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Pat Walsh
Pat's Peeps Podcast
Ep. 286 Today's Peep Visits with Movie Reviewer Ken "Dog" Jackman from DOGSMOVIEHOUSE.COM Who Reminds Us that Today is the Anniversary of a Movie That Made Us All Fear Water, and Film Music Legacies
Celebrating the 50th anniversary of Jaws, released on June 20, 1975, we explore how Steven Spielberg's groundbreaking thriller forever changed Hollywood and made generations afraid to enter the water. This masterpiece demonstrates how technical limitations with the mechanical sharks led to creative brilliance, with the film relying on suggestion rather than explicit visuals.
• John Williams' iconic two-note theme has become universally recognized as the sound of approaching danger
• Movie composers like Williams create modern symphonies for film that stand alongside classical masterpieces
• 1970s disaster films like The Poseidon Adventure and The Towering Inferno capitalized on audience fears
• The Jaws poster showing a shark approaching from below extended the film's psychological impact
• Los Angeles declared today "Cheech Marin Day" to honor the comedian's contributions to Chicano art and culture
• Comedy duos like Cheech and Chong created unique chemistry that elevated counterculture humor
Join us tonight as Ken Dogg reviews new releases including "28 Years Later," Pixar's latest film, and the live-action adaptation of "How to Train Your Dragon."
yeah, welcome, welcome, man. I'm feeling good today for Pat's peeps 286. How can I be the man? Will you be the man? Hey, yesterday, on 285 with Mark Farner, I had a good time. What a good dude. Founder of Grand Funk Railroad.
Speaker 1:I'm looking out my studio window on this Friday, 20th day of June 2025, and I'm telling you it's just the best weather I can ever possibly remember in California this time of year. You know, this time of year, heck, at the end of June. You know you're talking about 105, you know, creeping up there, it's what is it? 80 degrees today with a beautiful, cool breeze. Wow, it is. It's absolutely awesome. So, thank you. Here's the other super exciting thing. Oh, man, in the next I don't know, let's say, month, you're going to hear about some very, very exciting things about Pat's Peeps. It's going to get way, way bigger in a lot of different facets, from our businesses to this podcast and a lot more, some appearances that we're making and we're just setting the dates right now that we're we're going to be telling you all about that. I'm extremely excited about that, um, and you know, as I'm sitting here getting ready to do, uh, pat, listen to the train in the background. Can you hear that train? Or is it just me? You can hear back there, with my beautiful french doors from southgate glass in sacramento. Support local business. Can you hear that train? Or is it just me? You can hear it back there To my beautiful French doors from Southgate Glass in Sacramento. Support local business. Can you hear that? That sounds so nice.
Speaker 1:I'm sitting here getting ready to do my show, my podcast, today. By the way, I'm also the host of the Pat Wall Show on KMPK News Radio at 93.1 FM, 1530 AM in Sacramento, on all your streaming platforms, including, of course, your iHeart platform. And as I'm preparing for my show and I've got this whole little idea, every day I've got an idea. And just as I'm getting ready to start, you know I always put my phone on. Oh, I didn't do that this time, I need to do that. But I usually put my phone on. Oh, I didn't do that this time I need to do that. But I usually put my phone on do not disturb, because you know I get a lot of phone calls and messages and things and I just don't want to be disturbed as I'm doing my podcast. So, just prior to doing that, it's all in the timing those of you who listen to my radio show. I'm trying to keep my cigar going.
Speaker 1:Yes, I have a cigar First. I'm trying to keep my cigar going. Yes, I have a cigar first time in a week. By the way, those of you listening to my radio show know that on Friday nights, including tonight, ken Dogg Jackman, my buddy, are the, in my opinion, and you look around for yourself and you tell me, the best movie critic and reviewer in the business today. Tv radio national, local, of course. Ken Dogg is national by virtue of our podcasts, and this podcast and even more. He's the best at what he does. He's the encyclopedia of movies. Is that enough for you, ken Dogg, for an intro? That's way too much, thank you. If you need more, I've got more too.
Speaker 3:Come on, Keep it coming.
Speaker 1:Ladies and gentlemen, let me introduce to you, for those of you who may not know, there he is Ken Dog. Ken Dog, da-da-da-da-da, he is Ken Dog. There he is. Ladies and gentlemen. That good for you.
Speaker 3:I love it. That'll work, that'll work.
Speaker 1:Biggest Star Wars fan in the world, man. So Ken dog, yeah, pretty much. Yeah, you are, man. So good to talk to you, as always, how are?
Speaker 3:you, yeah, yeah, I'm doing good, you know. I mean coming back from a couple weeks vacation, celebrated a 27th wedding anniversary with the wonderful Mrs. It's been nice, kind of a nice recharge, but I'm looking forward to getting back to it tonight 27th year anniversary.
Speaker 1:I was there at your wedding. Remember that you were.
Speaker 3:That's right. That's right. You were invited and standing up in the tall trees with some of our shorter guests. There's that guy. Don't throw the garter to him or, if you do, go low.
Speaker 1:Go low. It was a beautiful sunny afternoon. I remember that very, very well like it was yesterday, right.
Speaker 3:Yeah, it was a park in Orangevale. Yeah, it was really nice. Congratulations to you and Sherry. Thank you.
Speaker 1:Thank you, yes, yes, wonderful couple to you and thank you, thank you, yes, yes, wonderful couple. So I'm not going to tell you what I was working on, ken. I had a whole theme going and I think I'm going to bring this back up, both of these things actually up on the show tonight, um, and so, okay, ken will usually call me, uh, on a usually on a thursday morning. I missed a call yesterday because I was doing the podcast again, I had my phone on, do not disturb. And today he called me back, which I'm glad you did, and I'm working on a theme and you call me and Ken says, among other things, he says do you know what today is the anniversary of? And what is the anniversary? It's the 50th. Did you say, yes, 50, big 50.
Speaker 1:I just can't even believe. You said that. I wanted to make sure to clarify that and confirm that's what you actually said, oh my God, 50 years ago. So this movie comes out of my eyes.
Speaker 3:I said what happened 50 years ago and you told me yeah, I told you, it's the release of Jaws Wow, steven Spielberg's blockbuster masterpiece, the one that vaulted him into the stratosphere, the one that made people afraid to go into the water and the one that successfully launched a slew of rapidly declining in quality sequels.
Speaker 3:But the first one is still one of the greatest movies ever made because of the way it was filmed. Because of the way it was filmed and the history behind that is very interesting, because originally, all of the innovations, the music, the point of view, were all because the three mechanical sharks nicknamed Bruce, wouldn't work in saltwater for more than five minutes at a time. Yeah, they test them in a tank, but it was a freshwater tank. In Hollywood, they brought them out to Martha's Vineyard, they put them in the ocean. It's like, okay, the shark is not working, and so they basically Spielberg, carl Gottlieb, I think an uncredited John Milius and even Robert Shaw, who played Quint, had their hands at retooling the screenplay on the fly to make it a, the film that you see today, uh, where you very rarely see the shark, uh, but his presence is everywhere. Uh, you know what I mean? The first shark attack.
Speaker 1:You don't see the show that that often.
Speaker 3:And, to be quite honest with you, that's kind of the reason why shark attacks are so scary. No sound, it's the unknown as much as it is the teeth. You don't know where they're coming from. They can sneak up on you in absolute silence. They don't roar like they do in Jaws 4. Jaws for, but it's that first shark attack on chrissy watkins uh, in the opening moments of the original jaws is still one of the most terrifying animal attacks. On film she sells it.
Speaker 3:They put a rig on her yes and she's getting whipped around and you get a, you get a, you get an impression, a demonstration of massive size and power without seeing a single tooth, and then she's gone. Yeah, right, yeah, you know, I would say this.
Speaker 1:I would add this to the mix. I don't mean to interrupt, but I would add this. No, not at all. Just thinking this through and I think this had a lot to do with people's, because you mentioned it earlier made people afraid to go into the water at the beach sometimes or the ocean.
Speaker 2:That was a big thing.
Speaker 1:And you say that the shark wasn't in the movie or the shark didn't make the appearance. That often correct. Is that what you said?
Speaker 3:Yeah, the actual physical shark you don't see very often. He appears a lot more toward the end.
Speaker 1:What do you mean by the actual physical shark don't see very often. He appears a lot more toward the end.
Speaker 3:What do you mean by the actual physical shark? What do you mean by that? Well, you, actually you feel him. So you'll see a dorsal fin every once in a while. Every once in a while you'll see the head right, um, but, but like when, when, when the little boys uh munched, uh, billy kittner. You see, all you see is from the sharks. Yeah, much Short of short of a point of view. It's all POV of the shark as he comes up and bang and there's a fan and that's it. And it couldn't be some dude with a cardboard fin doing that. It still looks good because they, they, they had to and because of that, a lot of that stuff, it seems like when you walk out of that film you think you've seen the most disgusting violent movie you've ever seen. Like, oh my god, just like people oh my god.
Speaker 3:Yeah, very much so. But you know what that movie was originally. What is rated pg? Because, like psycho, most of the violence is in your head. That's a good point. The blanks that's a good point. They use the imagination to fill in the blanks and get away with just enough violence. You know a leg here, blood spurting there, you know that kind of stuff. Yeah to to give you enough so that your imagination, that's that, that's the emotional rebar for your imagination. You build your building of terror around it. And that's another one of the things about the movie.
Speaker 1:I would suggest there's another element that added to that that never, ever gets talked about, and I would suggest that the shark itself, as you say, the, the, the physical, the, the, the, the image of the shark, the image of the teeth, and all of that doesn't get shown that often. But I would also suggest that it did. It, did, it got shown a lot and I would suggest again that this is part of the reason that people were afraid to go in the water. What happens when you go up to the movie theater? When you go up to a movie theater, what do you see? Oh, of course, posters. You see a poster.
Speaker 1:If you look at the Jaws poster to this day, it is a very famous poster for the movie. The cover is like the DVD or whatever you want to say. The poster for the movie. The cover is, you know, like the DVD or whatever you want to say. The poster for the movie which came out shows the shark's head with enormous teeth and this beautiful woman swimming directly above the shark who was looking directly at her. As you say to you know, munch.
Speaker 1:And that right there in itself makes you and it made me feel like these things are lurking right under the water and and let's talk for a minute too, but I don't want to get too bogged down in this, but I love this, this. So, um, there's an. Let's talk about the way that jaws, pardon me, influenced pop culture, because I want to tell you one way that I think that Jaws influenced pop culture so since 19,. When it came out 75. So what date? 75, yeah, what date? And what was the date? It was today, so June 20, 1975. Date that it was today, it's so, yeah, june 20, 1975. Okay, so since june, 20th 1975 people will always remember this.
Speaker 1:Oh yeah, if you went back to name that tune and I said I could name this tune in one note, almost certainly two.
Speaker 3:You know what that is listening to that exactly, and that is also one of the reasons why it John Williams score, and this was two years before Star Wars. Right, he and Spielberg got together and put this theme together so that every time the shark was around, they'd play a variation of that. So another sense is telling you something's wrong without even seeing the shark, right? So everything's on the beach, right, everything's on the beach, like, for example, on the beach. Right, everything's on the beach, like, for example, on the beach when Billy Kittner gets eaten up. Exactly, a lot of it has to do with the fact. So the dog disappears, right, you know, pippin disappears and then the music starts and you're like, oh, son of a.
Speaker 2:It's coming.
Speaker 3:You don't know where it is, but it's coming.
Speaker 1:That's right. There's the sense of it coming right there. Listen to that beautiful music. Let's talk about something real quick because, as you build up that suspense, let's talk about this for a second. We were talking on my show the other night, ken Dogg, you were listening about great composers. It was Paulccartney's 83rd birthday and I I brought up, I thought, that he is. He has to be considered and will be remembered as, along with others that I had on my list, as some of the greatest composers of all time bach, beethoven, henry mancini, bird, baccarat and your maracon um, you know, your guy came up as well. Well, john Williams came up and you mentioned to me that you were listening to the radio when we were doing that. Uh, and tell us what you were saying, because I totally agree with what you were saying about John Williams and some of this movie music that we hear.
Speaker 3:Okay. So I had an interesting epiphany because when I was listening you had a caller when you were talking about Paul McCartney and you said you know greatest composers of all time. I automatically went to modern, like you know songwriters and, and you know rock and roll and things of that nature. But you had a caller who started bringing up guys like Mozart, bach, you know Beethoven, those guys, and at first I'm all like maybe he's missing the mark. But I later found out no, that's exactly, it was on your list. And then I thought about it, I had the epiphany and when we mentioned folks like John Williams, back in the days of Bach and those classical, they wrote symphonies to be heard in the theater or they wrote music for opera which is on stage. Today's composers do a variation on the same thing, only they're writing for movies. They're symphonies, if you will, but they're for movies. And let's not forget television. But you know, on the if you're thinking big and grandiose mike post going into tv.
Speaker 1:Mike post is one of my favorites, exactly terms of what he writes.
Speaker 3:Exactly, exactly, ramon Giuotti. He did all the music for Game of Thrones and House of the Dragon. He has a unique sound.
Speaker 1:We talked about Danny Elfman. Someone brought him up on my show last night.
Speaker 3:Exactly. Another fantastic composer Nightmare Before Christmas, notwithstanding for you, composer Nightmare Before Christmas, notwithstanding for you, but he is a he has. When you hear the strains of some of these composers, you know exactly who it is if you've seen enough film. So John Williams has a style, the late great Jerry Goldsmith has a style, the late great James Horner has a style, and so on and so forth. Ennio Mor Goldsmith has a style, the late great James Horner has a style, and so on and so forth. Ennio Morricone has a style, right.
Speaker 3:So they put that music together to film and it has a double effect, right? So you have the symphonic music that augments the score. So when you're listening to say the imperial march, you, if you're a fan of star wars, even if you're not, darth vader, stormtroopers, whole nine yards, it's a very, it's a very marital tune, right? You know, uh, soldiers marching, and you know it's a bad guy thing, all right, but you still listen to it marching. And dun dun, dun, you know it's a bad guy thing, all right, but you still listen to it. Yes, you still listen to it because it's good music. So it works with the film and without and that's why you know symphyses like the Nutcracker Suite. It works well when you're watching the Nutcracker Suite, but it also works well as a piece of its own music, and so I think you're seeing that today, with composers you know, for the film age, they put a lot of heart and soul so that those musical pieces stand alone. But they're still the great symphonies of our time, just related to a different type of medium.
Speaker 1:You know, here's, yes, there is the Star Wars theme, but let's go back to the previous. Let's go back to Jaws for a moment. I think there are moments because you always hear that you know the buildup that we play, but when you listen to that theme it was very similar. Many, many, many years ago I took my mother to the concord pavilion. They had a looney tunes show at the concord pavilion, big screen showed looney tunes. Uh, some of the people talk about the animation, they talk about the card, you know, um, just the characters, and what they rarely talk about is the music and the scores you're talking about in looney tunes.
Speaker 1:And they had a symphony orchestra that would provide the original music to the, to the films that we were watching, the cartoons, so it was spectacular and very original. But in the jaws theme, in, and in exactly what you're saying in the symphonic realm uh, great composers, you know, your bach, your beethoven, mozart, all of those Listen to a little bit of this Jaws theme in the middle and the complexity of this. I assume that is an oboe and a cello, and I could be completely wrong, and classical musicians might have just laughed at me again, though, but listen to that, oh yeah, but it's beautiful, man, it's just yeah.
Speaker 3:It's slowly layering from two notes and then moving on and you hear those horns in there. He incorporates that in different times or different portions of the film where they don't have the underlying da-da-da-da-da, they don't have that. So what it does is it kind of moves the emotion along. What it does is it kind of moves the emotion along. So the two-chord is in this particular piece, which is the Jaws theme, goes all the way through just a little bit, just a little bit, and then when it wants to raise the tension it comes to the forefront, Whereas they're doing a lot of other stuff. Like I don't know if you noticed early on in that theme, you know they actually use the lower keys chords on the piano.
Speaker 3:That done and done it done yes, you know, and it it again adds to the holy crap.
Speaker 1:If you're watching the movie, the lower piano keys are always like the key to the scary movies. That's when they use those, those keys. So all right, so we'll talk about that tonight on the show. So we'll talk about jaws. It got me to thinking, you know like what other? You know how did I think? Maybe you suggested that, how? What other movies because there's not really a lot of them that really influence pop culture star wars did, um, jaws did.
Speaker 1:And one more thing I did want to mention before we get off of that and tell you what I was already working on to get your take on that. Um, okay, at that same time, ken dog, jackman, dogs movie house please check out dogs movie house. Please, if you listen to my podcast, check out what ken dog does on dogs movie housecom. At that very same time, we're talking about the early to mid-70s and I think, playing off and I'm not sure which one was first, quite honestly, it may have been another one, maybe it wasn't Jaws, maybe it was Jaws, you can tell me, but, pardon me, hollywood was really playing off of our fears to create a big box office. Two other examples the towering inferno, the other, the poseidon adventure ever since I saw with gene hackman, ernest borg, nine shelly winters, red buttons that whole group.
Speaker 1:Since I saw that movie, there's got to be a morning after boy uh I don't even want to go on a cruise ship not only do I get seasick but I don't want to go, thanks in part to the poseidon adventure and then again the towering inferno.
Speaker 3:Pretty scary stuff at that time yeah, well, and erwin allen, uh, was the producer on all those films. It was one of those. It was one of those areas or sub-genres, if you will. That is really a product of the 70s. How many airport or airplane?
Speaker 1:movies did they have Airport. Another one, yeah, airport. I forgot about that.
Speaker 3:But they had airport, airport 74, airport 75, airport 76 with the Concorde, and poor George Kennedy always seemed to be stranded on that sucker, you know that's funny.
Speaker 3:You know, and one of the things that they were learning is they were learning how to more realistically create practical effects. Simplistic terms, they were learning how to blow stuff up more realistically. The guys like Erwin Allen said we can make a spectacle out of this where it doesn't look like a toy boat. You know, in a bathtub, right, you know, and we're splashing around. No, it's the Titanic. No, no, no, they have. You know, the pyrotechnics were better, the model builders are better, the cameras are better at framing it so that you could, so that you get a sense of scale, even if it's not, if it's small, it still looks big, and so I think a lot of that. It's a copycat league, as they say in sports.
Speaker 1:Once, they get something good they're going to run that sucker into the ground, go ahead.
Speaker 3:Sorry, yeah, but I think that's a lot of what happened with the disaster stuff, right, because it was like, oh God, poseidon Adventure. Wow, people went to it in droves. Yes, what else can we sink? What else can we blow up? I don't even know if they were going. I don't even know if they were going so far as to pursue, you know, psychological underpinnings of fright. In regular situations somebody may have, but I bet they were just going. What can we blow? Earthquake, right, right, what can we do? Earthquake, another one, earthquake an airport.
Speaker 1:I forgot man you have such an encyclopedic memory for that stuff.
Speaker 3:But they thanks, but they were all in the same vein, right? They were people with personal problems. People with personal problems jump aboard or whatever you know boat was george kenn Kennedy in the earthquake too.
Speaker 1:Was he stranded because of the earthquake?
Speaker 3:I'll be honest with you. I don't know. I think that was Heston.
Speaker 1:I'm not 100% sure, but he was. I'm just running with it.
Speaker 3:Yeah, I know, I know, I know, I know.
Speaker 1:I know. So every time you say Irwin Allen, you know what I think of. Wasn't erwin allen? Wasn't he the uh guy that, that, uh, that did the voyage to the bottom of the sea? Wasn't?
Speaker 1:that erwin allen yeah, I was a kid when that was on tv.
Speaker 1:That was, you had richard baseheart, he had three networks and uh man, you looked forward to this show and they had this periscope and the thing that used to crack me up, because you're talking about this how it didn't look like a toy boat, you know, in the bathtub. I remember on Voyage to the Bottom of the Sea maybe it's just my memory playing tricks, but this is how I remember it Like something would be happening, like some oh no, oh no. And then the next thing you know, they'd have to look out the periscope. There'd be two or three of them looking out the periscopes and they'd all have to, and then the ship would get hit like with a big octopus or something wrap around the submarine. And then the next thing, you know, they'd all have to do that thing. Where they have to, they have to kind of move back and forth like the ship is being right you know, I mean, they have to tilt back and forth in sequence as it became later known the star trek shuffle.
Speaker 3:We've been hit. Everybody moved to the left. We've been here from the other side, everybody moved to the right. Some ambitious stuntman gets out of line and goes over the railing. It's like, yeah, you're fired, you're too, you were just supposed to shuffle. So yeah, and again, you know they didn't. They couldn't afford gimbals. That's acting right there, to be honest with you. It's like, okay, we're going to tilt the camera and everybody and we'll add the sound effects later Tell everyone what a gimbal is Okay. So a gimbal is basically a you have a set. Say, basically you have a set. Say you have the Enterprise, okay, nowadays. And what it would be? It would be on some sort of hydraulic kind of hoist dealy on the bottom. It would be on the floor and it could twist and turn, so the people would literally have to try and hold their balance. Yeah, right.
Speaker 3:And so they would know which way to go. And as filmmaking got more advanced, they, they do that all the time. But I would imagine 67 with a low budget, because these guys weren't giving being given millions of dollars to do their thing. Hell, I didn't even know it was going to last a season, right. And they're just like, okay, uh, everybody go this way. And and the director's like, turn the camera that way. Okay, good, turn the camera that way. Okay, good, turn the camera that way. And then in post they add the sound effects of the. You know, whatever it is hitting the hole and it actually, I mean, you can laugh at it, but if you're involved in the story, it doesn't look that bad. You know, it's a way of creating atmosphere on the cheap. It's only later, after you see it like a million times, like we all did when it was in syndication, that, huh. I remember watching voyage to the bottom of the sea.
Speaker 1:No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. Hold up a minute. I you were doing really good till you got to that point and I was agreeing with everything as funny as could be, and it's true, except for one thing no, no, I never bought into that. I I don't know how old I was when that show was on, but nope, didn't buy into it. It was so phony looking it was okay. Oh yeah, no, no, it was, even though I knew, you know I bought into it because I knew it was TV and that's about all they could do, even when I was six, but I still knew it was kind of phony.
Speaker 3:No, no, and that's what I'm saying. I wasn't trying to say I was noticing when I used to watch it. You're talking about the periscope, right? Yeah, all right, so the periscope. They always look through the periscope, but how many times did they do that when they were submerged at like 100 feet? I'm all like how big is that periscope? We're going to look up at the wait. We need to look at the surface. No, you've got to rise first a little bit. Can you please, please? You know, blow the ballast tags, do something, unless you have a, you know, 300 foot periscope. Oh, shoot, but you were talking. You were talking about watching it as a kid, right?
Speaker 3:yeah, and see, that's where being a kid really helps in those types of things, because your imagination is so fertile that it fills in the blanks. It may not look real on screen and you may on a, on a, on a subconscious level. No, it doesn't. You know it looks fake but your mind during the course of the show is filling in those gaps, is making those special effects in your head. That was one of the wonders about watching things like Star Trek and Voyage to the Bottom Sea and any other things during the sixties and seventies, because you know their target audience would be like hell. Yeah, I can believe that you know because they were younger.
Speaker 1:So, on a completely different note, and you know we're talking about all this incredible music, probably on a lesser scale of music, perhaps complex music, but one that, on the flip side, I enjoy. Probably not the best composer, probably wouldn't put this in the best composer, ken Dogg DoggsMovieHousecom. Please everyone check it out, but boy do I still love it.
Speaker 2:Yeah, yeah, right there. Yeah, yeah right. Mexican Americans don't like to just get into gang fights and like flowers and music, and white girls named Debbie too. Mexican-americans are named Chata and Chela and Chema and have a son-in-law named Jeff. Mexican-americans don't like to get up early in the morning, but they have to, so they do it real slow.
Speaker 1:Cheech and Chong, ken Doug, cheech and Chong. Yes, indeed, the city council in Los Angeles proclaiming today Cheech Marinde yeah, that's right, baby. In Los Angeles, to honor the Chicano comedian proclaiming today Cheech Marin Day yeah, that's right, baby. In Los Angeles, to honor the Chicano comedian, actor, art, collector, which coincides with the third anniversary of the Cheech Marin Center for Chicano Art and Culture in Riverside. As the city councilman there, hugo Soto Martinez, led the presentation in the council chambers to recognize cheech, who, in my opinion, ken dog is. Um, those two right there, two of my all-time favorites.
Speaker 1:I thought, man, who we could, we could talk about best comedy duos on our show. We probably have 10 different times, I don't care, it's always fun. Not everyone's heard that or had an opportunity to weigh in on that, but you're from my money and I'm a product of the seventies. Um, cheech and Chong, I mean, I just loved Cheech and Chong. So so I thought maybe tonight we talk a little bit about Cheech and Chong and comedy duos. Oh, so I thought, maybe tonight we talk a little bit about Cheech and Chong and comedy duos.
Speaker 3:Oh yeah, I'm down to that. You know how I am, because my, my soul is old enough to qualify for social security. Um, I, you know, I always think of some of the older duos uh that always but there are some newer ones too, and there I, I I've been thinking of some rather unexpected ones, uh that, uh, that you may not think of as comedy duos, but they really brought the funny to otherwise serious or or action packed material as well. So so, yeah, that'd be fun. I'd love to talk about that.
Speaker 1:Yeah, I think it'll be a blast. I mean, you know again, I was in in, uh, junior high. I was listening to Cheech and Chong. In high school I was listening to Cheech and Chong. I still have the Big Bamboo album which had a gigantic rolling paper in it, a big zigzag with an imprint of Cheech and Chong, and I still have the rolling paper in the album itself, and not a lot of people, because way back when, a lot of people back in those days would then, of course, roll that up into a big joint and they would try to smoke it.
Speaker 2:but here's a little more mexican americans love education, so they go to night school and they take spanish and get a b chong is hilarious too.
Speaker 1:Take Spanish and get a B Chong is hilarious too Mexican-Americans love their nanas and their nonos and their ninas and their ninos, Nanu nanu, ni nanono.
Speaker 2:Mexican-americans don't like to go to the movies where the dude has to wear contact lenses to make his blue eyes brown, Cause don't they make my brown eyes blue.
Speaker 3:Didn't he do the Bruce Springsteen parody a few years after it came out, born in East LA, that was him, wasn't?
Speaker 1:it.
Speaker 3:Born in East.
Speaker 1:LA. Oh yeah, yes, exactly, oh yeah, yeah, yeah.
Speaker 3:And I will tell you what people who like Cheech Marin's acting career he has. There's a cult horror movie by Robert Rodriguez called From Dusk Till Dawn and it's about vampires, basically a vampire-owned nightclub out the edge of the border. He plays three roles in that movie and he does them entirely differently. He plays a trooper, he plays a vampire bartender and he plays a cartel boss, and he does them. I mean, they're not big roles but they are very, very unique and he manages to pull off three different characters in the same movie.
Speaker 3:Now, the movie is inherently silly, but yeah it's a testament to his, to his ability, and he has some funny lines too, uh, that's dust till dawn right you said from dust, from dust till dawn yeah, I'll say here's my take on that movie and I don't want to get too deep into that.
Speaker 1:Okay, because I know you, but I'm just, but I'll, but I'll take your take on after I react. No, no, no, I that movie, one of the most disappointing movies I've ever seen in my entire life. I'm watching that movie. I'm like, hey, I'm getting into this. And then all of a sudden it goes from one movie into a completely other movie about vampires and I'm like what just?
Speaker 3:happened to the movie? There is no segue, there is no transition. It goes from a Tarantino crime movie to a vampire movie and there's nothing gradual about it. It turns from something that Tarantino would have done post-pulp fiction into Tales from the Crypt episode, and it does it so fast and again. I'm not, and it does it so fast, yeah, and, and I, and again, I'm not saying it's a great movie, I'm saying it's a cult movie.
Speaker 1:No, and but what you're saying, too, is that he does a great job acting, and he does he does a, he does a fantastic job in all three roles.
Speaker 3:It's like, oh man, that's cool.
Speaker 1:Yeah, he really does, yeah.
Speaker 3:Yeah, especially his. I can't say it on the air, but he does the-.
Speaker 1:Yes, you can, here you can.
Speaker 3:Oh, he does, Okay, so the name of the bar is called the Titty Twister. Yep, Right, and he does this thing. We got this pussy, this pussy. If you can find any better, fuck it. Yeah. Yeah, you know it's like okay, you know he's just, he's just going full carnival Barker and it's funny. I mean it works. It works for that.
Speaker 1:But I do agree with you that if it had been all about that movie, I would have watched it. If it had been about the other one, I would have watched it. Here is one of my favorites. I just got to now I'll, by the way, I just want to say, um, so today would be a Cheech Marinday, so I checked on Tommy, because Tommy deserves a day too, because Tommy, to me, is equally as funny as Cheech. They are both. Chong is as fun and as funny as Cheech. There is a day, but it's not, you know, but it's again for both of them, and this is in Clark County, nevada. This is August 22nd, but it's Cheech and Chong Day. If they're going to put Cheech Marin Day out there, they've got to go with Tommy Chong Day too. Here is one of my all-time, if I may, favorite scenes from Cheech and Chong Hello headquarters, come in headquarters.
Speaker 2:This is Officer Clyde. Use the code name. The code name Headquarters Headquarters. Come in please. This is code name Hardhead Hat Headquarters Headquarters. Come in please. This is code name Hardhead Hat Hardhat, give me that.
Speaker 3:Hello, radio dispatch. This is code name Hardhat Code name.
Speaker 2:Hardhat. Do you read me Over? What's that? Lardass Hardhat. Code name Hardhat. Do you read? Radio dispatch? Hey, got something for you. Lardass Hardhat Hardhat. Do you understand? Lard-ass? Lard-ass, hard hat. Radio dispatch. Do you know who this is? No, who is this is. This is Sergeant Stadinko. Oh yeah, you know who this is. No, bye-bye, lard-ass. Ha ha, ha, ha, ha, ha, ha, ha, ha ha ha ha, bye-bye, lard-ass.
Speaker 1:Some things make me laugh every single time Ken Dogg.
Speaker 3:Yeah, you know, they had a unique chemistry and they were. You know. Their funny thing about it is that they managed to incorporate the stoner culture without making it too stupid. That's rare. You know what I mean. Culture without making it too stupid, that's rare. You know what I mean. If you, if you were, if you really, you really run the risk of you know, just getting into the giggles part of it like if you were high, but they still manage to do good stuff with it. A lot of great yes, oh, yeah and and uh. You know, you know most of the best stuff are.
Speaker 3:You forget about a narrative for a two hour film? They're basically just a framework for their sketches, which works. And if you go into a movie expecting that, you know other films like the court. I remember the Korshkin brothers I had seen. I had seen a couple of the other Cheats and Chow movies, but when they decided to go into the period and say let's do a full story, not so much but uh, but as far as their, but as far as their, as far as their seminal work in the 70s yeah, it's hard to beat them talking about the stoner culture.
Speaker 2:Here you go.
Speaker 1:Oh man, that's some heavy shit, man car completely filled with smoke is just passing the gigantic tube wall back and forth am I driving?
Speaker 2:okay, I think we're parked man. Oh, that is some good stuff.
Speaker 1:You know, I used to tell my brother, steve, both of us are music fans and I used to tell him man, I wish we could see Cheech and Chong with war somehow, cheech and Chong with war, in a concert and you have a comedy act and you have a band in it. And then, one year after saying it for many years, I read in the paper Cheech and Chong is playing with war, what I called my brother. I said you are not going to believe this, steve, playing at a pier at this park in san francisco on this really trippy, foggy day. And cheech and chong, first. War comes out and I war is one of, and I've had the opportunity now since then to introduce war in concert. But they come out and they play a song that instantly reminds me of Cheech and Chong. They just remind me of each other. Cheech and Chong and war right, a little bit of a Chicano culture, right I always. This makes me want to have a 73 Buick Riviera with a chain steering wheel playing this the gold rider is a little higher.
Speaker 1:Playing Johnny the Fox and Jimmy the Weed by Thin Lizzy by the way, this was on my Best Cowbell song show last night. And so what would happen is War would play a song and then Cheech and Chong would come out. The lights would go down on War and then lights in this other part in front of them would come up and it would be like a living room setting and it would be Cheech and Chong and they would do hey man, you know I got a. Hey Ralph. Hey, hey Herb, you know they'd do a skit. And when the skit was done the lights would go down and war would start playing again. And one of my favorite memories of that, speaking of Cheech Marin, it's Cheech Marin Day today. We're talking about it here with Ken Dogg, jackman, dogsmoviehousecom, on Pat's Peeps 286, one of my favorite parts of that Ken Dogg was at the end. They did an encore. Well, how are they going to do an encore? Well, here was at the end they did an encore.
Speaker 2:Well, how are they going to do an?
Speaker 1:encore. Well, here's how they're going to do an encore. War comes out and they start playing a song. And when? Well, no, no, no, I take that back First. What happens is Cheech Marin comes out here we are in San Francisco, and man, did I love this. He comes out in a white LA Dodgers jersey. He says Dodgers, the whole crowd is boo Boo.
Speaker 1:Boo, and he starts laughing. He's taunting the crowd in San Francisco. Hey man, go Dodgers. Hey, go Dodgers. Right behind him, the lights come up and he's hey, go Dodgers. Hey, go Dodgers. Right behind him, the lights come up and he's just going go Dodgers. To the Giants fans. This song plays. It was awesome. Why can't we be friends? And everyone started laughing. You know, just for the rivalry, everyone starts singing. You know, cheech steps up to the mic, ken Dogg, and sings this. I'm like, oh man, my brother and I are looking at each other like, see, this is ultra cool man. So the Giants fans and Cheech with his Dodger jersey are up there and everyone's singing back and forth. It was really cool, ken Dogg. I can imagine.
Speaker 3:Yeah, that sounds like fun, yeah.
Speaker 1:So congratulations to Cheech Marin. Now they just need Tommy Chong. Hey, Ken Dogg man. Yeah, how fun to have you on. What do you got tonight? I'm going to play some music here behind us too, from Cheech and Chong in a moment. But tell us, what do we got going here tonight on the show.
Speaker 3:Well, we're going to talk a little bit more about Yaws and its impact and some kind of stories from behind the scenes and some kind of stories from behind the scenes Also. It's been a couple weeks, so I've got some pretty darn good movies two for the family and one not for the family at all. Oh, but yeah, yeah, unless you're the type of family who has the Wednesday and Pugsley Adams as their children uh, 28, 28 years, uh, 28 years later. Uh, a sequel to the 28 days later revolutionary kind of zombie-esque movie by danny boyle released this week, and so we'll talk about that. And we'll talk about pixar's latest, and we'll talk about the live action version of how to train your dragon and see if it's worth going to, even if it's's, you know, already been done in animated form. So stuff like that.
Speaker 1:Awesome. I look forward to it. Let's finish it off with some Cheech and Chong. I had this album and I had this 45 when I was a teenager. You rake my eye. I particularly liked the longer version where it wasn't just the song but the kid playing the record. Man, I just bought that. I don't care what you just bought, Get your. Thank you, Ken Doug. Always a pleasure man. Thank you. All right, Check out dogsmoviehousecom. Thanks for listening to Pat's Peeps 286.
Speaker 2:You caught me in the bathroom with a pair of pantyhose. My basketball coach? He done kick me off the team. I'm wearing high-heeled sneakers and acting like a queen.
