132 - Saturday Night Fever - The Original Soundtrack - Martha Plimpton

Summary

Podcast Summary: "The 500 with Josh Adam Meyers"

Episode 132: Saturday Night Fever - The Original Soundtrack, with Martha Plimpton
November 26, 2025

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Episode Overview

In this energetic and nostalgia-fueled episode, host Josh Adam Meyers welcomes acclaimed actor Martha Plimpton to break down the iconic "Saturday Night Fever" Original Soundtrack—#132 on Rolling Stone’s list. The conversation traverses the movie’s powerful emotional imprint, the Bee Gees’ lasting musical influence, and disco’s broader cultural resonance, all through Plimpton’s personal memories and critical lens, with notable contributions from recurring guest Morty Coyle.

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Key Discussion Points & Insights

1. Saturday Night Fever: A Personal and Cultural Touchstone

• Martha’s First Encounter:

  • Martha saw "Saturday Night Fever" in theaters at age six with her babysitter, describing the experience as “loud, sexual, dirty. I could smell that movie.” (18:07)
  • She was captivated by the atmosphere and music, which reflected her Upper West Side, 1970s New York upbringing—a mix of cultures and sounds.
  • The soundtrack was a staple among her babysitters and god-sisters: “That was the sound. That’s what I grew up listening to at that age.” (18:48)

• Impact Beyond the Screen:

  • For Martha, the film is a time capsule: “It came out in the 70s when I was a kid in the 70s in New York. It was made for me.” (35:58)
  • Josh notes how "you'll never understand how big it was because you weren't alive during that time," highlighting generational divides. (21:33)
  • The movie’s unfiltered depiction of 1970s New York—gritty, chaotic, diverse—evokes a lost era of American city life.

2. The Bee Gees and Disco’s Enduring Power

• Musical Craftsmanship:

  • The Bee Gees' transition to their falsetto style is called out as revolutionary: “They were still sexy. They were still hot...better than Frankie Valli. It was different.” (62:34)
  • Martha's picks: The Bee Gees are in constant rotation for her—“I think the Bee Gees are timeless.” (28:22)

• Signature Songs & Sequencing:

  • The panel agrees the album is “front-loaded”—the first five tracks (“Staying Alive,” “How Deep Is Your Love,” “Night Fever,” “More Than a Woman,” “If I Can’t Have You”) are universally praised, with “Night Fever” and “You Should Be Dancing” standouts for danceability. (63:50)
  • Josh: “These are timeless. You play ‘Stayin’ Alive’ at any wedding or bar mitzvah…” (65:42)
  • Martha on why “Night Fever” is her favorite: “No matter what state I’m in…if one of those songs comes on, I’ll get up and dance. They are propulsive, yet they’re groovy. Arrangements are genius.” (63:53)

• Romance & Escapism:

  • Martha: “People don’t think of disco as romantic, but it really is. It’s music of fantasy...being swept off your feet, dancing, being taken away.” (81:25)

3. The Movie and Soundtrack as Integrated Art

• Music as a Character:

  • Martha argues "Saturday Night Fever" marks a turning point for pop soundtracks: “It made the soundtrack another character, it made the music another character in the story.” (31:14)
  • The discussion highlights how certain dramatic scenes (like atop the Verrazano Bridge) are inseparable from their musical backdrops. (33:21-34:05)

• Not All Tracks Created Equal:

  • There’s honest critique: Martha notes the second half of the album dips into “kitschy, nostalgic territory,” referencing tracks like “A Fifth of Beethoven” and Kool & the Gang’s “Open Sesame,” which reflect disco’s saturation and period quirks. (78:33)

4. Reflecting on Changing Cultural Moods

• 1970s Grit vs. 1980s Gloss:

  • The film is contrasted with its sequel "Staying Alive," which failed to capture the “tension and rawness” of the original. (85:45)
  • Martha and Morty discuss the cultural backlash and erasure of 70s libertine attitudes as the 80s ushered in Reagan-era conservatism: “It was disappointing as a kid in the 70s to come of age in the 80s and be told everything in the 70s was fucked up and wrong.” (88:45)

• Intergenerational Cultural Touchstones:

  • The hosts compare SNF to movies like "Fast Times at Ridgemont High," "Clueless," "Lost Boys," and "American Graffiti," all capturing the essence of youth subcultures through music and casting. (92:14-99:12)

5. Martha Plimpton’s Career Memories

• Goonies & Legacy:

  • Martha sees "The Goonies" as “a slow burn”—not an instant blockbuster, but a movie that became a generational touchpoint due to home video and cable, much like "Saturday Night Fever." (49:30)
  • The cast reflects on how movies become lasting cultural artifacts through repeated home viewing and family traditions.

• Touching Tributes:

  • A heartfelt memorial to Eric Gilliland, accomplished writer/whistler and friend, is shared—showing the podcast’s warmth and appreciation of their broader creative community. (104:50)

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Notable Quotes & Memorable Moments

On Seeing SNF as a Child:

“It was loud, it was sexual, it was dirty. I could smell it...I remember being utterly captivated and fascinated by it, sitting there totally slack jawed and loving that music.”
—Martha Plimpton (18:14)

On the Bee Gees’ Transformation:

“They were still sexy. They were still hot...better than Frankie Valli. It was different.”
—Martha Plimpton (62:34)

On the Album’s Emotional Power:

“If one of those songs comes on, I will get up and dance...The arrangements are genius. They are unstoppable. Perfect disco songs.”
—Martha Plimpton (64:35)

On Disco as Fantasy:

“It’s a music of fantasy...being swept off your feet, dancing, being taken away by some guy in a white suit.”
—Martha Plimpton (81:25)

On SNF Marking a New Era in Soundtracks:

“It made the soundtrack another character, it made the music another character in the story...It revolutionized the way people experience storytelling through film.”
—Martha Plimpton (31:14)

On Living Through the ‘70s and ‘80s:

“It was disappointing as a young kid in the 70s to come of age in the 80s and realize that all of that sort of...to be told everything in the 70s was fucked up and wrong...I missed it?”
—Martha Plimpton (88:45)

Speed Round: Favorite Song

• Martha Plimpton: “Night Fever.” (107:25)
• Morty Coyle: “More Than a Woman.” (107:40)
• Josh Adam Meyers: “How Deep Is Your Love.” (107:42)

On What Makes the Album Special:

"It’s the music that came out of an exhausted and beaten down generation looking to make a new connection with life, love, and their bodies.”
—Martha Plimpton (108:35)

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Timestamps for Important Segments

• 6:47 — Martha Plimpton joins, reminiscing about growing up in NYC (and pets)
• 17:54 — Why Martha chose the SNF soundtrack; first time seeing the film
• 21:19–25:19 — Discussing cultural shock value, realism in 1970s New York films
• 31:14 — The transformative role of pop soundtracks in film
• 35:42 — SNF as a time capsule of Martha’s NYC childhood
• 62:34 — How the Bee Gees' sound changed disco (and themselves)
• 63:53 — Martha on why “Night Fever” is her favorite
• 78:31–82:20 — Critique of the album structure and disco’s romantic side
• 88:45 — 1970s vs. 1980s cultural mood shift
• 104:50 — Tribute to Eric Gilliland, Plimpton’s friend and creative peer
• 107:11 — Lightning round: favorite songs; summary pitch for the album

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Episode Takeaways

• "Saturday Night Fever" is both a product and symbol of its era, capturing the hope, exhaustion, and desire for escape of a generation.
• The Bee Gees’ work on the soundtrack propelled disco into mainstream consciousness, blending romantic escapism with irresistible dance rhythms.
• Martha Plimpton’s NYC childhood gave her a unique perspective on the film’s authenticity and influence.
• The movie and its soundtrack showcase how music, story, and image can combine to create cultural phenomena that withstand generations.

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Guest Plugs

• Martha Plimpton: Currently appearing in the hit HBO series Task, renewed for season two. Catch her as Faye in the upcoming Netflix limited series East of Eden.
• Morty Coyle: Find him on socials @DJMortyCoyle.
• Raising Hope (with Cloris Leachman and Martha)—recommended viewing for comedy fans.

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This episode is a must-listen for anyone who loves disco, film history, or the untold stories behind how soundtracks become the sound of their time.

Transcript

[Josh Adam Myers]

Next Chapter Podcasts.

[Podcast Host/Announcer]

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[Josh Adam Myers]

The Subaru Share the Love Event is on from November 20th to January 2nd. During this event, Subaru donates to charities like Meals on Wheels and so far has supported the delivery of nearly 5 million meals to our aging neighbors. When you purchase or lease a new vehicle vehicle during the 2025 Subaru Share the Love Event, Subaru and its retailers will make a minimum $300 donation to charity. Visit subaru.comshare to learn more. This show is brought to you by Distrokid. Bring your music to the masses. The 500 the 500 JM been walking us down through that 2012 edition so it ain't nothing to you. Hundreds want to go and in need of a friend the King of peaceful angelo Talking the 500 until the end Talking the 500 until the end with my man Jim on the 500 Talking the 500 until the end. I mean that's the one dude. Staying alive from Saturday Night Fever from 1977, the original motion soundtrack picture whatever the fuck we call it. It's number 132 out of 500 on the 500 with Josh Adams. What's up, party people? Thank you for tuning into the only podcast where comedians going through Rolling Stone magazine's list of the 500 greatest albums all the way down from 5. 00 to 1. The 2012 list. That's right, the 2012. This weekend, I. Well, by the way, happy Thanksgiving, everybody. I hope tonight's eventful. We moved my Baltimore show, the big theater show, to February, so I really need to pack that out. It wasn't my fault. It was just the. There's a lot of stuff going on. Plus, I wanted to go to London, and then I got too sick to go to London to go see Radiohead. So it was a whole thing. This weekend, I am at the Punchline in Atlanta. Friday, Saturday, and Sunday. The weekend after that, I'm at Duckworth in North Carolina. The weekend after that, I'm opening up for my buddy while he does his Comedy Central. Not coming. Netflix taping. Jeff Arcuri will be in Phoenix at the Celebrity Theater. And then the week after that, I am at Comics Roadhouse, one of my favorite spots. At Mohegan Sun. I'll be at the Michael Jordan Steakhouse, Eaton. Big one of those nights. And. And then end of the year, I'm gonna be opening up for Big J Okerson, wherever he's gonna be, so we can spend some time together because I love my buddy to death. And then 2026 is filling up. Josh AdamYers.com Josh Adam Myers on all social media. Yeah, man, it's been a good year, and it's all because of you guys, man. I see you guys out on the road and I'm very thankful for all of you, especially the ones that have been doing it from the beginning. Mark. God, I wish I had everybody's names written down. I should have a list of all the people, all the people that I've loved. So many of you just keep reaching out. By the way, I want to give a shout out to my girl, Jessica Levin. She's got a special out right now called Party Body. She shot in a small pub in Park Slope in Brooklyn on her YouTube. Jessica Levine. Or is it Levin? I don't fucking know. J E S S I C A L E V I N Check out Party Body. She's hilarious. She's a sweet girl and I really wanted to help her. We did a podcast together and I said I would drop her a little bit. Who are the people, man? Gosh darn it. You know what sucks is that I've met so Many of you out on the road, and yet I can't remember one of your names. Well, you know what? The best thing you could do is send me a message. Send me a message so I can give everybody the shout out of all shout outs is Rob one. Ryan. I don't know. I'm just looking through my thing and I'm like, I see these weird names and I'm like, oh, hold up. 500 shout out. Mike cops. There's one, but he's not the main one. There's a lot of other people. Sloan o', Neal, Ellen. I have no idea. All I know is that I love you guys. Thank you for listening. Subscribe to the Patreon to support the show. If that's anything you want to do to pay us back besides just following me, subscribe to the patreon. Subscribe to patreon5 on patreon.com backslash the 500 podcast guys support the show. $5 gets you. Gets you a bunch. 25 gets you even more. We love you. We appreciate you. All right, what are we doing? Night fever. Night Fever. You don't know how to do it, Dude, I put this onto the gym and just glid. Glid all the way through my workout. It was the easiest thing I've ever done. When you get a record like that, I mean, it's. It's a. It's top loaded. And we're gonna talk all about it with our incredible guest from Goonies from the HBO show Task with Mark Ruffalo from. I mean, east of Eden. Coming up on Netflix from. I mean, are we gonna really do this? River's Edge from Parenthood. I. I started off the big one, dude. The Goonies, the one and only Martha Plimpton. She right now, like I said, is playing Kathleen McGinty, the HBO supervisor who recruits task force leader Tom, who's played by Mark Ruffalo in the crime drama task on HBO, premiered in September 25th. Just got renewed for season two from the mayor of East Town, dude. So it's all Philly. All Philly. She just wrapped production on Netflix's limited series east of Eden. She'll be playing Faye in the upcoming seven episode limited series adaption of Don Steinbeck's east of Eden novel. There's also Florence Pugh as Kathy Ames, Christopher Abbott, Mike Face as Charles Trask. I mean, I don't know if I got all those names right. Either way, legend. Really fun episode. Funny thing, I would have been in London. She's in London. We could have made this work. And I had to cancel raid review. And most importantly, subscribe to the 500 listen for you on all platforms or any way you get your podcast. Follow me at Josh Adam Myers on all social media. Follow the podcast at the 500 podcast. Email the [e-mail]. Follow the Facebook group run by Chris Crazy Heaven. And for all things 500, go to the website the500podcast.com. All right, people, people, here we go with 132 out of 500 with Saturday night Fever, the original movie soundtrack. There a cat in the video? There's. I'm very anti. Yeah, my cat's. I'm. I'm allergic. Please get that out of. Out of the shot. My eyeballs, I don't even know. They go. That always upsets me when people say they're allergic to cats and dogs. I think that's a joke. Especially dogs. They say I'm allergic. I'm just like, no, you're not. You had a moment when you were younger. The dog jumped on you, you got afraid, and now you don't like being around. Yeah, that's what happened.

[Martha Plimpton]

Yeah. Yeah, I agree. I don't think anyone is allergic to dogs. Maybe cats.

[Josh Adam Myers]

Cats, yes. And by the way, can I say this, and I mean this with no disdain, because I think every person deserves to have a pet, but I don't. If you need love, like, if you're like a normal human being that lives in the world that is being beaten down every day by. Yeah. You know, whatever is going on, everything. Everything we have to deal with. Oh, that's why it's dark. Because the lights shining down. Because. Oh, my goodness. Because I was looking for something last night and I moved the light. All right, but if you're beaten down, why would you go with a cat? Because they don't give you any love. Like, you, my student. I was at my. I have to go visit my family because obviously it's Thanksgiving. And I was at my sister's, like, a few years ago, and on, like, the fifth day of staying at her house, I was sitting on the couch and something rubbed against my leg. And I was like, oh, my God, what was that? She's like, oh, that's our cat. I'm like, you have a cat? She's like, we have five of them. And I'm like, I've been here a week. I.

[Martha Plimpton]

Look, I had cats when I was a kid. I had cats, and I loved my cats, and my cats were great. But ever since I switched to dogs, I've never Gone back. I've never gone.

[Josh Adam Myers]

This sounds like an infomercial late at night. Yeah. You know, right after the mesothelioma class action lawsuit, it's like, listen, everything in my life was tough, and then my doctor told me to go from cats to dogs, and I never went back, and I never gone back. I love it.

[Martha Plimpton]

And also because I liked. I like an animal that pisses and shits outside, you know, yeah, there's something. I don't want a box of piss and in my house.

[Josh Adam Myers]

Did you. Did you have dogs when you were, like, when you were starting your career and like, you know, in the. In the 80s and the 90s and stuff?

[Martha Plimpton]

No, I had cats. I had cats until my last cat died and that the cat was like 24 years old when the last cat died.

[Morty Coyle]

Right.

[Martha Plimpton]

And I loved her. I love my cats. I love them. But, you know, it made it hard to travel.

[Josh Adam Myers]

It's easier.

[Martha Plimpton]

Believe it or not, having a dog makes it much easier to travel. You can actually travel with a dog, whereas cats are like, what are you doing to me? You know?

[Josh Adam Myers]

You're not lying. I fly with my dog every weekend. My dog's a service animal. I fly. I flew over all over America.

[Martha Plimpton]

Excuse me.

[Josh Adam Myers]

Tomorrow we drive to Maryland. Friday we go to Atlanta. Then Atlanta will go back to New York, and then the next week, North Carolina. I was gonna bring her to London. I was. I was supposed to be in London this week, which is why it was, like, great, which would have been great. The dog I had. I had so many Instagram pictures picked out. We were gonna, like. Oh, like, right at, like, the entrance to Chinatown. I was gonna take her to Buckingham palace, go to. Oh, yeah, the. Put her on Abbey Road. Mm. All of that stuff. And then I just. I would get too tired.

[Martha Plimpton]

And it's also. It's a real pain, as they say here in England. It's a real faff bringing your dog here.

[Josh Adam Myers]

Wait, are you in England?

[Martha Plimpton]

I am. I'm in London, so I live here.

[Josh Adam Myers]

Oh, yeah, that's right. You would. No, no, no, that's right. Because Emily said when I got there, there was the chance that we could do it. And then I remember because she threw out us doing it at this time on Monday. And I was like. At first, I was like, wait, why would. That's gonna be right when I'm going to a concert and. Or doing a show? And she was like, no, it's on London. So wait, what did you.

[Martha Plimpton]

Did you.

[Josh Adam Myers]

You live there? You sure? Are you shooting?

[Martha Plimpton]

No, I live Here. Yeah, yeah, yeah, yeah. I love it here. I really do.

[Josh Adam Myers]

How long have you been there?

[Martha Plimpton]

Eight years, I want to say. Yeah.

[Josh Adam Myers]

Life. And then you go back to Pennsylvania to shoot.

[Martha Plimpton]

Yeah, yeah.

[Josh Adam Myers]

Out of all the places in America, you get to. You get to go spend time. Pencil tucky. Yeah.

[Martha Plimpton]

Pennsylvania. That's very funny.

[Josh Adam Myers]

I'm feeling that a blaze. I have a lot of. I have a lot of family from Pennsylvania, so Harrisburg is.

[Martha Plimpton]

Oh, wow.

[Josh Adam Myers]

Yeah. My dad's from Harrisburg. My mom's from Norristown. We used to go up there and visit my grandmother, you know, when she was alive, which she lived in, you know, a very rundown section, but, you know, in the. I guess in the 40s, when, you know. Yeah. When Benny Goodman was on the air, it was a way different neighborhood. And it just. She stepped that rode that place out. Her and Aunt Gertie, they did not leave. There were crack dealers outside and they were just like, still these two old Jewish women going to the Hebrew home. And then. And yeah, so then that's, you know, I have. I've always been attracted to. To Pennsylvania. Like, tell me about. Are you excited? I mean, I'm. Obviously you are. I mean, the show's a hit. I think it just all just got picked up for a second season.

[Martha Plimpton]

Yeah, we just got picked up. It's really exciting. It's great. It's thrilling. I mean, it's going to be a while till we start because the, you know, Brad's got to write it and, you know, Mark's got to get done with all that Marvel business he does and various other exciting, exciting things he's doing, but, yeah, it's thrilling. I'm so excited. It was such a great thing to work on, and I only worked on it for a short time, and so I'm looking forward to hopefully getting in there and digging in a little.

[Josh Adam Myers]

Oh, my God. Also, it's the guy that did the mayor of Easton. And like I said, Pennsylvania's back.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

They're not just. They're not just. They're not just the, you know, as shitty as Ohio anymore now. They're actually. Actually a strong state with comedians. And it's not just Rocky and.

[Martha Plimpton]

Yeah, it's.

[Josh Adam Myers]

God bless it. And that's so awesome, man, because it's. It's such a great show and. And everybody told me to start watching. It was like that. And the. In, like HBO is having a second renaissance again. You know, maybe. Maybe a third.

[Martha Plimpton]

Seems like it. Yeah.

[Josh Adam Myers]

I feel like. I feel like they're, you know, like the the working with the guy from. You know, the. I think you should leave that. The chair conspiracy show, which I love. Yeah. And then task and it's just.

[Martha Plimpton]

He's great. What's his name?

[Josh Adam Myers]

He's Tim Robinson. And he is Tim Robinson.

[Martha Plimpton]

He is so weird and great.

[Josh Adam Myers]

It's. Well. But also have you seen Mark Ruffalo in the. The last. What was the movie he did with. With what's Her Face? It just won the Oscar last year. Whatever. The girl. The. The living. Oh my God. Oh yeah. Oh yeah. So. So Mark. Dude. Mark's just. Dude. Mark can dip deep into that kind of too.

[Martha Plimpton]

Dude.

[Josh Adam Myers]

It's. That's the best part about actors is like you. You'd see somebody normal and then you're like, oh, you could play a socio. Psychopath, sex freak or whatever.

[Martha Plimpton]

Little things.

[Josh Adam Myers]

Not for little things. Pretty, pretty. Look at. Hold on. I'm good. I'll figure it out. Hold on. I'll give you two seconds. I gotta have the Internet at my fingertips. Right? Here I am. It is called Poor Things. We were so things.

[Martha Plimpton]

That's right. I was way off.

[Morty Coyle]

Way off.

[Josh Adam Myers]

We both want.

[Martha Plimpton]

But I love that movie. I really love that movie.

[Josh Adam Myers]

Oh my God.

[Martha Plimpton]

Mark was great in it.

[Josh Adam Myers]

It's. It's. It's. Trust me, it's. I love. I just saw that guy's new movie. I have the AMC stubs, so I go to every.

[Martha Plimpton]

Oh, cool. Oh, nice.

[Josh Adam Myers]

That's. That's the thing about living in New York and then having. Needing like vocal rest. So I'll just have days that I'm like, I just need to do nothing. So I'll go see three movies, right? And one of them. And I've did now to hear the segue to what we're about to start talking about. One of them was recently the movie that. That we're doing the soundtrack of today. Which by the way, Martha, I was like, I didn't. Not the album I thought you were going to be picking when. When Emily said not nothing. Like not like an insult. I just thought this was like a rocker.

[Martha Plimpton]

You.

[Josh Adam Myers]

You seemed always like everything I always saw you in. You were like the cool like rocker chick that I was like, yeah, that's the cool girl that I would probably hang out with. Like. And I. This isn't cool. But like, you know how. Why are you here? That's not like. Like, why are you here? But like, why out of all the records is this the one that you picked?

[Martha Plimpton]

Well, if you want to know the God's honest truth, I saw this movie, the first week it came out in the theater when I was six years old.

[Josh Adam Myers]

No way.

[Martha Plimpton]

My. Yes. My babysitter, Jennifer Esteban.

[Josh Adam Myers]

God bless Jennifer Esteban. Yep. Against your parents wills?

[Martha Plimpton]

No. Okay. No, we didn't. And also they didn't care. My mother didn't care. I mean, she hadn't seen it, she didn't know what was in it. And you know, she was at work and. And we went to the movie theater with Jennifer's friends and this movie was, it was like pa. I mean, you know, was like you growing up in New York city in the 70s and then it was like, here it is on steroids. Like, you know. Yeah, it was, it was loud, it was sexual, it was dirty. I could smell it. You know what I mean? I could smell that movie. And I remember being utterly captivated and fascinated by it. Like a, you know, like sitting. Probably sitting there totally slack jawed and then loving the, loving that music. Loving it. And that's what I grew up on. I grew up on that music, you know, the Jackson 5, you know, certain funk bands, you know, that my babysitters or my extended family, my God sisters were listening to. They were all into funk disco, you know, in the 70s. That was the sound. And so that's what I grew up listening to in, in at that age. And you know, Michael Jackson's off the wall, 1978, you know, these, these are all the records that I was into. I mean, things that made your body move.

[Josh Adam Myers]

You weren't like a Zeppelin fan or.

[Martha Plimpton]

Like, like, you know, I was too young for Zeppelin. I was 7, 6, 7, 8 years old.

[Josh Adam Myers]

Yeah. And you're a girl. And that's not like, I mean, it's not like, say girls don't dig music. No, no, no. But all this stuff, it's like, it's the dance, but it was about.

[Martha Plimpton]

It was.

[Josh Adam Myers]

Doing the Mashed Potato and letting your back.

[Martha Plimpton]

It wasn't about like being isolated in a room with headphones on and like tripping out to like.

[Josh Adam Myers]

What's that?

[Martha Plimpton]

Cashmere? You know.

[Josh Adam Myers]

Yeah, but I always thought you were like. I always thought like, dude, I always thought like in 92 you were like wearing flannels at the Viper Room, hanging out with rock stars.

[Martha Plimpton]

Like, I never, I've never, I've naturally never been to the Viper Room.

[Josh Adam Myers]

Never have.

[Martha Plimpton]

No, never.

[Josh Adam Myers]

I got it.

[Martha Plimpton]

But, but no, that came later. As, you know, as I got a little older and a little more. My interest in music became a little bit more intellectual and I started, you know, I got obsessed with, you know, Elvis Costello and.

[Josh Adam Myers]

Yeah, see, that's. That's. That's the Martha. Okay. I knew it was there. I just didn't. I just wonder how we got there. Yeah, so.

[Martha Plimpton]

But my. My roots are in Upper West Side, New York, 1970s, which is a, you know, a deeply diverse neighborhood. A lot of Jews, a lot of Puerto Ricans, a lot of black people. You know, so the music I was. Yeah, I mean, so the music I was listening to reflected the. The neighborhood and the kids I was hanging out with.

[Josh Adam Myers]

And you see this movie and. And I can imagine, because I've had movies like that. Mine, I mean, not the same thing, but I mean, I was much old as 15 years old. I remember seeing A Clockwork Orange and then Pulp Fiction back to back, being like. Like, those are just.

[Martha Plimpton]

Because it's just.

[Josh Adam Myers]

You had never seen anything like either one of those movies. I mean, dude. I mean, Goonies, all the Gremlins, all, like, watching the Back to the Future, all of those movies as, like, a kid, because I was born in 79. I mean, I know what it is, but. But there was something about, you know, the Saturday Night Fever that. That really did for all the stuff I research, because I've seen it before and then I rewatched it and I was like, yeah, it's good, but it's like. It's like the same thing where it's like, you'll never understand how big it was because it's like you weren't alive during that time.

[Martha Plimpton]

This thing, it was the biggest thing. And even at 6, 7 years old. I turned 7 the year it came out, and so. And late in the year. So I think. When. I think it came out in the summer, if I'm not mistaken, because I don't remember wearing a coat to the movie theater. And. And yeah, when that came, I mean, it was. And then they came out not long after that with a sort of more PG version, which one?

[Josh Adam Myers]

Just. It was Staying Alive, I think it was called.

[Martha Plimpton]

No, no, no, no, no. It was Saturday Night Fever. But they had edited it a little bit so that it didn't include, like, the scene with Donna Pascal in the back of the car, you know, which is kind of a rape scene, to be honest. That's what it is.

[Josh Adam Myers]

Oh, yeah, there's a. There's a. Very funny. I'm not. I'm gonna give him a shout out. I don't know if they're a podcast or what, but it's. These two guys were called. It says this aged well. And it's a. It's these two guys where one guy explains these movies from the 80s and the 90s to his friend.

[Morty Coyle]

And.

[Josh Adam Myers]

And it's. And it's. I mean, it could be like Revenge of the Nerds, which at the time we thought was amazing. And then you're like, good God. Like, this is. But should we show this ever again? Yeah, yeah, yeah. But it's just. You could go like, what is it the. Just. What was the one where the girl wants to. She wants to write a paper and she's like, they'll never let the girl do it. So she dresses up as a boy and goes to high school and she cuts her hair short.

[Martha Plimpton]

Oh, yeah. What's that?

[Josh Adam Myers]

Just one of the guys.

[Martha Plimpton]

Just one of the guys, yeah.

[Josh Adam Myers]

Which was great, but it just shows you all these things come.

[Martha Plimpton]

Those come a little later. Those are movies.

[Josh Adam Myers]

But what I'm saying is they did one of these about. They did one of them about this movie, right? So you're like, oh, I get it.

[Martha Plimpton]

It's.

[Josh Adam Myers]

I mean, a lot of it doesn't help. Greece doesn't hold it. There's all things that happen in those areas. Are you, like, all right?

[Martha Plimpton]

You know, but they hold up in a way that we don't consider valid anymore. They hold up in a way that they're a true reflection of our attitudes and mores and what we dug and what's shocked us. Because it wasn't like those things were like. Like people saw that and just went, oh, yeah, another rape scene in the back of the car. No, people were shocked.

[Josh Adam Myers]

People were shocked, sure, of course. And.

[Martha Plimpton]

And as they, well should have been. I mean, I think that's different, I think, in a way than, like, Sixteen Candles with the date rape girl, with the girl who passes out and you know what I mean? And him stealing all of that. That's not cool anymore. But I think Saturday Night Fever is really as hilariously as the music sort of delves into real kitsch, particularly towards the second half of the album of the soundtrack. It lives in that kind of kitschy, nostalgic world. Whereas, in fact, there's something. It's partially a musical. It's almost basically a musical. And it's very gritty, man. It's like very hyper realistic. Even though it takes place in this weird kind of disco world that, like.

[Josh Adam Myers]

You know, it's New York in the 70s. Yeah, in the 70s. New York in the 70s is. I mean, it was. It was. It was pretty bad. I mean, I've seen Taxi Driver, you know, Jesus, Christ, it's like so, yeah, all of that stuff. I mean, Christ, even, even like Studio 54, which was glamorous and beautiful, had these like, you know, you know, 80 year old women, like retired widows doing coke with these huge people and then dying on the dance world. They're like, ah, well, you know, Ms. Jenkins was great and you know, we'll just do a bump off her dead body. Like nobody, dude, it was Jenkins. You know, but that's what I'm saying. It's like, it's. Dude, it was, it was a very. It's so. And I think that movie reflects that. But then, but then you get the soundtrack to that, which, by the way, was not written. They didn't, they didn't have the soundtrack when they were doing the movie. So all this stuff came in later. The Bee Gees are this. You know, I think they, they, they were, they weren't.

[Morty Coyle]

They weren't.

[Josh Adam Myers]

They weren't nearly as well known as they were about to be, obviously, because this, like, this took them to the stratosphere. But when you saw the movie, obviously it was like you said, it was like the music is the icing on the cake that makes this movie just be like, oh, it's just like a regular. Like, it's like saying like, you know, like, you know, Predator without Schwarzenegger would just have been a decent movie. But then you're like, oh, because Schwarzenegger said it. That's. That's why it rules. So it was that, that was the thing that, you know, when you, when you.

[Martha Plimpton]

But I also. Yeah, but also remember those early scenes with Travolta in his family's house and his mother smacking his head and the whole thing. You know that great actress, what was her name, that played his mom?

[Josh Adam Myers]

Let me see. I can find.

[Martha Plimpton]

I'm gonna, I'm gonna look it up right now.

[Josh Adam Myers]

I got it, I got it, I got it. I'm on the ones and twos of the IMDb don't worry, I got everything at our fingertips.

[Martha Plimpton]

Julie Bavasso.

[Josh Adam Myers]

Oh, good old Julie. Julie Vivaso.

[Martha Plimpton]

Yeah, that. Who was like harried. And I think she played his mom, I'm pretty sure. What's weird is that in preparation for this conversation, I didn't actually watch the mo Again. I just listen to the soundtrack, which I do on a regular basis.

[Josh Adam Myers]

I should say, is this, this is. This is.

[Martha Plimpton]

Your Bee Gees are in normal. I don't know if it's in my top 10. I mean, it might as well be, but I don't I don't have a top 10. It's always changing all the time, right? My top 10. I'm sure yours is too.

[Josh Adam Myers]

Sure.

[Martha Plimpton]

But I didn't watch the movie again. I listened to the soundtrack. Because the Bee Gees are on regular rotation at your place. My speakers. Yeah. I mean, it doesn't matter.

[Josh Adam Myers]

Martha's listening to the PG's again.

[Martha Plimpton]

No extra.

[Josh Adam Myers]

Rather like that song Harold Let It Play.

[Martha Plimpton]

Yeah. No, I mean, I think the Bee Gees are timeless.

[Josh Adam Myers]

Really?

[Martha Plimpton]

I love. Oh, my God. Yes. And there are other songs that are really dated on this album.

[Josh Adam Myers]

Very.

[Martha Plimpton]

Or on this soundtrack that are.

[Josh Adam Myers]

But not there.

[Martha Plimpton]

Not the Bee Gees. No.

[Josh Adam Myers]

And that's the funny thing is that I me to prep is this. What I do is I usually go one straight listen all the way through and I go. I was at the gym and I was like, let me put this on. I mean, I'm. Listen, I get in trouble. So much for singing at the gym.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

Because I don't. I always figure everybody's got their headphones on, like nobody's paying attention.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

And, you know, I know people. People are all hopped up on protein powder and pre workouts and they're farting. Nobody knows.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

You don't hear anything. And so I get in trouble for singing. And so they've told me if I sing again because I always got into a fight with a guy there. It's a long story. It's a whole thing, which I'm not going to get into. I think I've explained it on here before. The moral of the story is this. I wanted to sing the Bee Gees. I mean, not just staying alive, but, I mean, like, how deep is your love? More than a woman.

[Martha Plimpton]

More than a woman.

[Josh Adam Myers]

These are. These are timeless. And I mean, when that word gets thrown around a lot, it's. It's like, if you hear this, like, it makes sense that you fell in love and so many people fell in love with this. It's the reason people fell in love with Titanic, the Celine Dion song. Dude, it's the reason. Dude, it's the reason I love Lost Boys. It has nothing to do just with how cool that movie is. It is the sound.

[Martha Plimpton]

Same old pretty lights once more.

[Josh Adam Myers]

It's like all those things that go with the movie. Dude. It's the reason I love Pulp Fiction. The reason I love A Clockwork Orange. The reason I love Gravity. The music and the image is so important that when it merges perfectly, it's like, you know, I totally think you're right.

[Martha Plimpton]

I think you're right 100%. But I also think Saturday Night Fever is different. I think Saturday Night Fever. I think Saturday Night Fever is the start of that. Of that notion of a sort of like. Of a.

[Josh Adam Myers]

Of a.

[Martha Plimpton]

Of a straight movie that's driven by music. And as you say, it maybe wasn't conceived that way originally, but it sort of. It exists at this sort of cusp of like, okay, the movie musical is dead. We're not doing that anymore. Right. We've been through Vietnam. We can't deal with people singing and dancing in the middle of the fucking scene. Right. So, you know, and also we're just exhausted and all we want to do is fudge and do drugs.

[Morty Coyle]

Yes.

[Martha Plimpton]

So, you know, and have a good time. And this movie kind of. And it wasn't it. Isn't it like a really kind of a low budget, sort of an independent sort of movie? Right.

[Josh Adam Myers]

I don't think. I don't think it was. It doesn't look like it needed a lot of money to be.

[Martha Plimpton]

It wasn't like a. It wasn't like a big studio, you know, blockbuster. It was like a. A gritty kind of movie. And. And it just revolutionized the way I think people experience storytelling through film because it made the soundtrack another character, it made the music another character in the story. And that was rather than it being sort of put on top of it with a song and a dance and here we're gonna get break, you know, now it was like driving this, like. Like, what is it? Night on Disco Mountain. The hilarious and brilliant mashup of Night on Bald Mountain and David Shire's lunatic arrangement disco Arrangements, where Barry Miller, the great Barry Miller, who. God knows where he is right now, but he was one of the best actors of his Generation in the 70s and 80s, where Barry Miller's climbing the bridge in his shoes and, you know, it's during that whole messed up scene with the rape with Donna Pascal. It's that whole messed up night where they're all. They're going. It's towards the end of the film and everyone's scared that Barry's gonna die and yada yada. And he comes down and he's like, what? I didn't do anything. And everybody's supposed to be like, anyway, that music is critical because it's so. It's reflective of this insane time in the culture of wanting to just abandon reality completely, wanting to just get away, wanting to just find your place, be a person, and having absolutely no direction, no sense of how to do that at all. At all. And weirdly, night on Bald Mountain mashed up with disco David Shire themes, you know, and horns. It's like a kind of. I don't know if I'm articulating this properly.

[Josh Adam Myers]

No, you are, you are, you are. I actually really want. I want my producer. Can you pull this scene up? Can you. I don't know the name of the guy that's helped me to. Cat dude. Let's call him Cat Dude. You. I have nine people that work on this show, and they just schlep somebody onto me. Also a friend who's gonna drop by too. I know my friend Morty Coyle. I don't know if you know him. Oh, yeah, yeah, yeah. Morty helps you with this show. I'm gonna tell him to pop in and just say, what's up, cat dude? Cat dude, help us out. God, what is his name? No problem. Alex. I'm so sorry. I'm so sorry. I'm so sorry. I can take cat dude as. I can take cat dude as well.

[Martha Plimpton]

Sorry.

[Josh Adam Myers]

You're looking up here.

[Martha Plimpton]

This is the scene with. With where they're in the car and they're driving across. I think it's a Manhattan Bridge, not the Brooklyn Bridge, but I could be mistaken because, like I said, Verrazano.

[Josh Adam Myers]

It's a very. Nope, it's a Verrazano.

[Martha Plimpton]

It's a Verrazano.

[Josh Adam Myers]

Because I. Dude, it's. They, they. They. They appreciate. So I think it takes place in Staten island, right? He lives in.

[Martha Plimpton]

I never knew where it takes place.

[Josh Adam Myers]

I'm gonna it up. But it's.

[Martha Plimpton]

He.

[Josh Adam Myers]

I'm pretty sure, like, they were so. The SATN island people were so proud because it. Lozano. But the nightclub that they shot that scene in was in Bay Ridge, which is like the most Brooklyn of Brooklyn. You know that I'm like. I'm telling you. Like, I mean, like, you lived here. I mean, Jesus Christ. But it's. But then. And then the floor they installed because they were like, yo, it needs to be a little flashy. And then the dude. When that place got sold in, like, the early 2000s, some dude, like, ripped the floor out and then sold it for, like, 1.6 million. Something like that. Yeah, I get it, dude. No, I get it. I. I love Dude. It's. We all have. We all have these movies that, like, just. Just stopped us in our tracks. And, I mean, I really, literally made.

[Martha Plimpton]

Us, like, made us who we are. Like, I was 6.

[Josh Adam Myers]

Do you think you got into acting because of this? Or you already lean towards that.

[Martha Plimpton]

Well, I was growing up around a lot of actors. And, you know, I grew up in New York. My mother was an actress. So I don't know if that really had that much to do with it, but it just. To me, the movie is like. It's a time capsule. And it completely.

[Josh Adam Myers]

It.

[Martha Plimpton]

Not only did it come out in the 70s when I was a kid in the 70s in New York, but I saw the movie in the 70s when I was a kid in the 70s in New York. Do you know what I mean?

[Morty Coyle]

And so it was made for.

[Josh Adam Myers]

It just felt like it was made for you. And you were like, oh, my God.

[Martha Plimpton]

And all that whole soup of like. My whole consciousness is of a city of crazy, diverse, you know, loud, smelly people, you know what I mean? Active streets, crazy streets. Music playing everywhere. A lot of garbage, a lot of abandoned, burned out cars, you know, and disco. And disco music.

[Josh Adam Myers]

I mean, and this took over. This was so released in 77. The album not only underscored which John Travolta, who was already a star, but his breakout, even more of a breakout role for Tony. But this solidified the Bee Gees as cultural icons, is stayed at the top of the charts for 24 straight weeks and went on to sell 40 million copies. Then there was only eclipsed by Thriller when that came out. Do you have the clip ready? I got it ready for you. All right, pop that up. Let's just see the scene where she's been talking about. So let's. Here we go. This is copyright infringement for fair use. Please don't take this down YouTube. We are only commenting on this. Here we go.

[Martha Plimpton]

There he goes, baby.

[Josh Adam Myers]

Temple Pilots get a shout out. Can you dig it?

[Martha Plimpton]

I knew that. You just made me have sex with you, and now I'm. Now I gotta watch you do this.

[Josh Adam Myers]

I mean, this is.

[Martha Plimpton]

And now.

[Josh Adam Myers]

Here we go. Here we go. All right, let's push them off.

[Martha Plimpton]

All right, you're going in, you big home.

[Josh Adam Myers]

Let's do God, man. Come on, Tone, let's get him. Come on, let's go. Come on, let's get the. Wait.

[Martha Plimpton]

This isn't the scene though, where. Where Barry Miller climbs.

[Josh Adam Myers]

Are you talking about the end scene?

[Martha Plimpton]

Yeah, the end scene.

[Josh Adam Myers]

This is the one.

[Martha Plimpton]

He doesn't die. He lands on the lower level and they all freak out. But then the other one, the one.

[Josh Adam Myers]

At the end is where Barry find the Catman. Find the other one.

[Martha Plimpton]

I could be conflating the two scenes.

[Josh Adam Myers]

That's the one I remember. Either way, either way. Either way, YouTube is going to take it down because we went well over the 14 seconds of fair use. And I give a. I could give a. Let's talk about some of these incredible songs. Yeah, man. And look up. Yeah, dude, Catman, look up that. Try to see if you can find the other thing where the dude. The guy. Because the guy with the hairline. Is that the dude you were talking about?

[Martha Plimpton]

Bar. Barry Miller, the young one, the one who was in the car with.

[Josh Adam Myers]

Have you met Travolta?

[Martha Plimpton]

I don't think so, but I know Barry. I used to know Barry pretty well, but I don't know what happened to him. He like kind of disappeared.

[Josh Adam Myers]

Is IMDb such a great.

[Martha Plimpton]

He's such a good actor. So good and brilliant in everything he ever did. And then I don't know, he just stopped working. I don't know what happened to him, but I hope he's all right. But he's so good in this movie. And yeah, he's got that. He's got that scene at the. Towards the end where he starts sort of flipping out and he's really. He's drunk or he's up on drugs or something and he. And he starts clan. He goes, tony, Tony, look at me, look at me. And he's. Then he's the one who falls.

[Josh Adam Myers]

Yeah, dude. Well, listen, for the most part our audience is at the age where they've seen this movie. Dude, we don't got no, like 22 year olds popping in for this, right?

[Martha Plimpton]

Oh, great, Alex, great.

[Josh Adam Myers]

Yeah, do that, do that while I'm gonna pull up. I gotta pull up the thing. But put the, Put the scene on and then we'll cool. I gotta. We'll dive into the. To the. To the soundtrack of your life. All right.

[Morty Coyle]

Is this.

[Josh Adam Myers]

Is this it?

[Martha Plimpton]

Yeah, this is it. He's really upset.

[Josh Adam Myers]

Oh, yeah, here it is. If only he was a lost boy Would they have hung on to the bottom of the bridge?

[Martha Plimpton]

Bad night.

[Josh Adam Myers]

I think it was. He did. It was the other scene. It was. The other scene was the one we were talking about.

[Martha Plimpton]

The other scene.

[Josh Adam Myers]

That.

[Martha Plimpton]

With. That was the music. But I always. I always conflate them because I think of that scene as being so much more dramatic. You know what I mean? And so I'm think. I think of Barry Miller climbing that thing with David Shire's night on Disco Mountain. I don't know why memory plays tricks.

[Josh Adam Myers]

Morty. Morty, pop in and say hello real quick because I. My. My good friend helps me write this show. There he is. Quick.

[Morty Coyle]

A quick one. I'm. I was on the stump also. I got a bunch.

[Martha Plimpton]

Yeah, I know. I. I'm very.

[Morty Coyle]

I didn't hear what happened so far. I got to tell you a quick story. So Barry Miller was my upstairs neighbor for a short time, and he told me the entire story about this because, first of all, always thought he was a New York kid because, you know, he's Iris's son, right?

[Martha Plimpton]

Yeah, Iris, son. Yeah, I'm.

[Morty Coyle]

I'm. He ended up above my apartment in. In West Hollywood. And so we became friends and I just go, okay, you got it, Tell me. And he was absolutely born at the same hospital, L.A. kid. He played Puerto Rican in Fame.

[Josh Adam Myers]

Yeah.

[Morty Coyle]

Played, you know, orthodox, whatever, Jew and chosen. Played Italian in this. So I go, so tell me the story about this because this is the first R rated movie I saw on Beverly and Fairfax. And it's traumatizing, you know, like, besides the rape, the debt, the whole thing. And he goes, yeah. The original story was the movie ends right after. Right after he falls. Like, he basically walks back as the lights are coming up on the city. And that's the bummer ending. That's sort of how they end. The tragedy of this movie is that he comes back and lights are coming up on New York and this horrible thing, all these horrible things happen and he's made. So they had to, obviously, with screenings. They went back and were like, well, let's have him get together with the girl and let's move a mattress into a room. Even though that was an absolute doomed relationship.

[Martha Plimpton]

And then the girl, the girl doesn't accept him. The girl says, get out. You know, she says, let's be friends. I don't want to.

[Josh Adam Myers]

Yeah.

[Morty Coyle]

And they were going for something that would sort of soften him just sitting on the subway in the bummer, even though it kind of ends like that anyway. But this idea of like the city. The city, the lights come back on and all the tragedies happened at night during the fever.

[Martha Plimpton]

Wild. Yeah. Then they must have shot all those subway. Like him riding the subway all night long.

[Josh Adam Myers]

Could have been anywhere as a reshoot.

[Martha Plimpton]

Or it could have been anywhere.

[Josh Adam Myers]

Yeah.

[Martha Plimpton]

Interesting.

[Morty Coyle]

Sorry I didn't catch up with you.

[Martha Plimpton]

No, no, no. I'm fascinated.

[Morty Coyle]

Hollywood, California.

[Martha Plimpton]

And it's more to what you were saying earlier about how the movie is, like, who knows what it would be without all of this music, this incredible music that it ended up just sort of being this crazy, like, conflagration of elements that came together in this crazy, genius way. That completely captivated everyone and still does. Still does. I mean, I don't. I think this movie, it's. I mean, I think it's right up there with, you know, I mean, it might not be the same sort of directorial autoury kind of thing as Raging Bull or Taxi Driver, but it has the same grip on our culture that those films.

[Josh Adam Myers]

Joke. Oh, my God, yes. Yeah. Well, I think there's. I think there are movies that Generations have. Like, we. Like you said, like, when you saw it at the age that you saw it, like, it was the way that. I know people when they saw Fast Times, like, that was their movie. And I guess I hate to say my Generations was probably like, clueless maybe. I don't know. It just. I remember that was like. That was like a. That was like a movie, though. But I mean, for. In the 90s, I was like, no, this feels like it's like. I mean, yes, we're not living in Beverly Hills, but the music and the pot and all of that. Well, you're not, you know. Yeah. I mean, I would. I mean, there were people that watched the movie. There were people that watched the movie. Kids that were like, this is the movie that speaks to me, which is. And it had like the.

[Morty Coyle]

The.

[Josh Adam Myers]

The cool soundtrack of, you know, folk implosion and this and. And Daniel Johnston and so it's just. It is of the time. Like I said that perfect. You know, capturing the. Capturing the essence of what's going on in the world or a subculture that's about to pop, whether it's singles and in the 90s or, you know, I.

[Martha Plimpton]

Think singles is a little. Singles. This comes a little late. Singles capitalizes on an already. An already sort of fading sort of.

[Morty Coyle]

No, that was the beginning, actually. That was. Do you think so Cameron half because of. I think because of Nancy Wilson, because she's from Seattle and because.

[Martha Plimpton]

Right.

[Morty Coyle]

That connection. I think he was actually early because I remember when they had. At the Park Plaza downtown, they had the opening for that and they had bands that hadn't broken yet because when singles came out, Pearl Jam, Nirvana, Soundgarden had broken big yet Sound Garden had already been out. Allison Chain, I guess, was still metal.

[Martha Plimpton]

Yeah, I guess I. I don't know. I guess I started. I mean, because I was. Believe it or not, my mom was living in Seattle at the time. She was married to a Seattle guy. So I spent all the early night, late 80s, early 90s in Seattle. And I sort of feel like. Well, it was kind of done by the time singles came Out. You know what I mean?

[Morty Coyle]

Yeah.

[Martha Plimpton]

I don't know if that's true or not.

[Josh Adam Myers]

I. You know, it does. It does kind of feel like, you know, it was, in a sense, capitalizing. But it. But it's also just. It was never. It's also. But it was also never as big as any of these other movies that we mentioned. It was big, but it was not Saturday Night Fever. It was not like. Like Clueless made like so many people in that stars Fast Times is, you know, still. It's still an incredible movie. And it's like, you still get the idea of what that must have been like growing up in the 80s. But it also, like I said, has to do, you know, with. With the Bee Gees and the songs that are on this and Morty, we haven't even gotten into the tracks yet.

[Morty Coyle]

What is your equivalent of a movie that. That was really riding?

[Josh Adam Myers]

I was gonna ask that. Dude, you're right in my head.

[Martha Plimpton]

Sorry.

[Josh Adam Myers]

No, no, no, no, no. That was night. Well, I was going to say, like, what do you think would be your. Like, Saturday Night Fever? Like, what was. Because you've done so much and I mean, what.

[Martha Plimpton]

Me?

[Josh Adam Myers]

I'm out.

[Martha Plimpton]

Well, I mean, I think the first example is actually Saturday Night Fever. Even though I wasn't old enough to go to discos or have sex or do drugs or wear platform shoes, it still was. That was the atmosphere that was around me at that age, at 7 years old. And, and, and that. And it was like, that's. And my family was. My God. Sisters were listening to that music. My babysitters were listening to that music. You know what I mean?

[Josh Adam Myers]

Well, my question. Wait, hold on. Not to cut you off, but my question was more out of your. The stuff that you've done.

[Martha Plimpton]

Oh, me?

[Josh Adam Myers]

Well, yes, yes. Well, dude, of course we talked about how much important Saturday Night Fever was for the last 40 minutes. I don't know, Barth, what would be, like, what do you think was like, the thing that, like, kind of like, blew you up? It was like of. Of the time and. And just like, not even yet blew you up, but just of the time. The most, like, this movie that I'm making right now is so now. And I'm. I'm. It's so hip that I'm in it, you know, or in it. What do you think?

[Martha Plimpton]

I don't think I have one. I don't think I have one of those. It's funny. I mean, I think, you know, other. There are other actors of my generation or close to it. That I think have more of those, like Winona Ryder or, you know, the. The Brat Pack. But I don't. I wasn't ever really in anything that sort of hit in that way. I mean, the Goonies obviously, was one thing, but. But that's. That is sort of a slow burn of a situation. You know what I mean? That kind of.

[Josh Adam Myers]

What do you mean?

[Morty Coyle]

What do you mean?

[Josh Adam Myers]

It's a slow burn of a situation?

[Martha Plimpton]

Because, you know, it wasn't a huge. It wasn't a huge hit when it came out, but came out around the same time as cable was becoming more mainstream and more homes and video rentals. So even though it didn't really have, like, blow up in the movie theaters, it. It was like a staple in Blockbuster and on cable. It was on constantly. And I think that was what really. And that's why I think it's a slow burn. Like, there wasn't as much Merchant. There wasn't the Goonies merchandising. That there is.

[Josh Adam Myers]

Now, that's crazy because to me, Martha. To me, that was. That was the. I mean, that was the movie of that year for us. It was. It was like everything. I mean, we were like. We. Me and my kids, my different friends would play and we'd, you know, be like, you'll be Mouth and you be this person and blah, blah, blah. And it's such a. It's such an important movie. I guess it was just. I felt so big when I was so small. Do you know what I mean? And the theater felt packed and it was just, you know. And also the coolest. I have so many different connections. Is that my entertainment lawyer is Chunk. Jeff. Jeff is my lawyer. Yeah. And. And I'm obsessed.

[Martha Plimpton]

I said, hi, send him my regards.

[Josh Adam Myers]

100 and obsessed with Corey Feldman's music on a level that you have. I mean, I'm not kidding. We've gone. We've gone. I've seen him at the Whiskey. Like, I think he is so much fun. And then I touched him when he was opening up for Limp Bizkit and it might. I. I swear to God, my heart almost, like, fell out of my pants against. I love him.

[Martha Plimpton]

Your heart fell out of your pants?

[Josh Adam Myers]

Dude, I love Corey so much. Much. Like, it's just. It's just. It's such a. I don't know. I don't know how to explain it. It's just that's. He. I mean, you. Did he ever, like. I don't know. He's. He's. He's one of the funniest like, like, I want him on this podcast so bad. I'll get him.

[Morty Coyle]

I have his number.

[Josh Adam Myers]

I know, but I think he thinks I, I think he thinks, like, I, I, like, he has good reason to.

[Morty Coyle]

Believe people are going to sort of, of make him the butt of the joke.

[Josh Adam Myers]

Yes.

[Morty Coyle]

You know, I mean, because he has also. But there's a sincerity to him.

[Josh Adam Myers]

Yes, yes.

[Martha Plimpton]

He is a very, very dear person.

[Josh Adam Myers]

I met him, you know, I met him during the pandemic, and, like, I genuinely, I've never been, like, rude to the guy. I was just, like, I sang one of his songs, and he was so excited that I knew the words do it and then, like, hug him. And then, I mean, when I saw him at the Whiskey, it was one of the most fun shows I'd ever been. I say it to everybody. I go, dude, like, he's like, you could, you can say whatever you want, good or bad, but it's like, the dude commits and it's so much fun, and it's just, you can't not enjoy it. And to see him do the. We went to the, the Limp Bizkit show, and I mean, dude, we brought, because me and all the Bonfire guys, like, we got there early. We probably brought hundreds of people that came just for his performance. And, and he was incredible. And I touched him and I, and I literally, like, shrieked like, I met John Lennon. I was like, like, I love Tiny.

[Morty Coyle]

Tim quality to him, where you don't know if you're watching somebody that's in on it or if you're watching somebody that's, you know, that it's, that it. I don't want to say delusional that it's coming out of them like that, and we're processing it differently than they are. You know, I, I, I don't think you even. I've talked to him. I'm like, I, I don't even want.

[Josh Adam Myers]

To ask because I could, I could give a. If he believes he's, if he thinks he's the next Michael Jackson. I love the guy. And I, I, I will support anything that he does. I bought all of his records. I got his merch.

[Morty Coyle]

I love him.

[Martha Plimpton]

I would say something.

[Morty Coyle]

You know what? One thing that we mentioned is My Own Private Idaho, because that took it in the Pacific Northwest, and that was a movie around that time that was very. Because I had a lot of friends that went up to shoot it. I mean, obviously, I know you knew people in it, you know, as well, but I had friends that went up because they brought a Lot of LA people up there to shoot that. And that was an early Pacific Northwest movie that hadn't that. Because Josh, I mean, I saw, I saw every one of these in the theater. Saw Goonies in the theater. I saw Parenthood in the theater. That made me make a bad decision of wanting to get back together with an old girlfriend. Like Chasing Amy. Like, I saw that. I was like, we should get married. I was like, yeah. By the way, if you haven't seen Parent Josh, you've seen it, right?

[Josh Adam Myers]

Duh. Come on, dude.

[Morty Coyle]

No, but I'm saying it.

[Josh Adam Myers]

Mars gets a cool haircut, dude. Like she starts the Skrillex haircut.

[Morty Coyle]

Oh, yeah.

[Josh Adam Myers]

You were so ahead of your time. You and Keanu. Come on, dude.

[Morty Coyle]

And so. Yeah, that's. And so I remember a bunch of people went up there to shoot that and they're like, we're making this weird movie about Shakespeare and da, da, da. And then I went to go see it in an art theater around the time of coffee houses. I remember that. Yeah, the Living Room and, and I saw that movie and like when they kissed, by the way, boys kissing. For people that haven't seen it, you could hear panties drying. Like you could hear the girls there, like all their teen dreams. But it was so cutting edge for having like teeny bopper guys because Riverside.

[Martha Plimpton]

It'S a, That's a beautiful movie. Yeah, yeah.

[Morty Coyle]

And River's Edge was the first run where we were like, oh my God, this is what happens in these, you know, in Portland, in Seattle and where it's rainy. They kill people. So, yeah, so I would say movie like that, an ensemble movie that has. That was very much of its time because I just showed my 15 year old daughter because I, I have such fun and you know, Ron Howard and Steve Martin and yeah, it. There's no dearth of. And, and you know, and. And now watching it with like Joaquin in it. Pre Joaquin.

[Martha Plimpton]

I know, I know.

[Morty Coyle]

You know, like, look how many Academy Award winners are in this movie.

[Martha Plimpton]

Yeah, yeah.

[Morty Coyle]

And Tony Award and Tony Award winners, you know, look how many people are in this movie that. Oh my God. You know, anyway, sorry, that. That's another one for me.

[Josh Adam Myers]

It.

[Martha Plimpton]

That's lovely. No, I did. I actually watched that recently a few months ago. I can't remember what compelled me to, but I watched it again and it was really charming and lovely and it was a really great, sweet, wonderful movie. And Tom Holt in that movie, you know, and his, his, his big, wonderful, incredible. Yeah, yeah, yeah. One, one wrinkle.

[Josh Adam Myers]

Yeah, yeah, yeah.

[Morty Coyle]

Jason Robart.

[Martha Plimpton]

I mean, oh, no know, because, you.

[Morty Coyle]

Know, we do with kids. I was like, okay, Jason Robards. We're talking. This is another generation of fantastic, like award winning top guys, you know, and then, you know, China syndrome or whatever going down of all these things that were huge. I go. And then she knows Diane Wiest from like, you know, Woody Allen. So now I'm like piecing together. And then she's from the Goonies and he's from you know, Matrix and whatever else else. And then that's Joaquin. I know his name's not Joaquin in this, but that's him. And I mean, when you go and watch that movie now, you're just kind.

[Josh Adam Myers]

Of like, holy crap. It's like a mad, mad, mad, mad.

[Morty Coyle]

World or something of actors. So you haven't gotten into any of the music?

[Josh Adam Myers]

Not yet, but barely at all. We've been talking almost an hour. We'll get into it, but it's been fun.

[Martha Plimpton]

I'm having a blast.

[Josh Adam Myers]

Nobody, nobody listening to this show right now is bummed. Everybody is digging it. We've been talking, thinking 90 about at least the album. And yes, we've gone into some excursions. I have questions about, about Corey Feldman and the Goonies and we'll get to all of that stuff. But yes, this is the music which is the important part now. It should be discussed. It's good. But it's such an easy, it's such an easy album to talk about though, to be truthfully. I mean, this is like, dude, this is, this is like ear Prozac. Hey everybody. So you guys have probably heard me talk about how I've been in bands my whole life. I love writing songs and performing in front of crowds. Just like with comedy. As a musician, it can be kind of hard to cut through the noise and really stand out as an artist. I feel like half the music projects I've been in have ended just because we couldn't figure out the answer to that eternal question of how do we get people to hear us? But then again, that was before there was Distrokid. Distrokid is a digital music distribution service that brings your sound to the masses. It's a one stop shop for getting your songs on itunes, Spotify, Apple Music, YouTube Music, Amazon, Deezer, Tidal, and many more. What's these? I never even heard of Deezer. How many of them are there? I know all that. That's like the holy grail of streaming services though, and, and getting paid. They want to. We want to get you paid for your music. That's huge because a lot of bands go broke before they get big. But Distrokid collects earnings and payments and sends 100% of these earnings to artists minus banking fees and applicable taxes. And that's just one of the tons of benefits of using Distrokid. You can send big files to anyone with their Instant Share feature. You can use the Hyper Follow feature to promote your release and get pre saves on your your song. You can even create personal landing pages for yourself, your band, your brand, and whatever you like. It has a free Spotify Canvas generator too, to generate your own Spotify canvas for your songs. And the Mixia feature instantly masters your tracks for higher quality audio. So if you're ready to bring your band to the next level, it's time to check out Distro Kids Kid. The Distrokid app is now available on iOS and Android. Go to the app or Play Store to download it. Listeners of this show can get 30 off their first year by going to distrokid.com VIP the 500. That's distrokid.com VIP the500 for 30 off your first year. Dig it. All right, Feliz army, let me lay some on you. What if you could give someone a gift that basically brings your favorite holiday memories to life every single day? Now look, my favorite holiday tradition is my family gathering around and arguing with each other. But this year, I'm starting a new tradition. I'm putting all those photos that no one has seen 20 years because they're in a shoebox guarded by dust bunnies. Everything on Aura Frame. Aura makes it so easy to share the photos with your whole family that you could drop your most embarrassing childhood moments on your brothers, sisters and cousins instantly. I'm talking weaponized nostalgia. And the beauty is, the earlier you order, the more time you have to curate that masterpiece. I've been loading mine up with pictures that are gonna make my sister furious. Here's the kicker. Unlimited free photos and videos. You download the Aura app, you connect to the WI Fi. Boom. Done. You keep adding photos from anywhere. Anytime you could be sitting in traffic, send a photo, and suddenly your mom's living room frame is lighting up like Times Square. And when you give one as a gift, every frame comes in this premium gift box.

[Morty Coyle]

Box.

[Josh Adam Myers]

No price tag. All class. It's like giving someone a portal into the best parts of their life. And also that time they wore Jinko jeans. Unironically. You can't wrap togetherness, but you can frame it for a limited time visit auraframes.com and get 45 off Aura's best selling Carver Matte frames named number one by Wirecutter. Use the promo code the 500 to check out checkout. That's a U R A frames.com promo code the 500. This exclusive black Friday Cyber Monday deal is the best of their year. So order now before it ends. Support the show by mentioning us at checkout. Terms and condition apply. You know what I mean?

[Martha Plimpton]

It is and it isn't. Because.

[Josh Adam Myers]

Explain why. Why do you think that?

[Martha Plimpton]

Because, yes, it's got, like, some of the best, most important Bee Gees songs, obviously, ever. And you know, the ones that introduced us all to the Bee Gees. And, you know, this is after they'd already been recording for years and had. You know, and then they had done. I don't remember the exact story, but they had done some falsetto stuff, some of that high registered singing which they do all through this album as like a. A side thing for one song. And somebody said, wait, what's that sound? Keep doing that. Do more of that. I. This is the story that I remember of staying alive.

[Morty Coyle]

Right?

[Josh Adam Myers]

Is that what you're talking about?

[Martha Plimpton]

Yeah, yeah.

[Josh Adam Myers]

I just watched a video about that. That.

[Martha Plimpton]

And then it just blew them up when they did this. They did it consistently on this record and it just was like. It was like nothing, people. It was. And it was better than Frankie Valli. It was different, you know, they weren't. They weren't. They were still sexy. They were still hot. You know what I mean?

[Josh Adam Myers]

So the song that they pulled from is the word. Yeah. Masculine.

[Martha Plimpton]

They were sexy. You know, Valley wasn't exactly sexy.

[Josh Adam Myers]

No, not at all. The song that they pulled from the drum beat was from Night Fever because their drummer was falling ill. And that's where they got the loop from. And this isn't the first single off of the record, by the way. How deep is your love is the first one that's released. But when you think of this soundtrack, I mean, this is. I mean, I just. I love this. I love that. I love the Wyclef version of this song that came out, you know, in like the mid-90s. It was. But you're okay. You're right. No, it was praws, but Jesus Christ. All right, dude got boom. Say the head is boom.

[Martha Plimpton]

I think Night Fever. Night Fever is, I think, my favorite.

[Josh Adam Myers]

Why is that? Why is Night Fever? It is very good.

[Martha Plimpton]

Night Fever or you should be dancing are the two top ones for me on this of the Bee Gees. On. For. On this album. Because it does not matter what state of mind, what kind of health situation I'm going through. I could be. I could be flat on my back with a flu. I could be, you know, I could have a migraine. I could. You know, whatever it is, I could be depressed as all hell if I. If one of those songs comes on. I will get up and dance. I will get up and move. They are arranged. The arrangements are genius.

[Josh Adam Myers]

They are.

[Martha Plimpton]

They are. They are propulsive and yet they're groovy. There's like a natural funk to them. The bass lines and then the horns, I mean, it's just. They're un. I have chills just thinking about them. They're unstoppable. Perfect disco songs. Perfect. I think Staying Alive is a brilliant disco song, but it doesn't have the same, you know, the change ups and the. The, you know, the changes in the rhythms and everything, you know, that get Night Fever. And you should be dancing half.

[Josh Adam Myers]

But. But if. Hold up. But, Morty. But if. But if. Like, if you were gonna do like a baseball lineup, you know what I mean?

[Martha Plimpton]

Right?

[Josh Adam Myers]

All like. Yeah, you open with Night Fever. Boom. That's your. That's your lead off guy. Yeah. Then. Or even, you know, and then you bring it down. You gotta do the other guy and get on base. You do how deep is your love? Right. Then you then get another person. More than a woman. But if you want that home run cleanup hitter, it is Staying Alive. That is. You play that at any wedding or any bar mitzvah or.

[Martha Plimpton]

It's a little bit like Billie Jean in that way. It's a little bit like Billie Jean in that way.

[Josh Adam Myers]

It.

[Martha Plimpton]

To me, Billie Jean is not the best song on. On the album, on Thrill at all, but it's got that same kind of. As you say, it's like. It's the anthem.

[Josh Adam Myers]

Yeah, dude, it's like you. You know, it's. It's the song that, you know, it's. It's. It's Oasis doing, you know, Wonderwall. It's just all the other stuff's great. But that' one that's gonna get everybody, like today. I mean, you know, Morty, where you.

[Martha Plimpton]

Everybody. Me personally, yeah. I sit there, I'm staying alive. I listen to it, I enjoy it. I'm like, I love this song. But when Night Fever or you should be dancing. Come on. I'm.

[Josh Adam Myers]

I'm up. That's it.

[Morty Coyle]

I say that you should be Dancing was actually a number one a year before the soundtrack came out. It's not on Saturday Night Fever. Originally. They added it like Chive talking because.

[Josh Adam Myers]

Really.

[Martha Plimpton]

Right. Yeah. Because it's not in the movie either. Yeah, yeah.

[Josh Adam Myers]

Well, they.

[Martha Plimpton]

Oh, that's interesting.

[Morty Coyle]

And by the way, you know what song is not on the soundtrack but in the movie? And it costs this person millions of dollars because they're in the movie, but they're not on the soundtrack.

[Martha Plimpton]

Who?

[Morty Coyle]

It's a Los Angeles dj. Oh, think of.

[Martha Plimpton]

It's not. It's not Casey K. So.

[Morty Coyle]

Nope.

[Josh Adam Myers]

It's Rick D's in the morning.

[Morty Coyle]

Ricky's Disco Duck, which was. Because disco was at this point everywhere anyway.

[Martha Plimpton]

Right.

[Morty Coyle]

They had a Sesame street disco, Ethel Merman disco. He did.

[Martha Plimpton]

Disco Duck is in the movie.

[Morty Coyle]

In the movie. And Rick D's has gone on to say it cost him them millions that they didn't put the song on the soundtrack. But if you imagine it on the soundtrack, it would have. I. I hate to say it would have cheapened this thing of. All of a sudden, here's another disco song.

[Martha Plimpton]

Yeah.

[Morty Coyle]

Yeah, it cost him. I mean, imagine. This was before Thriller.

[Martha Plimpton]

I mean, just the Beethoven was bad enough. Yeah.

[Morty Coyle]

Which was it?

[Martha Plimpton]

Fifth of Beethoven's bad enough. I mean, I think it's great. I love it. I think it's a wacky great. Yeah.

[Morty Coyle]

But.

[Martha Plimpton]

But Disco Duck, I can't. Where is it in the movie?

[Morty Coyle]

There's a scene where it. And it shows how the saturation had already happened.

[Martha Plimpton]

Right, Right in it.

[Morty Coyle]

I can't remember exactly where it is, but there's like a scene where I. I don't know if it's to typify the saturation of disco at that point.

[Martha Plimpton]

Right.

[Morty Coyle]

But he's talked about. He's like, man, if that song had been on the soundtrack back when.

[Josh Adam Myers]

Is it in there? When is it in the movie, by the way? By the way, when I was at a girlfriend's way. I was at a girlfriend's dinner, the seven fishes and her. Her uncle. Her uncle and son got into an argument and the son insulted the dad by calling him a disco duck. And it almost started a fight at the table. And I'll never forget. I had no idea that was a song. I had no idea. I just thought that was like.

[Martha Plimpton]

Yeah, yeah, I remember it. And then it had like a Donald Ducks sound.

[Josh Adam Myers]

Yeah, it was.

[Morty Coyle]

Jim, Ricky's doing it.

[Martha Plimpton]

Yeah.

[Morty Coyle]

There's a longer deleted scene, but it's in a scene where they're teaching people to dance.

[Martha Plimpton]

Okay, okay.

[Josh Adam Myers]

But I mean, God, wild, think about that.

[Morty Coyle]

It sold 40 million and you know, they used to tell us that, like, if you write a song that's on a Whitney Houston album, doesn't matter if it's not, forget it. Single every time that sells you, even if you get a penny for what it is, and he talks about it would have been. It was the biggest selling album before Thriller.

[Martha Plimpton]

Yep, Yep.

[Josh Adam Myers]

I gotta say this. I mean, that's wild. So. So staying alive, like we said, is the. Is the. The most.

[Martha Plimpton]

And it's also. It's iconic because you've got so steps the opening, you know, credits of the film and him walking and that, you know, that Panama up to, you know, with his bell bottoms and seeing him in his outfit and, you know, combing his hair and everything, you know, it's. It's. It's iconic. Totally iconic. But I don't think, I don't think it's like. Go ahead.

[Morty Coyle]

Well, the.

[Josh Adam Myers]

Interesting enough is that the. The opening originally was just supposed to be. It wasn't supposed to actually be Travolta doing the walk. They were gonna have a stand in just shooting his feet. And then. Dude, that's why I love John. Dude, he knew it. He was like, dude, dude, this don't look good, man. You gotta put me in it. So they did the whole. He. He was like, nah, let's. He's like, I'll do it. Let's walk down the street. I mean, because if you don't have that opening scene like that, it's every. It's. Dude, it's. Let me say this. And I think you get it, Marth, because you've been in some iconic, you know, movies that someone, you know, some have either been redone for television, you know, and they do okay, but it's just not. It's not the thing. Like, it's. Dude, sometimes a movie is perfect just the way. Because you can't redo this movie. You could never redo this. You can't redo Running Man. I know. I just saw the new one. It's. It sucks. I'm sorry. I could give it. And I'm not just saying that because Edgar Wright had sex with my girlfriend when we were on a break. I'm not saying that. I love Shaun of the Dead. I love all his movies. I'm not gonna let that whole. I'm gonna hold that against the guy guy. This movie was terrible because, dude, we don't want to see. We don't want to see Point Break again with. We want to see Point Break only with Keanu and Patrick Swayze fighting We want to see Roadhouse with Schwy Fight. We don't want Jake Gyllenhaal doing it. It's like. It's the reason it.

[Martha Plimpton]

I feel the same way about the Goonies, which I hate to bring up again because.

[Josh Adam Myers]

No, no, no, no, no, no, no.

[Martha Plimpton]

I feel very strongly about Martha.

[Josh Adam Myers]

Like, it is a perfectly cast movie. Perfectly. Like, dude. And having Spielberg attached, having Richard Donner, who, you know, goes on to be one of the, you know, the best action directors. Just everything. The sloth makeup down to. Down to the. To, you know, the. What are the bad people? The.

[Martha Plimpton]

The Fratellis.

[Josh Adam Myers]

The Fratellis. And the woman. The witch. Oh, that girl, dude. Everything about that movie is. Is perfect. Down to the Cindy Lauper song down every.

[Morty Coyle]

Everything.

[Josh Adam Myers]

And you can never redo that ever again. And they're gonna try. They're gonna try.

[Morty Coyle]

But it's like worrying about part two.

[Josh Adam Myers]

Yeah. Are you guys doing a part two? Can you give us the intel or if.

[Morty Coyle]

If Corey has anything to do with it?

[Josh Adam Myers]

No, no.

[Martha Plimpton]

I. I keep hearing things, but honestly, I just. I don't know. I don't know.

[Morty Coyle]

Josh has floated. Brolin has. He seems amenable, even at his.

[Josh Adam Myers]

Oh, dude, he's awesome.

[Martha Plimpton]

I mean, I'm amenable, too. If they pay me, I'll pay you.

[Morty Coyle]

We could start, you know, right now.

[Martha Plimpton]

Yeah.

[Morty Coyle]

Spearheaded by Martha Plimpton.

[Josh Adam Myers]

Yeah.

[Martha Plimpton]

I mean, none of us made very much when we did the original film, so it would be great if it is something that ends up happening. If they paid us, that would be really the biggest star.

[Morty Coyle]

When that movie came out, was. Was Joe was. I'm trying to think of who actually was, like, who.

[Josh Adam Myers]

Who.

[Morty Coyle]

I mean, we know Steven Spielberg was Temple of Doom.

[Josh Adam Myers]

Had Temple of Doom already come out before that because. Yeah. So, yeah, it might have been out.

[Martha Plimpton]

While we were shooting. While we were shooting. I think Temple of Doom came out.

[Josh Adam Myers]

That might have been. You know, that might have been him.

[Martha Plimpton]

I think he and Corey Key and Corey Feldman were the two most sort of recognizable faces aside from Joe and Robert. But I think of the kids, the Key. That Key was, you know, I mean, he was in the Temple of Doom, and then Corey had been in so much stuff.

[Morty Coyle]

But not Stand By Me yet. That was going to be the next.

[Martha Plimpton]

But he shot it. Oh, he shot it before we started somebody.

[Morty Coyle]

What? These were all waiting to explode. All those movies.

[Josh Adam Myers]

Like.

[Martha Plimpton]

Like, I think he shot it before. I think he shot it before we did the Goonies. Yeah.

[Josh Adam Myers]

But you were saying, though, when you were saying about the Goonies and, like, how you. You said it was a slow burn. Like, when did you start seeing it going, oh, now this is becoming a thing. Like, now it's like, this is not just a movie that we starred in with some cool kids. Like, oh, all of us have a potential now to. To really use this vehicle to now get some other did. Was there a moment that you saw the turn in the shift?

[Martha Plimpton]

I. I never saw it as a vehicle to. To do, as you say, to get other things. I mean, I just was. I just tried to keep working.

[Josh Adam Myers]

Yeah.

[Martha Plimpton]

But it wasn't like I didn't go. It wasn't like I went around and people would go, oh, good, the Steph from the Goonies is here to audition. It wasn't. It didn't have that kind of. You know what I mean? It was a different culture then. You know, we didn't have social media. We didn't have things go going viral. We didn't have that. You know, when a movie was out of the theaters, it was out of the theaters. It was the beginning of video rental, as, like I said before, video rental and cable and people would. Kids would watch in their house and they'd watch it every day.

[Josh Adam Myers]

Yeah.

[Martha Plimpton]

You know what I mean?

[Josh Adam Myers]

Oh, yeah.

[Martha Plimpton]

So the movie did not. I mean, sure, it was a hit for, like, three weeks, but it wasn't a MA. It wasn't like E.T. it wasn't a massive blockbuster. It wasn't a culture changer when it came out. I think what. What's amazing about the movie and what's impressive about it is that it's become like the wizard of Oz. It's become like a. An absolute American cultural touch point for literally every generation since, you know, I.

[Josh Adam Myers]

Mean, it's in the Library of Congress, for Christ's sake. I mean, and I see it. You're like, you're right. This, the movie, only it cost 19 million, only made 70, which, you know, even though back then in 1985, that's, you know, that's not. That's nothing to sneeze at. That's fair. But it's like, it's not, you know.

[Martha Plimpton]

It wasn't ET Level. It wasn't. It wasn't Jaws level. You know what I mean?

[Josh Adam Myers]

And.

[Martha Plimpton]

And so I think the extraordinary thing is that it. It managed to continue on and capture people's imaginations and the. And. And. And then, you know, it's like they. You tell two friends and she tell two friends and so on and so on and so on. If you Remember that commercial? You know, like, adults would. Would play it for their kids, and then their kids played it for, I mean, grandparents. I'm 55. I'm old enough to be a grandparent, and I meet kids who come up to me, you know, at conventions or wherever, whose grandparents showed them this movie. And it's really wild. It's kind of amazing.

[Josh Adam Myers]

Yeah, it really is. It really is. And I love that, like. Like, everybody's gone on to do other stuff and then did it have, like. Like, key, like, do everything everywhere all at once? Which is the hardest I've ever cried in a movie next to, like, I think. I mean, I don't even remember. Maybe. Maybe. God damn. What was.

[Morty Coyle]

Maybe the.

[Josh Adam Myers]

Maybe the first episode of Al.

[Martha Plimpton]

Terms of Endearment. Yeah.

[Josh Adam Myers]

No, I know. I didn't get. Yeah, when he. Remember when he couldn't get back to Melmac and he calls him and he. He's like, I guess I'm staying here. I cried. Oh, dude, you know what? Another good cry can't buy me love. When. When he gives the speech at the end and he's like. He's like, you know, he's like, you broke your arm. I carried you all the way to your house. I cried so hard at that. But, yeah, it's just. It's so cool. Like, the fact that. The fact that Jeff is my entertainment lawyer is like.

[Martha Plimpton]

I know.

[Josh Adam Myers]

That's awesome. It's awesome. He's been on the podcast, too. He's a huge fan of. Of Steely Dan and just.

[Martha Plimpton]

I love Steely Dan.

[Josh Adam Myers]

Oh, dude. Yeah, they're in my.

[Martha Plimpton]

They're in my top 10. Really, Morty? What did you just say? Did you just miss my Steely Dan?

[Morty Coyle]

We're shifting now. Let's talk about.

[Martha Plimpton]

We're going way off the rail.

[Josh Adam Myers]

We got. We only got Countdown to Ecstasy.

[Morty Coyle]

Here we go.

[Josh Adam Myers]

Well, here, like, we only got. Let's say we got, like another, like, 15, 15, 20 minutes at the most to wrap this up. So let's get into some of the songs. Songs. We've already asked so many questions, so it's just. It's more like just. We can just stick to the meat and potatoes of it.

[Martha Plimpton]

I mean, here's what I was. Here's what I was going to say earlier.

[Josh Adam Myers]

Go ahead, go ahead.

[Martha Plimpton]

Which is that the reason why it's not, like, a perfect soundtrack or why it's a complicated soundtrack is because it starts really strong, and then it gets into weird territory, like these crazy classical David Shire mashup and then this weird Remember Open Sesame. Cool. In the gang. Open Sesame. Remember? I don't know if you guys remember about this at the 70s, but there was this weird obsession or this weird cultural interest in like genies and Egyptian culture and like, mythology. Like, we had Isis the TV show and Shazam the TV show. So there was this, like, weird, you know, obsession.

[Morty Coyle]

Earth, Wind and Fire had a real pre.

[Martha Plimpton]

Earth, Wind and Fire. Yeah, yeah, there was like. Right. All of that. All of that. And so then this.

[Morty Coyle]

Jones Girls.

[Martha Plimpton]

Yeah, right, exactly. So this Open Sesame song is Bizarro beyond, but it has the most fantastic horns. I mean, such good horns. And yeah, the songs go on for a little too long, but, you know, you people were dancing to them.

[Morty Coyle]

I just.

[Josh Adam Myers]

Last night I said this to Morty when I was, When I was doing this record, because I remember I, I put this on and I worked out and like you said, this is front loaded like a mofo. I mean, staying alive. How deep is your love? Night fever? More than a woman if I can't have you, you know, and I know you've. You've, you know, on. On Record Two side three or whatever, you've got the jive talking. You should be dancing Boogie Shoes, which is great. And then you've got Disco Inferno and eventually. But, but no one, I, I, you know, if, dude, that. Those aren't the. I'm not gonna sit here and say those aren't important. And they're not, they're not, they're not adding to the secret sauce. That is why this record was so popular. But those first five songs are perfect. I mean, if I can't have you like, we got to give her a shout out. We've been talking about the Bee Gees for so long.

[Martha Plimpton]

Yvonne Ellison.

[Josh Adam Myers]

Yeah, it's. It's amazing.

[Morty Coyle]

Element.

[Josh Adam Myers]

Elements.

[Martha Plimpton]

Element. Element. Yvonne. Element. Sorry. Yeah.

[Josh Adam Myers]

But if I can't have you. I mean, is. Is just three minutes of just. It's like you said, it's. You can't not put this on and dance to it and just kind of feel the groove and just enjoy yourself. It is.

[Martha Plimpton]

And I think part of the. Well, part of what I love about this, this album is that in the whole disco genre, there is such a heavy reliance on strings and romance and like romantic harmonies swelling kind of like, you know, like the kind of strings that, you know, like Puccini strings, like, they make your chest go oof. You know, they just fill up your whole chest. You know what I mean?

[Josh Adam Myers]

Yeah.

[Martha Plimpton]

There's such a reliance on that in this particular section of this record. And. And I just love that about it because people don't think of disco as being romantic, but it really is. It really, really is. It's a music of fantasy. It's a music of like, fantasy being swept off your feet, dancing, being taken away by, you know, some guy in a white suit. You know what I mean? Being spun around the dance floor. It's this wonderful kind of. Of, you know, people think of disco as being this kind of. Well, it's racist the way they think of it, but it's also like. It's a kind of an urban, you know, party music. But it's so much richer than that. Like, that's why this is. This album is so iconic in that sense.

[Josh Adam Myers]

You know, what's funny is, remember like, Big J came on Big J Okerson and we explained why yacht rock. And it's like. Because it's like, you know, you think of like, ambrosia and you think of like the big hats and on the thing and it is in the loincloth shirt. And it's a vibe. And I think that's kind of what this is as well. It's like, it's not yacht rock. It's disco. And disco has that vibe. And I love how you said it about. It's, you know, it was when you are 18, 19, 20, 21, and you're able to go to the nightclubs and I mean, at whatever the age or, you know, decade that you're doing it, there is an excitement to it and an adventure of being able to be free and. And meet girls and meet guys and just, you know, just be an adult and live. And I. And I think, you know, that movie is obviously that section, but the music itself is. Just has this very, you know, with his. With his falsettos and the harmonies and the just groove. It really does. It's. It's. It's very fantasy, like. And that was. That was a perfect way to put it. You know, I would make one.

[Morty Coyle]

Sorry, Go on, go ahead. No, I was going to make one important thing just to jump on the movie for a second and make the. Make a connection to Fast Times Origamont High. A lot of people think about this movie and they think about Fast Times and what they are taken with are all the iconic sort of fantasy funny, you know, you dick.

[Josh Adam Myers]

From like, fast.

[Morty Coyle]

But there's an abortion that takes place in Fast, which the Universal one was really freaking out going, we wanted a teenage tit flick and you gave us this heavy duty thing where girl and first time and, and same thing as, like, you know, the, you know, the death or the rape or the, the rape. You don't lead with, hey, we gotta go watch this disco movie where there's like this weird rape and then a kid dies. And then.

[Martha Plimpton]

But that's the brilliant. That's the brilliance of it, I think, because you can listen to the album in its own world or you can watch the movie in its own, but the two things, they exist together, right? They come in their own. They come with their own body, right? And so the amazing thing about the romance of it is that it comes from urban music and black music and Latin music, and it comes from an environment that is maybe economically depressed and that is working its way through this period that says, I just want to be happy. We've been through this, this 20, 30 year Vietnam War, you know, everybody's broke, I can't afford gas, inflate, you know, I just want to be happy. You know. And that's like. I feel like that's where disco really, really comes from. It's just like this feeling of like, let's just dance and have a good time and forget about all that shit.

[Morty Coyle]

And I think that's a big reason why we're talking about the 80s and. And the era of like Goonies and these other movies is the reason sat. The reason Staying Alive, the sequel, didn't do well. I mean, for a myriad reasons.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

Is.

[Morty Coyle]

There wasn't that tension? What they were trying to capture is the fantasy of what the next step would be. But in an era. Josh and I have talked about this because. Let's talk about it. Cindy Lauper did the song for Goonies. That was not like, like, oh, we got this, you know, EG Daily to do Summer School.

[Martha Plimpton]

Like, it was no disrespect to EG Daily. She's great.

[Josh Adam Myers]

Easy Rules, dude.

[Morty Coyle]

But yeah, yeah, wasn't having a lower, you know, somebody that they could get.

[Josh Adam Myers]

This was getting right.

[Morty Coyle]

I talked about to Josh about from 84 to 86, because of MTV and everything. There were no small albums. We talk about this all the time. You put out a record, if you had one song that was a hit hit. Every song. Seven of the Ragged Tiger, Born in the usa Thriller.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

Bad.

[Morty Coyle]

You know Cindy. Every Madonna album, it was an era where CDs had just purple Rain. So everyone was buying.

[Josh Adam Myers]

Yeah, every.

[Morty Coyle]

Every MTV was on full swing. So there was star power up the ass, which made the. The hangover from that be like, oh, we can't really do gritty and we have to have him go be a dancer in New York.

[Josh Adam Myers]

You know, he's with us.

[Morty Coyle]

So it was, like, so incongruous to what the story was when I showed my daughter west side Story. And it's that similar thing where she.

[Josh Adam Myers]

Was like, I can't believe you made me watch this.

[Morty Coyle]

Because it. You think about it as, like, people running around New York dancing, and it's tragedy.

[Martha Plimpton]

Yeah.

[Morty Coyle]

You know, and that. And they stopped doing that for a long time where they didn't want what we didn't want.

[Martha Plimpton]

Well, and also, I mean, that was just the reality of the 80s. We had Reagan and Dynasty, and it was the age of consumption, and nobody was thinking about any of that. They. They thought all of our troubles were behind us. And you can't really. Making interesting art doesn't come out of something like that.

[Morty Coyle]

You know, three and Sylvester Stallone doing Saturday. I mean, that's what it was. Everything was America, and we're back and we're here and us and, you know, and all the hippies had become yuppies. And then all the yuppies were, you know, blowing up until lesson zero. Really sort of put the kibosh on. And then AIDS and crack and.

[Josh Adam Myers]

Yeah, everything. Jesus Christ, he was getting so heavy.

[Martha Plimpton]

Yeah, yeah, yeah.

[Morty Coyle]

I mean, you weren't here for it. He was like, I'm becoming sexually active. And I thought, Plato's Retreat. And I thought everything would be disco and people and doing drugs. Oh, my God, we're all gonna die.

[Martha Plimpton]

Yeah.

[Morty Coyle]

It's like, what? Because we're about the same age. All of a sudden. It was like, everybody you have sex with is everybody they had sex with. And Nancy Reagan's on Different Strokes going, don't do drugs. I'm like, yeah, what's the point of living?

[Josh Adam Myers]

What's my point of becoming a teenager? Why did I. Yeah.

[Morty Coyle]

Why did I suffer through junior high school to get here to be told that I'm gonna die from everything that's looking like everyone had a great.

[Martha Plimpton]

I know it was very disappointing as a young kid in the 70s to come. To come of age in the 80s and realize that all of that sort of. And also I'm going to cut myself off. Also to be told that everything that happened in the 70s was fucked up and wrong to. You know what I mean? To become a teenager in the 80s and have everyone saying, well, the 70s are lost. It's a lost generation. It's a lost decade. It was. It was a miserable decade. You know, everyone. Everyone was on drugs and having too much Sex and, you know, and I'm like, but what? Wait, I missed it?

[Josh Adam Myers]

Yeah, it seemed like I missed it. It seemed like the seventies. Way better than the eighties.

[Martha Plimpton]

Very fertile time. Very fertile. Exciting.

[Josh Adam Myers]

Yeah.

[Martha Plimpton]

And very romantic time. Look, every. Every era has its pluses and minuses, obviously, and you romanticize them for different reasons. But I think it, you know, in terms of Saturday Night Fever and this album, I don't know if there's another soundtrack that captures the moment the way Greece does.

[Josh Adam Myers]

Wait, what do you got? Greece.

[Morty Coyle]

You don't. You have to understand, Josh. Gosh, Greece is as important. First of all, you can't even understand how big John Travolta was from welcome Back, Hotter.

[Josh Adam Myers]

I said.

[Martha Plimpton]

Morty, I said this earlier, but the music was nostalgic. It was throwback.

[Morty Coyle]

No, because they wrote a lot of those. I'm not getting in the weeds. They. They wrote a lot of those songs for the soundtrack. Knowing that the original soundtrack, which, by the way, if you ever listen to Greece or the original soundtrack, all the stuff that's like, supplemental, like when he's at the dance and when they're right, all that's the actual soundtrack from Greece.

[Podcast Host/Announcer]

Right?

[Morty Coyle]

Like, those are all the songs that are in the play that became popular. The songs. We know you're the one that I want. And all the. Purposely devoted. Those are all written for the movie.

[Martha Plimpton]

No, I know they were written for the movie, but they're not written in the style of. Of contemporary. Of that. For that music.

[Josh Adam Myers]

Okay, hold on, guys. Hold on, hold on. To wrap this up before we get into final songs and stuff. I want to do. No. And I love this. And we could talk and talk for hours.

[Martha Plimpton]

I'm having so much fun. Thank you.

[Josh Adam Myers]

Oh, my God. You're coming back. Don't worry. And this is, like. This is something. This is something Morty. We would normally do on Master Fleece with. With Wayne Federman, but Rolling Stone put out the 101 greatest soundtracks of all time. So I'm gonna go to number.

[Morty Coyle]

Can we do the cast, the five.

[Josh Adam Myers]

Well, I was gonna guess five, but I'm just gonna give you right now at 101, because they gave you. They gave you 101. The bodyguard. Wow. That's the Bodyguard all the way down at 101. I'm praying. I am praying that Lost Boys is in the top 20. I don't think it is, but I.

[Morty Coyle]

Don'T think it will be.

[Josh Adam Myers]

Oh, God, that's my favorite dude. The guy, you know, And I still believe Tim Capella with The saxophone. That's what I'm talking about with the 80s and another 80s with movies you can't remake week. The reason Lost Boys Rules is because of Kiefer Sutherland's haircut and Jason Priestley with the.

[Morty Coyle]

Patrick just.

[Josh Adam Myers]

Thank you. Same guy. Whatever, dude. Yeah. Jason Patrick with the. You know, gorgeous. With the Kip Winger hair and all the. And, you know, it's just.

[Morty Coyle]

It was perfect.

[Josh Adam Myers]

It was you. The movies that we grew up with, that. The reason they're great is not because of the screenplay or the director. It's because of the. It's because of all the little mish Bagosh. The mizzen scene that. That make, you know, the actors. That. Dude, I'm telling you, you'll never. Yeah, it's great. Shaft is cool with. With. What's His Face. With. With. With. With that one. That's the soundtrack. I'm saying Shaft is cool with Samuel Jackson, the one they did in the 2000s. The good one is obviously Richard Roundtree in the 70s, because that's what makes it. All right. Number one. What do you think is the number one movie soundtrack of all time?

[Morty Coyle]

I mean, Saturday Night Fever's gotta be.

[Josh Adam Myers]

It is not that.

[Morty Coyle]

I'm shocked because that was actually 2001.

[Josh Adam Myers]

This is. No, no, no, no, no. This is actually pretty easy once it lets me say it. And I know there's. You know, this is it.

[Morty Coyle]

But is it a soundtrack for a musical?

[Josh Adam Myers]

It's a soundtrack. It's a soundtrack for a movie. This is like I just typed in. This is the 101 greatest sound. This.

[Morty Coyle]

I'm saying it's so movie.

[Josh Adam Myers]

This is a musical movie. But this one is.

[Martha Plimpton]

Oh, it's Empire. Stripe Strikes Back.

[Josh Adam Myers]

I love where your head's at, but. No, but that's a soundtrack. Why I'm gonna give it to you.

[Morty Coyle]

John Williams.

[Josh Adam Myers]

Sean. John Williams. Actually been.

[Martha Plimpton]

I listened to that soundtrack recreationally.

[Josh Adam Myers]

It's incredible.

[Martha Plimpton]

Brilliant soundtrack.

[Josh Adam Myers]

I live in London now. It's part of the. You literally living in a giant starship right now. You're literally living. It's dark, it's gloomy. You know what I mean? Actually, yeah, but.

[Morty Coyle]

But.

[Josh Adam Myers]

And I have been. When I went. Did the tour of Abbey Road Studios, I got to go into the room where all of that stuff was recorded. Studio two, if I'm not mistaken. One or two. It's the. It is the big. You know, where they would have, like, the. The scores. Like, they did like the Aliens soundtrack. All right. No, number one. Purple Rain. Purple Rain. Of course.

[Morty Coyle]

That's a banger.

[Josh Adam Myers]

Obviously. Obviously.

[Martha Plimpton]

Obviously.

[Josh Adam Myers]

Obviously.

[Martha Plimpton]

Why wouldn't I think that?

[Josh Adam Myers]

I don't know.

[Morty Coyle]

And I was.

[Josh Adam Myers]

I was shocked that both of you guys had.

[Morty Coyle]

No, by the way, like I said, 84. That was one of those years where everything somebody.

[Martha Plimpton]

And I said Purple Rain.

[Morty Coyle]

They would put out 10 songs from one album. She's so unusual. Like a virgin, you know, David bowie, let's dance 83 to 84.

[Martha Plimpton]

You know what?

[Josh Adam Myers]

I.

[Martha Plimpton]

It's because I don't think of that. And wrongly, obviously. But I don't think of that album as a soundtrack. I think of it as an album that had a movie built around it after it was an album. That's the way I think of that.

[Morty Coyle]

Such a crazy genius.

[Josh Adam Myers]

Let us stick around with numbers.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

Because it's the same thing that you just said, which is. This is an album that turned into a movie. Number two is Help by the Beat. Beatles.

[Morty Coyle]

Oh, of course.

[Josh Adam Myers]

So, yeah. Yes. I mean, Help. The night before you got. You gotta hide your love away and need another girl.

[Morty Coyle]

Because I had to write the songs for it.

[Martha Plimpton]

Yeah. I don't consider these soundtracks.

[Josh Adam Myers]

I consider these albums. This is. This is a weird. This is. I don't. I was hoping it would have been, like, the amalgamation of all the different songs, because number three, I don't think you're gonna get this one either. So I'm just gonna do it for time Reasoning. The harder they come. The. Jimmy Cliff died today. Are you serious?

[Morty Coyle]

Yeah.

[Josh Adam Myers]

Well, I'm glad we brought him up then.

[Morty Coyle]

Yeah. Sorry.

[Josh Adam Myers]

Yeah. Oh, dude.

[Morty Coyle]

Not to be the arbiter of this.

[Josh Adam Myers]

No, dude, I woke up, like, tragic news, dude. I woke up, like, an hour before the podcast. Walked the dog, ate some boiled eggs and. And then sat down and was like, all right, this is. Oh, no, dude, that's. That's a bummer, man. That's a bum. That's good. That's what's gonna start happening, dude. It's gonna start happening more and more hurt. You know what I mean? It's just like. It's. It's crazy, dude. Number four, once again, another record. Yeah. A Hard Day's Night is number four.

[Morty Coyle]

Come on.

[Martha Plimpton]

Yeah. These aren't soundtracks. I think there should be criteria.

[Josh Adam Myers]

Dude, you're talking.

[Podcast Host/Announcer]

They are.

[Morty Coyle]

They are. Arl in the movie. That's something that I know.

[Martha Plimpton]

But, I mean, it's a little bit like, you know, I don't know.

[Josh Adam Myers]

It should be.

[Martha Plimpton]

It should be cheating.

[Josh Adam Myers]

It should be what number five is, which is our record today, Saturday Night Fever, which is.

[Morty Coyle]

You Know, really, the first album, it's a two, so you guys don't know if you don't have the vinyl.

[Josh Adam Myers]

It's a two.

[Martha Plimpton]

I do have the vinyl. Yeah, yeah.

[Morty Coyle]

What I'm saying is that first. So you could literally go, well, what if I just listen to the first album?

[Martha Plimpton]

Yeah, you'd be fine. First.

[Josh Adam Myers]

Yeah, you go.

[Morty Coyle]

I'm not really lacking anything.

[Josh Adam Myers]

Yeah.

[Morty Coyle]

I mean, okay, I got two versions of More Than a Woman, but I'm not really like. Yeah, I'm bummed out that I, I. That I don't have. You should be dancing. But those are already existing. Jive talking's already out, and I don't.

[Martha Plimpton]

Need the Tavares version of. Of. Of. Of More Than a Woman. I'm fine without it.

[Josh Adam Myers]

Number six. Just gonna give you the top ten. Number six, Superfly.

[Martha Plimpton]

Okay, but here you go.

[Morty Coyle]

People only know one song off that.

[Podcast Host/Announcer]

Really.

[Josh Adam Myers]

Hey, but that's a great song. Curtis Mayfield, Freddy's Dead. But you know, then number seven, a soundtrack. I mentioned earlier, Pulp Fiction, which. I mean, when that came out, all my. Me and my friends, we all like just the, the. I mean, he. He's just. He knows how to. Like I said, he knows how to use music to image better than. Than most people in the.

[Morty Coyle]

I think Reservoir Dogs is better.

[Josh Adam Myers]

I do too. I do too.

[Martha Plimpton]

Wait, wait a minute. This is all soundtracks of songs. It's not scores, right?

[Josh Adam Myers]

No, it's not. I think there are going to be some scores in here because number eight is the Graduates. It. So Garfunkel, Simon and Garfunkel and another movie of its time. The. The Graduate was another one of those movies. I remember my dad said he saw that in the theater and was like. I think he said it's one of the only two movies he. He watched and then stayed again to watch again. The other one, right? The other one being Gremlins 2, the new batch of.

[Morty Coyle]

Kidding.

[Josh Adam Myers]

I'm kidding. It was. It was the French Connection.

[Martha Plimpton]

Oh, yeah.

[Josh Adam Myers]

Oh, number nine. Number nine. There you go. American Graffiti.

[Martha Plimpton]

Yeah, that's a great.

[Morty Coyle]

You know, that's a traditional. That's a traditional retro at. For really the first retro record on this list where they. Where they did like a. Essentially a jukebox musical where they just used songs of the era and like the greatest hit.

[Martha Plimpton]

Yeah, yeah, yeah.

[Morty Coyle]

And it's.

[Josh Adam Myers]

I. I don't think people can get.

[Morty Coyle]

Their head around the fact that that's a George Lucas movie pre. By the way, it also is what made Happy Days have to get. Get pushed to series because they had already shot the pilot for Happy Days, and they were kind of like, meh. And then all of a sudden, American Graffiti came out, and they're like, we have him in our.

[Martha Plimpton]

That guy in our. Yeah, yeah.

[Morty Coyle]

Ron Howard is in. And by the way, Parenthood. Ron Howard is in this movie. That. And Harrison Ford is in this. Richard Dreyfus is in this movie. I mean, the. The threads of that movie.

[Martha Plimpton]

It's a great movie.

[Morty Coyle]

Shirley. Oh, my God. Laverna. Shirley, I think.

[Martha Plimpton]

Who's Cindy? Cindy. Cindy.

[Josh Adam Myers]

Oh, my God.

[Martha Plimpton]

Oh, my God. Cindy Williams.

[Josh Adam Myers]

Williams.

[Morty Coyle]

Laverne. I mean, Shirley is in American Graffiti as the lead. I mean, it's. It's insane. And Paula.

[Josh Adam Myers]

Matt.

[Morty Coyle]

But it's insane that. Who's the.

[Josh Adam Myers]

Who is the girl that. She's like Mackenzie Phillips Summers. No, no, no. Mackenzie Phillips, dude. She's so funny in that movie. Like. Like that. Because I watch that on the plane sometimes. But that movie, like, that's another one of those, like, you get. It's all cast. Another Goonies thing where it's all Cat Parenthood. It's all casting. It's all just. If you don't get the casting right, then the movie's gonna suck. And it's like if he. He doesn't. If George Lucas doesn't cast it that way, if Richard Linkletter doesn't cast Daisy confused with all of those people. If. If.

[Martha Plimpton]

What happened to. What happened to that version of George Lucas?

[Josh Adam Myers]

I mean, I think he's Star wars, dude. He read. He read Dune. He ripped off Dune and made billions and billions of dollars and made something that. Well, did you know it?

[Martha Plimpton]

Not that there's anything wrong with that. I love all. I love what he did for the most part, particularly the early stuff.

[Josh Adam Myers]

But.

[Martha Plimpton]

But what happened to the guy who just, like, told stories about Americans at diners and drive ins?

[Josh Adam Myers]

I think he got. Gary Levinson. You know, I think he just. I think he just. Some people, he just. I don't. I don't know. It's just. I guess, dude, you make certain amount of money, and then it just became like, dude, it's. It's literally like the biggest. What do you call it? Franchise in the history.

[Martha Plimpton]

In the history of everything.

[Josh Adam Myers]

Yeah, of everything. It changed movies.

[Martha Plimpton]

It's.

[Josh Adam Myers]

You know, dude, if. If there's.

[Martha Plimpton]

If.

[Josh Adam Myers]

If Star wars doesn't come out, then. Then Ridley Scott is still making, like, old, old 17th century swashbuckler movies. It changed.

[Martha Plimpton]

I'm fine with it. I'm fine with it. It's just a It's a. It's one of the most interesting sort of anomalies in American.

[Josh Adam Myers]

No, it's like, why doesn't. It's like, why doesn't Beck do more guitar music? Like, why does he have to keep doing radio?

[Morty Coyle]

Yeah, I was. Did okay. Computer. And they could never go back to being a band that just writes really great pop songs.

[Josh Adam Myers]

Songs. Right, Right.

[Morty Coyle]

Like, imagine if they went, hey, we're just going to do another record like the Bends, where we wrote 12 great, fun songs that are all wonderful and don't get weird excursions into freaky. And we do. And I'd be like, oh, my God, thank you. I've been waiting 30 years.

[Josh Adam Myers]

I'm so bummed. I should be in London. I should be in London right now. I, I. After I did Skank Fest, I got so, like, worn out and sick that I was like, I can't go. I would have been miserable in London.

[Martha Plimpton]

But I had four Radiohead have shows here this week.

[Josh Adam Myers]

They're doing. They're playing O2, and I had. I had tickets to all four nights, and I got them for very, very cheap.

[Martha Plimpton]

So bummed. I wish I could go.

[Josh Adam Myers]

I. Oh, dude, I was. I was so looking forward to it because, one, I'm gonna be spending a lot more time in London. Like, I just love it there. And. Yeah, but it's. But it's like, oh, man, I was so excited. And yes, I get what you're saying, Morty, but I also love, you know, I love all the.

[Morty Coyle]

No, I know you do, but there's, like, I said radioheads like George Lucas, once, he did sort of that thing. It would be like if they said, hey, George, how about you just do a period piece in a little quiet village in up north? And he's kind of like, yeah, that's what my audience wants me to do.

[Martha Plimpton]

Right.

[Morty Coyle]

They want me to do something about Mill Valley or whatever. They want me to pick some random place and be, like, mellow about that, you know, I. I'm sure. By the way, I just.

[Josh Adam Myers]

I want to give a shout out.

[Morty Coyle]

I know I don't. Josh, you love.

[Josh Adam Myers]

You love a shout out. Morty loves a good shout out.

[Morty Coyle]

Who do you got, by the way? A couple. First of all, David Little, Davey Pressman from Hollywood, California. He should say he heard the Grill is the most inexpensive restaurant. Yeah, that's an inside joke about if you've ever eaten there, you. If you can afford. Afford to eat there a second time, you've made Star Wars.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

Yeah. It makes Kate.

[Morty Coyle]

It makes Kate Manolini's look positively popperish. And then little. And then little. Jerome varied said that he wanted to ask about the music career. But I want to do one quick pivot because a mutual friend. And we've talked about this on Master Fleas and, and, and the, the interesting thing to the people listening is, is the resume. But you did NPR's 360. What is it?

[Josh Adam Myers]

Oh, yeah.

[Martha Plimpton]

Kurt Anderson show.

[Morty Coyle]

And you did Thunder Road. Those of you who don't know, you did Thunder Road. So this connects us to the East Coast, New York, New Jersey. This also connects us to covers which the entire second classical. And you had a famous whistler on who is a mutual friend of ours. And on the stump, and this makes a huge New York connection to me personally and to a lot of people, was our friend Eric Gilliland, who passed away last year, was the whistler on this song, your version of Thunder Row, which by the way, you just did with who did you. Or did you do Born? Did you do.

[Josh Adam Myers]

No, last episode? I did.

[Morty Coyle]

No, we did E Street Shuffle.

[Josh Adam Myers]

You know, I did, I just did with Eric Roberts. Yeah, I did that on the last episode, which was, which was great.

[Morty Coyle]

Was one of. He had done a million things. Roseanne's where most people would know him from. But during 911 when we were on the stump, Wayne, we've talked about this. He was absolutely instrumental in being a help to the first responders, making them sandwiches when we were on the stump, which, you guys, it's too hard to explain, but we've explained it. It was like a, like a thread that a million people are on, mostly from pre Facebook. Yeah. Shout out to Jake Hogan and the Simpsons people. So they were all on Weird Al, Everybody. And when 911 happened, it was like we were, that was social media in the beginning. We were all online and we were letting people in New York know what was going on from outside of New York. And Eric was instrumental and he immediately snapped into action and brought sandwiches to first responders. He took care of everything. And he had, by the way, great bingo parties. But he, he, he was an absolute sweetheart. And I'd be remiss if I didn't at least give him a shout out because I know how tight you guys were, you know, and, and so if you guys ever watch Roseanne, you'll see his name pop up all the time. Eric Gilliland on there. But I, I just, I, I knew, I think of you guys together because we would see all this stuff and you guys in New York and that's such a New York memory to me. So I just wanted to. I just wanted to throw that out there, you know? And by the way, staying alive, if you're doing cpr, that's.

[Josh Adam Myers]

That's.

[Martha Plimpton]

Yes, that's the rhythm you use.

[Morty Coyle]

Staying alive is the tempo.

[Josh Adam Myers]

Is it really?

[Martha Plimpton]

Yes, it is.

[Josh Adam Myers]

Hilarious. I was using how deep is your love.

[Martha Plimpton]

Yeah.

[Josh Adam Myers]

Yeah, I was.

[Martha Plimpton]

This was really fun. You. I really thank you so much.

[Josh Adam Myers]

Oh much.

[Martha Plimpton]

And thanks for talking about Eric too. I love him. I miss him all the time. I think about him every day.

[Josh Adam Myers]

Oh, I love that. I love that.

[Martha Plimpton]

This was really fun. I really appreciate the time and getting to talk about one of my literal all time favorite records ever.

[Josh Adam Myers]

Well, let's know. My pleasure. You will come back. This has been so much fun. We do these final questions, so I.

[Morty Coyle]

Want to ask you.

[Josh Adam Myers]

You might have said some of these before, but. But I'm very curious. We ask everybody these questions. And Morty, if you want to throw yours, your favorites in there too, we'll do a quick speed row. What is everybody's favorite song on this record? Go ahead, Martha.

[Martha Plimpton]

Oh, oh, Night Fever.

[Josh Adam Myers]

Night Fever. Morty, what do you pick?

[Morty Coyle]

Having played it good times at Davey Wayne's. The 70s song Staying Alive is.

[Josh Adam Myers]

You.

[Morty Coyle]

Should be dancing is incredible, but more than a woman.

[Josh Adam Myers]

People.

[Morty Coyle]

People freak out about still.

[Josh Adam Myers]

Dude, how deep is your love, bro? How deep is your love? How deep is your love? Is this a no skip record? I feel like we all know the answer to it. It's extremely long. You. You get through what you can. We don't have to answer it.

[Morty Coyle]

But it's on the first record.

[Josh Adam Myers]

No, not in the first album. No. Can you. Can you to this record willingly and with consent? Yes, both. I think you can. This is a. I mean, I can imagine how many people made love to this record in the 70s.

[Martha Plimpton]

I'd rather dance to it.

[Josh Adam Myers]

But yes. Well, you know, you could dance, I guess you can. You could fan, you could move it. You could funds. Does that even work?

[Martha Plimpton]

My face. Can you see my face?

[Josh Adam Myers]

Yeah. Martha, what would be. What would be your elevator pitch? Like, how do you sum this record up to somebody that's never listened to it to get them to listen to it? Like, how do you. What's your. What's your sound like? It's.

[Martha Plimpton]

It's the music that came out of an exhausted and beaten down generation looking to make a new connection with life, love, and. And their bodies.

[Josh Adam Myers]

That's perfect. I think this is. This is one of the greatest music soundtracks of all time. Next to the Lost Boy soundtrack or. Or Natural Born Killers or Juice. Deuce is pretty good too, but no, I mean it. I. No, it's new. Jack City is great. I'm just kidding. I'm just looking down the list. I'm literally just looking. This is. This is the Midnight Cowboy. Wait, that came out in 85. What? The what Cowboys soundtrack? No way. This list is. This list is stupid. All right, either way, this has been blast. Morty, thank you so much for helping coming out. Martha, please promote away. Anything you want to promote, Martha, go ahead ahead.

[Martha Plimpton]

Second season of Task and you know, that's about it. You know, enjoy your life, listen to music, be kind to others and ice.

[Morty Coyle]

Oh, one more thing. Watch Raising Hope because that's a show that.

[Josh Adam Myers]

It was only.

[Morty Coyle]

It was Cloris Leachman and Martha. But it was. If you like My Name is Earl, you will love the. It was one of those shows. I wish it lasted longer, but it was one of those shows. Now you could watch everything. I don't know, Hulu or wherever it is. It is a really great show.

[Josh Adam Myers]

And it.

[Morty Coyle]

I think it's two seasons, but it was four.

[Martha Plimpton]

Four seasons.

[Morty Coyle]

Oh, is it four? Okay, then.

[Josh Adam Myers]

Fantastic.

[Morty Coyle]

It was a really funny. But with a dark under toe. Yeah, sort of the thing. But if you are only familiar with Cloris Leachman at the roasts, like to see her in action on that after like. Like Malcolm in the Middle or like my. You know, my name is. It's a show that.

[Josh Adam Myers]

That you should give us. You're talking about Fr. Bl.

[Martha Plimpton]

Yeah, dude, that's my boyfriend.

[Josh Adam Myers]

I mean, that is. That is hands down one of the her and. And high anxiety ever, dude. History of the world. When she pops her dead death.

[Martha Plimpton]

High anxiety. When she said. When she turns to him and she.

[Morty Coyle]

Says, says no fruit cup.

[Josh Adam Myers]

No fruit cup for your time, you.

[Morty Coyle]

Don'T get a fruit.

[Josh Adam Myers]

I mean, was there.

[Martha Plimpton]

Was there.

[Josh Adam Myers]

Martha, I gotta ask. I know we're trying to wrap this up. Was there. Was there working with her? Was that like. I mean, is she. It's like there's. There's. You get certain legends, you know. You know, to work with.

[Martha Plimpton]

She was. She was a one brilliant comedian and a brilliant performer and a brilliant actor and an absolute lunatic and. Oh, my God, we can't. We're not going to get into it. But.

[Josh Adam Myers]

No, no, I just love that.

[Martha Plimpton]

An absolute lunatic. Yeah.

[Morty Coyle]

This is the most. You have to come back because I just want to know anything about this because that's.

[Martha Plimpton]

Well, I don't Know what I'm at liberty to say or not, but she. I mean, she would. She. She wasn't easy, I'll tell you that.

[Josh Adam Myers]

Really? Yeah.

[Martha Plimpton]

But look, she was ultimately harmless, but maybe not so harmless. We don't know. She was a crazy woman. Brilliant, genius, incredible, amazing.

[Josh Adam Myers]

But like, crazy.

[Martha Plimpton]

Batshit. Batshit. But I loved her. I loved her. And, you know.

[Josh Adam Myers]

Oh.

[Martha Plimpton]

Oh, please. May she, wherever she is, please don't, don't, don't. Yeah, I love.

[Morty Coyle]

Dude, I. I love that.

[Josh Adam Myers]

This is so great. Mar. Thank you so much for coming on. We really appreciate it. What did I tell you? What did I tell you? The one and only Martha Plimpton legend on Instagram at Martha Blimpton. Go to our website MarthaMPLimpton.com and make sure you watch Task on HBO. And check out east of Eden when that drops and support everything she does. She's amazing. She'll be back. We had a blast. Oh, big shout out to DJ Morty Coyle obviously invited him in. Halfway through, he helped me out a little bit with the podcast, but halfway into it, it was like I wanted to make sure that me and her were vibing. Then I was like, you know what, Morty? Get the in here because we're having a time. So big shout out to at DJ Morty Coil on all social. We love them. Thank you, Morty. So new music this week. We just listened to Saturday Night Fever from 77 new music brought to you in part by Distro Kid is a track called Safe by Jane Powell. And you can find links to the music on our website, the500podcast.com next week, Black Sabbath week, as we go deep into paranoid. Oh, it's going to be a good one. We had a big thing planned. Maybe it'll happen, maybe it won't. Either way, let's do it. Do your homework, everybody. Thanks for tuning in. Will ever change I say it breaks but not satisfied Sa.

[Martha Plimpton]

I want to live Shame I'm a.

[Josh Adam Myers]

Dance I feel like nothing Will ever change I'm satisfied Sam. The 500 keeping it fleecy for the fleece nation on the 500 the 500 foreign. Next chapter podcast.