WEBVTT

1
00:00:00.440 --> 00:00:05.559
<v Speaker 1>Gosh, it's gonna get the bugger nil Anthrastray and second

2
00:00:05.599 --> 00:00:06.639
<v Speaker 1>gone momachocal numbers.

3
00:00:06.639 --> 00:00:08.359
<v Speaker 2>So we gonna tell it's all gone, all gone.

4
00:00:08.439 --> 00:00:10.000
<v Speaker 3>No, I don tell it's all no.

5
00:00:10.400 --> 00:00:13.400
<v Speaker 1>But we're making of our own nose, never gotten worry

6
00:00:13.400 --> 00:00:16.640
<v Speaker 1>about our own frost Paul real job, women got room ball,

7
00:00:16.920 --> 00:00:19.440
<v Speaker 1>knee cap free cot we were room balls. I've got

8
00:00:19.480 --> 00:00:23.079
<v Speaker 1>a point the bringing to myself, sending too long and worry.

9
00:00:22.920 --> 00:00:25.760
<v Speaker 4>On the shelf for them too far health.

10
00:00:25.800 --> 00:00:28.359
<v Speaker 3>I'm gotta be checking that d come.

11
00:00:30.760 --> 00:00:31.280
<v Speaker 4>Kenya.

12
00:00:31.359 --> 00:00:33.679
<v Speaker 1>They need to s give me, do not.

13
00:00:33.960 --> 00:00:36.320
<v Speaker 5>Ship me, never gash.

14
00:00:36.359 --> 00:00:36.880
<v Speaker 3>I'm a show.

15
00:00:39.880 --> 00:00:43.039
<v Speaker 6>Welcome back midnight viewers to found the Malone's weekly round up.

16
00:00:43.119 --> 00:00:45.920
<v Speaker 6>I'm found them alone and with me as always is

17
00:00:46.039 --> 00:00:50.600
<v Speaker 6>my pal My Pug, my partner Ripley Jean say hi,

18
00:00:50.799 --> 00:00:54.359
<v Speaker 6>rip No, that isn't our usual theme song, and this

19
00:00:54.479 --> 00:00:56.960
<v Speaker 6>isn't our usual theme. We're going back to the motherland

20
00:00:57.079 --> 00:00:59.920
<v Speaker 6>for this one last. It's it's about to get away.

21
00:01:00.159 --> 00:01:03.799
<v Speaker 6>Too irish on this podcast. Too irish, No such thing,

22
00:01:04.280 --> 00:01:06.799
<v Speaker 6>Sure you're irish? Do you not know your own name?

23
00:01:07.319 --> 00:01:13.159
<v Speaker 6>Ripley gene O'Shaughnessy maguire O'Shea Lynch malone. Well it isn't Korean, sweetie,

24
00:01:13.719 --> 00:01:16.560
<v Speaker 6>and we're here to give you three streaming recommendations, and

25
00:01:17.000 --> 00:01:20.200
<v Speaker 6>well two streaming and one theatrical, because that's how it's

26
00:01:20.200 --> 00:01:22.519
<v Speaker 6>been working out lately. And as usual, we're gonna start

27
00:01:22.519 --> 00:01:25.159
<v Speaker 6>with the absolute most current one. Like I said, this

28
00:01:25.239 --> 00:01:28.560
<v Speaker 6>one's still in theaters, and you should go get in

29
00:01:28.640 --> 00:01:32.000
<v Speaker 6>the car, drive to the theater, buy a ticket, skip

30
00:01:32.079 --> 00:01:34.959
<v Speaker 6>the concession stand because you've wisely stopped at a convenience

31
00:01:35.000 --> 00:01:38.079
<v Speaker 6>store or a grocery store, and you've already secreted upon

32
00:01:38.120 --> 00:01:40.640
<v Speaker 6>your person several candy bars and at least two cans

33
00:01:40.680 --> 00:01:42.760
<v Speaker 6>of soda that are now so cold that they might

34
00:01:42.799 --> 00:01:45.560
<v Speaker 6>blow your cover. Now, of course that aroma of popcorn

35
00:01:45.719 --> 00:01:48.719
<v Speaker 6>is alluring, but after three bites, it's going to be samey,

36
00:01:48.840 --> 00:01:50.840
<v Speaker 6>and it's going to be greasy, and you're not really

37
00:01:50.879 --> 00:01:52.359
<v Speaker 6>going to enjoy the rest of it. But you're going

38
00:01:52.400 --> 00:01:55.319
<v Speaker 6>to keep on crunching away mechanically into the first reel.

39
00:01:55.439 --> 00:01:57.680
<v Speaker 6>So now that we've avoided all of those pitfalls of

40
00:01:57.760 --> 00:02:00.480
<v Speaker 6>the movie coming experience, you can enjoy the film. I

41
00:02:00.519 --> 00:02:03.120
<v Speaker 6>think I'll have a hard time finding it's better this year.

42
00:02:03.840 --> 00:02:05.640
<v Speaker 6>This is kneecap.

43
00:02:07.359 --> 00:02:09.879
<v Speaker 2>Tell me something about you, something you've never told anyone else.

44
00:02:10.639 --> 00:02:11.520
<v Speaker 2>I'm a rapper.

45
00:02:13.639 --> 00:02:14.319
<v Speaker 6>Eighty thousand.

46
00:02:14.400 --> 00:02:18.319
<v Speaker 2>The varied speakers in Ireland be fuck each gan, tanga

47
00:02:18.560 --> 00:02:21.639
<v Speaker 2>a la Nasho, bavers, hypercom rappers.

48
00:02:21.759 --> 00:02:24.599
<v Speaker 4>You may know the words if you don't understand the language.

49
00:02:24.680 --> 00:02:27.199
<v Speaker 4>Asphon as you pray for horse for cure, George goes

50
00:02:27.240 --> 00:02:30.240
<v Speaker 4>to you, ocus wrench, Bates can.

51
00:02:31.240 --> 00:02:33.680
<v Speaker 3>Well he abide, abi w.

52
00:02:36.960 --> 00:02:40.080
<v Speaker 4>A, show boys and ruling it Oh it yes.

53
00:02:41.599 --> 00:02:44.120
<v Speaker 5>For Kyoto if we like grandmar when she's blast us

54
00:02:44.240 --> 00:02:48.360
<v Speaker 5>bend you on hip hop, your do I look like

55
00:02:48.479 --> 00:02:51.240
<v Speaker 5>I want to read subtitles here.

56
00:02:51.800 --> 00:02:58.560
<v Speaker 4>See budget and you should have this series.

57
00:02:58.560 --> 00:03:00.400
<v Speaker 3>The knock at the door before they knock of the door,

58
00:03:00.879 --> 00:03:03.599
<v Speaker 3>him and his wee peals music, strong attention from all

59
00:03:03.639 --> 00:03:07.680
<v Speaker 3>the wrong places. Not I'm gonna h double od no

60
00:03:07.879 --> 00:03:10.919
<v Speaker 3>life scum. Well, I end up pastin and and I know.

61
00:03:12.400 --> 00:03:14.520
<v Speaker 1>You have a life, the career, the future.

62
00:03:14.719 --> 00:03:16.360
<v Speaker 3>Remember I can take it all away from you like

63
00:03:16.439 --> 00:03:22.960
<v Speaker 3>that special delivery. More music every day.

64
00:03:23.240 --> 00:03:27.360
<v Speaker 4>I am not captured. As a psychological victory against the occupiers.

65
00:03:27.960 --> 00:03:32.199
<v Speaker 3>So called Irish language rappers promoting anti social behavior and

66
00:03:32.400 --> 00:03:36.759
<v Speaker 3>followed stups to talk of enough time it's just use

67
00:03:36.800 --> 00:03:38.479
<v Speaker 3>the thing. You never want to see you again.

68
00:03:38.639 --> 00:03:39.520
<v Speaker 2>I never want to see you.

69
00:03:43.599 --> 00:03:43.960
<v Speaker 5>Look good.

70
00:03:44.039 --> 00:03:45.719
<v Speaker 3>It's phone fogs and no harmony.

71
00:03:47.960 --> 00:03:50.879
<v Speaker 5>Got those hoods after you say this that it doesn't need.

72
00:03:50.800 --> 00:03:51.319
<v Speaker 4>To be hearing.

73
00:03:52.280 --> 00:03:54.759
<v Speaker 5>He's here a certainness rate to speak Irish about That

74
00:03:55.000 --> 00:03:57.919
<v Speaker 5>band has been criticized for chanting out of British.

75
00:03:57.960 --> 00:04:04.400
<v Speaker 4>So good game, Larcherpellier Escape, there are some seers naharam us,

76
00:04:10.039 --> 00:04:12.479
<v Speaker 4>Why don't you just speak? The Queen's Anglice.

77
00:04:18.079 --> 00:04:19.319
<v Speaker 5>Ran to Doctor Drena again.

78
00:04:24.279 --> 00:04:27.240
<v Speaker 6>On April tenth, nineteen ninety eight, the Good Friday Agreement

79
00:04:27.360 --> 00:04:29.160
<v Speaker 6>was signed and for the first time in thirty years,

80
00:04:29.240 --> 00:04:33.240
<v Speaker 6>hostilities in Northern Ireland ended. The conflict that had come

81
00:04:33.319 --> 00:04:36.800
<v Speaker 6>to define every aspect of life was now gone. Two

82
00:04:36.959 --> 00:04:39.600
<v Speaker 6>of the three picks tonight deal directly with the Troubles,

83
00:04:39.920 --> 00:04:43.959
<v Speaker 6>as most Irish entertainment seems to do. But this first choice, Kneecap,

84
00:04:44.279 --> 00:04:46.600
<v Speaker 6>is a contemporary film and it should be seemingly the

85
00:04:46.680 --> 00:04:49.160
<v Speaker 6>most irrelevant, based loosely as it is, on the lives

86
00:04:49.199 --> 00:04:51.800
<v Speaker 6>of a couple of former drug dealers turned unexpected hip

87
00:04:51.800 --> 00:04:54.600
<v Speaker 6>hop superstars, but the film gives the mess look at

88
00:04:54.639 --> 00:04:57.600
<v Speaker 6>life post troubles I've seen, and moreover actually gives us

89
00:04:57.600 --> 00:05:00.000
<v Speaker 6>a glimpse of how fucked up the whole region continue

90
00:05:00.120 --> 00:05:01.639
<v Speaker 6>used to be in the wake of those years of

91
00:05:01.720 --> 00:05:04.519
<v Speaker 6>division and hatred. Like the recent hit show Dairy Girls,

92
00:05:04.639 --> 00:05:07.319
<v Speaker 6>it's giving a voice to a generation who previously only

93
00:05:07.399 --> 00:05:10.720
<v Speaker 6>ever been portrayed as victims of the violence. And voice

94
00:05:10.879 --> 00:05:14.079
<v Speaker 6>is an important thing. It's nearly the most important aspect

95
00:05:14.120 --> 00:05:18.639
<v Speaker 6>of Kneecap. Voice and the language used here. That's Gaelic,

96
00:05:18.920 --> 00:05:22.000
<v Speaker 6>a foreign language in its native land. It's about its

97
00:05:22.040 --> 00:05:25.439
<v Speaker 6>importance as a national identity and as a form of freedom.

98
00:05:25.600 --> 00:05:29.079
<v Speaker 6>Remember that Goofy riverdance craze, that stiff armed, only moving

99
00:05:29.160 --> 00:05:31.639
<v Speaker 6>below the waist dancing that developed during the years when

100
00:05:31.680 --> 00:05:34.279
<v Speaker 6>all Irish culture was outlawed. You could dance on one

101
00:05:34.360 --> 00:05:36.600
<v Speaker 6>side of a wall and be seen as standing still

102
00:05:36.720 --> 00:05:39.800
<v Speaker 6>on the other. That's how hard and oppressed people will

103
00:05:39.879 --> 00:05:42.680
<v Speaker 6>fight to feel free. When Kneecap hit the scene back

104
00:05:42.720 --> 00:05:44.680
<v Speaker 6>in twenty eighteen, it was easy to dismiss them as

105
00:05:44.680 --> 00:05:47.560
<v Speaker 6>a gimmick. Two white kids in Ireland rapping in English

106
00:05:47.639 --> 00:05:50.439
<v Speaker 6>and Irish. It reminded me a bit of Blood of Abraham.

107
00:05:50.639 --> 00:05:53.800
<v Speaker 6>Remember them, I doubt it, but they were a solid group.

108
00:05:53.879 --> 00:05:56.839
<v Speaker 6>They just had nothing to say anyway. Kneecap seemingly also

109
00:05:56.920 --> 00:05:58.879
<v Speaker 6>had nothing to say. But it's the fucking way they're

110
00:05:58.959 --> 00:06:01.800
<v Speaker 6>saying it. Resistance they came up against that forms the

111
00:06:01.839 --> 00:06:04.519
<v Speaker 6>basis of the film. It's a fictionalized account of their

112
00:06:04.600 --> 00:06:07.199
<v Speaker 6>formation and their rise amidst the real life events of

113
00:06:07.279 --> 00:06:10.439
<v Speaker 6>a referendum in Northern Ireland to give the Irish language

114
00:06:10.560 --> 00:06:13.759
<v Speaker 6>equal standing to English, a privilege the Welsh had been

115
00:06:13.879 --> 00:06:17.040
<v Speaker 6>enjoying since nineteen ninety three. Okay, time for an annoying

116
00:06:17.079 --> 00:06:21.319
<v Speaker 6>autobiographical pause. Fond Malone's a pseudonym, But I'm pretty goddamned

117
00:06:21.319 --> 00:06:23.639
<v Speaker 6>Irish and I grew up in Boston in the seventies

118
00:06:23.680 --> 00:06:26.560
<v Speaker 6>and eighties. I was surrounded by Sullivan's and Splanes and

119
00:06:26.639 --> 00:06:28.959
<v Speaker 6>McCoy's and Murphy's, and there was a period of my

120
00:06:29.040 --> 00:06:31.560
<v Speaker 6>life in high school where I felt pretty well defined

121
00:06:31.639 --> 00:06:34.079
<v Speaker 6>by my Irishness. If it wasn't the Pogues or the

122
00:06:34.120 --> 00:06:37.079
<v Speaker 6>water Boys, I wasn't listening, I'd be watching Mickey Rourke

123
00:06:37.160 --> 00:06:40.199
<v Speaker 6>movies and reading about the troubles in the nineteen sixteen Revolution,

124
00:06:40.720 --> 00:06:44.040
<v Speaker 6>devouring the works of Brendan Bayen and James Joyce, But

125
00:06:44.160 --> 00:06:45.759
<v Speaker 6>even if you'd ask me then if there are any

126
00:06:45.800 --> 00:06:48.079
<v Speaker 6>forms of film or TV out there expressing the actual

127
00:06:48.160 --> 00:06:52.319
<v Speaker 6>feelings and frustrations of those living through those situations, I'd

128
00:06:52.360 --> 00:06:54.839
<v Speaker 6>have said no. I'd have said it was all ponderous

129
00:06:54.920 --> 00:06:59.399
<v Speaker 6>purple prose, poor theatrical nonsense, no better than TV movie

130
00:06:59.439 --> 00:07:02.199
<v Speaker 6>of the weekly artistry. Certainly, nothing is surefooted with a

131
00:07:02.279 --> 00:07:05.920
<v Speaker 6>singular vision that allows flights of fancy equal weight to

132
00:07:06.079 --> 00:07:09.120
<v Speaker 6>scenes of genuine, harrowing violence that we get here. This

133
00:07:09.279 --> 00:07:12.600
<v Speaker 6>film could have been Spice World. It could have been Disorderlies,

134
00:07:12.839 --> 00:07:15.439
<v Speaker 6>remember Disorderlies with the fad Boys. It could have been

135
00:07:15.480 --> 00:07:18.279
<v Speaker 6>Purple Rain, which it mostly resembles. And when I saw

136
00:07:18.360 --> 00:07:20.360
<v Speaker 6>the trailer for Neecap, I assumed that that's all. It

137
00:07:20.480 --> 00:07:23.160
<v Speaker 6>was going to be a Purple Rain or eight Mile

138
00:07:23.279 --> 00:07:26.839
<v Speaker 6>style fictional biopic. Nothing too weighty, nothing too flighty, just

139
00:07:26.879 --> 00:07:29.439
<v Speaker 6>an honest story of music lifting up a musician and

140
00:07:29.519 --> 00:07:33.040
<v Speaker 6>bringing them glory and Kneecap Is that, oh my, yes,

141
00:07:33.519 --> 00:07:35.879
<v Speaker 6>with enough fiction to even out the fact. But I

142
00:07:36.000 --> 00:07:40.319
<v Speaker 6>know this is sacrilege. It's better than Purple Rain, not

143
00:07:40.480 --> 00:07:43.040
<v Speaker 6>the soundtrack, obviously, I'm not an idiot. You got a

144
00:07:43.079 --> 00:07:45.800
<v Speaker 6>mouth on you lately, We'll see how your attitude changes

145
00:07:45.800 --> 00:07:49.519
<v Speaker 6>at supper time, little lady. The three leads are charming

146
00:07:49.639 --> 00:07:52.399
<v Speaker 6>as fuck, and they can act. Man. One of them

147
00:07:52.439 --> 00:07:54.959
<v Speaker 6>has Michael Fassbender playing his dad, and he holds his

148
00:07:55.079 --> 00:07:59.480
<v Speaker 6>own against him. The direction is ingenious and innovative. The

149
00:07:59.600 --> 00:08:02.959
<v Speaker 6>script is smart and funny. The music is killer. Here's some.

150
00:08:04.800 --> 00:08:07.800
<v Speaker 3>It's gonna be a Plaud's.

151
00:08:10.439 --> 00:08:16.639
<v Speaker 1>It's it's going for at a bird. I sink a

152
00:08:16.720 --> 00:08:19.480
<v Speaker 1>quick turn down fire and not of birth for calling

153
00:08:19.600 --> 00:08:21.519
<v Speaker 1>me a fruit, for trying to take the alert.

154
00:08:21.759 --> 00:08:24.079
<v Speaker 2>I believe we bought a red anymore?

155
00:08:25.560 --> 00:08:28.000
<v Speaker 4>This COMPLI cash. Do you want it in your chest,

156
00:08:28.160 --> 00:08:30.160
<v Speaker 4>or your knees or your head? Did you prove he

157
00:08:30.199 --> 00:08:30.839
<v Speaker 4>has the lead?

158
00:08:30.920 --> 00:08:33.200
<v Speaker 1>You can back you complete, you can kill us well

159
00:08:33.279 --> 00:08:34.919
<v Speaker 1>my name, you can change journey.

160
00:08:35.159 --> 00:08:37.039
<v Speaker 2>But you're all the fucking sim.

161
00:08:38.679 --> 00:08:41.120
<v Speaker 6>If I see this in high school, trust me, I'd

162
00:08:41.159 --> 00:08:44.360
<v Speaker 6>be fluent in Gaelic right now as is. I'll have

163
00:08:44.440 --> 00:08:46.480
<v Speaker 6>to settle for listening to these two hoods shouting in

164
00:08:46.559 --> 00:08:49.159
<v Speaker 6>it on the radio, and definitely in this movie. I

165
00:08:49.279 --> 00:08:51.840
<v Speaker 6>intend to see this one a lot. I loved it.

166
00:08:52.240 --> 00:08:54.919
<v Speaker 6>I can recall only two recent films that made me

167
00:08:55.120 --> 00:08:59.200
<v Speaker 6>openly weep with Joy Dolomite is my name. When Rudy

168
00:08:59.279 --> 00:09:03.200
<v Speaker 6>Raymore got up into that light, and multiple times throughout

169
00:09:03.240 --> 00:09:07.879
<v Speaker 6>this film, multiple yeah, well you're tough. Oh you've got soul?

170
00:09:08.320 --> 00:09:11.200
<v Speaker 6>How appropriate? I guess that means it's time for rips picks.

171
00:09:17.360 --> 00:09:22.600
<v Speaker 6>Thank you, HP, you have once again crystallized my thoughts exactly. Okay,

172
00:09:22.919 --> 00:09:25.759
<v Speaker 6>here's the non ira A film in the bunch and

173
00:09:26.000 --> 00:09:28.200
<v Speaker 6>I did see this in high school and while it

174
00:09:28.279 --> 00:09:30.279
<v Speaker 6>didn't inspire me to start a band, I did run

175
00:09:30.360 --> 00:09:32.799
<v Speaker 6>out and buy a bunch of Wilson Pickett records afterwards.

176
00:09:33.080 --> 00:09:37.559
<v Speaker 6>This is Alan Parker's film of Roddy Doyle's novel The Commitments?

177
00:09:40.159 --> 00:09:43.039
<v Speaker 3>Have you got sold? If so, the world's hardest working

178
00:09:43.120 --> 00:09:46.399
<v Speaker 3>band is looking to contact ja rappers putting the band together?

179
00:09:46.799 --> 00:09:51.559
<v Speaker 3>Can you a singer? What men say?

180
00:09:53.600 --> 00:09:55.159
<v Speaker 2>Who that Zeppelin?

181
00:09:56.039 --> 00:10:01.440
<v Speaker 3>O'Connor, Barrie Model, John Bias, Johnny Mitchell Wings?

182
00:10:02.360 --> 00:10:02.480
<v Speaker 1>Well?

183
00:10:02.519 --> 00:10:03.960
<v Speaker 3>What kind of music are we going to be playing

184
00:10:04.000 --> 00:10:04.200
<v Speaker 3>to me?

185
00:10:04.679 --> 00:10:06.159
<v Speaker 1>So, so.

186
00:10:09.679 --> 00:10:13.159
<v Speaker 2>That's what you got to measure up to that. But

187
00:10:13.360 --> 00:10:41.879
<v Speaker 2>like maybe you're a little boys.

188
00:10:34.759 --> 00:10:36.320
<v Speaker 3>Have to see if you could play before I play

189
00:10:36.360 --> 00:10:37.679
<v Speaker 3>for them. You're trying to tell me you.

190
00:10:37.679 --> 00:10:41.960
<v Speaker 2>Play with Bob King, Martha Reeves, Sam Cook Oldest Ready.

191
00:10:44.200 --> 00:11:01.120
<v Speaker 3>That's you're looking at the commitment. Let's keep relations on

192
00:11:01.159 --> 00:11:04.600
<v Speaker 3>a professional basis. We professionally have never been paid.

193
00:11:04.720 --> 00:11:07.799
<v Speaker 1>It feels much better than an applied versation than another applied.

194
00:11:07.480 --> 00:11:10.120
<v Speaker 2>Part f Oh, You've got to.

195
00:11:33.159 --> 00:11:34.840
<v Speaker 3>Yes, Yes A Collectments.

196
00:11:38.720 --> 00:11:40.360
<v Speaker 2>I'm Black and I'm Proud.

197
00:11:41.799 --> 00:11:41.960
<v Speaker 3>M h.

198
00:11:48.080 --> 00:11:50.519
<v Speaker 6>In the mid to late nineteen eighties, Roddy Doyle wrote

199
00:11:50.519 --> 00:11:53.600
<v Speaker 6>about the working class in Dublin. His Barrytown trilogy has

200
00:11:53.639 --> 00:11:56.519
<v Speaker 6>become a bit of legend. All three have been adapted

201
00:11:56.559 --> 00:11:59.000
<v Speaker 6>into films, all starring Cole Meeni, which is a bit

202
00:11:59.039 --> 00:12:01.240
<v Speaker 6>of a feat considering each of the books were adapted

203
00:12:01.279 --> 00:12:05.000
<v Speaker 6>by different studios and different filmmakers, but the most successful

204
00:12:05.159 --> 00:12:09.000
<v Speaker 6>in terms of film and the film's popularity was The Commitments.

205
00:12:09.600 --> 00:12:12.559
<v Speaker 6>It's the story of Jimmy Rabbit, an enterprising young lad

206
00:12:12.600 --> 00:12:15.960
<v Speaker 6>who decides to gather together a group of similarly directionless

207
00:12:16.000 --> 00:12:19.679
<v Speaker 6>youth to form a soul band like Kneecap. It's the

208
00:12:19.759 --> 00:12:22.679
<v Speaker 6>story of the oppressed finding their voice in the similarly

209
00:12:22.759 --> 00:12:26.360
<v Speaker 6>oppressed culture of African American artists, a fact that is

210
00:12:26.480 --> 00:12:28.600
<v Speaker 6>not lost on the characters of each of the films.

211
00:12:28.639 --> 00:12:32.279
<v Speaker 6>We're talking about cultural appropriation is a real problem when

212
00:12:32.279 --> 00:12:34.840
<v Speaker 6>it's about using that bit of culture without respect and

213
00:12:34.960 --> 00:12:37.720
<v Speaker 6>no other motive than a few miserable dollar bills with

214
00:12:37.840 --> 00:12:40.519
<v Speaker 6>the aid of an aging trumpet player, a role originally

215
00:12:40.600 --> 00:12:43.360
<v Speaker 6>meant for Van Morrison, but I guess after a disastrous

216
00:12:43.399 --> 00:12:46.000
<v Speaker 6>meeting with Alan Parker, Morrison agreed to let him use

217
00:12:46.000 --> 00:12:48.480
<v Speaker 6>his music and wanted nothing more to do with the project.

218
00:12:48.759 --> 00:12:52.000
<v Speaker 6>Rabbit assembles a fearsome band or the makings of one.

219
00:12:52.480 --> 00:12:56.039
<v Speaker 6>I am a sucker for band formation films, particularly when

220
00:12:56.080 --> 00:12:59.240
<v Speaker 6>the plot isn't predicated on their success. I don't mean

221
00:12:59.360 --> 00:13:01.759
<v Speaker 6>artistically or creatively. I mean I don't need them to

222
00:13:01.799 --> 00:13:04.039
<v Speaker 6>win a Battle of the Bands or get some crawl

223
00:13:04.120 --> 00:13:06.519
<v Speaker 6>at the end informing us that there eventually were a

224
00:13:06.600 --> 00:13:10.159
<v Speaker 6>massive success somehow. The stories of Ulso Rans or never

225
00:13:10.440 --> 00:13:12.960
<v Speaker 6>was Those are way more impactful to me. I'm thinking

226
00:13:12.960 --> 00:13:15.720
<v Speaker 6>about like that thing you do. He's speaking of fictional

227
00:13:15.799 --> 00:13:18.159
<v Speaker 6>bands in their biopinks. Can we get a figurin Dan

228
00:13:18.240 --> 00:13:21.039
<v Speaker 6>in the Modal Nodes movie, you know, the Cantena band

229
00:13:21.080 --> 00:13:23.759
<v Speaker 6>from the original Star Wars. Get them on like a

230
00:13:23.879 --> 00:13:26.759
<v Speaker 6>road trip movie, like out on Tour, visiting all the

231
00:13:26.879 --> 00:13:29.399
<v Speaker 6>dives in the Outer Rim trying to make it big

232
00:13:29.559 --> 00:13:33.320
<v Speaker 6>on chorus ants someday just an idea. Anyway, The Commitments

233
00:13:33.720 --> 00:13:36.159
<v Speaker 6>was made by Alan Parker. He was the filmmaker behind

234
00:13:36.240 --> 00:13:39.679
<v Speaker 6>Bugsy Malone, where children star as adults in a nineteen

235
00:13:39.759 --> 00:13:42.559
<v Speaker 6>thirties gangster drama that's also a musical with Tommy Guns

236
00:13:42.600 --> 00:13:45.279
<v Speaker 6>that you'd cream pies. And he made Pink Floyds to

237
00:13:45.320 --> 00:13:47.440
<v Speaker 6>the Wall, that's a film everyone will tell you to

238
00:13:47.480 --> 00:13:50.960
<v Speaker 6>watch when you're high and you will instantly regret doing so.

239
00:13:51.559 --> 00:13:53.720
<v Speaker 6>And he made Fame, which I think is pretty much

240
00:13:53.759 --> 00:13:57.000
<v Speaker 6>perfect except for casting Barry Miller as a praeto Rican.

241
00:13:57.399 --> 00:14:00.440
<v Speaker 6>He's operating here from a place of pure musicale, which

242
00:14:00.480 --> 00:14:03.720
<v Speaker 6>is rare after films like Mississippi Burning and Birdie. There

243
00:14:03.759 --> 00:14:07.080
<v Speaker 6>are no oppressive themes, no aggressive hatred, just a bunch

244
00:14:07.120 --> 00:14:09.799
<v Speaker 6>of working class kids fighting for their own identity and

245
00:14:10.000 --> 00:14:12.919
<v Speaker 6>fighting with each other to create something joyous in the

246
00:14:13.000 --> 00:14:16.559
<v Speaker 6>midst of a crushing existence. None of the performances musically

247
00:14:16.600 --> 00:14:19.080
<v Speaker 6>are going to replace the original artists on your turntable.

248
00:14:19.320 --> 00:14:23.519
<v Speaker 6>If you have a turntable, what's a turntable? Oh God,

249
00:14:23.600 --> 00:14:26.279
<v Speaker 6>what am I going to do with you? But just

250
00:14:26.360 --> 00:14:29.639
<v Speaker 6>like anytime you see someone performed live. There's something electric

251
00:14:29.720 --> 00:14:31.960
<v Speaker 6>at play, and it should be noted that the performances

252
00:14:31.960 --> 00:14:34.159
<v Speaker 6>you see in the film are in fact recorded live.

253
00:14:34.639 --> 00:14:37.960
<v Speaker 6>Parker recognized that the scruffy, rag taggedness of the whole

254
00:14:38.000 --> 00:14:41.720
<v Speaker 6>affair was its charm, and while ultimately music won't save

255
00:14:41.799 --> 00:14:45.120
<v Speaker 6>them from their economic situation or even their social situations,

256
00:14:45.399 --> 00:14:48.519
<v Speaker 6>it does show them a new way of thinking of surviving,

257
00:14:49.000 --> 00:14:52.799
<v Speaker 6>of thriving in the face of adversity. How it's impossible

258
00:14:52.919 --> 00:14:55.159
<v Speaker 6>for anyone to keep you down when you have the

259
00:14:55.200 --> 00:14:58.240
<v Speaker 6>strains of midnight hour thrumbing in your head. We're running

260
00:14:58.240 --> 00:15:01.919
<v Speaker 6>an Irish time machine here, young We started now the

261
00:15:02.000 --> 00:15:04.960
<v Speaker 6>contemporary age, and then we jump back to the early nineties.

262
00:15:05.000 --> 00:15:08.799
<v Speaker 6>Where will we end up next? The twenties? Were you crazy?

263
00:15:09.039 --> 00:15:11.360
<v Speaker 6>That's a little too old timey for the popular music

264
00:15:11.440 --> 00:15:13.720
<v Speaker 6>in Ireland theme we're going for here? Would you settle

265
00:15:13.759 --> 00:15:17.519
<v Speaker 6>for the nineteen seventies a splendid because that's where we're

266
00:15:17.519 --> 00:15:21.320
<v Speaker 6>going back to Belfast, back to the tunes, back to

267
00:15:21.519 --> 00:15:24.240
<v Speaker 6>Terry Hooley and good vibrations.

268
00:15:27.080 --> 00:15:30.480
<v Speaker 3>Once upon a time, the Messettia Belfast, there lived a

269
00:15:30.559 --> 00:15:31.600
<v Speaker 3>boy named Terry.

270
00:15:32.159 --> 00:15:33.639
<v Speaker 2>Do you want to come back to my mom and Dods.

271
00:15:34.039 --> 00:15:34.080
<v Speaker 5>No.

272
00:15:34.720 --> 00:15:35.879
<v Speaker 3>Do you want to go back to my MoMA?

273
00:15:35.919 --> 00:15:41.480
<v Speaker 2>Dodds No, I want to open a record. Shove we

274
00:15:41.639 --> 00:15:43.919
<v Speaker 2>in every kind of beautiful record on our shops.

275
00:15:48.679 --> 00:15:50.240
<v Speaker 5>I'll put that record right.

276
00:15:51.200 --> 00:15:53.600
<v Speaker 3>So what you're nick and a record?

277
00:15:57.639 --> 00:15:58.679
<v Speaker 2>Will you record us to you?

278
00:15:59.120 --> 00:16:04.320
<v Speaker 3>Not that good? If you don't care records soon, I'd

279
00:16:04.360 --> 00:16:04.840
<v Speaker 3>be too late.

280
00:16:05.000 --> 00:16:06.320
<v Speaker 2>Would you say your name was Sar?

281
00:16:08.519 --> 00:16:13.639
<v Speaker 3>That's the first thing I ever recorded? Everybody has everybody?

282
00:16:19.559 --> 00:16:21.000
<v Speaker 3>Does he have any good looking friends?

283
00:16:22.440 --> 00:16:26.080
<v Speaker 2>What is wrong with cigs?

284
00:16:26.360 --> 00:16:32.399
<v Speaker 3>Jas? It was all going to be absolutely thank you

285
00:16:32.840 --> 00:16:37.000
<v Speaker 3>trust me. You gave me the best two minutes of

286
00:16:37.039 --> 00:16:37.399
<v Speaker 3>my life.

287
00:16:37.759 --> 00:16:40.039
<v Speaker 2>John, It's so good. I'm going to do something I've

288
00:16:40.080 --> 00:16:40.840
<v Speaker 2>never done before.

289
00:16:46.720 --> 00:16:49.799
<v Speaker 3>Jess. We made it. We cracked the code, but we

290
00:16:49.879 --> 00:17:06.160
<v Speaker 3>did it with items money couldn't buy. Six of Christians

291
00:17:06.279 --> 00:17:11.759
<v Speaker 3>isn't a record shot, it's not a level that's so

292
00:17:11.960 --> 00:17:12.920
<v Speaker 3>liable person.

293
00:17:20.000 --> 00:17:22.680
<v Speaker 6>This one's on Prime and I just happened upon it. Honestly.

294
00:17:22.880 --> 00:17:25.799
<v Speaker 6>It's from twenty thirteen, and it is a biopic of

295
00:17:25.920 --> 00:17:29.160
<v Speaker 6>Terry Hooley, who had a pretty mundane existence growing up

296
00:17:29.200 --> 00:17:31.839
<v Speaker 6>in Belfast in the fifties and the sixties. Sure he

297
00:17:31.960 --> 00:17:33.960
<v Speaker 6>had only one eye, but he had lots of friends,

298
00:17:34.440 --> 00:17:37.519
<v Speaker 6>which would change once the troubles arrived in a late sixties.

299
00:17:37.559 --> 00:17:40.359
<v Speaker 6>Suddenly all of his old Protestant friends were more than dismissive,

300
00:17:40.759 --> 00:17:43.880
<v Speaker 6>they were aggressive. He watched the dreams of all the

301
00:17:43.960 --> 00:17:47.000
<v Speaker 6>sixties peace and love disintegrate, and now all that was

302
00:17:47.079 --> 00:17:50.240
<v Speaker 6>left was rancor on both sides, not just amongst the civilians,

303
00:17:50.440 --> 00:17:53.039
<v Speaker 6>but the threat of violence from both the RUC and

304
00:17:53.200 --> 00:17:56.599
<v Speaker 6>the IRA hung over everything. So Hooley did what any

305
00:17:56.640 --> 00:17:59.519
<v Speaker 6>self respecting music lover would do. He opened a record

306
00:17:59.559 --> 00:18:02.799
<v Speaker 6>shop in the most heavily bombed street in Belfast. He

307
00:18:02.920 --> 00:18:05.079
<v Speaker 6>was a visionary in the mold of Hilly Crystal, who

308
00:18:05.200 --> 00:18:07.960
<v Speaker 6>opened a music venue to feature bluegrass and country music

309
00:18:08.039 --> 00:18:10.480
<v Speaker 6>in the Bowery in New York City, which turned into

310
00:18:10.519 --> 00:18:14.920
<v Speaker 6>CBGB's Hooley opened a shop featuring reggae when that would

311
00:18:14.960 --> 00:18:18.880
<v Speaker 6>become Belfast ground zero for punk rock, with Holey eventually

312
00:18:18.960 --> 00:18:22.240
<v Speaker 6>producing and releasing a clutch of important Irish artists. The

313
00:18:22.319 --> 00:18:24.880
<v Speaker 6>film is anchored by Richard Dormer as Hooley, a kind

314
00:18:24.920 --> 00:18:27.839
<v Speaker 6>of musical ed Wood who pulls people into his sphere

315
00:18:27.960 --> 00:18:31.519
<v Speaker 6>through sheer enthusiasm. It also has a young Jody Whittaker

316
00:18:31.720 --> 00:18:35.440
<v Speaker 6>years from becoming the doctor as Terry's long suffering wife.

317
00:18:36.119 --> 00:18:38.319
<v Speaker 6>It gets a bit formulating at the end, attempting to

318
00:18:38.440 --> 00:18:43.359
<v Speaker 6>expose Hooy's unsavory elements while simultaneously absolving him. It has

319
00:18:43.400 --> 00:18:46.039
<v Speaker 6>one of those bullshit scenes you'll see in biopanks where

320
00:18:46.119 --> 00:18:48.599
<v Speaker 6>every character who was wronged during the course of the

321
00:18:48.640 --> 00:18:50.640
<v Speaker 6>film shows up to let them know that all is

322
00:18:50.680 --> 00:18:53.640
<v Speaker 6>forgiven and they really understand that they didn't mean it.

323
00:18:53.960 --> 00:18:57.440
<v Speaker 6>And it's predicated on a concert that will save the shop. Yesh,

324
00:18:57.559 --> 00:18:59.559
<v Speaker 6>But that's a small price to pay for the story

325
00:18:59.599 --> 00:19:01.960
<v Speaker 6>that comes before and the music that you get to

326
00:19:02.000 --> 00:19:04.920
<v Speaker 6>hear throughout, which, while leaning in the direction of punk,

327
00:19:04.960 --> 00:19:07.480
<v Speaker 6>doesn't pretend that there weren't other forms of music going

328
00:19:07.599 --> 00:19:10.079
<v Speaker 6>on at the same time. Anything that can get our

329
00:19:10.160 --> 00:19:13.079
<v Speaker 6>lead on stage singing a cover of a sunny Bono

330
00:19:13.240 --> 00:19:15.880
<v Speaker 6>tune as an active defiance gets a pass. In my book,

331
00:19:16.440 --> 00:19:19.279
<v Speaker 6>Good Vibrations was the name of the shop, it's the

332
00:19:19.400 --> 00:19:21.920
<v Speaker 6>name of the film, and it's something I hope will

333
00:19:21.960 --> 00:19:26.440
<v Speaker 6>be leaving you with today. That's because I'm corny. I'm

334
00:19:26.519 --> 00:19:29.200
<v Speaker 6>Corny Collins. You should come on my show. Oh it's

335
00:19:29.240 --> 00:19:32.079
<v Speaker 6>a dancing show. I'm sorry, you need rhythm and coordination

336
00:19:32.240 --> 00:19:35.279
<v Speaker 6>in order to dance. See how that feels? Not very good?

337
00:19:35.319 --> 00:19:39.920
<v Speaker 6>I'd say apology accepted. And you're a fine dancer, and

338
00:19:40.119 --> 00:19:43.720
<v Speaker 6>you're a fine listener, and I mean fine. Thank you

339
00:19:43.839 --> 00:19:46.880
<v Speaker 6>once again for joining us here this week and every week,

340
00:19:46.960 --> 00:19:49.640
<v Speaker 6>week in, week out. Tune in again on Friday midnight

341
00:19:49.759 --> 00:19:52.720
<v Speaker 6>viewing the Horror Anthology podcast. We'll be back where will

342
00:19:52.799 --> 00:19:54.599
<v Speaker 6>be taking a look at two episodes of Tanels from

343
00:19:54.640 --> 00:19:57.799
<v Speaker 6>the Dark Side, two of the best Halloween Candy and

344
00:19:57.920 --> 00:20:01.039
<v Speaker 6>the Satanic Piano. Do you want to drop me a line,

345
00:20:01.119 --> 00:20:04.480
<v Speaker 6>go ahead at Father Malone seventy one at gmail dot com.

346
00:20:04.599 --> 00:20:06.319
<v Speaker 6>If you want to support the show, head over to

347
00:20:06.400 --> 00:20:09.720
<v Speaker 6>Patreon dot com slash Father Alone. You get episodes early

348
00:20:09.839 --> 00:20:12.400
<v Speaker 6>and commercial free, and we've got exclusives over there that

349
00:20:12.480 --> 00:20:15.200
<v Speaker 6>you're not gonna hear on the regular feed. And if

350
00:20:15.319 --> 00:20:17.319
<v Speaker 6>money's tight, I've got my money in the next room

351
00:20:17.359 --> 00:20:19.960
<v Speaker 6>trying to make me diamonds. It's so goddamn tight. You're

352
00:20:20.000 --> 00:20:22.640
<v Speaker 6>gonna help us immeasurably just by giving us a five

353
00:20:22.680 --> 00:20:25.200
<v Speaker 6>star rating on whatever app you're listening to the show on,

354
00:20:25.880 --> 00:20:28.240
<v Speaker 6>or just tell a friend to tune in on behalf

355
00:20:28.279 --> 00:20:30.319
<v Speaker 6>of myself and Ripley Gene. We'll sign off with a

356
00:20:30.359 --> 00:20:34.240
<v Speaker 6>line from Kneecap that lad has made something of himself

357
00:20:34.359 --> 00:20:37.200
<v Speaker 6>despite you, and if you're thinking of getting in his way,

358
00:20:37.799 --> 00:20:42.000
<v Speaker 6>I'll show you a woman gone to war. Very fucking irish,

359
00:20:42.240 --> 00:20:44.440
<v Speaker 6>speaking of fuck your.

360
00:20:45.920 --> 00:21:03.480
<v Speaker 5>Morning, Come shop denistrats, come bring cloys. Coma fucker say

361
00:21:03.519 --> 00:21:04.079
<v Speaker 5>about me?

362
00:21:05.200 --> 00:21:06.440
<v Speaker 1>I thought were the job?

363
00:21:06.759 --> 00:21:07.799
<v Speaker 3>What the focused up?

364
00:21:07.920 --> 00:21:10.680
<v Speaker 4>When art we were making Josh sitting in the flat

365
00:21:11.039 --> 00:21:14.160
<v Speaker 4>sipping noise, cons and smoke and roll because all the

366
00:21:14.279 --> 00:21:16.240
<v Speaker 4>best jobs are taken by the dogs.

367
00:21:16.319 --> 00:21:19.920
<v Speaker 1>Switchy planck can cracking, must play fun love the fast

368
00:21:20.000 --> 00:21:20.799
<v Speaker 1>kind of says Cat.

369
00:21:20.880 --> 00:21:22.559
<v Speaker 5>I thought I'm buying tick chunking this.

370
00:21:22.759 --> 00:21:25.559
<v Speaker 1>Hit the stats on the pass and I chunk of turns.

371
00:21:25.599 --> 00:21:28.400
<v Speaker 5>Come Alina sol on area, so I joh