funny. The music is killer. Here's some.
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It's gonna be a Plaud's.
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It's it's going for at a bird. I sink a
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quick turn down fire and not of birth for calling
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me a fruit, for trying to take the alert.
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I believe we bought a red anymore?
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This COMPLI cash. Do you want it in your chest,
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or your knees or your head? Did you prove he
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has the lead?
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You can back you complete, you can kill us well
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my name, you can change journey.
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But you're all the fucking sim.
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If I see this in high school, trust me, I'd
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be fluent in Gaelic right now as is. I'll have
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to settle for listening to these two hoods shouting in
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it on the radio, and definitely in this movie. I
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intend to see this one a lot. I loved it.
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I can recall only two recent films that made me
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openly weep with Joy Dolomite is my name. When Rudy
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Raymore got up into that light, and multiple times throughout
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this film, multiple yeah, well you're tough. Oh you've got soul?
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How appropriate? I guess that means it's time for rips picks.
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Thank you, HP, you have once again crystallized my thoughts exactly. Okay,
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here's the non ira A film in the bunch and
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I did see this in high school and while it
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didn't inspire me to start a band, I did run
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out and buy a bunch of Wilson Pickett records afterwards.
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This is Alan Parker's film of Roddy Doyle's novel The Commitments?
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Have you got sold? If so, the world's hardest working
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band is looking to contact ja rappers putting the band together?
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Can you a singer? What men say?
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Who that Zeppelin?
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O'Connor, Barrie Model, John Bias, Johnny Mitchell Wings?
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Well?
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What kind of music are we going to be playing
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to me?
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So, so.
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That's what you got to measure up to that. But
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like maybe you're a little boys.
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Have to see if you could play before I play
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for them. You're trying to tell me you.
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Play with Bob King, Martha Reeves, Sam Cook Oldest Ready.
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That's you're looking at the commitment. Let's keep relations on
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a professional basis. We professionally have never been paid.
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It feels much better than an applied versation than another applied.
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Part f Oh, You've got to.
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Yes, Yes A Collectments.
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I'm Black and I'm Proud.
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M h.
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In the mid to late nineteen eighties, Roddy Doyle wrote
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about the working class in Dublin. His Barrytown trilogy has
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become a bit of legend. All three have been adapted
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into films, all starring Cole Meeni, which is a bit
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of a feat considering each of the books were adapted
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by different studios and different filmmakers, but the most successful
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in terms of film and the film's popularity was The Commitments.
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It's the story of Jimmy Rabbit, an enterprising young lad
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who decides to gather together a group of similarly directionless
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youth to form a soul band like Kneecap. It's the
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story of the oppressed finding their voice in the similarly
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oppressed culture of African American artists, a fact that is
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not lost on the characters of each of the films.
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We're talking about cultural appropriation is a real problem when
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it's about using that bit of culture without respect and
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no other motive than a few miserable dollar bills with
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the aid of an aging trumpet player, a role originally
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meant for Van Morrison, but I guess after a disastrous
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meeting with Alan Parker, Morrison agreed to let him use
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his music and wanted nothing more to do with the project.
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Rabbit assembles a fearsome band or the makings of one.
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I am a sucker for band formation films, particularly when
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the plot isn't predicated on their success. I don't mean
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artistically or creatively. I mean I don't need them to
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win a Battle of the Bands or get some crawl
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at the end informing us that there eventually were a
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massive success somehow. The stories of Ulso Rans or never
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was Those are way more impactful to me. I'm thinking
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about like that thing you do. He's speaking of fictional
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bands in their biopinks. Can we get a figurin Dan
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in the Modal Nodes movie, you know, the Cantena band
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from the original Star Wars. Get them on like a
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road trip movie, like out on Tour, visiting all the
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dives in the Outer Rim trying to make it big
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on chorus ants someday just an idea. Anyway, The Commitments
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was made by Alan Parker. He was the filmmaker behind
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Bugsy Malone, where children star as adults in a nineteen
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thirties gangster drama that's also a musical with Tommy Guns
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that you'd cream pies. And he made Pink Floyds to
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the Wall, that's a film everyone will tell you to
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watch when you're high and you will instantly regret doing so.
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And he made Fame, which I think is pretty much
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perfect except for casting Barry Miller as a praeto Rican.
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He's operating here from a place of pure musicale, which
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is rare after films like Mississippi Burning and Birdie. There
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are no oppressive themes, no aggressive hatred, just a bunch
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of working class kids fighting for their own identity and
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fighting with each other to create something joyous in the
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midst of a crushing existence. None of the performances musically
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are going to replace the original artists on your turntable.
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If you have a turntable, what's a turntable? Oh God,
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what am I going to do with you? But just
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like anytime you see someone performed live. There's something electric
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at play, and it should be noted that the performances
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you see in the film are in fact recorded live.
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Parker recognized that the scruffy, rag taggedness of the whole
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affair was its charm, and while ultimately music won't save
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them from their economic situation or even their social situations,
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it does show them a new way of thinking of surviving,
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of thriving in the face of adversity. How it's impossible
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for anyone to keep you down when you have the
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strains of midnight hour thrumbing in your head. We're running
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an Irish time machine here, young We started now the
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contemporary age, and then we jump back to the early nineties.
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Where will we end up next? The twenties? Were you crazy?
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That's a little too old timey for the popular music
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in Ireland theme we're going for here? Would you settle
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for the nineteen seventies a splendid because that's where we're
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going back to Belfast, back to the tunes, back to
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Terry Hooley and good vibrations.
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Once upon a time, the Messettia Belfast, there lived a
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boy named Terry.
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Do you want to come back to my mom and Dods.
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No.
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Do you want to go back to my MoMA?
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Dodds No, I want to open a record. Shove we
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in every kind of beautiful record on our shops.
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I'll put that record right.
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So what you're nick and a record?
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Will you record us to you?
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Not that good? If you don't care records soon, I'd
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be too late.
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Would you say your name was Sar?
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That's the first thing I ever recorded? Everybody has everybody?
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Does he have any good looking friends?
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What is wrong with cigs?
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Jas? It was all going to be absolutely thank you
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trust me. You gave me the best two minutes of
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my life.
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John, It's so good. I'm going to do something I've
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never done before.
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Jess. We made it. We cracked the code, but we
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did it with items money couldn't buy. Six of Christians
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isn't a record shot, it's not a level that's so
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liable person.
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This one's on Prime and I just happened upon it. Honestly.
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It's from twenty thirteen, and it is a biopic of
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Terry Hooley, who had a pretty mundane existence growing up
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in Belfast in the fifties and the sixties. Sure he
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had only one eye, but he had lots of friends,
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which would change once the troubles arrived in a late sixties.
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Suddenly all of his old Protestant friends were more than dismissive,
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they were aggressive. He watched the dreams of all the
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sixties peace and love disintegrate, and now all that was
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left was rancor on both sides, not just amongst the civilians,
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but the threat of violence from both the RUC and
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the IRA hung over everything. So Hooley did what any
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self respecting music lover would do. He opened a record
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shop in the most heavily bombed street in Belfast. He
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was a visionary in the mold of Hilly Crystal, who
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opened a music venue to feature bluegrass and country music
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in the Bowery in New York City, which turned into
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CBGB's Hooley opened a shop featuring reggae when that would
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become Belfast ground zero for punk rock, with Holey eventually
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producing and releasing a clutch of important Irish artists. The
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film is anchored by Richard Dormer as Hooley, a kind
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of musical ed Wood who pulls people into his sphere
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through sheer enthusiasm. It also has a young Jody Whittaker
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years from becoming the doctor as Terry's long suffering wife.
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It gets a bit formulating at the end, attempting to
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expose Hooy's unsavory elements while simultaneously absolving him. It has
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one of those bullshit scenes you'll see in biopanks where
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every character who was wronged during the course of the
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film shows up to let them know that all is
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forgiven and they really understand that they didn't mean it.
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And it's predicated on a concert that will save the shop. Yesh,
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But that's a small price to pay for the story
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that comes before and the music that you get to
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hear throughout, which, while leaning in the direction of punk,
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doesn't pretend that there weren't other forms of music going
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on at the same time. Anything that can get our
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lead on stage singing a cover of a sunny Bono
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tune as an active defiance gets a pass. In my book,
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Good Vibrations was the name of the shop, it's the
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name of the film, and it's something I hope will
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be leaving you with today. That's because I'm corny. I'm
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Corny Collins. You should come on my show. Oh it's
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a dancing show. I'm sorry, you need rhythm and coordination
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in order to dance. See how that feels? Not very good?
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I'd say apology accepted. And you're a fine dancer, and
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you're a fine listener, and I mean fine. Thank you
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once again for joining us here this week and every week,
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week in, week out. Tune in again on Friday midnight
341
00:19:49.759 --> 00:19:52.720
viewing the Horror Anthology podcast. We'll be back where will
342
00:19:52.799 --> 00:19:54.599
be taking a look at two episodes of Tanels from
343
00:19:54.640 --> 00:19:57.799
the Dark Side, two of the best Halloween Candy and
344
00:19:57.920 --> 00:20:01.039
the Satanic Piano. Do you want to drop me a line,
345
00:20:01.119 --> 00:20:04.480
go ahead at Father Malone seventy one at gmail dot com.
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00:20:04.599 --> 00:20:06.319
If you want to support the show, head over to
347
00:20:06.400 --> 00:20:09.720
Patreon dot com slash Father Alone. You get episodes early
348
00:20:09.839 --> 00:20:12.400
and commercial free, and we've got exclusives over there that
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00:20:12.480 --> 00:20:15.200
you're not gonna hear on the regular feed. And if
350
00:20:15.319 --> 00:20:17.319
money's tight, I've got my money in the next room
351
00:20:17.359 --> 00:20:19.960
trying to make me diamonds. It's so goddamn tight. You're
352
00:20:20.000 --> 00:20:22.640
gonna help us immeasurably just by giving us a five
353
00:20:22.680 --> 00:20:25.200
star rating on whatever app you're listening to the show on,
354
00:20:25.880 --> 00:20:28.240
or just tell a friend to tune in on behalf
355
00:20:28.279 --> 00:20:30.319
of myself and Ripley Gene. We'll sign off with a
356
00:20:30.359 --> 00:20:34.240
line from Kneecap that lad has made something of himself
357
00:20:34.359 --> 00:20:37.200
despite you, and if you're thinking of getting in his way,
358
00:20:37.799 --> 00:20:42.000
I'll show you a woman gone to war. Very fucking irish,
359
00:20:42.240 --> 00:20:44.440
speaking of fuck your.
360
00:20:45.920 --> 00:21:03.480
Morning, Come shop denistrats, come bring cloys. Coma fucker say
361
00:21:03.519 --> 00:21:04.079
about me?
362
00:21:05.200 --> 00:21:06.440
I thought were the job?
363
00:21:06.759 --> 00:21:07.799
What the focused up?
364
00:21:07.920 --> 00:21:10.680
When art we were making Josh sitting in the flat
365
00:21:11.039 --> 00:21:14.160
sipping noise, cons and smoke and roll because all the
366
00:21:14.279 --> 00:21:16.240
best jobs are taken by the dogs.
367
00:21:16.319 --> 00:21:19.920
Switchy planck can cracking, must play fun love the fast
368
00:21:20.000 --> 00:21:20.799
kind of says Cat.
369
00:21:20.880 --> 00:21:22.559
I thought I'm buying tick chunking this.
370
00:21:22.759 --> 00:21:25.559
Hit the stats on the pass and I chunk of turns.
371
00:21:25.599 --> 00:21:28.400
Come Alina sol on area, so I joh
