G’day, Sneakers! This week on Sneaky Dragon: Christmas comes early (!) as some gifts from listeners have come in the mail – Ian and Dave are full of thanks; we’re happy to announce that Sneaky Dragon finally as a sponsor; Ian and Dave discuss spelling with calculators; Tatooine’s hot music scene; Star Wars fails the Bechdel Test; and cats versus cucumbers; Scott Miller‘s Music:What Happened; Glyn Johns – record surgeon; that horrible sound from the 80’s; podcast voices; yakky taxi drivers; the best decade for music; and some bold statements. They end the show with another troll through Michael Gebert’s The Encyclopedia of Movie Awards and talk about some notable films from the 40’s, 60’s, 70’s and 80’s.
Thanks for listening.
Here is a song for Dave’s vote as best album of the 90’s.
Here are cats being terrified by cucumbers – or, rather, tormented by their owners:
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“The La’s” is correct.
It was actually The Boo Radleys’ cover of, “There She Goes” that was in So I Married An Axe Murderer. https://www.youtube.com/watch?v=pSVl5W6dHlo
And I was wrong about the ending of Gigi. I don’t want to ruin it for anyone who hasn’t seen it but my guess was incorrect.
Were you thinking of one of the movie versions of Lolita?
I think I was mixing them up. Gigi does deal with a relationship between a 35 year old man and a 15 year old girl being trained to be the mistress of someone wealthy one day.
Lolita has the man at 37 and the girl at 12.
Gigi goes the Pretty Woman happy ending route. Lolita gets as dark as dark gets.
I think the Pretty Woman “happy ending” cost Richard Gere’s character $3000. (Fun fact: the original title of the movie was 3000.)
Dave’s book must a misprint. The Graduate was released in 1967 and was nominated for the Best Picture Oscar, but lost to In the Heat of the Night.
Well, I yelled. ‘Cause, sure, Nirvana practically single-handedly changing the course of rock music and influencing a generation of musicians after them isn’t that interesting. Holy carp. 🙂 The La’s album is great, and I totally see why you laud it, but to me it seems a bit out of its time. Tangentially, I’ve always thought XTC excelled at capturing elements of Mersey, psychedelia, & punk (not to mention cleverness) and melding them into a coherent and new whole, but they remained on the sidelines. Cobain grabbed the zeitgeist by the throat and changed just about everything.