Transcript
Jake Brennan (0:04)
Double Elvis.
Sponsor/Ad Voice (0:07)
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Jake Brennan (1:07)
I am not going to lie. I was up late last night watching playoff baseball and it has been a slog today. But I am powering through these ad reads right now. Thanks entirely to Five Hour Energy guys. Five Hour Energy has so many flavors. 17 flavors, you're never bored. There's a variety of awesome flavors with just as much caffeine as a 12 ounce premium cup of coffee, but with zero sugar and zero sugar. Crash big flavor in a tiny bottle. That's five hour energy. The five hour energy shots pack the flavors of the season in a portable two ounce shot. Your day's fueled up nice and quick with tasty caffeine. I'm holding onto that summertime vibe even though I know the fall is here. But I'm still rocking that watermelon five Hour Energy. I can't get enough of it. You know. As it gets cooler though, I know myself I'm going to be migrating back toward the sour apple 5 hour energy. It gives you that sort of like that, that crisp, you know, when the air kind of starts to bite back at you for the first time. That kind of tastes tasty, but also tardy. Mostly just tasty though. Again, these are small, powerful shots of energy. Boom. You're ready to go with five hour energy. Give your caffeine a flavor upgrade with five hour energy shots. Get yours in store and online at www.f5h.com or on Amazon today. Hey discos. Need a little more Disgrace Land in your life? Just a touch to get you through. Yeah, me too. This is the podcast that comes after the podcast. Welcome to Disgraceland. The After Party. Welcome to the Disgraceland bonus episode. A little thing we like to call the after party. This is the show after the show. The party. After the party, the bridge to get you from one full episode of Disgraceland to the other. The backyard to dig into the dirt. Our mission, to uncover the truth, to confront the myth, to reclaim the story. On this bonus episode, we're talking about why Hollywood ignores some of the most impactful music ever made. We're rewinding back to our ACDC Part 1 episode, previewing next week's new episode on ACDC, Part 2 of that story. And we get into your voicemails, texts, DMs, and as always, a whole lot of Rosie. This is the podcast for the musically obsessed, the outsiders, the independent thinkers who know that the best history is the history that gets buried. Disgraceland is where I tell the stories they didn't want told. The kind you'll end up telling someone else. All right, discos, let's get into it. When the Exorcist was written, released in 1974, the movie sent some theatergoers screaming through the aisles in terror. They vomited, fainted. More than one had a heart attack and another had a miscarriage. The movie's shocking images of a possessed 12 year old girl are credited with causing the extreme audience reaction. But the incredible music from the Exorcist also contributed to the intense fear that audiences felt. Horror movie music, unlike music in other film genres, is essential to the success of a film. Horror movie music is also the most memorable music in cinema. Think of films like Psycho, the Shining, and yes, the Exorcist and try to imagine these movies without the music. You really can't. So why then have these and other original horror scores received little recognition from Hollywood? The cultural impact the Exorcist had was massive. In addition to the physical repulsion from some audiences, the film sparked a nationwide debate over faith. Protestants condemned it. The Vatican basically said, see, we told you so. SNL spoofed it. And aspiring filmmakers everywhere, John Carpenter, Wes Craven and others, grabbed cameras with newfound inspiration that led to an eventual explosion in horror. A Decade later, in 1973 and 74, the Exorcist grossed $233 million domestically, the equivalent to over a billion dollars today. It's no wonder. The film was the first horror movie nominated for Best picture at the 46th annual Academy Awards. In total, The Exorcist received 10 Academy Award nominations for best Actress, Actor, Supporting actress, director, cinematography, editing, writing, production act and sound mixing, but not for best Original Score, Original Score adaptation or Best Song, which I always found to be a glaring omission given the power and originality of the Exorcist theme Tubular Bells by Mike Oldfield As a kid growing up in the 70s and 80s, I knew that music before I ever even saw the film. It's iconic, like the music of so many other horror films. But Tubular Bells almost didn't happen, at least not in the Exorcist. Director William Friedkin rejected scores by legendary composers Bernard Herrmann, you know, the dude who scored Psycho, and Lalo Schifrin who came up with the Mission Impossible theme. In fact, Friedkin was so unimpressed and frustrated with the process of finding suitable music for his film that he literally threw Lalo Schifrin's score out of the window. You can hear more about this incident in the wild drama around choosing the music for the Exorcist in this week's Disgraceland mini episode, which as you probably know by now, is available only to all Access members. But the main reason I mention Friedkin's frustration here is because it speaks to how important music is to a film production, especially a film that's supposed to elicit fear. Friedkin hunted through the archives at Warner Brothers and eventually Atlantic Records until he stumbled upon a prog rock composition by an unknown 19 year old English musician named Mike Oldfield. And Friedkin knew immediately that the synthy tension of Oldfield's tune Tubular Bells would create a unique sense of modern dread and compel audiences. And boy howdy was he right. But the Academy didn't see it that way and thus no nomination. To be fair, the Academy of Motion Pictures Arts and Sciences has always had a hands off relationship with the horror genre. Horror movies, along with other so called genre films seldom get nominated in non technical categories, but the Exorcist changed that for a minute anyway. In 1976, Jaws won the Oscar for Best Original Score by John Williams, and deservedly so. And in 1977 the horror film the Omen took home the Best Original Score Oscar composed by Jerry Goldsmith. However, in the many years since, despite the continued excellence and impact of horror film music, only three horror movies have been nominated for Best original score since 1977. One for Amityville Horror in 1980, one for Interview with a Vampire in 1995 and one for the Village in 2005. That's just three nominations in nearly 50 years. 50 years of incredible horror movies with impactful and memorable music movies like Suspiria the Shining, Let the Right One in, the Witch get out, and Hereditary, all films that were Oscar worthy themselves or contained performances that were Oscar worthy and contained Oscar worthy original music. Given that the Academy typically dumps the horror genre into its technical award categories, the fact that none of these great films were nominated for Best Original Score is perplexing to say the least. It's almost like the Academy purposefully overlooks horror and horror music. The mission of the Academy of Motion Pictures Arts and Sciences is to recognize excellence and inspire the next generation of filmmakers. Without belaboring the point, every horror movie I've mentioned in this piece achieves cinematic excellence and has inspired future generations of filmmakers. Furthermore, the mission of filmmaking is partly to explore deeply human themes. What's more human than fear? And fear as expressed in film is done so most effectively with great music. Music you can't forget, but somehow music Hollywood disgracefully ignores. I'll be back after this with your calls, texts, voicemails and foreign.