WEBVTT

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Hi, this is Chris Grau of Loser, and you're listening

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to my weekly mixtape with Brian Colburn. Also,

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this is coming to you live from a Game Boy camera.

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And you're thinking, why is that happening? And

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I'm thinking, of course it's happening. Welcome

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to My Weekly Mixtape, a podcast that takes the

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classic mixtape approach to building a modern

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playlist. I'm your host, Brian Colburn. Joining

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me tonight as guest curator is Chris Grau, the

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brainchild behind ska punk band Loser, as well

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as the music director for bands such as NoFX.

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Real Big Fish, Goldfinger, The Bomb Pops, Suburban

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Legends, and former My Weekly Mixtape guests

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Scott Kloppenstein and Frank Turner. Chris, thank

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you so much for joining me on the episode, man.

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Yeah, good to be here. I love the way that you

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put this together. I think it's a really rad

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idea for a show. Awesome. Well, I'm glad to have

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you here doing it with me. So the first question

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I want to ask, Chris, what does the word mixtape

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mean to you? Okay, so... I played with cassettes

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as a kid. My first music purchase was on cassette

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for the record. The single version of Coolio's

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Gangsta's Paradise with the instrumental on the

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flip side. Very nice. I had that. But yeah, I

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was not old enough to actually like do the like

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record a mixtape for like going between the two

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decks thing. By the time I was doing it, it was

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burning CDs. And fun fact, my... Spending money

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in high school, particularly before I was like

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14 and could have like a real job, came from

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the lunch lady would give me a list of albums

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that she wanted and I would go pirate them and

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burn CDs of them. Like back in the day when you

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had to like, I would like look up what's the

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track list and I would like find each individual

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song. You couldn't find like a whole song like

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mixed down that was like not going to be a thing

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at all. I had to track down every song, make

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sure they were relatively real or correct, and

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then burn a CD and try to get them in order.

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She'd pay me five bucks a CD because they were

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15 or 20 at the time. Wow. And this was going

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back at the time. Now, if I remember correctly,

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the Barenaked Ladies had thrown some stuff on

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Napster back when Napster was the place to go.

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And they took their song Pinch Me, which was

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a growing hit at the time, and they threw it

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up on Napster. But instead of it being the entire

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song, it kept cutting out several times throughout

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the song. And it would just be two of the guys

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from the band. talking and the first time they

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cut in they go well you actually think you're

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downloading pinch me but instead you're downloading

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a commercial for our brand new album maroon and

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it is absolutely hysterical it's one of the few

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moments of levity from that entire napster situation

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it's one that i'll never forget that's awesome

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i never ended up with any of those files i mean

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to be fair on these lunch lady cds that i put

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together it's entirely possible i got some of

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those and she just never told me because yeah

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i'd basically just check is it the real song

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i'd listen a little bit and like sometimes i

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got fooled sometimes i know it would be like

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just the chorus looping over and over again but

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it was the best i could find yeah Not incriminating

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yourself at all tonight. Look, man, it was the

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2000s. It was a wild time. I guess we're going

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to have to save this for our future Songs of

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Napster episode. But tonight we have something

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completely different on tap. We're talking about

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another topic that is very near and dear to each

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and every fan of the Viewisk universe. And that

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would be songs from Kevin Smith movies. Yes.

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I've always been a big Kevin Smith fan. Going

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way back, Clerks was, I mean, I think Mallrats

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was actually the first movie that I saw, but

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Clerks was the movie that made me feel like,

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oh, I could make movies. Like, why not? Yeah,

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and he's always done such a good job of like

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finding bigger and more famous songs as well,

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but also lots of small and independent artists

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and just putting together like really great kind

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of mixtapes in his movies. Most certainly. And

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I think tonight's topic is also pretty near and

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dear to you as your song, No Hope, which is the

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track I talked about with Scott Kloppenstein

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on the Ultimate Scott Punk episode, is a track

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that's featured on the Clerks 3 soundtrack. That

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is correct. Yeah, it's in there. So I'm part

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of that mixtape now. So outside of no hope, because

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I have a suspicion, funny feeling we might dive

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deeper into that song at some point tonight.

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So weird. What were you looking for in the songs

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that you were bringing to the conversation this

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evening? So there's a combination of things.

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I kind of, as I was going through movie to movie,

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it got points for being the song that I think

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about when I think about that movie or just songs

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that I really like that. happened to be in the

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movies. That was kind of the rubric that I was

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using. And that's the thing is it's hard to play

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by just songs that I like because there's so

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much good stuff in those movies. And even if

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you just look at the soundtrack listening, just

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looking at the titles, you're like, oh, that's

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a great song. That's a great song. But yeah,

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I tried where I could to focus on the ones where

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I'm like, that is the scene that I think about.

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I think about that song. All right. And to bounce

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off that, what I tried to do was. find songs

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that were actually featured on the movie's official

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soundtracks as well, because using clerks three,

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for an example, an immediate thought that came

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to my mind was welcome to the black parade. From

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My Chemical Romance, but that's not actually

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on the official soundtrack album. So that was

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one where I'm like, oh, interesting. Maybe I'll

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keep that in my back pocket. But I tried to go

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with ones that were featured on the actually

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released soundtracks to really, I don't know,

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make it more difficult on myself. Unless, of

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course, that movie didn't release an official

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soundtrack on CD or cassette or vinyl. Then all

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bets are off. Sure. Yeah, yeah. Well, let's get

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down to business. Tonight, as I mentioned at

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the top of the show, Chris and I will be curating

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a songs from Kevin Smith movies mixtape, and

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we'll use that old cassette deck approach. Chris,

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as my special guest, will begin side A with his

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first song choice, and then I'll add a song that

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I feel best follows up that choice. We'll then

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flip -flop choosing songs until we've mapped

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out 10 songs for side A. We'll then give our

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mixtape a proverbial flip and we'll map out side

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B. Only this time, I'll kick things off with

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Chris choosing second. Our overall goal for this

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episode is to craft the best songs from Kevin

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Smith movies mixtape possible through only 20

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songs. At the end of the show, you can take our

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conversation to the next level by visiting the

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episode page at myweeklymixtape .com to give

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our final mixtape a listen via the embedded playlist.

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And if you like what you're hearing on My Weekly

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Mixtape, you can help me out by either telling

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a friend about the show, leaving the show a five

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-star review wherever you're tuning in, or by

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becoming a Patreon mixtaper at patreon .com forward

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slash myweeklymixtape. And a few of our Patreon

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members chimed in with what they feel would best

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kick off a Songs from Kevin Smith Movies mixtape,

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and I want to give a few shoutouts. Cactus Pete

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chimed in with Jungle Love by Morris Day and

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the Time from Jay and Silent Bob Strike Back.

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David Owens chimed in with Kick Some Ass by Stroke

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Nine from Jay and Silent Bob Strike Back. Mally

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Hart chimed in with Web and Front by Archers

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of Loaf from Mallrats. Sean Faust chimed in with

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Suzanne by Weezer from Mallrats. And Jason Donchess

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chimed in with Can't Even Tell by Soul Asylum

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from Clerks. So, Chris, with that out in the

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atmosphere, I'm officially pressing the record

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button on our mixtape and the floor is yours.

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Why don't you dive into the song you chose to

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kick off side A? OK, so first of all, I'd like

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to say none of those songs are on my list. All

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really all good, but not a single one was one

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that I wrote down. So good choices, but also

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glad that they're different choices. So I think

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the first one I'm going to put on there. Like

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I said, Mallrats was the first Kevin Smith movie

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that I saw. And I believe it's the opening track

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or very near the opening track by Squirtgun is

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Social. First of all, great song, good open,

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gives a good vibe to my introduction to the VSQ

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universe. But also, I used to be in a band with

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Matt Leonard, who was in Squirtgun. That song,

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we were both in a band called The Maxis. He still

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does it. I don't anymore. But yeah, so I thought

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it was really funny that his band has a song

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in a Kevin Smith movie, and then now I do as

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well. So I thought, kick that one off with a

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buddy, somebody that I've worked with, and yeah.

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And it's an awesome song, too. Let's not forget

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that part about it. It's a great way to kick

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off Mallrats. It has that energy. Mallrats as

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a soundtrack has a very punk -esque vibe to it.

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It does. Where some of the other soundtracks

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do have that indie punk sound, but they veer

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off in other directions. For moments of levity

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in some of the movies, that's okay. But Mallrats,

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I think, is the one that most needs the nonstop

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punk flair. And for the most part, I think, delivers

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on that. So I love the pick. And to follow it

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up, I'm going to jump ahead a few years. Okay.

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And you chose not to go with any songs that the

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Patreon mixtapers did. But I happen to be lockstep

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with one of those picks alongside of David Owens.

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I am kicking things off. With the simple question,

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how many people want to kick some ass from Jay

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and Silent Bob Strikes Back? This song is absolutely

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amazing. It has that punk energy. It also has

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a little bit of a 2000s rock vibe to it because

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this band did have. punk tendencies, but they

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were more along the lines of an alternative rock

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band. If you listen to songs of theirs like Vacuum

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Bag, which is from the same album as Kick Some

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Ass, it definitely has a pop, almost an all -American

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reject style where it's got a little bit of a

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punk vibe, but it also incorporates elements

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of pop and rock. Now, Kick Some Ass, believe

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it or not, isn't Stroke 9's biggest hit. That

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would go to Little Black Backpack. But I'm honestly

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shocked that between those two amazing tracks,

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Stroke 9 wasn't a lot bigger because this song

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really does kick some ass. Yeah. What happened?

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That was a really good band. And that Little

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Black Backpack song was so ubiquitous. They must

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have really pissed somebody off to have disappeared

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the way they did. It's the only thing I can think.

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To be honest, I'm still shocked about it to this

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day. Okay. So I think I will stay. in Jay and

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Silent Bob Strike Back. And my temptation, because

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I think my actual favorite song in that movie

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is Jay's little rap, the put that shit in my

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hand. 100%. I don't think that really counts.

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I don't think it quite fits. So I'm going to

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go with what to me is the most iconic placement

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in that movie, which is Afro Man, because I got

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high. Of course. That song, if I recall, and

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I could be wrong about this, think the placement

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in the movie was done first i think that afro

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man i could be getting the story completely wrong

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but i think that that song had not broken and

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it got the placement in the movie and it may

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have between like when it got put in the movie

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and before the movie coming out i think that

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it blew up or maybe it was after it was in the

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movie but like i'm pretty sure that there's like

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an afro man kevin smith it's like oh my gosh

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like I owe Kevin Smith for that song getting

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the attention that it is. I'm pretty sure. And

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then, of course, also Afro Man's recent resurgence

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into the pop culture with the song slash music

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video about the cops and breaking into his house.

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And what did they take? It was like his cookies

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or something. I can't remember. But it was good

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to see that he's still out there doing stuff.

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That song, you couldn't escape it. In 2000, I

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mean, rock stations were playing it. Pop stations

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were playing everywhere. The crossover appeal

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of that song was amazing. And I know Howard Stern

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played a big role in that song's popularity as

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well as Jay and Silent Bob timing. I'm not 100

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% sure of, but regardless, that song was everywhere.

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And then obviously for Jay and Silent Bob Strike

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Back, it is a perfect song for those two characters

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and that movie as a whole. So good. So following

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that up, I'm actually going to go into a completely

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different direction. I'm going to go all the

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way back to the beginning. Okay. And I'm going

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to go with a song from Clerks. Yeah. Now, this

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song was originally recorded in 1992 for the

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band's EP Sap. And while I loved that song. This

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band released the SAP EP with zero promotion

00:13:56.860 --> 00:14:00.460
or fanfare because they just wanted to see how

00:14:00.460 --> 00:14:03.980
it would sell if they didn't make a big deal

00:14:03.980 --> 00:14:07.200
about it. And I'm first off shocked the label

00:14:07.200 --> 00:14:09.519
allowed this, but I digress because two years

00:14:09.519 --> 00:14:13.159
later, Alice in Chains Got Me Wrong became one

00:14:13.159 --> 00:14:17.240
of the signature songs in Clerks and it blew

00:14:17.240 --> 00:14:21.100
up on radio when the movie was out, which made

00:14:21.100 --> 00:14:24.429
the label. looked back and realized the mistake

00:14:24.429 --> 00:14:27.769
they made, re -released the song as a single,

00:14:27.830 --> 00:14:31.990
and then re -released Sap in 1995. So when Kevin

00:14:31.990 --> 00:14:34.450
Smith pulled this song for the Clerks soundtrack,

00:14:34.830 --> 00:14:37.070
he knew he was onto something because he was

00:14:37.070 --> 00:14:40.549
taking an amazing song by a band that had already

00:14:40.549 --> 00:14:43.620
made waves with Man in the Box. And then before

00:14:43.620 --> 00:14:46.379
Clerks came out, Alice in Chains also had Dirt,

00:14:46.440 --> 00:14:48.559
which was a massive smash. However, Sap kind

00:14:48.559 --> 00:14:51.120
of fell beneath the cracks in between the two

00:14:51.120 --> 00:14:53.519
albums. And Kevin Smith was kind of giving people

00:14:53.519 --> 00:14:57.399
a gentle reminder of this amazing song. So following

00:14:57.399 --> 00:15:00.120
it up, Alice in Chains got me wrong from Clerks.

00:15:00.600 --> 00:15:03.679
Yeah, like again, he really has like a great

00:15:03.679 --> 00:15:06.399
sense. And I have since learned that he like

00:15:06.399 --> 00:15:09.700
music supervises his own movies. He is actually

00:15:09.700 --> 00:15:11.950
the one like with Clerks. That's probably kind

00:15:11.950 --> 00:15:14.230
of obvious because it was so DIY at the time.

00:15:14.269 --> 00:15:18.950
But to this day, he is the one that goes out

00:15:18.950 --> 00:15:21.610
and finds the music for his movies, which is

00:15:21.610 --> 00:15:24.990
I don't think there's many directors that still

00:15:24.990 --> 00:15:28.429
do that level of involvement. No, and I'm not

00:15:28.429 --> 00:15:31.210
the biggest cinephile in the world, but I know

00:15:31.210 --> 00:15:35.210
with the Clerks movie, the bulk of the production

00:15:35.210 --> 00:15:38.210
budget was blown on licensing rights for the

00:15:38.210 --> 00:15:41.720
music. Yeah. And that, in a way, goes to show

00:15:41.720 --> 00:15:44.399
just how important the music is for the original

00:15:44.399 --> 00:15:47.379
Clerks film. It made it a pop culture moment,

00:15:47.440 --> 00:15:50.419
and the music was real for the time, and everyone

00:15:50.419 --> 00:15:53.240
resonated with it for that reason. I feel like

00:15:53.240 --> 00:15:57.340
if it was a soundtrack of canned music, the movie

00:15:57.340 --> 00:16:00.019
might not have had the same impact. Totally,

00:16:00.080 --> 00:16:03.840
yeah. Or even just the wrong music, if it was

00:16:03.840 --> 00:16:08.080
a little bit too hype. You know, it just wouldn't

00:16:08.080 --> 00:16:10.259
have sat right. And it just it just really like

00:16:10.259 --> 00:16:13.179
they really played it perfect. One hundred percent.

00:16:13.500 --> 00:16:18.100
Oh, it's my turn, isn't it? Yes, sir. OK, so

00:16:18.100 --> 00:16:21.059
you did Clerks one. So I'm going to go Clerks

00:16:21.059 --> 00:16:24.200
two. The song that I think of when I think of

00:16:24.200 --> 00:16:28.620
that movie is Jackson 5 ABC, when they're all

00:16:28.620 --> 00:16:31.440
just like it's I think like Rosario Dawson and

00:16:31.440 --> 00:16:32.840
stuff. They're just like kind of dancing around

00:16:32.840 --> 00:16:36.370
the movies and like. That is the song that I

00:16:36.370 --> 00:16:37.970
think of when I think of that movie. When I think

00:16:37.970 --> 00:16:40.389
of that movie, I think of that scene. Obviously,

00:16:40.389 --> 00:16:42.769
some of the other lines and the donkey show and

00:16:42.769 --> 00:16:45.950
stuff as well. But that is the song that plays

00:16:45.950 --> 00:16:48.269
in my head. And I know we talked about this earlier,

00:16:48.389 --> 00:16:50.669
but I think it bears repeating that Kevin Smith

00:16:50.669 --> 00:16:53.570
really knows how to choose the perfect songs

00:16:53.570 --> 00:16:56.509
for the scenes. Just like what you described,

00:16:56.850 --> 00:16:59.309
if you put any other song in there, I don't know

00:16:59.309 --> 00:17:02.490
if the scene would be as effective. So I 100

00:17:02.490 --> 00:17:06.160
% agree with that. Coming out of Jackson 5's

00:17:06.160 --> 00:17:08.980
ABC, I'm going to keep that energy, that really

00:17:08.980 --> 00:17:11.960
happy, upbeat energy. I feel like I might know

00:17:11.960 --> 00:17:14.339
where you're going, but go for it. I don't know.

00:17:14.359 --> 00:17:17.599
The song is a mainstream smash, and I'm going

00:17:17.599 --> 00:17:20.859
to go back to Chasing Amy. And this song was

00:17:20.859 --> 00:17:24.099
playing during a bar scene that delivers one

00:17:24.099 --> 00:17:26.759
of my favorite lines of dialogue from the movie

00:17:26.759 --> 00:17:29.400
when Hooper says, I want you to go down to the

00:17:29.400 --> 00:17:33.240
corner store and buy yourself a clue. I'm going

00:17:33.240 --> 00:17:35.519
with the Mighty Mighty Boss Tones, The Impression

00:17:35.519 --> 00:17:39.960
I Get. Song is absolutely iconic. It's such an

00:17:39.960 --> 00:17:42.519
important song for the third wave ska scene.

00:17:42.859 --> 00:17:45.859
I mean, between songs like The Impression I Get,

00:17:46.119 --> 00:17:49.480
Sell Out by Real Big Fish. Those are the first

00:17:49.480 --> 00:17:52.140
two that come to mind when I think of songs that

00:17:52.140 --> 00:17:54.799
really exploded that third wave of ska. So to

00:17:54.799 --> 00:17:58.440
me, it's an important song for the genre. And

00:17:58.440 --> 00:18:02.460
it works so well because that was the... big

00:18:02.460 --> 00:18:06.900
scene musically during Chasing Amy's release.

00:18:07.220 --> 00:18:10.740
So it really fit in perfectly with that movie

00:18:10.740 --> 00:18:14.880
and it really gives it that 1996, 1997 feel because

00:18:14.880 --> 00:18:17.859
that was the soundtrack. So Mighty Mighty Boss

00:18:17.859 --> 00:18:20.750
Tone is the impression I get. I want you to know

00:18:20.750 --> 00:18:23.289
that I was 100 % right and that that was also

00:18:23.289 --> 00:18:27.349
on my list because obviously the ska guy knows

00:18:27.349 --> 00:18:29.269
which side his bread is buttered on. Is that

00:18:29.269 --> 00:18:32.869
the phrase? Yeah, no, 100%. That's a very good

00:18:32.869 --> 00:18:35.630
call. It's a very good song. Yeah, fantastic.

00:18:36.450 --> 00:18:39.789
Now I have to respond to it. So I think I'm going

00:18:39.789 --> 00:18:43.309
to go, ooh, you know what I'm going to do? After

00:18:43.309 --> 00:18:46.849
that, let's get a little weird with it. This

00:18:46.849 --> 00:18:50.710
is also a song that... Broke out from a Kevin

00:18:50.710 --> 00:18:54.230
Smith movie. Zack and Miri make a porno. And

00:18:54.230 --> 00:18:57.309
I don't know if you are a fan of Kevin Smith

00:18:57.309 --> 00:18:59.829
or of that movie. You might already know which

00:18:59.829 --> 00:19:03.529
song I'm thinking of. But MC Chris, Fet's Vet.

00:19:03.769 --> 00:19:08.009
Of course. Now, OK, I've got a nerd thing going

00:19:08.009 --> 00:19:11.009
as well with my like kind of video game music

00:19:11.009 --> 00:19:15.230
sort of vibe. But this was such a breakout moment.

00:19:15.289 --> 00:19:19.430
I feel like for nerdcore rap like. I am not an

00:19:19.430 --> 00:19:21.529
expert in the genre, but when I think about like

00:19:21.529 --> 00:19:25.069
nerdcore, I think like Weird Al is really kind

00:19:25.069 --> 00:19:28.609
of like a heavy early origin point. But he was

00:19:28.609 --> 00:19:30.690
kind of he was kind of nerdy and doing like all

00:19:30.690 --> 00:19:32.430
kinds of different stuff. The fact that he also

00:19:32.430 --> 00:19:35.349
did like Amish Paradise and like all about the

00:19:35.349 --> 00:19:37.390
Pentiums and stuff like that was kind of like,

00:19:37.490 --> 00:19:39.630
you know, just part and parcel to what he was

00:19:39.630 --> 00:19:45.490
doing. MC Chris was the first. person i could

00:19:45.490 --> 00:19:48.410
think of who lived exclusively in that realm

00:19:48.410 --> 00:19:52.170
it wasn't just because it was funny it was nerd

00:19:52.170 --> 00:19:55.869
oriented and also i mean weird al is also like

00:19:55.869 --> 00:19:59.269
incredible at rap and everything that he tackles

00:19:59.269 --> 00:20:02.349
but like you know he he is a wonderful musician

00:20:02.349 --> 00:20:04.849
and a parody artist mc chris is not a parody

00:20:04.849 --> 00:20:08.410
artist he's just somebody who is you know genuinely

00:20:08.410 --> 00:20:10.190
interested in nerd stuff that's what he wants

00:20:10.190 --> 00:20:14.230
to talk about and like what a great song If it's

00:20:14.230 --> 00:20:16.950
not the first breakout hit of the genre, it was

00:20:16.950 --> 00:20:19.849
definitely the one for me. And somebody else

00:20:19.849 --> 00:20:21.630
can tell me that I'm wrong on the Internet and

00:20:21.630 --> 00:20:24.130
I would love to see what I'm missing from before

00:20:24.130 --> 00:20:28.009
that. But yeah, that song is what made Zack and

00:20:28.009 --> 00:20:30.750
Miri make a porno to me. It's a great track.

00:20:30.869 --> 00:20:35.440
I love that nerdcore scene in rap. I had a chance

00:20:35.440 --> 00:20:39.000
to catch MC Lars set opening up for Bowling for

00:20:39.000 --> 00:20:42.599
Soup, and he released a song at the time called

00:20:42.599 --> 00:20:45.640
This Gigantic Robot Kills. All my friends are

00:20:45.640 --> 00:20:49.480
on it. Yeah. That song. I am so upset that that

00:20:49.480 --> 00:20:53.079
song did not make my ska punk playlist with Scott

00:20:53.079 --> 00:20:57.039
Kloppenstein, because to me, that song is a defining

00:20:57.039 --> 00:21:00.599
moment for nerdcore ska. Oh, totally. It's great.

00:21:01.109 --> 00:21:03.769
It's such a good song and Suburban Legends on

00:21:03.769 --> 00:21:06.170
it, Aquabats are on it. It's got so many like

00:21:06.170 --> 00:21:11.410
great features and it's an awesome thing in a

00:21:11.410 --> 00:21:14.869
scene when you see somebody that's like outside

00:21:14.869 --> 00:21:17.450
of it or sort of adjacent to your scene kind

00:21:17.450 --> 00:21:21.650
of come in and be like, yo. i clearly know what's

00:21:21.650 --> 00:21:23.490
up like sometimes you know people try and do

00:21:23.490 --> 00:21:25.650
that and they end up picking the band that everybody

00:21:25.650 --> 00:21:27.890
kind of hates or it's like you know the really

00:21:27.890 --> 00:21:30.910
really obvious biggest top of the pops kind of

00:21:30.910 --> 00:21:34.049
thing and it's like okay all right yeah thank

00:21:34.049 --> 00:21:38.430
you but you know uh but yeah that was like lars

00:21:38.430 --> 00:21:42.009
came in and just nailed it and the song is fun

00:21:42.009 --> 00:21:45.789
and all the references the music video is so

00:21:45.789 --> 00:21:49.000
good If you haven't seen that music video. But

00:21:49.000 --> 00:21:51.480
that's not a Kevin Smith movie. We have gotten

00:21:51.480 --> 00:21:54.180
off the beaten path. A little bit. I'm going

00:21:54.180 --> 00:21:56.019
to try to give us a quick right turn and get

00:21:56.019 --> 00:21:57.960
us right back on that path here. Yeah, yeah,

00:21:58.000 --> 00:21:59.980
yeah. Sorry, I love talking music, so I have

00:21:59.980 --> 00:22:02.019
no problem breaking off every now and then. But

00:22:02.019 --> 00:22:04.859
let's get back on track. Going from nerdcore

00:22:04.859 --> 00:22:07.859
rap, I'm going to go to a hip -hop song. I'm

00:22:07.859 --> 00:22:09.160
going to follow that up because I want to stay

00:22:09.160 --> 00:22:12.579
with this upbeat vibe we're going with here.

00:22:12.839 --> 00:22:15.059
And I'm going to go back to Jay and Silent Bob

00:22:15.059 --> 00:22:18.420
Strike Back. With the song that kicks off with

00:22:18.420 --> 00:22:22.299
probably my favorite rap introduction of all

00:22:22.299 --> 00:22:27.099
time. Unconceivable, unbelievable, grammar like

00:22:27.099 --> 00:22:30.000
a hammer, information receivable, sent by the

00:22:30.000 --> 00:22:33.039
Lord, here and abroad, with words well adored,

00:22:33.039 --> 00:22:37.859
now they can't be ignored. Run DMC, tougher than

00:22:37.859 --> 00:22:40.440
leather, from Jay and Silent Bob Strike Back.

00:22:40.990 --> 00:22:44.470
As soon as I heard that song in 1988 when I had

00:22:44.470 --> 00:22:47.230
the cassette, it instantly became my favorite

00:22:47.230 --> 00:22:52.809
Run DMC song. Thankfully, in 2002, I had a chance

00:22:52.809 --> 00:22:55.890
to see Run DMC open for Aerosmith and perform

00:22:55.890 --> 00:22:59.410
that song live. So I'll always have that. Seeing

00:22:59.410 --> 00:23:02.210
it in Jay and Silent Bob Strike Back, that scene

00:23:02.210 --> 00:23:05.710
is awesome. This song is awesome. And it's definitely

00:23:05.710 --> 00:23:08.829
keeping that really fun, upbeat vibe for Side

00:23:08.829 --> 00:23:11.490
1 that we got going here. Yeah, that's a great

00:23:11.490 --> 00:23:14.650
call. I think there's also a lot of Run DMC and

00:23:14.650 --> 00:23:17.589
stuff of that era in Cop Out, right? Mm -hmm.

00:23:17.670 --> 00:23:20.349
There's a lot of that. Yeah, that's obviously

00:23:20.349 --> 00:23:23.170
a lot of that kind of old school hip hop vibe.

00:23:23.230 --> 00:23:25.750
That's really fun. I will then, I'm going to

00:23:25.750 --> 00:23:30.670
counter and keep it hip hop, but I'm going to

00:23:30.670 --> 00:23:33.650
go all the way up to Clerks 3 and give a shout

00:23:33.650 --> 00:23:37.450
to Mega Ran with Tractor Beam. All right. So

00:23:37.450 --> 00:23:41.440
Mega Ran is like... He is the guy, I think, in

00:23:41.440 --> 00:23:43.960
the nerdcore scene at the moment that is doing

00:23:43.960 --> 00:23:47.359
the most. He is the coolest. He was one of those

00:23:47.359 --> 00:23:50.500
artists when I started playing and people saw

00:23:50.500 --> 00:23:52.839
what I was doing. Because even though I'm not

00:23:52.839 --> 00:23:55.720
doing hip hop at all, people were just like,

00:23:55.839 --> 00:23:57.720
are you friends with Megaran? You should be friends

00:23:57.720 --> 00:24:00.099
with Megaran. His name just kept coming up all

00:24:00.099 --> 00:24:03.329
the time. And then lo and behold. apparently

00:24:03.329 --> 00:24:05.789
kevin smith likes both of us puts us both on

00:24:05.789 --> 00:24:08.190
the same soundtrack has us both playing his cruise

00:24:08.190 --> 00:24:11.009
in february there's like a cruise from miami

00:24:11.009 --> 00:24:13.529
to the bahamas it's gonna be like a kevin smith

00:24:13.529 --> 00:24:16.829
comic -con kind of thing at sea and we're both

00:24:16.829 --> 00:24:20.049
playing and so is soul asylum actually nice and

00:24:20.049 --> 00:24:23.210
telethon who also have a song in clerks three

00:24:23.210 --> 00:24:25.829
they're gonna be on that as well but yeah and

00:24:25.829 --> 00:24:28.509
so we started talking uh on the internet and

00:24:28.509 --> 00:24:32.700
he is a great dude and a great musician and he's

00:24:32.700 --> 00:24:36.079
got a great song in clerks three tractor beam

00:24:36.079 --> 00:24:40.480
love the track i love the fact that kevin smith

00:24:40.480 --> 00:24:43.940
has a soft spot for nerdcore and that style of

00:24:43.940 --> 00:24:47.240
hip -hop and he yeah he could include it in a

00:24:47.240 --> 00:24:50.069
movie in a way where it doesn't embrace it, but

00:24:50.069 --> 00:24:52.230
the way he includes these songs in the movie

00:24:52.230 --> 00:24:55.410
show, this is genuine love for them. He's not

00:24:55.410 --> 00:24:58.130
trying to be tongue in cheek. He genuinely likes

00:24:58.130 --> 00:25:00.849
this music. And that's what I love about the

00:25:00.849 --> 00:25:04.369
songs that he picks. Yeah. And, and also, you

00:25:04.369 --> 00:25:06.130
know, we've, we've hit on before. He likes a

00:25:06.130 --> 00:25:08.150
lot of sky. He likes a lot of punk, but then

00:25:08.150 --> 00:25:12.430
like, he likes stuff. That's really like, uh,

00:25:12.609 --> 00:25:15.130
gosh, I don't know what the right word is for

00:25:15.130 --> 00:25:18.559
it, but just sort of like, Like music that isn't

00:25:18.559 --> 00:25:21.440
worried about being, it's all going to sound

00:25:21.440 --> 00:25:22.859
like an insult, but I really don't mean it that

00:25:22.859 --> 00:25:26.119
way. Really like sort of genuine and music that's

00:25:26.119 --> 00:25:28.559
not too worried about being cool. Like Soul Asylum,

00:25:28.599 --> 00:25:31.819
I don't feel like worries about if it's cool

00:25:31.819 --> 00:25:35.579
or like there's a great John Gorka, I'm from

00:25:35.579 --> 00:25:39.180
New Jersey song also in Quirks 3. That's like

00:25:39.180 --> 00:25:41.740
just earnest, really earnest. I think that's

00:25:41.740 --> 00:25:43.940
the word. Okay. Yeah, that makes sense. And I

00:25:43.940 --> 00:25:46.359
feel like a lot of like ska and punk and nerdcore,

00:25:46.500 --> 00:25:49.039
it's my background stuff that I love, but I feel

00:25:49.039 --> 00:25:50.400
like there's a little bit of a concern about

00:25:50.400 --> 00:25:54.119
being cool, but like an awareness of like, yeah,

00:25:54.119 --> 00:25:56.420
we're kind of doing stuff a little bit different

00:25:56.420 --> 00:25:59.220
that these more like earnest tracks don't have.

00:25:59.299 --> 00:26:01.160
And so his taste is really all over the place.

00:26:01.539 --> 00:26:03.819
I agree. And I think that's the perfect landing

00:26:03.819 --> 00:26:07.619
spot for me to close outside A, because I'm going

00:26:07.619 --> 00:26:11.609
to go with a song. That is so unique because

00:26:11.609 --> 00:26:14.529
Kevin Smith has a way about putting these soundtracks

00:26:14.529 --> 00:26:17.170
together where it can be a lot of really fun,

00:26:17.349 --> 00:26:21.970
upbeat, happy songs. And then there could be

00:26:21.970 --> 00:26:26.569
moments of real levity with big, powerful musical

00:26:26.569 --> 00:26:32.289
pieces. And Alanis Morissette in dogma has that

00:26:32.289 --> 00:26:35.369
with the song still. So I'm going to close outside

00:26:35.369 --> 00:26:39.660
a with that because. She has such a unique vocal

00:26:39.660 --> 00:26:42.960
phrasing and delivery. She's a one -of -a -kind

00:26:42.960 --> 00:26:45.920
artist, let's just be honest. You hear of Alanis'

00:26:45.920 --> 00:26:49.319
song, you know who's singing. And this track

00:26:49.319 --> 00:26:51.859
is very underrated in her discography because

00:26:51.859 --> 00:26:54.400
even though it was included on her collection,

00:26:54.700 --> 00:26:58.019
Greatest Hits, most times when you mention Alanis

00:26:58.019 --> 00:27:00.880
Morissette, people immediately go to Jagged Little

00:27:00.880 --> 00:27:04.019
Pill or supposed former infatuation junkie. And

00:27:04.019 --> 00:27:07.170
the whole situation with Dogma, with... How the

00:27:07.170 --> 00:27:09.509
Weinstein Company holds the rights to the film

00:27:09.509 --> 00:27:12.089
and Smith can't do anything with it. I feel like

00:27:12.089 --> 00:27:15.710
this one kind of gets pushed out of memory because

00:27:15.710 --> 00:27:18.069
it's so hard to find. If you find the Blu -ray

00:27:18.069 --> 00:27:20.809
of that, you're sitting on some really good money

00:27:20.809 --> 00:27:24.670
because it is not easy to find. But I just can't

00:27:24.670 --> 00:27:27.490
see a songs from Kevin Smith movies mixtape that

00:27:27.490 --> 00:27:30.529
doesn't include this song. So closing out side

00:27:30.529 --> 00:27:33.690
A, Alanis Morissette and Still. That's a great

00:27:33.690 --> 00:27:36.609
song in that movie, but also. I mean, it's made

00:27:36.609 --> 00:27:38.690
so much better when we find out that she's God.

00:27:39.130 --> 00:27:43.730
And I wonder, I mean, obviously, like music comes

00:27:43.730 --> 00:27:47.509
last, you know, but I wonder if he was thinking

00:27:47.509 --> 00:27:50.430
about using an Alanis song in that movie and

00:27:50.430 --> 00:27:52.869
then was like, wait a minute, can we get her

00:27:52.869 --> 00:27:55.410
for God? Like, you know, I think at the point

00:27:55.410 --> 00:27:57.150
when you cast her, you have to obviously use

00:27:57.150 --> 00:27:59.869
one of her songs. But yeah, Dogma, I think, is

00:27:59.869 --> 00:28:02.470
my favorite Kevin Smith movie. And I do have

00:28:02.470 --> 00:28:05.859
it on DVD. Oh, so. That's why you're retired

00:28:05.859 --> 00:28:09.200
now. I get it. I see how. I don't think it's

00:28:09.200 --> 00:28:11.559
worth that much money. What is it worth? Like

00:28:11.559 --> 00:28:14.480
20 bucks or something? You know, for DVDs, that's

00:28:14.480 --> 00:28:17.359
a lot now. Right. Yeah, you're right. It's worth

00:28:17.359 --> 00:28:19.640
more than all the other DVDs, which is you have

00:28:19.640 --> 00:28:23.259
to pay to ship them. Exactly. Yeah. Well, that

00:28:23.259 --> 00:28:26.099
mixtapers concludes side A of our songs from

00:28:26.099 --> 00:28:29.319
Kevin Smith movies mixtape, which consists of

00:28:29.319 --> 00:28:33.140
Squirt Guns Social from Mallrats. Stroke 9's

00:28:33.140 --> 00:28:35.380
Kick Some Ass from Jay and Silent Bob Strike

00:28:35.380 --> 00:28:38.480
Back. Afro Man's Because I Got High from Jay

00:28:38.480 --> 00:28:41.240
and Silent Bob Strike Back. Alice in Chains'

00:28:41.380 --> 00:28:45.380
Got Me Wrong from Clerks. Jackson 5's ABC from

00:28:45.380 --> 00:28:48.859
Clerks 2. The Mighty Mighty Boss Tones' The Impression

00:28:48.859 --> 00:28:52.980
I Get from Chasing Amy. MC Chris's Fetz Vet from

00:28:52.980 --> 00:28:56.460
Zack and Miri Make a Porno. Run DMC's Tougher

00:28:56.460 --> 00:28:58.920
Than Leather from Jay and Silent Bob Strike Back.

00:28:59.630 --> 00:29:03.450
Mega Rant's Tractor Beam from Clerks 3, and Alanis

00:29:03.450 --> 00:29:06.410
Morissette's Still from Dogma. Remember to head

00:29:06.410 --> 00:29:09.190
to myweeklymixtape .com to hear all the songs

00:29:09.190 --> 00:29:12.210
we've discussed in this mix through the playlist

00:29:12.210 --> 00:29:15.170
embedded on the episode page. Now, Chris, while

00:29:15.170 --> 00:29:16.609
you're here, I want to take a few minutes and

00:29:16.609 --> 00:29:19.509
talk to you a little bit more about Loser, the

00:29:19.509 --> 00:29:23.529
band that you describe its sound as 8 -bit ska

00:29:23.529 --> 00:29:28.880
punk or something. Yeah, I grew up. ska punk

00:29:28.880 --> 00:29:32.160
i've wanted to do a ska band since i was in middle

00:29:32.160 --> 00:29:34.440
school everybody that's ever played music with

00:29:34.440 --> 00:29:36.680
me i've tried to make it into a ska band and

00:29:36.680 --> 00:29:39.339
everybody's always said no and i've never gotten

00:29:39.339 --> 00:29:41.420
to do it so that was always going to be part

00:29:41.420 --> 00:29:45.000
of it but i also i use a lot of like chiptune

00:29:45.000 --> 00:29:47.380
kind of sounds like there's a lot of nes's and

00:29:47.380 --> 00:29:50.920
game boys and just odds and ends that fits in

00:29:50.920 --> 00:29:54.180
that world it's an odd thing chipped i maybe

00:29:54.180 --> 00:29:56.460
all music genres are like this and i only know

00:29:56.460 --> 00:30:00.200
this about these three genres because of my closeness

00:30:00.200 --> 00:30:03.160
to them but they all do have a little bit of

00:30:03.160 --> 00:30:05.700
a tendency to be like they're chiptune people

00:30:05.700 --> 00:30:07.819
are like well it's not really chiptune if it's

00:30:07.819 --> 00:30:11.019
not 100 coming from game boy sound cards and

00:30:11.019 --> 00:30:13.500
nes and whatever and i'm like not really a purist

00:30:13.500 --> 00:30:15.960
on the hardware you got your ska purists who

00:30:15.960 --> 00:30:18.220
are like if it's not from 1960s jamaica it's

00:30:18.220 --> 00:30:21.140
just sparkling horn music or whatever and like

00:30:21.500 --> 00:30:23.420
You know, punk rockers have always tried to keep

00:30:23.420 --> 00:30:26.140
punk rock elite. So it's hard to say it's any

00:30:26.140 --> 00:30:29.099
of those things, really. But it pulls from all

00:30:29.099 --> 00:30:31.640
of them and, you know, all kinds of different

00:30:31.640 --> 00:30:34.019
things when I put it together. Well, I think

00:30:34.019 --> 00:30:37.420
this clip growing up from your Super Guario Kart

00:30:37.420 --> 00:30:40.859
EP, which is friggin brilliant, I have to add,

00:30:40.960 --> 00:30:43.579
will give listeners a little better idea of the

00:30:43.579 --> 00:31:11.700
kind of music we're talking about here. Now,

00:31:11.700 --> 00:31:13.619
Chris, you've also had the chance to record with

00:31:13.619 --> 00:31:16.259
other great ska punk bands and artists, such

00:31:16.259 --> 00:31:19.660
as former My Weekly Mixtape guest Scott Kloppenstein,

00:31:19.720 --> 00:31:23.200
along with Aaron Barrett of Real Big Fish, Suburban

00:31:23.200 --> 00:31:26.000
Legends, We Are The Union, and The Ruffalos,

00:31:26.079 --> 00:31:29.140
which are featured on this clip, Sound the Alarm.

00:31:50.539 --> 00:31:52.940
Part of why I wanted to be in a band, I've always

00:31:52.940 --> 00:31:56.180
enjoyed that sort of like you've got kind of

00:31:56.180 --> 00:31:59.140
like a gang with you. You know, when you're on

00:31:59.140 --> 00:32:02.779
tour, it doesn't matter what the person in your

00:32:02.779 --> 00:32:05.640
band has done or how drunk they are or who they

00:32:05.640 --> 00:32:08.960
pissed off. You collectively have to get everybody

00:32:08.960 --> 00:32:12.259
back in the van and get to the next show to keep

00:32:12.259 --> 00:32:14.779
things going. And so you have everybody's back.

00:32:14.900 --> 00:32:16.839
And that was that was one of the things that

00:32:16.839 --> 00:32:20.410
I. why I never wanted to do a solo project because

00:32:20.410 --> 00:32:23.549
I was like, more than half of my interest in

00:32:23.549 --> 00:32:26.390
this is like that community aspect of like having

00:32:26.390 --> 00:32:29.490
a band, but just, you know, between me wanting

00:32:29.490 --> 00:32:31.250
to do something really weird that nobody else

00:32:31.250 --> 00:32:33.650
wanted to do. And then also just the sort of

00:32:33.650 --> 00:32:36.930
economic realities of like bands and schedules

00:32:36.930 --> 00:32:40.390
and seats in the van or flights or whatever,

00:32:40.490 --> 00:32:43.789
like just really made doing it as a solo project

00:32:43.789 --> 00:32:46.990
makes sense, but it bummed me out. So what I

00:32:46.990 --> 00:32:49.369
did, my solution to that was like, well, I've

00:32:49.369 --> 00:32:52.230
got all these friends. They should all guest

00:32:52.230 --> 00:32:55.049
on a song. So everybody comes in, they do it

00:32:55.049 --> 00:32:57.710
once. So when I'm on stage, if things are going

00:32:57.710 --> 00:33:00.589
poorly or if I'm, you know, a little road weary

00:33:00.589 --> 00:33:02.670
from doing things myself, I just kind of close

00:33:02.670 --> 00:33:05.089
my eyes and be like, oh, yeah, there's Aaron.

00:33:05.369 --> 00:33:08.569
Aaron's here. It's OK. Or like, oh, yeah, Brent

00:33:08.569 --> 00:33:11.390
is playing with me. He's he's got my back. You

00:33:11.390 --> 00:33:14.130
know, Rylan Steen, the. former drummer of Real

00:33:14.130 --> 00:33:16.490
Big Fish, currently drumming for America. Yes.

00:33:16.549 --> 00:33:19.069
He produces all the tracks that you've heard

00:33:19.069 --> 00:33:21.109
so far have been produced by him and he plays

00:33:21.109 --> 00:33:23.950
drums on several of them. And, you know, yeah,

00:33:24.029 --> 00:33:26.869
I used to open for Real Big Fish anyway. So it

00:33:26.869 --> 00:33:29.150
was it's just like, OK, cool. Ryland's here.

00:33:29.230 --> 00:33:32.190
Like, it's all good. Well, the ska punk scene

00:33:32.190 --> 00:33:35.309
to me has always felt like an honest to God community.

00:33:35.730 --> 00:33:38.569
And it feels like the majority of ska punk bands,

00:33:38.690 --> 00:33:40.849
even here in New Jersey, but I'm sure out on

00:33:40.849 --> 00:33:43.089
the other side of the country where you are,

00:33:43.170 --> 00:33:46.670
genuinely go out of their way to support other

00:33:46.670 --> 00:33:49.309
bands in the community, which on a musical level

00:33:49.309 --> 00:33:53.500
is extremely refreshing to see happening. so

00:33:53.500 --> 00:33:56.539
much so i mean that's really why i'm here i mean

00:33:56.539 --> 00:33:58.420
i love the music too i love the music i love

00:33:58.420 --> 00:34:00.779
the bands uh and yeah you guys have a lot of

00:34:00.779 --> 00:34:03.279
great bands out on the on the east coast as well

00:34:03.279 --> 00:34:05.880
like like all over the world we've we've got

00:34:05.880 --> 00:34:09.860
a few of these bands in any given town and yeah

00:34:09.860 --> 00:34:12.199
it's the community that really holds us together

00:34:12.199 --> 00:34:15.559
and the bands that don't do that Get pretty quickly

00:34:15.559 --> 00:34:18.260
shunned if you can't have other people's back,

00:34:18.400 --> 00:34:20.320
you know, give them a couch to crash on when

00:34:20.320 --> 00:34:21.980
they come through or floor. It's a ska band.

00:34:22.039 --> 00:34:23.500
There's too many people. You don't have couches

00:34:23.500 --> 00:34:25.639
for everybody. That's just like, you know, unless

00:34:25.639 --> 00:34:27.559
you're a Rockefeller, you know, that's not going

00:34:27.559 --> 00:34:30.219
to happen. Or you own a copy of Dogma on DVD.

00:34:30.440 --> 00:34:33.739
Or you own a copy of Dogma. Exactly. You know,

00:34:33.880 --> 00:34:36.940
we're talking big bucks here. And punk rock is

00:34:36.940 --> 00:34:39.320
also really good at that. Not quite as good as

00:34:39.320 --> 00:34:41.719
ska, just because I think it's a little bit bigger.

00:34:42.159 --> 00:34:46.099
And so there's a little less like if you're in

00:34:46.099 --> 00:34:49.320
ska bands or, you know, ska bands, it is not

00:34:49.320 --> 00:34:52.199
six degrees with Kevin Bacon here. It's like

00:34:52.199 --> 00:34:54.420
if you don't know somebody, you're only one or

00:34:54.420 --> 00:34:56.679
two links away from them. Yeah. And whenever

00:34:56.679 --> 00:35:00.039
I've tried to engage with communities that were

00:35:00.039 --> 00:35:02.480
outside of like ska and punk, I just that whole

00:35:02.480 --> 00:35:07.739
me first sort of thing has been so disheartening.

00:35:07.739 --> 00:35:11.260
And so the antithesis of like what. doing music

00:35:11.260 --> 00:35:13.579
is supposed to be about to me it's such a community

00:35:13.579 --> 00:35:15.360
thing like if we're not doing that what are we

00:35:15.360 --> 00:35:18.179
doing and that is so refreshing to hear and i

00:35:18.179 --> 00:35:20.380
just want to point out to my punk fans listening

00:35:20.380 --> 00:35:23.420
you were talking literally me first not me first

00:35:23.420 --> 00:35:25.500
in the gimme gimme's right no not me first in

00:35:25.500 --> 00:35:27.739
the gimme gimme's no well and i mean but there's

00:35:27.739 --> 00:35:29.800
an example though like i mean i do a bunch of

00:35:29.800 --> 00:35:32.380
videos for no effects and stuff and mike has

00:35:32.380 --> 00:35:36.179
been an ardent supporter of mine and and of loser

00:35:36.179 --> 00:35:42.199
as a project and i have slept at his place in

00:35:42.199 --> 00:35:44.800
and he's in vegas now but he's he's made his

00:35:44.800 --> 00:35:47.079
home available to me many times when i've needed

00:35:47.079 --> 00:35:50.199
it fat mike's a good dude yeah i mean he's plays

00:35:50.199 --> 00:35:52.019
in me first in the gimme gimme's but you know

00:35:52.019 --> 00:35:55.679
he's he's uh he's he's a giver yeah i mean he's

00:35:55.679 --> 00:35:58.219
done so much especially through fat wreck i mean

00:35:58.219 --> 00:36:02.139
so many bands that i grew up with were because

00:36:02.139 --> 00:36:04.360
i discovered them through fat wreck comps and

00:36:04.360 --> 00:36:06.699
everything else so love what he's done for the

00:36:06.699 --> 00:36:09.599
punk scene Totally. He's got an ear for good

00:36:09.599 --> 00:36:11.659
bands. Now, I am going to jump on that, though.

00:36:11.780 --> 00:36:13.980
Yeah, yeah, go. Because you were talking about

00:36:13.980 --> 00:36:16.280
music videos. So like I mentioned at the top

00:36:16.280 --> 00:36:18.880
of the show, you've directed music videos for

00:36:18.880 --> 00:36:22.679
NoFX, Real Big Fish, Goldfinger, The Bomb Pops,

00:36:22.780 --> 00:36:26.000
Suburban Legends, Scott Kloppenstein, Frank Turner.

00:36:26.239 --> 00:36:28.639
It's not like you're just reaching out to these

00:36:28.639 --> 00:36:31.139
bands and saying, hey, guys, I want to direct

00:36:31.139 --> 00:36:35.780
your next music video. How, as an artist. Do

00:36:35.780 --> 00:36:39.300
you forge these connections to build up such

00:36:39.300 --> 00:36:42.579
an amazing resume of content? You know, honestly,

00:36:42.699 --> 00:36:45.159
I've been really lucky. It started out just like

00:36:45.159 --> 00:36:48.159
I wanted to be a filmmaker. I was trying to make

00:36:48.159 --> 00:36:51.679
movies and TV and stuff. And that shit's expensive

00:36:51.679 --> 00:36:55.019
and hard to do. So I kind of didn't really do

00:36:55.019 --> 00:36:57.320
it. And I found myself playing music because

00:36:57.320 --> 00:37:00.059
the cool thing about playing music, if you really

00:37:00.059 --> 00:37:02.380
like it and you're and you're not in it to be

00:37:02.380 --> 00:37:05.170
cool or something, is that. I feel like there's

00:37:05.170 --> 00:37:07.769
a lot of other art forms where unless you really

00:37:07.769 --> 00:37:10.269
have the money and the access, you can't do it.

00:37:10.289 --> 00:37:14.250
You can't be like, oh, I want to make a big action

00:37:14.250 --> 00:37:18.130
movie. Okay, so how do I afford to blow up the

00:37:18.130 --> 00:37:20.730
plane that's on page 45? You know what I mean?

00:37:20.789 --> 00:37:22.750
Right, of course. There's a lot of stuff that

00:37:22.750 --> 00:37:26.170
you just can't do without money and access. But

00:37:26.170 --> 00:37:29.489
what's cool is that as a musician, whether you

00:37:29.489 --> 00:37:33.869
are playing the local dive bar on the... mother's

00:37:33.869 --> 00:37:38.969
day afternoon matinee show to the bartender or

00:37:38.969 --> 00:37:43.150
you're playing the forum to 70 000 people you

00:37:43.150 --> 00:37:46.369
are doing the same thing you are playing your

00:37:46.369 --> 00:37:50.650
songs on stage in front of people and there's

00:37:50.650 --> 00:37:53.570
really not any rules like yeah okay maybe you

00:37:53.570 --> 00:37:56.210
can't afford the taylor swift led stage with

00:37:56.210 --> 00:37:59.190
the risers and stuff like that but like you can

00:37:59.190 --> 00:38:03.519
buy an inflatable wacky waver guy or like whatever

00:38:03.519 --> 00:38:06.579
you see your show is being you can do it you

00:38:06.579 --> 00:38:09.539
can do it and so I kind of started doing that

00:38:09.539 --> 00:38:11.420
just because like well I want to actually do

00:38:11.420 --> 00:38:14.480
stuff and and as I was doing that I realized

00:38:14.480 --> 00:38:17.539
like it was kind of in that era like late 2000s

00:38:17.539 --> 00:38:21.239
pre -2010 when music videos were pretty dead

00:38:21.239 --> 00:38:24.500
like MTV had stopped existing and I really feel

00:38:24.500 --> 00:38:27.019
like the first wave of music videos although

00:38:27.019 --> 00:38:31.050
some people were good at it and stuff And some

00:38:31.050 --> 00:38:34.190
bands probably liked it. It really for a lot

00:38:34.190 --> 00:38:35.869
of bands, it was like, hey, man, we're musicians.

00:38:36.730 --> 00:38:40.230
Music videos are just like this corporate advertising

00:38:40.230 --> 00:38:42.369
tool. They make us do like, you know, I feel

00:38:42.369 --> 00:38:45.570
like bands kind of generally are like, fuck a

00:38:45.570 --> 00:38:49.289
music video, you know, but you had to do it.

00:38:49.289 --> 00:38:51.130
You had to do it because there was MTV. And so

00:38:51.130 --> 00:38:53.829
but that had died and it was no longer important

00:38:53.829 --> 00:38:56.269
that way. But YouTube hadn't risen up. We hadn't

00:38:56.269 --> 00:38:59.099
done the like. OK, go and stuff like that with

00:38:59.099 --> 00:39:01.280
the viral videos. It hadn't become like, hey,

00:39:01.440 --> 00:39:04.219
this is super important, very democratic and

00:39:04.219 --> 00:39:06.199
everybody needs to do it. So it was kind of in

00:39:06.199 --> 00:39:10.119
that era. And I was like, well, we could do some

00:39:10.119 --> 00:39:11.960
like music videos. And I first started working

00:39:11.960 --> 00:39:14.539
with Suburban Legends. I had auditioned to play

00:39:14.539 --> 00:39:17.500
trumpet for them and they found a much better

00:39:17.500 --> 00:39:20.380
trumpet player. But my demo tape was better than

00:39:20.380 --> 00:39:22.900
anybody else's because I used the opportunity

00:39:22.900 --> 00:39:25.179
to kind of introduce myself and make some stuff

00:39:25.179 --> 00:39:28.050
kind of fun. So we ended up doing some music

00:39:28.050 --> 00:39:29.929
videos and then other people around the scene

00:39:29.929 --> 00:39:32.449
saw it and just other bands. I was playing the

00:39:32.449 --> 00:39:35.809
local bar and DIY spot circuit. Like we started

00:39:35.809 --> 00:39:38.710
just doing stuff. And one of those bands was

00:39:38.710 --> 00:39:41.849
the Bomb Pops. And so they ended up getting on

00:39:41.849 --> 00:39:45.929
Fat Rack. Jen was working with Fat Mike, helping

00:39:45.929 --> 00:39:47.510
him with some projects. And she was like, well,

00:39:47.550 --> 00:39:49.210
you just need Chris Grau to come over here and

00:39:49.210 --> 00:39:51.869
do stuff. And so really everything's been entirely

00:39:51.869 --> 00:39:54.940
word of mouth. I've made things and because the

00:39:54.940 --> 00:39:57.320
way scone punk works, it's just, everybody's

00:39:57.320 --> 00:40:00.199
like, well, you, you gotta work with him. And

00:40:00.199 --> 00:40:03.280
it's spread around enough that I get to fly around

00:40:03.280 --> 00:40:05.800
the world making videos for these different bands

00:40:05.800 --> 00:40:08.340
now. So it's awesome. And I'm glad you brought

00:40:08.340 --> 00:40:10.699
up. Okay. Go, because I was going to chime in

00:40:10.699 --> 00:40:14.139
and say, if MTV died, okay, go is what brought

00:40:14.139 --> 00:40:17.760
it to the internet because their videos. are

00:40:17.760 --> 00:40:20.659
inspiring i literally when we have friends over

00:40:20.659 --> 00:40:23.079
sometimes we'll just go down an okay go rabbit

00:40:23.079 --> 00:40:25.300
hole if they've never seen the videos before

00:40:25.300 --> 00:40:28.639
because i love seeing people's initial reactions

00:40:28.639 --> 00:40:31.460
to some of the concepts and to me that is art

00:40:31.460 --> 00:40:34.480
kind of in 4d because you've got these great

00:40:34.480 --> 00:40:38.019
songs that are complemented by this visual assault

00:40:38.019 --> 00:40:40.639
of what some of the concepts are in this and

00:40:40.639 --> 00:40:44.840
that to me is what makes a great song greater

00:40:45.550 --> 00:40:48.670
Yeah, well, and OK Go are like such the masters

00:40:48.670 --> 00:40:51.809
of it. And they do. I mean, gosh, yeah, those

00:40:51.809 --> 00:40:54.210
videos are amazing. But I still have to say,

00:40:54.389 --> 00:40:58.429
not the greatest music video of all time. That

00:40:58.429 --> 00:41:02.869
title belongs to DJ Snake and Lil Jon Turn Down

00:41:02.869 --> 00:41:07.650
For What, directed by the Daniels. They did that

00:41:07.650 --> 00:41:11.929
Turn Down For What video, which is my favorite

00:41:11.929 --> 00:41:15.320
music video of all time. As a child of the 80s,

00:41:15.320 --> 00:41:17.699
Michael Jackson's Thriller always holds a...

00:41:17.699 --> 00:41:20.380
I mean, I had more nightmares with that thing,

00:41:20.539 --> 00:41:23.119
but it was so well done and so creative at the

00:41:23.119 --> 00:41:26.239
time when there was normally very little in terms

00:41:26.239 --> 00:41:28.239
of special effects in these videos because they

00:41:28.239 --> 00:41:31.219
were not meant to be these massive productions.

00:41:31.260 --> 00:41:35.320
So, Chris, being a seasoned music video director

00:41:35.320 --> 00:41:39.019
like you are, if there is an aspiring music video

00:41:39.019 --> 00:41:41.179
director listening to this episode right now,

00:41:41.219 --> 00:41:43.849
what advice... Would you give them if they're

00:41:43.849 --> 00:41:46.469
looking to make a name for themselves? I mean,

00:41:46.510 --> 00:41:48.949
the thing first and foremost is make the video

00:41:48.949 --> 00:41:51.429
like you have a cell phone in your pocket. I've

00:41:51.429 --> 00:41:54.050
done stuff on nice cameras. I've done stuff on

00:41:54.050 --> 00:41:58.389
super mid -range cameras. I have done real billable

00:41:58.389 --> 00:42:02.110
music videos for big bands that got coverage

00:42:02.110 --> 00:42:06.989
in big publications on my cell phone. You have

00:42:06.989 --> 00:42:10.230
it. You can do it. Go make it. I think the number

00:42:10.230 --> 00:42:13.889
one tip. is make the video. A lot of people talk

00:42:13.889 --> 00:42:16.610
about doing it and they don't do it. I'm seeing

00:42:16.610 --> 00:42:19.349
increasingly more bands are doing it DIY now

00:42:19.349 --> 00:42:22.769
because they have to. And I love to see that.

00:42:22.989 --> 00:42:28.829
I would say the second tip is think about shots

00:42:28.829 --> 00:42:32.610
and pace of cutting. I do see a lot of music

00:42:32.610 --> 00:42:35.170
videos when the band DIYs it or somebody who

00:42:35.170 --> 00:42:36.610
doesn't really know what they're doing. You see

00:42:36.610 --> 00:42:38.610
a lot of shots where it's like, okay, so everybody

00:42:38.610 --> 00:42:41.630
walks in the restaurant. And then they sit down

00:42:41.630 --> 00:42:43.989
and then they talk for a little bit and he hands

00:42:43.989 --> 00:42:46.889
him the cup and they do that all in one wide

00:42:46.889 --> 00:42:50.610
master shot. And it's like a 25 second shot and

00:42:50.610 --> 00:42:54.170
your entire song is only two minutes and 45 seconds.

00:42:54.690 --> 00:42:56.469
Don't do that. Don't do that. Stop doing that.

00:42:56.590 --> 00:42:58.929
Stop doing that. Film a wide of them walking

00:42:58.929 --> 00:43:02.329
in, do a close up of them going like that. No

00:43:02.329 --> 00:43:04.989
dialogue if it's not. If you're not going to

00:43:04.989 --> 00:43:06.889
put the words on the screen, if it's not the

00:43:06.889 --> 00:43:08.530
words from the thing, they're just moving their

00:43:08.530 --> 00:43:10.090
mouths and nobody knows what they're saying.

00:43:10.190 --> 00:43:12.750
You can get a quick like, what? Or like a reaction

00:43:12.750 --> 00:43:16.050
kind of a thing. But if they're saying, how was

00:43:16.050 --> 00:43:19.010
the weather? Nobody got it. Everybody missed

00:43:19.010 --> 00:43:22.090
it. Just don't do it. It's a pantomime. Music

00:43:22.090 --> 00:43:25.309
videos are a pantomime. Do that. Break it up

00:43:25.309 --> 00:43:27.610
into lots of shots. Get all the coverage so you

00:43:27.610 --> 00:43:30.309
can go cut, cut, cut, cut, cut. It takes more

00:43:30.309 --> 00:43:32.469
time, but I swear it's worth it. All right. Well,

00:43:32.530 --> 00:43:34.929
moving on to side B, I'm going to kill two birds

00:43:34.929 --> 00:43:37.309
with one stone because I'm going to start by

00:43:37.309 --> 00:43:39.510
playing a clip of a song, which I normally can't

00:43:39.510 --> 00:43:41.969
do. But because you're the guest, I'm going to

00:43:41.969 --> 00:43:45.309
do that. And the song is No Hope Loser featuring

00:43:45.309 --> 00:43:48.489
Scott Kloppenstein and Aaron Barrett from Real

00:43:48.489 --> 00:44:25.460
Big Fish. goes as no surprise that i already

00:44:25.460 --> 00:44:27.619
like this song because i talked about it with

00:44:27.619 --> 00:44:30.940
scott on the ultimate ska punk episode and i

00:44:30.940 --> 00:44:34.360
love the fact that it was in clerks three this

00:44:34.360 --> 00:44:39.539
song is so perfect in the movie i love the fact

00:44:39.539 --> 00:44:44.179
that ska punk is alive and well in the 2020s

00:44:44.179 --> 00:44:47.659
and carrying the torch for it is this new group

00:44:47.659 --> 00:44:51.360
of up -and -coming ska bands that i think is

00:44:51.360 --> 00:44:53.880
this the fourth wave Would you consider that?

00:44:53.960 --> 00:44:56.659
Maybe it is, but I absolutely love this track

00:44:56.659 --> 00:44:58.219
and I'm not just saying it because you're on

00:44:58.219 --> 00:45:01.340
the show, but I'm going to kick things off on

00:45:01.340 --> 00:45:05.039
side B with no hope by you. And I guess my immediate

00:45:05.039 --> 00:45:07.960
question for this song is how did it end up in

00:45:07.960 --> 00:45:12.559
clerks three? Yeah. So Kevin Smith tweeted about

00:45:12.559 --> 00:45:15.719
looking for some, I cannot remember if he said

00:45:15.719 --> 00:45:18.300
that it was for clerks three, because I feel

00:45:18.300 --> 00:45:20.440
like I was unaware that that was going on at

00:45:20.440 --> 00:45:22.969
the time. But he said he was looking for some

00:45:22.969 --> 00:45:26.889
music for something and to tweet him links. And

00:45:26.889 --> 00:45:31.929
it turned up in my feed because like there is

00:45:31.929 --> 00:45:34.869
an instinct that I have. And this is not a good

00:45:34.869 --> 00:45:37.789
instinct, but I feel like probably a lot of people

00:45:37.789 --> 00:45:39.550
have it where it's like, oh, I don't want to

00:45:39.550 --> 00:45:41.610
look desperate. I think if I just seen it in

00:45:41.610 --> 00:45:43.670
a vacuum, I'd be like, oh, I'm sure a bunch of

00:45:43.670 --> 00:45:45.530
people are doing that. I don't want to look like

00:45:45.530 --> 00:45:47.590
I'm try hard or whatever. Like, I'm not going

00:45:47.590 --> 00:45:49.909
to tweet at that. But it showed up in my feed

00:45:49.909 --> 00:45:52.750
because like three of my friends had replied

00:45:52.750 --> 00:45:56.010
to it. And so I was like, well, you can't be

00:45:56.010 --> 00:45:57.809
lame if all your friends are already lame. Like,

00:45:57.869 --> 00:46:00.670
all right, cool, let's do it. And I sent it in.

00:46:01.030 --> 00:46:04.150
I tweeted it. And then a couple of days later,

00:46:04.230 --> 00:46:08.329
he liked that tweet. And I was like, well, that's

00:46:08.329 --> 00:46:10.840
interesting. But I was like, OK, maybe that's

00:46:10.840 --> 00:46:12.780
just his way of marking off the ones he's looked

00:46:12.780 --> 00:46:14.260
at. It's like, oh, if I've already liked it,

00:46:14.320 --> 00:46:15.840
that means I've clicked the link or whatever.

00:46:16.139 --> 00:46:18.639
I was thinking of all the ways that I would because

00:46:18.639 --> 00:46:20.980
there was a ton of replies. There were like hundreds

00:46:20.980 --> 00:46:23.139
of people that replied to this. At least it felt

00:46:23.139 --> 00:46:25.760
like. And yeah. And so then I didn't really think

00:46:25.760 --> 00:46:29.940
too much of it. And then like a week later, I

00:46:29.940 --> 00:46:33.719
was like on my way to a show and I was like halfway

00:46:33.719 --> 00:46:36.059
out the door and I got an email that was like.

00:46:36.460 --> 00:46:39.000
Hi, this is a release for Clerks 3. We're going

00:46:39.000 --> 00:46:42.039
to need your song, No Hope. And I was like, what?

00:46:42.739 --> 00:46:46.599
They found me. They filled in all the BMI information,

00:46:46.780 --> 00:46:49.739
whatever they like. So it happened really fast.

00:46:49.960 --> 00:46:51.780
And I was still like, this probably isn't going

00:46:51.780 --> 00:46:53.800
to happen. They probably just exploring this.

00:46:54.179 --> 00:46:55.900
We'll see. I'll believe it when I get a check.

00:46:56.039 --> 00:46:57.840
And then like a week later, I had a check. And

00:46:57.840 --> 00:47:00.199
so I was like, all right, like this is very real.

00:47:00.960 --> 00:47:05.400
Wow. So, yeah, really cool. But yeah, Kevin just

00:47:05.400 --> 00:47:07.480
kind of. put the word into the universe. He was

00:47:07.480 --> 00:47:10.019
looking in for stuff and found it. And then,

00:47:10.039 --> 00:47:12.659
yeah, also like, like I said, mega ran and telethon

00:47:12.659 --> 00:47:16.559
and like several things of my friends, but it

00:47:16.559 --> 00:47:18.579
was cool. Like telethon is, I do not know those

00:47:18.579 --> 00:47:21.059
guys yet. We will be playing the cruise together,

00:47:21.159 --> 00:47:23.340
but they are very much so in my orbit. We have

00:47:23.340 --> 00:47:25.059
a lot of mutual friends and stuff. So it was

00:47:25.059 --> 00:47:27.619
cool to see like our little scene getting some

00:47:27.619 --> 00:47:31.239
attention. And like the fact that clerks musically

00:47:31.239 --> 00:47:34.679
was a snapshot of the year it came out. Clerks

00:47:34.679 --> 00:47:37.960
3 does the same now if you listen to the soundtrack

00:47:37.960 --> 00:47:40.719
from start to finish. Oh, it totally does. And

00:47:40.719 --> 00:47:42.760
there's and there's other such cool things. I

00:47:42.760 --> 00:47:44.500
mean, you already talked about, you know, Black

00:47:44.500 --> 00:47:46.800
Parade being the opening of that movie, which

00:47:46.800 --> 00:47:50.699
is so fun. It feels so like, first of all, what

00:47:50.699 --> 00:47:53.320
a great song. What a great record. But also like

00:47:53.320 --> 00:47:56.800
what a great opening to a movie. I mean, neither

00:47:56.800 --> 00:47:58.559
here nor there, but when I think My Chemical

00:47:58.559 --> 00:48:00.659
Romance, I think about that movie trailer music

00:48:00.659 --> 00:48:03.880
video they did for I'm Not Okay. That band has

00:48:03.880 --> 00:48:05.800
such a cinematic sort of thing to them. So that

00:48:05.800 --> 00:48:08.360
was really cool. And then, you know, yeah, Lit,

00:48:08.460 --> 00:48:11.460
My Own Worst Enemy is in this one as well, which

00:48:11.460 --> 00:48:13.980
is another throwback. And another former My Weekly

00:48:13.980 --> 00:48:16.579
Mixtape guest in the form of Kevin Baldus. Yeah,

00:48:16.619 --> 00:48:19.380
just a lot of cool new music. It's cool to see

00:48:19.380 --> 00:48:22.579
that he's not stuck in the past with his music

00:48:22.579 --> 00:48:24.579
choices, that he's still out there fishing for

00:48:24.579 --> 00:48:27.920
new stuff. And I met him once. I went to one

00:48:27.920 --> 00:48:30.559
of his podcast tapings. And afterwards, we chatted

00:48:30.559 --> 00:48:31.920
for a little bit. And he was like, oh, yeah.

00:48:32.039 --> 00:48:34.719
And he started singing my song at me. He's like,

00:48:34.800 --> 00:48:37.320
oh, yeah, it's in this part. And they're in this

00:48:37.320 --> 00:48:40.579
SUV. And then blah, blah, blah. And then he started

00:48:40.579 --> 00:48:42.360
singing. He's like, we get the whole song in

00:48:42.360 --> 00:48:43.980
there. And he's like, oh, and then you know that

00:48:43.980 --> 00:48:46.260
other song. And he starts singing a different

00:48:46.260 --> 00:48:48.119
song of mine to me. And I'm like, wait a second.

00:48:48.420 --> 00:48:50.179
That one's not in the movie, is it? And he goes,

00:48:50.239 --> 00:48:53.289
no, I just listened to it. He's truly a fan of

00:48:53.289 --> 00:48:55.929
music. He would go out on his walks and listen

00:48:55.929 --> 00:49:00.590
to my EP, among many other things. So he's just

00:49:00.590 --> 00:49:04.130
a big fan of music. That's fantastic. So now

00:49:04.130 --> 00:49:07.489
you have the tough choice of following up your

00:49:07.489 --> 00:49:12.489
own song. So how do you do that? I do. So I think

00:49:12.489 --> 00:49:15.369
I'm going to go in a different direction. I'm

00:49:15.369 --> 00:49:18.829
going to bring it back to Dogma again. No, wait

00:49:18.829 --> 00:49:21.679
a minute. Wait, this is funnier. This is funnier

00:49:21.679 --> 00:49:23.340
just for the title. I don't think it's the right

00:49:23.340 --> 00:49:26.559
vibe, but it's just for the title. I'm going

00:49:26.559 --> 00:49:30.940
to go to Jay and Silent Bob reboot Mob Rich Loser.

00:49:31.019 --> 00:49:33.880
I see what you're doing there. I mean, obviously

00:49:33.880 --> 00:49:36.760
the loser connection is there, but it's a great

00:49:36.760 --> 00:49:39.469
song. Like what a really fun song. Good pick.

00:49:39.510 --> 00:49:41.769
And I'm glad to see that reboot has finally been

00:49:41.769 --> 00:49:43.809
included in this conversation. I know that movie

00:49:43.809 --> 00:49:46.289
has a little bit of push and pull from different

00:49:46.289 --> 00:49:49.210
fans of the viewers universe, but I'm glad that

00:49:49.210 --> 00:49:51.510
we're representing it tonight. And that, man,

00:49:51.570 --> 00:49:54.650
that leaves me in a tough spot. Cause I'm not

00:49:54.650 --> 00:49:56.710
quite sure how to follow that up. We got loser

00:49:56.710 --> 00:50:00.130
loser. Yeah. Yeah. Yeah. Yeah. And the song I

00:50:00.130 --> 00:50:03.989
want to pick is literally the antithesis to that

00:50:03.989 --> 00:50:07.230
because it's a song about. When Weezer was dealing

00:50:07.230 --> 00:50:10.389
with people who they felt were losers at the

00:50:10.389 --> 00:50:13.510
label they were at, they met a wonderful A &R

00:50:13.510 --> 00:50:17.230
rep named Suzanne, who changed their lives for

00:50:17.230 --> 00:50:19.949
the better. And the band wrote a song for her,

00:50:20.030 --> 00:50:22.929
which was originally recorded and released as

00:50:22.929 --> 00:50:26.250
the B -side to Undone, the sweater song. For

00:50:26.250 --> 00:50:30.699
Mallrats, Weezer remixed Suzanne. With a brand

00:50:30.699 --> 00:50:33.139
new vocal track and some additional keyboards,

00:50:33.260 --> 00:50:36.179
which the version on Mallrats is now deemed the

00:50:36.179 --> 00:50:39.420
official version of the song. However, any Weezer

00:50:39.420 --> 00:50:41.320
fans out there, you can go back and listen to

00:50:41.320 --> 00:50:43.460
the original B -side because there's a rawness

00:50:43.460 --> 00:50:45.960
to it that is amazing and shouldn't be overlooked.

00:50:46.780 --> 00:50:48.760
Thematically, it doesn't make sense. But then

00:50:48.760 --> 00:50:51.659
again, not all Kevin Smith soundtracks go from

00:50:51.659 --> 00:50:54.679
one theme to another. They kind of are all over

00:50:54.679 --> 00:50:58.000
the place. So following up Mob Rich's Loser.

00:50:58.539 --> 00:51:01.519
I am going to go with Weezer's Suzanne from Mallrats.

00:51:02.199 --> 00:51:05.119
Love Weezer. Can't go wrong with that. Okay,

00:51:05.179 --> 00:51:08.579
so I'm actually going to take a spin right off

00:51:08.579 --> 00:51:11.840
of that and go with another shout out to a friend

00:51:11.840 --> 00:51:16.099
of mine. Mallrats also has a song. Now, I don't

00:51:16.099 --> 00:51:18.699
know if you know this, but the Sweater song opens

00:51:18.699 --> 00:51:22.500
up with that whole scene at a party. You know,

00:51:22.539 --> 00:51:25.909
oh, life's so rad, so rad. They are doing a bit

00:51:25.909 --> 00:51:28.550
there. They are making fun of somebody known

00:51:28.550 --> 00:51:32.630
as Joe Sibb. He owned a record label called Side

00:51:32.630 --> 00:51:35.590
One Dummy. He did Complete Control Radio here

00:51:35.590 --> 00:51:37.570
in LA for a while. He's a stand -up comedian

00:51:37.570 --> 00:51:40.889
now. I've worked with him a little bit. But a

00:51:40.889 --> 00:51:45.510
fun fact about him is that he is the guy that

00:51:45.510 --> 00:51:47.650
they're making fun of in that. And he was in

00:51:47.650 --> 00:51:52.449
a band called Wax, who has a song in Mallrats

00:51:52.449 --> 00:51:56.409
called... Mallrats. Going with the title track,

00:51:56.610 --> 00:52:00.750
huh? Oh, yeah. Oh, man. I love it. Wax was so

00:52:00.750 --> 00:52:04.829
underrated. I had a compilation in the 90s called

00:52:04.829 --> 00:52:07.969
Saturday Morning Cartoons Greatest Hits. And

00:52:07.969 --> 00:52:12.610
Wax did the amazing cover of Ren and Stimpy's

00:52:12.610 --> 00:52:15.269
Happy Happy Joy Joy at the end of the album.

00:52:15.690 --> 00:52:19.710
And I absolutely love that song. The Mallrats

00:52:19.710 --> 00:52:21.650
soundtrack, like I said, it's got that punky.

00:52:22.250 --> 00:52:27.010
indie spirit to it and i'm gonna flip it on its

00:52:27.010 --> 00:52:30.329
ear again okay because there's a band that we've

00:52:30.329 --> 00:52:32.550
talked about tonight a couple of times you've

00:52:32.550 --> 00:52:35.090
talked about it with the upcoming cruise and

00:52:35.090 --> 00:52:38.010
they're a band that's been featured twice on

00:52:38.010 --> 00:52:40.309
kevin smith soundtrack so i'm going to remove

00:52:40.309 --> 00:52:43.690
them entirely by picking one of those two songs

00:52:43.690 --> 00:52:46.829
the first one was from clerks one but i am going

00:52:46.829 --> 00:52:50.880
to go with the closing song from clerks two Because

00:52:50.880 --> 00:52:54.179
it's my favorite Soul Asylum song. And I'm going

00:52:54.179 --> 00:52:57.639
to go with Misery. Because the scene at the end

00:52:57.639 --> 00:53:02.340
of the movie where Clerks 2 fades from color

00:53:02.340 --> 00:53:05.760
to black and white with that song playing is

00:53:05.760 --> 00:53:09.659
so poignant and so full circle to the original

00:53:09.659 --> 00:53:13.280
that it was a perfect ending to a movie. And

00:53:13.280 --> 00:53:16.559
that song is the perfect movie closer. And as

00:53:16.559 --> 00:53:19.519
much as I love Can't Even Tell from Clerks 1.

00:53:20.429 --> 00:53:22.389
Misery just hits different. So I'm following

00:53:22.389 --> 00:53:26.150
up musically. It might not make sense, but waxes

00:53:26.150 --> 00:53:30.269
mall rats with soul asylums misery. I know. I

00:53:30.269 --> 00:53:32.929
feel like you did that because you were concerned.

00:53:32.989 --> 00:53:35.230
I was going to steal soul asylum for you. Like,

00:53:35.230 --> 00:53:36.769
yeah, I know you wanted to save that as your

00:53:36.769 --> 00:53:39.989
closer for the whole playlist, but you were like,

00:53:40.110 --> 00:53:43.010
Oh, he's going to, he's going to do it. Well

00:53:43.010 --> 00:53:47.010
done. Well done. Kudos. Was I right? No, actually,

00:53:47.170 --> 00:53:49.690
you know, I even though I'm about to play a show

00:53:49.690 --> 00:53:53.489
with them, I did not put them on my list. No

00:53:53.489 --> 00:53:56.510
good reason. Just too much good music. And I

00:53:56.510 --> 00:53:57.829
also I felt like you were going to pick them.

00:53:57.869 --> 00:53:59.949
So I felt pretty safe. Good move. Good move.

00:54:00.010 --> 00:54:02.809
You were correct to judge that. Yeah. Yeah. But

00:54:02.809 --> 00:54:05.590
I think I'm going to. So just bring it back up

00:54:05.590 --> 00:54:07.949
to because like that. You're right. That song

00:54:07.949 --> 00:54:10.630
is fitting and kind of moving and stuff. So I'm

00:54:10.630 --> 00:54:12.389
going to bring it back totally a different way.

00:54:12.710 --> 00:54:15.219
And there is. The song that I think about when

00:54:15.219 --> 00:54:17.900
I think about Dogma, and this could just be the

00:54:17.900 --> 00:54:21.400
age I was when I first saw it, thinking about

00:54:21.400 --> 00:54:24.800
Selma Hayek's stripper scene. But I think about

00:54:24.800 --> 00:54:28.719
New Edition's Candy Girl with that movie. That

00:54:28.719 --> 00:54:33.219
to me is a strong association for a song with

00:54:33.219 --> 00:54:35.639
Dogma. You aren't kidding when you said you were

00:54:35.639 --> 00:54:38.280
taking that a totally different way. It's a total

00:54:38.280 --> 00:54:41.900
180. Oh, total 180. And that gives me a change

00:54:41.900 --> 00:54:45.070
to where I'm going to go. After it, however,

00:54:45.409 --> 00:54:49.030
staying on Candy Girl, one of the most memorable

00:54:49.030 --> 00:54:52.429
musical moments in Dogma, I would say. Totally.

00:54:52.429 --> 00:54:56.070
No, really. It's okay. Not just because I was

00:54:56.070 --> 00:54:58.449
going through puberty as I saw that. Probably

00:54:58.449 --> 00:55:03.170
that exact scene. Definitely memorable. And I

00:55:03.170 --> 00:55:05.150
think I know what I'm going to follow it up with

00:55:05.150 --> 00:55:07.250
because I'm going to stay in the same vibe here.

00:55:07.449 --> 00:55:11.530
Okay. And I am going to go to Jay and Silent

00:55:11.530 --> 00:55:15.400
Bob Strike Back. And honestly, there's not much

00:55:15.400 --> 00:55:18.239
that needs to be said about this classic jam

00:55:18.239 --> 00:55:21.440
because we're going with Mars Day and the mother

00:55:21.440 --> 00:55:24.619
effing time. Jungle Love from Jay and Silent

00:55:24.619 --> 00:55:28.280
Bob Strike Back originally released on 1984's

00:55:28.280 --> 00:55:31.300
Ice Cream Castle and featured in Purple Rain.

00:55:31.619 --> 00:55:34.619
I don't know. It's in Purple Rain, but the version

00:55:34.619 --> 00:55:37.019
of Jay and Silent Bob is up there as a movie

00:55:37.019 --> 00:55:39.820
moment to me. Now, although the album states

00:55:39.820 --> 00:55:42.599
the song was written by Morris Day and Jesse

00:55:42.599 --> 00:55:46.000
Johnson, it was actually written by Prince with

00:55:46.000 --> 00:55:48.980
an assist from Day. Let's face it, anything Prince

00:55:48.980 --> 00:55:52.239
touches is pretty much gold, as the song obviously

00:55:52.239 --> 00:55:56.179
proves. And shockingly enough, Jungle Love is

00:55:56.179 --> 00:55:58.860
not Morris Day and the Times' biggest hit, as

00:55:58.860 --> 00:56:02.360
Jerk Out charted higher, but let's be honest.

00:56:02.889 --> 00:56:07.050
Jungle Love is Morris Day and the mother effing

00:56:07.050 --> 00:56:09.869
time as far as I'm concerned. Good call. Good

00:56:09.869 --> 00:56:13.449
call, man. Ooh, I'm putting a tight spot now.

00:56:13.530 --> 00:56:16.190
How many, how many do we have left? You have

00:56:16.190 --> 00:56:18.989
two picks and I only have one. All right. If

00:56:18.989 --> 00:56:22.250
I've got two picks left, I can't do another MC

00:56:22.250 --> 00:56:25.070
Chris because drinking blunts from Jay and Silent

00:56:25.070 --> 00:56:29.349
Bob reboot is, is great. Okay. All right. You

00:56:29.349 --> 00:56:31.309
know what I'm going to do? This is a song that's

00:56:31.309 --> 00:56:36.710
actually in two Kevin Smith movies. And we haven't

00:56:36.710 --> 00:56:39.230
done My Chemical Romance, so I think it's...

00:56:39.230 --> 00:56:41.269
Even then, I think it wouldn't technically, because

00:56:41.269 --> 00:56:44.130
it is just Gerard Way by himself. But in Tusk

00:56:44.130 --> 00:56:48.929
first, and then again used in Clerks 3, the water

00:56:48.929 --> 00:56:52.889
is wide. Another down -tempo sad ballad maybe

00:56:52.889 --> 00:56:55.150
would have gone better to follow up Soul Asylum.

00:56:55.530 --> 00:56:58.690
But I think it made the list to me because...

00:56:59.210 --> 00:57:02.210
It was used twice. And also we didn't get a Tusk

00:57:02.210 --> 00:57:04.230
reference in this yet. So I feel like we got

00:57:04.230 --> 00:57:06.530
to put something from Tusk. One of the like,

00:57:06.690 --> 00:57:09.829
you know, we didn't do Yoga Hosers. We haven't

00:57:09.829 --> 00:57:12.289
done Red State. We've stayed away from like the

00:57:12.289 --> 00:57:15.869
Stranger Kevin Smith movies. And I feel like

00:57:15.869 --> 00:57:18.789
we got to represent them. That we have. When

00:57:18.789 --> 00:57:21.670
I think of stranger movies, Tusk is up there,

00:57:21.769 --> 00:57:25.030
but not in a bad way. I like the strange. It's

00:57:25.030 --> 00:57:28.250
very, there's a camp to it that I mean in a truly

00:57:28.250 --> 00:57:30.889
loving way. Yeah, it's a great thing. Yeah, I

00:57:30.889 --> 00:57:33.190
think it's fantastic. And it's a really good

00:57:33.190 --> 00:57:35.909
song. And I appreciate you're doing that because

00:57:35.909 --> 00:57:39.909
I get to now go out with my closing song that

00:57:39.909 --> 00:57:43.889
is to me, again, I talk about these big and powerful

00:57:43.889 --> 00:57:47.139
moments. And I'm going to go back to Clerks 3

00:57:47.139 --> 00:57:52.079
one more time. And to me, I love this song with

00:57:52.079 --> 00:57:54.940
such a passion. And I will not spoil anything

00:57:54.940 --> 00:57:57.559
because if people out there haven't seen it,

00:57:57.599 --> 00:57:59.699
I don't want to ruin the moment. But to me, this

00:57:59.699 --> 00:58:03.980
song is used during a very emotional part of

00:58:03.980 --> 00:58:07.960
the movie. And look, anything's better than New

00:58:07.960 --> 00:58:12.300
Jersey. Skip amongst the telephone lines. Anything's

00:58:12.300 --> 00:58:14.960
better than New Jersey living along the turnpike.

00:58:15.039 --> 00:58:17.920
Based here in New Jersey, I got to tip my hat

00:58:17.920 --> 00:58:22.800
with some love to Boston -based punk band Rebuilder

00:58:22.800 --> 00:58:27.780
and Le Grand Fromage. Such a powerful, heavy

00:58:27.780 --> 00:58:32.199
punk tune. So much emotion. And I think it's

00:58:32.199 --> 00:58:35.480
a perfect way for me to close my portion of the

00:58:35.480 --> 00:58:38.340
playlist tonight. That is an extremely good call.

00:58:38.400 --> 00:58:40.519
That is another song that really stands out in

00:58:40.519 --> 00:58:42.800
that movie. I mean, yeah, because of where it's

00:58:42.800 --> 00:58:45.340
used, because of the message of it and stuff.

00:58:45.480 --> 00:58:47.880
It's like and then as a counterpoint, I mean,

00:58:47.900 --> 00:58:49.940
obviously, Kevin Smith being from New Jersey,

00:58:50.000 --> 00:58:53.179
he's got a lot of New Jersey songs and they're

00:58:53.179 --> 00:58:55.739
usually positive. But yeah, what a great song

00:58:55.739 --> 00:58:59.260
that just sums up that feeling. It's it's so

00:58:59.260 --> 00:59:01.860
good. And I appreciate your staying spoiler free,

00:59:01.980 --> 00:59:04.659
too. We do our best. It's hard. Right. Especially

00:59:04.659 --> 00:59:07.420
if anyone that has seen the movie and knows this

00:59:07.420 --> 00:59:11.059
song knows exactly how we're dancing around this

00:59:11.059 --> 00:59:14.320
right now. Yeah, yeah, yeah, yeah. So it's up

00:59:14.320 --> 00:59:16.699
to me to close out the record, huh? Yes, sir.

00:59:17.139 --> 00:59:19.179
I'm down to two, and I think I know which one

00:59:19.179 --> 00:59:21.780
I'm going to pick. I will give a shout out to

00:59:21.780 --> 00:59:24.940
the song that I'm not picking, which is from

00:59:24.940 --> 00:59:29.840
Cop Out, No Sleep Till Brooklyn. Love it. Again,

00:59:29.840 --> 00:59:32.679
it's a great song. It's probably what I think

00:59:32.679 --> 00:59:35.579
of when I think of a song from Cop Out, but it's,

00:59:35.579 --> 00:59:37.800
you know, obviously a song that was a huge, massive

00:59:37.800 --> 00:59:40.820
hit a long time before that movie came out. So

00:59:40.820 --> 00:59:44.440
that's, I think I can't in good conscience use

00:59:44.440 --> 00:59:46.539
it, especially as a closer. So what I'm going

00:59:46.539 --> 00:59:48.900
to do is I'm going to close out. I'm going to

00:59:48.900 --> 00:59:51.219
go all the way back to Clerks. I'm going to bookend

00:59:51.219 --> 00:59:54.139
it with the beginning. I'm going to do Bad Religion

00:59:54.139 --> 00:59:59.170
Leaders and Followers. Nice. Legendary. Punk

00:59:59.170 --> 01:00:02.610
band right there. Totally. Bad Religion is just

01:00:02.610 --> 01:00:04.989
like an incredible band. It's been an incredible

01:00:04.989 --> 01:00:07.630
band for a long time. They've worked with and

01:00:07.630 --> 01:00:10.710
helped everybody do cool stuff in the scene.

01:00:10.849 --> 01:00:13.929
I mean, yeah, like they made Epitaph, the record

01:00:13.929 --> 01:00:17.610
label. And Bad Religion was definitely like on

01:00:17.610 --> 01:00:20.969
the radar when Clerks came out, but on the underground

01:00:20.969 --> 01:00:24.309
radar. Like what a cool find for that movie.

01:00:24.610 --> 01:00:29.059
What a cool piece. That's definitely it fits

01:00:29.059 --> 01:00:30.980
the thing of like Kevin Smith finding a song

01:00:30.980 --> 01:00:35.380
that's interesting and helping add some not credit,

01:00:35.420 --> 01:00:37.599
not that bad religion needs credibility, but

01:00:37.599 --> 01:00:40.900
like reassurance from a different media. Right.

01:00:40.980 --> 01:00:44.699
And the same year that Clerks came out, Bad Religion

01:00:44.699 --> 01:00:47.639
released, which I feel it's my personal favorite,

01:00:47.800 --> 01:00:50.699
their seminal Stranger Than Fiction. Stranger

01:00:50.699 --> 01:00:53.840
Than Fiction is a friggin punk masterpiece to

01:00:53.840 --> 01:00:56.639
bring it a little bit. Out of what Recipe for

01:00:56.639 --> 01:01:00.139
Hate was doing. And a little bit more. I don't

01:01:00.139 --> 01:01:01.679
want to say mainstream. Because Bad Religion

01:01:01.679 --> 01:01:03.980
never was mainstream. They always stayed in their

01:01:03.980 --> 01:01:06.039
lane. But there was just a production quality

01:01:06.039 --> 01:01:09.920
to it. That just made it more sonically dynamic

01:01:09.920 --> 01:01:13.000
overall. Yeah, I get what you're saying. Yeah.

01:01:13.079 --> 01:01:15.179
I mean, like that band has always been really

01:01:15.179 --> 01:01:17.420
strongly about its harmonies and stuff, too.

01:01:17.579 --> 01:01:21.239
Like they're no stranger to being musically intelligent.

01:01:21.380 --> 01:01:23.940
In fact, that's the band that Fat Mike cites

01:01:23.940 --> 01:01:26.820
as being like what made him think, OK, I need

01:01:26.820 --> 01:01:30.239
to make no effects better between them and RKL,

01:01:30.400 --> 01:01:33.199
Rich Kids on LSD. You know, he was like, oh,

01:01:33.280 --> 01:01:36.260
maybe you can do punk and be smart and musical

01:01:36.260 --> 01:01:38.860
and talented. And yeah, so they've they've always

01:01:38.860 --> 01:01:41.650
had that. But it was cool to see like. As it

01:01:41.650 --> 01:01:43.469
was catching on that they could get access to

01:01:43.469 --> 01:01:45.690
like, yeah, better gear, better producers. And

01:01:45.690 --> 01:01:48.690
I mean, better is such a difficult word. But

01:01:48.690 --> 01:01:51.829
yeah, people a little more like in tune with

01:01:51.829 --> 01:01:54.989
refinement as opposed to rawness, which was such

01:01:54.989 --> 01:01:58.489
a hallmark of more of the 80s punk stuff. I think

01:01:58.489 --> 01:02:01.829
a lot of those bands have done great stuff with

01:02:01.829 --> 01:02:04.630
good producers. Right. And after Stranger Than

01:02:04.630 --> 01:02:07.190
Fiction, Bad Religion teamed up with Rick Ocasek

01:02:07.190 --> 01:02:10.380
from the Cars to do the Gray Race. Yeah, I am.

01:02:10.440 --> 01:02:13.340
I'm not one of those like DIY or die kind of

01:02:13.340 --> 01:02:17.719
people as like DIY because that's you got to

01:02:17.719 --> 01:02:20.340
do it. But if you have access to great artists

01:02:20.340 --> 01:02:23.059
who can do cool stuff, make your cool stuff better.

01:02:23.119 --> 01:02:26.039
Totally. Oh, I mean, I think about talking mall

01:02:26.039 --> 01:02:28.980
rats again. You have all which is coming from

01:02:28.980 --> 01:02:31.929
the ashes of the descendants. And then you bring

01:02:31.929 --> 01:02:34.550
on Chad Price of Drag the River on vocals and

01:02:34.550 --> 01:02:37.690
you have this melodic punk that when they produced

01:02:37.690 --> 01:02:40.909
it with a little bit more of a slick sound, like

01:02:40.909 --> 01:02:43.550
they did on Breaking Things and Pummel, and you

01:02:43.550 --> 01:02:46.869
compare that to Descendants albums, it's really

01:02:46.869 --> 01:02:49.469
a night and day difference, but both have their

01:02:49.469 --> 01:02:52.550
place in the world of punk music. Totally. I

01:02:52.550 --> 01:02:56.800
love all. I mean, like, and my favorite. Descendants

01:02:56.800 --> 01:02:59.360
stuff is a lot of their later stuff, too. I mean,

01:02:59.380 --> 01:03:03.000
like I'm the one is such a good song. And I was

01:03:03.000 --> 01:03:04.860
like, yeah, that was after all when they got

01:03:04.860 --> 01:03:08.000
Milo back. Yeah, those guys are incredible. Bill

01:03:08.000 --> 01:03:11.679
Stevenson is legend. Absolutely. Yeah. Well,

01:03:11.699 --> 01:03:14.519
there you have it, folks. Side B of our songs

01:03:14.519 --> 01:03:17.199
from Kevin Smith movies playlist, which kicked

01:03:17.199 --> 01:03:20.280
off with Loser featuring Scott Kloppenstein and

01:03:20.280 --> 01:03:22.800
Aaron Barrett of Real Big Fish, No Hope from

01:03:22.800 --> 01:03:26.440
Clerks 3, Mob Rich, Loser from Jay and Silent

01:03:26.440 --> 01:03:29.980
Bob's Reboot, Weezer's Suzanne from Mallrats,

01:03:30.300 --> 01:03:35.340
Wax's Mallrats from Mallrats, Soul Asylum's Misery

01:03:35.340 --> 01:03:38.800
from Clerks 2, New Edition's Candy Girl from

01:03:38.800 --> 01:03:42.219
Dogma, Morris Day in the Times' Jungle Love from

01:03:42.219 --> 01:03:45.440
Jay and Silent Bob Strike Back. Gerard Way's

01:03:45.440 --> 01:03:49.820
The World is Wide from Tusk and Clerks 3. Rebuilders'

01:03:49.820 --> 01:03:53.320
Legrand Fromage from Clerks 3. And Bad Religion,

01:03:53.679 --> 01:03:57.239
Leaders and Followers from Clerks. Head over

01:03:57.239 --> 01:04:00.639
to myweeklymixtape .com to hear all the songs

01:04:00.639 --> 01:04:03.719
we've discussed in this mix. through the playlist

01:04:03.719 --> 01:04:06.820
embedded on the episode page. Now, Chris, anything

01:04:06.820 --> 01:04:09.719
coming up for you in the loser camp that listeners

01:04:09.719 --> 01:04:12.920
can look forward to? New tours, new music? Yeah,

01:04:12.960 --> 01:04:15.920
I'm working on new stuff. I know I'm playing

01:04:15.920 --> 01:04:19.659
that cruise. I know that I can say that I'm playing

01:04:19.659 --> 01:04:24.139
Skan P -Fest in Modesto in October. There's another

01:04:24.139 --> 01:04:27.539
show right before that that I don't know if I

01:04:27.539 --> 01:04:31.019
can talk about yet, but I'm pretty sure is happening.

01:04:31.400 --> 01:04:34.559
I would say that your best bet is look me up.

01:04:34.579 --> 01:04:37.119
I'm on all the social medias you might be on

01:04:37.119 --> 01:04:40.659
as Chris Grau. It's just my name. And look on

01:04:40.659 --> 01:04:43.500
Spotify. I'm there as Loser. There's a U in it.

01:04:43.659 --> 01:04:46.099
You're on the internet. You can see spelling.

01:04:46.260 --> 01:04:47.739
You know how to do this. It's not your first

01:04:47.739 --> 01:04:52.880
day. But yeah, if you stream, follow, like, subscribe,

01:04:53.079 --> 01:04:55.659
whatever, on any of those various things that

01:04:55.659 --> 01:04:59.059
you enjoy engaging in, you will be kept abreast.

01:04:59.079 --> 01:05:01.659
There's an email list. However you got to do

01:05:01.659 --> 01:05:03.840
this, however you're keeping up, baby, I'll be

01:05:03.840 --> 01:05:07.019
there. Well, Chris, I appreciate you coming on

01:05:07.019 --> 01:05:08.820
tonight. This has been an absolute blast. Thank

01:05:08.820 --> 01:05:11.199
you so much for joining me on my weekly mixtape.

01:05:11.539 --> 01:05:13.400
Thank you for having me. This was a lot of fun.

01:05:13.789 --> 01:05:16.389
Remember to head to MyWeeklyMixtape .com to hear

01:05:16.389 --> 01:05:19.269
the full catalog of My Weekly Mixtape episodes.

01:05:19.610 --> 01:05:21.369
And if you like what you're hearing on the show,

01:05:21.489 --> 01:05:23.570
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01:05:23.750 --> 01:05:25.949
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01:05:25.949 --> 01:05:29.150
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01:05:29.150 --> 01:05:32.570
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01:05:32.809 --> 01:05:34.949
That's all for this week. Thanks again for listening.

01:05:35.070 --> 01:05:36.989
Until next time, enjoy the tunes.