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Coca | ABJ Podcast Not Cool In High School · ABJ

• 0:13
  What is going on everybody? Welcome back to the ABJ podcast
• 0:16
  Not Cool in High School, where we mix pop culture, humor, and
• 0:21
  heart. This episode is not suitable for
• 0:23
  children even though it's a kids movie or anyone under the age of
• 0:27
  18. It is not safe for work,
• 0:28
  especially if your boss doesn't like you crying at Pixar movies.
• 0:32
  You have been warned. Trigger warning.
• 0:34
  This episode contains references to death, grief, family loss,
• 0:38
  and cultural depictions of the afterlife.
• 0:41
  It's handled respectfully and with care.
• 0:44
  So before we get into it, we do go off the rails a little bit
• 0:47
  and talk. We are adults.
• 0:49
  We have adult conversations. This movie is normally for kids.
• 0:53
  I'm not saying we actively try to talk about inappropriate
• 0:55
  things or say curse words, but we're that's just who we are as
• 0:58
  people. And once again, if you have your
• 1:00
  kids that want to listen to this, awesome.
• 1:02
  I don't do a lot of kids movies. Maybe I'll start in the future
• 1:05
  and maybe make more kid friendly content because now I guess I
• 1:09
  have I have I. I could say it.
• 1:12
  I have two daughters. Is that I, I, I don't, I don't.
• 1:15
  I don't want to take the risk. So he has two stepdaughters.
• 1:18
  I don't like stepdaughter though.
• 1:19
  I feel like he. Has two daughters, Ish.
• 1:22
  Yeah. Oh, so here's the thing.
• 1:24
  I'm I'm bringing respectful to your I understand your, your,
• 1:26
  your, your ex's fest family because I don't know how
• 1:29
  comfortable they are with me claiming ownership, but like, I
• 1:32
  do care about them. They're great.
• 1:33
  I love them to death. They're great kids.
• 1:34
  Let's not use the words ownership, but I, I.
• 1:37
  Feel like when you say my. Daughtership of the word yes of
• 1:41
  like of claiming that you're owning you're saying owning
• 1:44
  parenthood yes right cuz. I'm definitely not.
• 1:48
  Which is fair? Which is fair.
• 1:49
  They are definitely way more parent than I would ever be.
• 1:52
  But but I think that in the I don't even know why we're
• 1:54
  talking about this on here, but I think that they they look at
• 1:58
  you in a parental. And I appreciate that that's but
• 2:01
  I, I, you look. At them like they are your kids.
• 2:04
  Yeah, even though you did not, You didn't bend me to have these
• 2:09
  children out of. I did none of the work.
• 2:11
  Yeah, I I didn't change a diaper.
• 2:13
  But you. Love them as if they were your.
• 2:14
  Own yeah, I'm not I'm not getting up in the morning and
• 2:16
  take them to school. I didn't wipe a butt you know
• 2:18
  what I mean? There's a lot I didn't do and I
• 2:19
  respect the parents who did do that.
• 2:22
  But there are children in my life through you and I do care
• 2:24
  about them and love them. And I'm doing more, I guess you
• 2:27
  would say, parental daddy figure stuff with kids that I'd never
• 2:32
  thought father figure, father figure daddy exclusively for
• 2:36
  you. And that's that's why this is
• 2:37
  not good for kids. No, but yeah, no.
• 2:41
  And I didn't watch this with them but.
• 2:43
  Now you watched it with me. With you, Yeah.
• 2:46
  But I've have watched some kids stuff with them to an extent and
• 2:49
  and maybe that's something we do in the we're.
• 2:50
  A little more open to watching animated things.
• 2:53
  Yes, yes. So yeah, this this episode
• 2:56
  contains I'm sorry, we already talked about that.
• 2:58
  So let's get into the intro here.
• 3:01
  Before we dive in, let's set the scene.
• 3:02
  It's 2017 and Pixar drops one of the most emotional films ever.
• 3:08
  A banger. I will get into that Coco, a
• 3:12
  story that celebrates family, music, and Mexican culture
• 3:16
  through a young boy's adventure into the land of the dead.
• 3:19
  We will start spoiler free and talk about the film's creation
• 3:22
  message and cultural roots. And then after a warning, we'll
• 3:25
  cross the Marigold bridge and and dive into the story deeper.
• 3:29
  So what was your first impression of Coco before
• 3:32
  watching? And did you expect it to make
• 3:34
  you cry? And did Pixar surprise you
• 3:36
  again? OK, Did I expect it to make me
• 3:39
  cry? I was expecting mufasa like
• 3:42
  tears. I was not expecting geysers to
• 3:47
  come from within my soul exploding out of my tear ducts
• 3:53
  at a Disney movie, At a Pixar. Well, at a Pixar movie, I guess.
• 3:56
  Like, I should have seen that coming.
• 3:58
  Yeah. But no, as far as me being
• 4:04
  Hispanic and seeing Hispanic culture representative in
• 4:09
  cartoon work, there was some, but there wasn't.
• 4:13
  I won't, I won't say that there was a lot, but I was very like,
• 4:16
  I was very intrigued by this. But I will say that I was kind
• 4:19
  of going into it like, I don't want to say skeptics, not the
• 4:23
  right word, but like looking to see where they were going to
• 4:25
  mess it up. And I was so blown away by it.
• 4:28
  Like it was, it was way better than I ever anticipated it
• 4:32
  being. Yeah, it's it's a movie that I
• 4:33
  I'd probably watch again with, with Spanish subtitles.
• 4:38
  I'm being honest. So.
• 4:39
  Oh, so we can watch it in Spanish now I.
• 4:41
  Think I think. Hola bienvenidos that.
• 4:45
  I I want to see how much it translates what the Spanish like
• 4:48
  the actual Spanish actors doing. I wonder if it's the same acting
• 4:51
  cast which is doing in Spanish and not English.
• 4:53
  I don't think that that's entirely inaccurate.
• 4:57
  I do believe this was one of Disney's first fully Latino cast
• 5:02
  though. Which I think is kind of cool.
• 5:05
  I, I, I know some people get all weirded out by like culture
• 5:07
  appropriation and also like people just hire the person,
• 5:12
  best person with it. But I do like when movies lean
• 5:14
  into like the culture. I think of this movie was done
• 5:17
  with white cast and white voice actors.
• 5:18
  I don't think it would have the same effect.
• 5:21
  I think, I think representation is important in the writers room
• 5:24
  and creating room and stuff like that.
• 5:26
  There's some Disney Pixar movies.
• 5:27
  I I haven't watched the kids movie in a very long time or
• 5:30
  kids content in a very long time, But there are sometimes
• 5:34
  when they put out movies that I'm like, yeah, this is, there's
• 5:39
  some aspects of this movie that I think would be cool.
• 5:41
  Like I do like the land of the dead stuff.
• 5:43
  I do like, like how is Pixar going to tackle death and grief
• 5:47
  and murder? You know what I mean?
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  And, and still keep it kid friendly and understanding.
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  And I was like, OK, this is there.
• 5:54
  They caught me off guard in some scenes where I was like, wow, I
• 5:57
  can't believe they did that. Like I can't believe they dove
• 5:59
  into that. I can't believe that's a thing.
• 6:00
  They did some other movies that I think like I'm kind of
• 6:03
  interested in just because of the the stuff that it's talking
• 6:07
  and it probably will make me open my eyes to watch other ones
• 6:10
  that I maybe thought would be interesting because of this
• 6:13
  movie. Like Soul.
• 6:14
  I always thought the movie Soul looked interesting because
• 6:16
  there's ghosts and paranormal in that.
• 6:18
  What's the Louisiana one where it's all like?
• 6:20
  Oh, that's the the Princess and the Frog.
• 6:23
  That one seems interesting. Big Hero 6 is another.
• 6:26
  One honestly, you would. Wreck it Ralph.
• 6:28
  Pause. Let's just rewind for a second
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  to The Princess and the Frog. You would love that it has a
• 6:32
  voodoo magic doctor as the villain.
• 6:34
  Yeah, with that Bayou spirit and and all of the New Orleans.
• 6:38
  Like, like the video game I'm playing is like a New Orleans
• 6:41
  style paranormal video game that I play.
• 6:43
  I forget the name of it, but it's really fun to play.
• 6:45
  But yeah, so I I wasn't expecting.
• 6:47
  Did it make me cry? I'm going to tell you really
• 6:51
  quick spoiler alert, I've realized something about you and
• 6:55
  I do not say this as an attack. There's something that I've
• 6:59
  recently made an epiphany about with Anthony, and that is that
• 7:04
  when it comes to the climax of the movie, that is the time in
• 7:06
  which Anthony needs to speak about where he relates to the
• 7:10
  climax of the movie directly over the emotional part.
• 7:13
  So as he's speaking over it, he's not having that emotional
• 7:16
  attachment. So I don't think he cries.
• 7:18
  And like in the climax of a movie where most people are
• 7:21
  like, Oh my gosh, this is so emotional.
• 7:24
  He's trying to find the parts where he's relating to it and
• 7:28
  he's like making those connection and.
• 7:30
  I'm saying I enjoy it. Yeah, you're saying that you're
• 7:33
  enjoying it, but you're speaking over like the parts that are
• 7:35
  going to make you that. Emotional, I will say this it it
• 7:38
  I came close. I even like towards the end I
• 7:40
  was like, oh, this is really beautiful.
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  Like I I without spoiling anything, I there were some
• 7:45
  moments where I was like, OK, this is this is really this is
• 7:48
  interesting. I'll say interesting because I
• 7:49
  want to kind of save some stuff right for the end, but segment
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  1, the cultural heart Delos dia de Los Muertos, Muertos,
• 7:58
  Muertos, I should know that Muertos because of.
• 8:02
  Mil Muertos. Mil Muertos.
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  Thousand ways to die. Yeah, before we talk about Coco
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  itself, we need to understand dia del more dia de Los mortes.
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  Mortes the day of the day. I'm trying my best, all right?
• 8:15
  I'm learning Spanish. I'm getting there.
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  The loss, if it helps, yeah, the other.
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  This isn't a Mexican version of Halloween.
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  It is a vibrant celebration of life and remembrance where
• 8:24
  families honor their ancestors by building.
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  Ofrendas are altars decorated with marigolds, candles,
• 8:31
  favorite foods, and for the departed, the Marigold petals
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  symbolize the path between the living and the dead.
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  Which they did so fucking beautifully in this movie.
• 8:41
  Pause time out, because I would like to point out one thing that
• 8:45
  they did. They did do that beautifully in
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  the movie. But I will say that if you go
• 8:52
  back to the beginning of these traditions, you have to think of
• 8:56
  Mexican towns and their little villages.
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  The cemetery was in the center of the village where everybody
• 9:02
  had access to the center or maybe right outside of the
• 9:05
  village. But what they what the Marigold
• 9:09
  symbolized was for people to crossover.
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  They would come over the marigolds from the cemetery back
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  to their houses, and that was to help them find their way back to
• 9:19
  their house. So they did it.
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  In the movie, it is still done like that, I believe in Mexico
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  City with the big on a big bridge and things like that.
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  But most people still have them going to their doorways.
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  It's. Kind of.
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  So I wanna go to Mexico City for that.
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  I want to I think it'd be so fucking sick.
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  I just think it's like, I love when cultures don't fear death
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  or don't fear it's, it's, it's the, the afterlife or like, it's
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  not like once again, Christianity, like we can
• 9:46
  celebrate Jesus coming back, but like that everything else is
• 9:49
  fucking terrifying evil that Satan Satanic, right?
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  But I like Mexican culture when they're like, no, we're gonna
• 9:54
  paint our face and it's gonna look spooky and it's gonna have
• 9:56
  that symbolism. It, it, it's not spooky.
• 9:59
  It looks spooky to the outsider. Exactly.
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  Respectful. Yes, I, I love it.
• 10:04
  I think it's beautiful. It's vibrant, it's colorful.
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  It's it's it's it's great sugar skulls the OR the help me with
• 10:11
  this one. Thank you represent both humor
• 10:14
  and mortality. Families believe as long as you
• 10:17
  remember someone, they truly never leave you.
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  And I think that's where this movie hit me the most is like
• 10:23
  the Malcolm or lyric of like when you die.
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  They say you die twice, once when you leave this earth.
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  And the second time is no one remembers your name or no one
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  speaks your name. And that was the exact same
• 10:33
  thing he said directly over the climax.
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  Go on. Yeah, I think that's a very
• 10:37
  powerful thing. It's, and I kind of said to you
• 10:40
  too, is it weird that like, I look forward to death because I,
• 10:43
  I, I don't, I'm not saying I, I, I'm too grateful for my time
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  here. It's just something that I've
• 10:48
  struggled with for a long time of my mortality.
• 10:51
  I'm almost 40. I'm going to keep it completely
• 10:54
  honest. I never wanted or expected
• 10:57
  myself to ever hit the age 40. I'm two years from there, and
• 11:00
  I'm more excited about life after 40 than I've ever been
• 11:04
  because of where I'm at right now and the things I want to
• 11:06
  accomplish and things I want to do.
• 11:07
  And that's something I never thought I would ever experience.
• 11:10
  Like, and that didn't just have like, that just kind of happened
• 11:12
  recently, which is weird to me. But yeah.
• 11:16
  So I kind of liked that aspect of leaving a legacy strong
• 11:19
  enough that people still care and love you once you're no
• 11:22
  longer here. Pixar's team worked closely with
• 11:25
  Mexican culture consultants to ensure the authenticity, even
• 11:29
  hiring folklorist and visiting. Oaxaca.
• 11:33
  Oaxaca and Mexico City to stutter study real traditions.
• 11:37
  That is a bucket list thing. Now I would love to go to Mexico
• 11:40
  to see these cities, especially during that time frame to to do
• 11:42
  that. Yeah.
• 11:43
  So it's usually it starts the 30th I believe in a lot of
• 11:47
  cultures and they go all the way.
• 11:49
  Some cultures go all the way to the 6th.
• 11:51
  But the biggest days are the the 1st and the second which is all
• 11:56
  all the day of the dead and then or All Saints day and then the
• 12:01
  next day is All Souls day. I I kind of when it comes to the
• 12:04
  Spanish style of heritage and culture, I'm not saying one's
• 12:08
  better than the other, but I feel like I embrace the Mexican
• 12:11
  culture more than the others. This is going to probably piss
• 12:15
  off A. Lot my flavor of food.
• 12:18
  No, I think this this might upset some of my Dominican and
• 12:21
  Puerto Rico friends, but I think a lot of the Dominican and
• 12:24
  Puerto Rican friends, like your culture has been completely
• 12:28
  whitewashed and you're kind of cool with it.
• 12:30
  I hate to say that it might sound fucked up coming from the
• 12:33
  white dude, but they are so embodied in Christianity that
• 12:36
  like I feel like they've lost their roots of who they are as
• 12:38
  people. Like I generally asked like, OK,
• 12:41
  in Dominican Republic before Christianity showed up, what did
• 12:43
  you just believe him? What was your gods?
• 12:45
  What did you worship? What did you?
• 12:47
  And they're like, oh, that's we don't even we're not even sure
• 12:50
  right Like it when I because I love talking to people about
• 12:54
  their culture and by. The way happy Native American in
• 12:57
  Indigenous month. Yes, but it's just like fuck,
• 13:00
  man, you, you've completely lost touch and your base with your
• 13:04
  your roots and your heritage and what you and the Mexican culture
• 13:08
  has not done that they are very much embodied of like this is
• 13:12
  what we and I love that. I fucking love that.
• 13:15
  And I once again, no disrespect to Dominican and Puerto Rican
• 13:18
  culture, but I feel like for how much they're into their culture,
• 13:21
  it's like, and a lot of your stuff is very black culture in
• 13:25
  America is kind of like that too.
• 13:26
  Like what? Like sometimes they're like, oh
• 13:28
  man, I'm just a super devout Christian.
• 13:30
  I'm like, that was really forced upon your people.
• 13:32
  Like that's not where you come from.
• 13:33
  That's not who you are. Like, it's just, it's it, it
• 13:36
  kind of upsets me, but it's always like, man, you, it's it
• 13:39
  once again, that fear of forgetting where you come from
• 13:41
  and what your, what your culture and, and the fact that like, not
• 13:45
  trying to be, but white people have stripped that from you.
• 13:48
  And that's sad. Like you've erased someone's
• 13:51
  entire history, history and what they stand for and what they
• 13:54
  believed in, like, just because it wasn't the same as yours.
• 13:57
  And I kind of respect the Mexican culture because they
• 13:59
  found a way to not do so. But they also do have a lot of
• 14:03
  very Catholic people as well. Absolutely.
• 14:05
  Yeah. But even though it's Catholic.
• 14:07
  Devout in their faith, but they don't let faith come in the way
• 14:11
  of tradition or or what came before them or like no tradition
• 14:16
  like just something being passed down whether it be an act or
• 14:20
  knowledge. Yeah, So what did Coco get right
• 14:22
  about the Day of the Dead? How do you think it helped
• 14:25
  people outside of Mexico understand the holiday better?
• 14:28
  So this is going to be so I don't want to say that I
• 14:32
  wouldn't. I'm just going to say it.
• 14:35
  The Papel Picado, which is the one in the opening scenes,
• 14:39
  they're showing you, he's kind of explaining about who his
• 14:43
  grandmother was and how she was with this musician.
• 14:47
  But the story is being played out on the little tissue paper
• 14:50
  cutouts that your little snowflake looking things that
• 14:55
  you know what I'm talking about, the decorations.
• 14:57
  But that's called Papa El Picado, which is like cut up
• 15:01
  paper, decorative paper. And something that I thought was
• 15:06
  really cool that they put in there that not a lot of people,
• 15:09
  I think realize, I think that it is symbolic of Day of the dead.
• 15:13
  Like you can buy decorations that say Day of the Dead and
• 15:16
  they'll have little skulls on the tissue paper.
• 15:18
  But something that's actually part tradition is to put your
• 15:21
  family or who you're remembering within those those papers in the
• 15:25
  drawings in the in the cutouts that you do.
• 15:28
  And when you look in front of Miguel's house, he lives in
• 15:31
  front of a Zapataria, which is the, the, the, the shoe making
• 15:35
  spot and the paper that's in front of it.
• 15:38
  They have little shoes on them. And like, that's actually like a
• 15:41
  nod to the actual tradition of it's not just the skulls on
• 15:45
  there, but it's things that represent the people who have
• 15:48
  passed away. Yeah.
• 15:51
  I actually, as we were talking to, I was looking into something
• 15:54
  with this as well. So I might I might add something
• 16:01
  here for you add change a little bit.
• 16:04
  I do want to touch into this just because we were kind of
• 16:06
  talking about it. Let me let me let me get it
• 16:09
  here. I'm trying to so little bit of
• 16:11
  controversy with this movie as well with Disney and and the
• 16:15
  Pixar corporation. So before Coco became a cultural
• 16:19
  love letter to the Mexican Pixar, Disney family nearly made
• 16:22
  a massive misstep. In 2013, Disney attempted to
• 16:26
  trademark Dia Dia de Los Muertos Muertos.
• 16:29
  They they try to trademark Day of the Dead, which is.
• 16:33
  The name of the holiday. Yes, which is essentially
• 16:35
  stealing their culture to profit and make money off of it.
• 16:37
  So anytime it's used or said Disney gets money in their
• 16:40
  chalk. Fuck that, that sucks.
• 16:44
  So the backlash was immediate. Artists, activists, and Latin's
• 16:48
  communities called out the corporation for trying to own
• 16:51
  their sacred tradition. You cannot trademark someone's
• 16:54
  culture. The Day of the Dead isn't a
• 16:55
  product, it's part of who we are.
• 16:57
  To Disney's credit, they listen, and the company reverse his
• 17:00
  decision and invited cultural consultants, including Asghar or
• 17:04
  Alice. Gar has himself to join the
• 17:06
  creative process. Direct director Lee Erlich
• 17:09
  reoriented the project's mission.
• 17:11
  Coco wouldn't have been incorporated as A and in the
• 17:14
  corporate fantasy, it would have been a collaboration with
• 17:17
  Mexican creators, a result the course correction that turned a
• 17:20
  presental disaster into triumph. The controversy forks forced
• 17:24
  Pixar to rethink how stories are told and people and cultures
• 17:28
  start setting a new standard for authenticity and respect to
• 17:31
  animation. And I believe, I don't know the
• 17:35
  the whole story behind it as well, but I believe there was
• 17:38
  story 2 where the the grandmother Coco is kind of
• 17:41
  based off a real person. No, it's not.
• 17:43
  No, but they were saying that the image I believe is how it
• 17:49
  goes. It shared the likeness of a real
• 17:51
  person. OK, because like the movie Cars,
• 17:54
  the movie Cars is depicted off a real person's story, but using
• 17:59
  his story without giving him any credit.
• 18:01
  And then the family still was like, hey, man, you kind of took
• 18:04
  our fucking family story, made a story about it, and then gave us
• 18:08
  no fucking credit or checks of our our our history.
• 18:13
  That has happened in the past with Disney.
• 18:14
  So I wanted to kind of bring that up too.
• 18:17
  Yeah. I mean, the the story of Rocky
• 18:19
  that stolen off a real person's life would never seen a dime of
• 18:22
  it. That's that sucks.
• 18:24
  That fucking sucks. All right, Where are we at here?
• 18:27
  I kind of lost them. I'm not.
• 18:28
  Really. Sure.
• 18:28
  Yeah, no, I'm just bouncing back to where we were in the Thing,
• 18:35
  Coco, making Coco Pixar's bold leap.
• 18:39
  Just skip that cuz that's basically everything you just
• 18:41
  said. Is it so?
• 18:45
  Coco development began in 2021 with director Lee Erlich of Toy
• 18:50
  Story 3 and Co director Adrian Monolith leading the project,
• 18:55
  Molina leading the project. Pixar knew that they're making a
• 18:58
  walk into a sense of territory, into sensitive territory.
• 19:01
  They wanted to celebrate. Not appropriate.
• 19:03
  At one point, Disney even tried to trademark the name, but we
• 19:05
  already talked about that. But after backlash, they backed
• 19:07
  off and apologized and instead of it brought more Mexican
• 19:10
  voices into the production that that shifted everything we
• 19:14
  talked about before how they changed how who they hired and
• 19:16
  how they do that. So let's kind of dive into a
• 19:18
  little bit. How important do you think the
• 19:19
  authenticity is? Authenticity is in animated
• 19:22
  films like this. Can audiences feel when it's
• 19:25
  real versus when it's just just representation for show?
• 19:29
  Don't ask me because well, I mean, maybe do ask, I don't
• 19:33
  know. Because if you look at the three
• 19:37
  amigos. Yeah, that was why I washed.
• 19:42
  That was it wasn't. It was just like, we're in
• 19:44
  Mexico, you know what I mean? Like we're doing the Mexican
• 19:47
  thing versus like it's very done in a comedic way.
• 19:53
  Yeah. And not a very serious tone.
• 19:55
  Great in a movie though. The comedy version with.
• 19:58
  Steve Martin. Steve Martin and all those
• 20:00
  fucking hilarious, Yeah. But that was kind of the bit of
• 20:02
  like, hey, we're white dudes doing this, right?
• 20:04
  Yeah. But I'm just saying like as far
• 20:05
  as like just doing it for the bit or doing it in a serious.
• 20:09
  Tone, if if you're part of the Mexican culture and you're
• 20:11
  watching this or listening to this, let us know what you think
• 20:14
  of the movie. Also in the comments section,
• 20:15
  did they mess up on stuff? Was it, did they not still hit
• 20:18
  the mark even though, you know, they were kind of called out for
• 20:22
  their bullshit and course corrected?
• 20:24
  So I think that one thing that I will say that I wish that I saw
• 20:29
  more of there is spoiler alert, it's not getting deep into
• 20:32
  detail of anything, but I I wish that there were more mariachi
• 20:37
  groups featured because it was more featuring like 1 guitarist.
• 20:41
  Like there was one group that was in there twice, but they
• 20:45
  didn't have a lot of groups in it.
• 20:48
  Can I counter counter that? So you're kind of seeing it
• 20:52
  through the eyes of him and his family and his culture.
• 20:56
  And he was so repressed from it that I think they made it a
• 20:59
  choice not to showcase a lot of the music until it was time for
• 21:03
  it. Because it was like, this kid
• 21:04
  hasn't been around it at all and he only knew one thing.
• 21:07
  And because he only knew one thing, he became obsessed with
• 21:10
  it. Like if you only know one band
• 21:13
  because you're not allowed to consume music and all you know
• 21:16
  is this one band, you are going to deep dive everything about
• 21:19
  that because it's the only. Thing you're not going to just
• 21:21
  listen to one instrument. Sure, but what I'm saying is is
• 21:25
  just that's the only thing he had access to it.
• 21:27
  No, I understand that part. And I can understand like his
• 21:30
  love for the guitar, but I'm saying as far as Mexican culture
• 21:33
  goes, you're asking how I feel about that.
• 21:35
  So that's what I'm talking about.
• 21:37
  I feel as though as far as the Mexican culture goes, there are
• 21:40
  so many different instruments that are not used in other
• 21:44
  cultures. Now a guitar is used in other
• 21:46
  cultures, but even you were saying like you love the the
• 21:48
  sound of a Spanish guitar. Yeah, Mexican span guitar is
• 21:50
  beautiful. So but a guitarron which is the
• 21:54
  bigger the big. Don't, don't, don't, don't.
• 21:57
  Bright that you pluck at it. I think that it's featured in
• 22:02
  one scene that you see it like at the very beginning, but not
• 22:08
  during any of the other scenes where there's music being
• 22:11
  played. And that is a for being taking
• 22:14
  place in Mexico, you would see a lot more of that.
• 22:17
  So I think that that's the only thing.
• 22:18
  I'm not saying that you had to have specific like a song just
• 22:22
  dedicated to them as a soloist, but I would have liked to see
• 22:25
  more like that. And there were accordions, which
• 22:28
  is another staple in in in traditional, which is big in
• 22:33
  Italian music. Accordions are huge in Italian
• 22:35
  culture too. I remember, I remember growing
• 22:38
  up, like when they would have the Italian festivals, like
• 22:40
  there would be an accordion player that would come to the
• 22:42
  house and play and I was like, this sucks, but it was their
• 22:45
  thing. I will say this, but I'll
• 22:47
  getting into the neck before we get in the next topic.
• 22:50
  The animation of him playing the guitar was fucking excellent.
• 22:54
  Like his finger picking and him moving the strings and like it
• 22:57
  looked like I was watching a real person play guitar.
• 22:59
  Like they did a really good job with that.
• 23:02
  Yeah. But spoiler warning the story of
• 23:06
  Miguel's journey. From this point forward, we will
• 23:09
  be discussing major spoilers within this film.
• 23:12
  OK, so let's have some fun. Miguel Rivera is a young boy who
• 23:17
  dreams of being a musician despite his family strict ban on
• 23:21
  music that's lasted for generations.
• 23:23
  On the Day of the Dead, he I don't want to keep trying to
• 23:25
  say, 'cause I will fuck it up. He borrows a guitar from his
• 23:28
  idol Ernesto de la Cruz, and he ends up crossing into the land
• 23:33
  of the Dead. There he meets his ancestors,
• 23:36
  including Hector, a trickster who becomes his unlikely friend.
• 23:40
  Together, they uncover the truth, that of Ernesto stole
• 23:43
  Hector's songs and framed him and Hector.
• 23:46
  Whoa, whoa. I'm, I'm, I'm just laying out
• 23:48
  the the film. This is spoiler alert.
• 23:50
  Now we're gonna talk about it. Frame him.
• 23:52
  He didn't frame Hector. Oh I'm sorry Hector.
• 23:54
  He stole Hector song and fame. Sorry fame, not frame.
• 23:59
  Hector was Miguel's great grandfather the entire time.
• 24:04
  This story is about family, forgiveness and legacy told with
• 24:08
  Pixar's emotional gut wrenching precision.
• 24:12
  When did the movie hit you the hardest emotionally and when was
• 24:15
  the first Remember Me or the final scene with Mama?
• 24:19
  Oh sorry, was it the first Remember Me or the final scene
• 24:21
  with Mama Coco? Neither.
• 24:23
  Really. Which one of those two hurt me
• 24:26
  more? I think the first time I heard
• 24:31
  you're not going to understand any of the references that I'm
• 24:33
  about to make. The very first time I heard it
• 24:36
  when there, I think he's like watching it up in his little
• 24:42
  hiding spot he has up in the attic or whatever it is and he's
• 24:45
  watching a like movie back and the guy singing it, the entire
• 24:50
  character of Ernesto de la Cruz reminds me a lot of a of a of a
• 24:57
  singer ranchero. I guess he would be called but
• 25:01
  it what his name is Vicente Fernández and he is like iconic.
• 25:06
  The big sombrero, the white, exactly like Ernesto de la Cruz
• 25:10
  was wearing the white mariachi fit with the gold little
• 25:13
  embellishments on it and everything.
• 25:15
  It it was very Vicente like it just it screamed him to me.
• 25:19
  So watching, listening to that kind of like, well, it like it
• 25:26
  was a core memory. Oh, have you watched inside out
• 25:29
  yet? No, OK, we're going to get to
• 25:30
  that one later. It just it unlocked something
• 25:33
  for me that was like I, I can hear myself listening to this in
• 25:37
  my great grandfather's like living room, like just sitting
• 25:40
  there with him. Like my great grandfather only
• 25:43
  spoke Spanish and I was very young.
• 25:45
  I was 8 years old when he passed away, but I didn't know Spanish
• 25:49
  up until then. So I didn't have like AI never
• 25:52
  could have a conversation with my grandfather, but every time
• 25:55
  we would go visit him, I would just sit in the living room and
• 25:58
  just like, So what? The ambiance.
• 26:00
  You know what I mean? And we would just listen like
• 26:01
  that was that was our connecting thing was we would listen to
• 26:04
  music together. So the first time I heard that,
• 26:06
  I feel like that was more emotional for me because it kind
• 26:09
  of like unlocked something for me.
• 26:11
  But the last one, Coco starts singing it.
• 26:14
  Oh, the waterworks happened. You know what I mean?
• 26:16
  It's it's a lot. But I think that emotionally,
• 26:20
  where it hit me the hardest was with the grandma, the
• 26:24
  grandmother, Elena, how she's so like, you're wrong and I already
• 26:30
  told you you're wrong and it's my way and don't you do this?
• 26:33
  And like, like the way that everyone in the family like
• 26:37
  holds their breath around her, almost like she has that, that
• 26:40
  authority. I have that in my family.
• 26:43
  I've had that in my family and emotionally like the mom based
• 26:46
  or like the grandmother being like, it's you're wrong.
• 26:49
  And and no matter what I say, I'm right.
• 26:52
  And then at the end when she's like, she's crying, like like
• 26:56
  she's ready to smash yet another guitar.
• 27:00
  Oh my God, even if that yo my very first guitar was a $60.00
• 27:06
  guitar I got from a freaking pawn shop.
• 27:09
  I'm still mad to this day that I don't have that guitar even
• 27:13
  though it's only a few bucks. But like somebody ruins a guitar
• 27:15
  like that on purpose. I'm crying.
• 27:17
  Could you imagine the sacred guitar like that was in a
• 27:19
  mausoleum and she just shatters it?
• 27:22
  She's getting ready to break the second guitar.
• 27:25
  She's already smashed through the.
• 27:27
  Entire. Door no, she's smashed because
• 27:30
  he locked her out, right? And she smashes through the door
• 27:32
  and she's still getting ready to.
• 27:33
  And the only reason I think at that point she stops is because
• 27:37
  his dad like stops her and goes hang on, like just wait a
• 27:40
  second. And that was I think the first
• 27:42
  time anybody actually stood up to her.
• 27:44
  And to me, that was more of an emotional experience of like she
• 27:47
  stopped and went, OK, maybe I am wrong.
• 27:49
  Maybe I am missing something. And you see just the one tier to
• 27:52
  me that is such an emotional that is like such a gut
• 27:57
  wrenching thing for me because I think that that is, I don't
• 27:59
  think that's necessarily I could be wrong, but and I know it's
• 28:04
  just a, a trope for Hispanic families.
• 28:07
  I think that that's a lot of families that an older
• 28:09
  tradition. You just listen to whoever is
• 28:11
  the oldest and you don't go against what they say.
• 28:14
  You respect them no matter if they're right or wrong or if
• 28:17
  they're saying something that will get them cancelled in
• 28:20
  today's manner because they're the oldest of the family.
• 28:22
  So you respect them and you give them their respect no matter
• 28:25
  what they're wrong or right. You don't correct them.
• 28:27
  And to see that like right? But but to see that I.
• 28:31
  Fucked that up a lot. That was that.
• 28:34
  Was it for me? Yeah, I agree.
• 28:36
  I loved that they they don't show it to you, right, But they
• 28:39
  show it to you at what it that the works already done.
• 28:42
  Like his secret clubhouse. He he has compiled posters,
• 28:47
  movies, records. He's ran electricity to this
• 28:50
  thing. He has TV.
• 28:51
  His passion for this is bar none, the most impressive thing
• 28:56
  I've ever seen in a child. He created his own guitar.
• 29:00
  He you know what I mean? He didn't go and buy a guitar
• 29:03
  like he made that. Right.
• 29:04
  And then he like he. Found ways to to tighten the
• 29:08
  strings and tune it and taught himself the guitar because.
• 29:12
  By watching the movies over and over and seeing where his
• 29:14
  fingers go. He got so good at the guitar
• 29:17
  just by watching exactly a film. Like that whole aspect that
• 29:20
  wasn't even talked about, but like to know music and it's
• 29:24
  just, it's so impressive. For music too.
• 29:26
  And to have that, that love of some something that's so
• 29:29
  forbidden, but it's like, I don't care.
• 29:32
  I'm going to give it everything I have.
• 29:33
  Because he's connected to it, right?
• 29:35
  How? He said, Well, you, you say that
• 29:36
  like our ancestors are here to guide us.
• 29:39
  This is my ancestor guiding. Me, right.
• 29:41
  I think I won't. Yeah.
• 29:42
  Because so the whole point of the movie is he crosses over
• 29:45
  into the land of the dead. Well, he thinks Ernesto is his
• 29:48
  great grandfather. Let's continue with our,
• 29:50
  continue with where we're. Going but real quick, but the
• 29:53
  fact that he thinks that most of the time that Ernesto is his
• 29:55
  great grandfather. So I think the only reason he
• 29:58
  believed that is because in the picture it's the guitar.
• 30:03
  Yes, the guitar is Ernesto's guitar.
• 30:05
  So. The fit is the same he's.
• 30:07
  Like, right. And he's like, my gosh, this
• 30:09
  makes sense. But I think when you think about
• 30:12
  something like that, tell me something.
• 30:13
  Have you ever thought ever in your brain, maybe I could be the
• 30:18
  milkman's kid, and maybe the milkman is really?
• 30:21
  Like somehow. Really.
• 30:22
  Julia Roberts is really. Mine somehow I'm related to the
• 30:25
  Wahlberg's, yeah. Yeah, exactly.
• 30:28
  So like I was adopted within my family, but like Kevin.
• 30:31
  Owens looked way too close. Like, maybe my mom's really Drew
• 30:34
  Barrymore. Yeah, I don't know, like, but
• 30:37
  you know, I feel like there is always a certain thing of if you
• 30:39
  don't know where somebody is or you're not taught about someone,
• 30:44
  you want to believe that there's someone amazing.
• 30:46
  But and there he already did, like you said, he did feel
• 30:49
  connected with Ernesto because of that.
• 30:51
  And he was living in the same town that Ernesto was from and
• 30:54
  everything. And all this music is constantly
• 30:56
  surrounding him. But he felt he found the love
• 30:58
  for it anyway. Well, I, well, going back to
• 31:00
  what hit you the hardest for me is just like he found something
• 31:03
  that it wasn't something that everybody else around him was
• 31:05
  into or were doing. Like that was kind of a thing
• 31:07
  for me too. Like growing up, like
• 31:09
  firefighting, football, basketball.
• 31:11
  Like I kind of felt I like basketball, but like, I was like
• 31:14
  everything I kind of got into was because I wanted to be into
• 31:18
  it. Like I liked pro wrestling.
• 31:20
  I came on TV one day and it was like, oh, pro wrestling.
• 31:23
  Like I found MTV and like, oh shit, this kid likes this kind
• 31:26
  of music. And like, I sure I took bits and
• 31:28
  pieces of what my parents have always been into, but I've
• 31:31
  always kind of found myself in my own things that by enjoying
• 31:34
  and I've always had that self identity.
• 31:36
  Like growing up listening to Howard Stern, it was a thing my
• 31:38
  dad got me into, but it was like, I wanna do that.
• 31:41
  I wanna communicate. I like talking, I like hearing
• 31:43
  peoples stories and then learning about podcasts and
• 31:45
  stuff. So like, and the other thing
• 31:47
  that really hit me hard with this movie too, was meeting your
• 31:50
  hero. Sometimes you you idolize
• 31:52
  someone and it even takes it another step of he idolized this
• 31:55
  guy, loved this guy and then Oh my God, this guy might.
• 31:58
  Be this guy is his family. This guy might be my fucking
• 32:01
  familia, you know what I mean and then it's just like he's not
• 32:04
  and he's everything that I I wouldn't want in a person.
• 32:07
  He's evil. He's let's.
• 32:08
  Pause. Let's go back a little bit
• 32:09
  before that. Yeah.
• 32:11
  He wasn't even sure that he was his grant.
• 32:13
  No, he didn't even know at that point that he wasn't his
• 32:17
  grandfather. All he knew was that, like, this
• 32:19
  could be my grandfather and a murderer, but I'm just, like,
• 32:23
  uncomfortable. And it's OK, Grandpa.
• 32:24
  Just send me back, please. Yeah.
• 32:27
  Like, I I thought I loved you. I thought I loved everything
• 32:29
  about you. But maybe I actually don't know
• 32:31
  A. Single he he was essentially
• 32:33
  playing into the role of like, OK, I'll still pretend you're my
• 32:36
  grandson now that I know the truth.
• 32:38
  But if you send me back, I at least put his photo on the altar
• 32:41
  and say save him, right? Yeah.
• 32:43
  The the scene where the first soul gets taken away, when you
• 32:47
  hear Hector play the guitar the first time and he sings a song
• 32:50
  to the old man. And it's kind of like The Dirty
• 32:52
  song that he kind of edits because there's children there.
• 32:56
  That was a beautiful scene of just like when you first hear
• 32:59
  Hector be a musician and you're like, oh, this motherfucker is
• 33:03
  probably his grandfather. But well, OK, so I don't think
• 33:08
  that the first the first time I watched it through it was
• 33:11
  definitely like, I know you're somebody who's constantly
• 33:13
  looking for like, how do we book this or how did this?
• 33:16
  Get booked. Or how this is how it's going to
• 33:18
  go and almost like everything's like a murder mystery for you
• 33:21
  and you got to figure it out. But I, I don't think I saw it
• 33:24
  coming at all the first time, but I think that it was just
• 33:28
  beautifully. I just remember when we were
• 33:30
  watching and I was like, oh, I would change this.
• 33:33
  I would make Hector his fucking grandfather and Ernesto somehow
• 33:36
  stole his life and you're like, shut the fuck up, no.
• 33:39
  No, no, no, no. First of all, I'm trying to
• 33:41
  remember what you said first because I was like, are you
• 33:44
  locking that in because you're? Oh, I said.
• 33:46
  I said Ernesto's going to be his, his grandfather.
• 33:48
  Yeah. And I was like, you locking that
• 33:50
  in? Yeah.
• 33:50
  Is that? Yeah.
• 33:51
  And I was like, you're locking in.
• 33:52
  Are you locking it in? You're like.
• 33:54
  Maybe. Until you met Hector and I was
• 33:56
  like. No, you still.
• 33:57
  No, the first time I heard Hector play the guitar, I was
• 33:59
  like, oh, I would change this. I would make Hector as family.
• 34:02
  I don't think you were there yet.
• 34:03
  I think that you were still at. They were.
• 34:05
  They were the partners. And then it was like right
• 34:08
  before he played the video that I was like you said, oh, I think
• 34:12
  he he killed him. He killed him.
• 34:13
  No, I was. Yeah, he poisoned.
• 34:14
  Him no way before that I was I I had the whole idea of like no
• 34:17
  like this one. Yeah, but no, I thought it was
• 34:19
  beautifully done. But then also the the hardest
• 34:21
  hitting thing was only because I watched this whole video one
• 34:23
  time of and it's kind of hitting me more now than it has been.
• 34:28
  I don't want to dive too much into it because I don't want to
• 34:30
  upset people in my family if they listen to this.
• 34:31
  But the moment when Coco hears the song and she's this old lady
• 34:36
  who her skin, her skin, she's about to die and her skin is
• 34:40
  like just thing and she has no life left.
• 34:42
  And she hears the guitar and she hears the lyrics.
• 34:46
  Remember Me? And she her eyes.
• 34:49
  She's getting like life back into her.
• 34:51
  Breathe back into her. Because there's a whole video of
• 34:54
  like people taking music into like retirement homes and
• 34:58
  letting them hear music of their time.
• 34:59
  And like you watch this person who's just depressed and has
• 35:02
  nothing left in life and their soul is gone and they hear
• 35:05
  something that reminds me of a better time and they just hear
• 35:08
  that music of and it's just even deeper than that.
• 35:10
  Like someone created this 30405060 years ago and someone's
• 35:16
  now hearing it again. Probably that song has not been
• 35:18
  played through speakers in in 40 years and someone heard it and
• 35:22
  it just breathes life into them. And that's beautiful thing about
• 35:24
  art, you know? I'm going to say something that
• 35:27
  goes back into this whole like beauty and darkness thing,
• 35:30
  right? And that is that that feeling of
• 35:34
  hearing something for the first time.
• 35:38
  What a beautiful feeling that that must be to Can you imagine
• 35:42
  hearing your favorite song for the first time over and over?
• 35:45
  Sometimes my favorite song doesn't hit me my first time.
• 35:48
  I have to hear it and then I hear it again and then I'm like.
• 35:51
  Then I connect the dots a little.
• 35:52
  Right. But what I'm saying is, could
• 35:54
  you go back to never hearing it again?
• 35:56
  Like, you'll never hear it the same way.
• 35:57
  Right. But some people get the chance
• 36:00
  to do that. Yeah.
• 36:01
  And it's like they get to experience that.
• 36:03
  First time I heard it ever again.
• 36:05
  Well, let's keep that going with the music that bridges the
• 36:08
  world's music is the heartbeat of Coco, which it was, but I
• 36:13
  wish it was more like I feel it was points where the music was
• 36:16
  there, but they like there's only like really two or threes.
• 36:19
  Like like I don't like when Disney or Pixar puts a lot of
• 36:22
  music in their movies because I'm like, that was so unfucking
• 36:24
  needed. But this is the movie.
• 36:26
  They could have leaned into it a little harder and did more
• 36:29
  musical acts. I, I, I want to go back to you
• 36:35
  saying you want to watch this again with the Spanish subtitles
• 36:39
  because the song that the grandmother sings the first time
• 36:44
  I heard it, that I, that might have been the most emotional
• 36:48
  part for me because the grandma, he's, he's telling the
• 36:51
  grandmother like, you don't even know.
• 36:52
  You'll never know what it feels like.
• 36:54
  And she says I still like the song that she's talking.
• 36:56
  But he's going up the stairs. Yeah, and she's she's crying and
• 37:00
  she's like, I cried every day because I still feel that pain.
• 37:03
  And I'm like, Oh my God, not only is she crying, but she's
• 37:07
  talking about like the music in itself hurts me to even listen
• 37:11
  to it. So that's why I didn't want to
• 37:13
  hear like that's speaks, speaks volumes in and of.
• 37:16
  Itself, Another part that hit me hard too is when they're on the
• 37:19
  stage, she has the photo she's she's trying to run away from
• 37:23
  the security and the spotlights on her and then.
• 37:27
  And she just has to start like, singing.
• 37:29
  Yeah, And he's like sing and she starts singing and the people
• 37:31
  are like, Oh my God, her voice is beautiful.
• 37:34
  Like it could because it it's not.
• 37:36
  Who has the been the one singing it to you?
• 37:39
  It's I'm hearing this song once again, a song that Ernesto has
• 37:43
  become made famous for in life and in death.
• 37:46
  Like he he has literally taken the mantle of music from one
• 37:50
  realm to another. And now we're hearing his song
• 37:53
  sang by a woman and I'm connected more to it.
• 37:56
  And it's like, wait. And then the, the little boy
• 38:00
  being that person like where I, Miguel, where I kind of have
• 38:02
  that thing of like, Oh, you and you let's put used 2 together.
• 38:06
  Let's I, I can put this piece and this piece together because
• 38:08
  I see something that no one else sees.
• 38:10
  And he grabs the guitar and he's talented enough to start playing
• 38:13
  it, but he knows to hand it to Hector.
• 38:15
  And then that moment of like this should have been destiny.
• 38:19
  This should have been the path. The path of music should have
• 38:22
  been her singing and him playing and not him not making the art
• 38:26
  with his love but going out and meeting Ernesto and being his
• 38:30
  downfall and now that is being recreated in the afterlife.
• 38:33
  Like, I was like, that's fucking beautiful.
• 38:35
  I like that scene, too. Yeah.
• 38:37
  I thought that was a really powerful scene.
• 38:38
  No, definitely. Where was I at here.
• 38:41
  So this, this, if you're, if you haven't caught on, I'm.
• 38:46
  I'm into this movie. So it's good, Yeah.
• 38:48
  We love that. Yeah, so once again so music is
• 38:51
  a heartbeat of Coco. Every song from UN poco loco to
• 38:55
  the world S MI familia connects life, love and identity.
• 38:59
  The film signature song Remember Me won an Oscar for being the
• 39:03
  best original song of 2018. Which is it should have been.
• 39:07
  But what makes it powerful and just A and not just a melody,
• 39:10
  It's its context. The same song once symbolized
• 39:13
  fame for being a lullaby of a love between a father and a
• 39:16
  daughter. Well, say that again, sorry.
• 39:19
  The the song wants to symbolize fame becomes a lullaby from from
• 39:23
  love between a father to a daughter.
• 39:25
  He wrote Remember Me as a song that could mean everything,
• 39:28
  showbiz, memory, and the connections beyond death.
• 39:32
  Which is the composer who wrote the song?
• 39:34
  Robert Lopez when he said he composed this.
• 39:38
  So how did the music in Coco affect you experience
• 39:41
  emotionally? Would the story have worked
• 39:43
  without it? So I think going back to like
• 39:45
  how I originally said, exactly like it's saying now.
• 39:47
  The first time I heard it, I thought of Vicente Fernández,
• 39:51
  this very well known, well-rounded mariachi singer.
• 39:55
  That was just known for how he sang and he had that grandiosity
• 40:01
  about how he sang and and the way that he had that grizzle in
• 40:04
  his voice and everything to make it sound, you know, and the
• 40:07
  grito in it and everything to have that emotion, hearing that
• 40:11
  and hearing it almost. I don't maybe commercialize
• 40:16
  isn't the right word to use, but put into a into a way to make it
• 40:20
  look very, you know. Tea cocky, so to speak, versus
• 40:25
  at the end hearing it with that raw emotion, like it hits you
• 40:29
  completely different. And it can be the same song and
• 40:31
  it can have those same words but have two separate readings.
• 40:34
  And I think that's what's beautiful about art in general.
• 40:36
  I could tell you that my favorite song is Can You Film by
• 40:40
  a Heart by Bring Me the Horizon and it might mean one thing to
• 40:44
  me. And you can listen to it and say
• 40:45
  that this song is about something completely different
• 40:49
  art subjective, and you can find your beauty in it no matter
• 40:52
  which way you're trying to look for it.
• 40:54
  But I think that the the way that do I think that the movie
• 40:59
  could have moved forward differently without that song.
• 41:04
  I don't know. I don't know because I feel like
• 41:07
  the whole the point of the the message of the grandmother
• 41:12
  forgetting things and the music bringing that memory back and
• 41:16
  bringing that life back, I don't think that could be told in the
• 41:19
  same way if you used a different song.
• 41:20
  And it was really good of just like the only other time I felt
• 41:23
  like a movie really hit like Remember B does for Coco is
• 41:27
  Elton John. Can you feel the love tonight?
• 41:29
  See, I was gonna say, but you'll be in my heart in Tarzan.
• 41:35
  That one hits me. Phil Collins.
• 41:37
  Yeah. Because you'll be.
• 41:41
  Because like Remember Me it, the whole premise of this movie is
• 41:44
  remembering the dead right and remembering this, but then Coco
• 41:48
  is dying and she's losing her memory and she doesn't remember
• 41:51
  till good. And then it's like it ties into
• 41:54
  with the music of it. Just it was beautifully done.
• 41:57
  The guy who wrote it. I I wonder, I always wonder,
• 41:59
  like in the creative process, does he read the script, see the
• 42:02
  movie, then write the song or like, you know what I mean?
• 42:04
  Like because it's almost like it flowed so well together.
• 42:07
  Like it's hard to write a hit song, but Disney and Pixar
• 42:10
  somehow find these fucking amazing composers who could put
• 42:13
  music to a movie and it just it's, it works every fucking
• 42:17
  time. And it's crazy to me that it
• 42:18
  does. Well, I'm not sure it's witch
• 42:20
  cratch. I'm not sure if he read the
• 42:23
  script, but like, you were just reading that quote and he was
• 42:26
  saying that it needed to mean everything from showbiz and
• 42:28
  memory to connection beyond that.
• 42:30
  So like, maybe they didn't tell him the whole script, but maybe
• 42:32
  they're like, listen, we need it to mean a lot of different
• 42:35
  things. Yeah, it was.
• 42:36
  It was really well done. Yeah, just a legacy in general.
• 42:40
  So Pixar's afterlife designing the land of the Dead.
• 42:43
  Visually, Coco is 1 of Pixar's most stunning creations.
• 42:47
  I would agree the land of the dead was inspired by Grand Geo
• 42:53
  Tijuana. Tijuana, right?
• 42:56
  No, it's not the G Okay colorful architect A Bradis OK,
• 43:06
  fantastical spirit animals and the Aztec and Catholic
• 43:10
  symbolism. The team even went use you went
• 43:13
  and used digital lighting engine to mimic candle glow and
• 43:16
  Marigold's reflections. Every bright of the pedal feels
• 43:20
  alive. Every light tells a story.
• 43:23
  So what scene or visual moments stuck with you the most?
• 43:26
  The bridge, the a friend of of Reveal or something else?
• 43:33
  Visually, there were a few things, the Miguel becoming a
• 43:38
  skeleton, like becoming transparent.
• 43:42
  I thought that was a really cool element that they did.
• 43:45
  But another I think you were this is way back.
• 43:49
  Rewind like 1/2 hour. You're asking me like, what did
• 43:52
  they get right? The Panda Muerto the the the
• 43:55
  food that they set out, even specific desserts that they
• 44:00
  would have. And I think that visually like
• 44:02
  seeing those like that is such and that could be overlooked so
• 44:06
  easily. You could have put any food out
• 44:07
  there. It could have just been fruit
• 44:08
  and meat and whatever. But to add those pastries in it
• 44:11
  and to see the different kinds in there.
• 44:12
  I thought that was really cool. And another element that I was
• 44:17
  even talking about, I think I was telling you about the way
• 44:21
  that maybe it's just because I have been having back problems
• 44:24
  and hip problems now. But even the way that they had
• 44:29
  they, they made a little joke about Miguel walking and he's
• 44:32
  like, oh, I'm walking like a skeleton.
• 44:34
  Like this is how you walk. But then later when you're
• 44:36
  seeing Ernesto de la Cruz come at him when his mansion is
• 44:39
  empty, right? And he's like walking at him.
• 44:42
  There is a very certain way that you walk in boots and there's a
• 44:47
  certain way that rancheros and mariachis would walk in their
• 44:50
  boots and they're like in their outfits and their get up and his
• 44:54
  hips, his pelvic bones moved a specific way that mimics that so
• 45:00
  perfectly that to me that just cracks me up that I'm like, man,
• 45:03
  they got that Even a skeleton to walk in a way that is typical of
• 45:09
  that is. Nail the details.
• 45:10
  Right. Yeah, Amazing.
• 45:11
  For me, it's the first time you see the land of the dead, when
• 45:13
  he when the the marigolds are glowing and when he first grabs
• 45:17
  a guitar and you see the glow of the the sound when he strums it.
• 45:20
  Yeah, that was really cool. But then like that first element
• 45:23
  of entering the land of the dead, I want to say where I like
• 45:28
  I was. Talking about before he hits the
• 45:30
  Ridge when he's still in the cemetery.
• 45:31
  He's in the cemetery. Yeah.
• 45:32
  Because where most movies would go dark, creepy, scary, because
• 45:36
  it's death and it's supposed to be deemed in a different light,
• 45:39
  in a different context. This movie cranks the neon,
• 45:42
  cranks the color, cranks the beauty up, which makes death not
• 45:46
  as scary, which makes it not as eternally gone.
• 45:50
  Like to the human mind that's alive, you're, you're like when
• 45:53
  you're dead, you're gone, it's over.
• 45:55
  But to them it's like, no, it's a whole nother realm.
• 45:57
  Belief that like in on Earth, you're never going to see the
• 46:01
  amount of beautiful things that you would see when you're when
• 46:04
  you're in your in the afterlife, the colour has no meaning.
• 46:08
  Like these are the dullest colours you will ever see in
• 46:10
  your life is what you see when you're alive, but when you're
• 46:13
  dead you see everything is is amplified by 1000.
• 46:17
  And when he crosses the bridge for the first time, it kind of
• 46:19
  gave me the Tim Burton Beetlejuice feel where it had
• 46:22
  the neons and the colours, but it it didn't lean at all into
• 46:26
  the dark, the spooky. Almost like 0 blacks were you 0
• 46:29
  greys 0 It was right. It was.
• 46:31
  It was. Vibrant yeah.
• 46:33
  And I I do like that and the way the things glowed and stuff was
• 46:36
  really, really well done and even like when the villain
• 46:40
  presents itself like sure it's dark, but they never really get
• 46:43
  away from dark atmosphere. It's always kind of done in
• 46:46
  light and even if the the spookiest character and the most
• 46:49
  evil looking character was the was the the Panther, but that
• 46:54
  was even violent and vibrant and everything like that name.
• 46:58
  That was that was the Mama e-mail.
• 47:00
  That's a liberty or familiar, if you're interested in familiar as
• 47:04
  we just did a podcast on those. I don't know if this will
• 47:06
  probably air before that, but go check it out.
• 47:07
  Maybe we'll do like a like a coincide with like this one.
• 47:11
  So if regardless of which one airs first, go check out the
• 47:14
  truth behind illusion. We did a whole episode on
• 47:15
  familias familiars. So yeah, let's get into our our
• 47:18
  segment here. Awards impact and cultural
• 47:20
  legacy. So Coco became a cultural
• 47:23
  milestone, earning 8800 million worldwide, winning two Oscars
• 47:29
  and being embraced and respected at love letter to the Mexican
• 47:33
  culture, which is insane. I didn't know of any of this.
• 47:37
  I'm so out of touch with kid movies and stuff like that that
• 47:40
  I didn't realize how hard this movie hit for people.
• 47:43
  So I don't know if you remember, this is me and my big mouth.
• 47:47
  I was working at a warehouse earlier this year.
• 47:50
  And I don't know if you Remember Me telling you that they played
• 47:52
  this for Cinco de Mayo. And I was like, you missed the
• 47:58
  landmark bylaw. Like freaking holy.
• 48:01
  Mexican freaking. Airball.
• 48:03
  Day of the Dead are two different things.
• 48:05
  Mexican Independence Day is the the 16th of September.
• 48:10
  What is Cinco de Mayo then? It's a it's a completely
• 48:12
  different war that was fought like this.
• 48:14
  So it's a different war. So like the Battle of your
• 48:17
  Independence and the Gettysburg are to like how people would.
• 48:20
  Yeah, that's like saying the 4th of July and the Gettysburg
• 48:22
  Address happened on the same day.
• 48:24
  Yeah, 4th score and seven years ago, but it was actually 500
• 48:27
  score in a million years ago. I.
• 48:29
  Feel you, I feel you it also inspired global audience to
• 48:32
  learn more about the Day of the dead, our dia de la montas,
• 48:35
  sparking new appreciation for the Latino storytelling and
• 48:39
  animation. Pixar's careful collaboration
• 48:42
  with Mexican creators set an industry standard for cultural
• 48:45
  respect and authenticity, and which has carried on.
• 48:48
  The Lion King changed up that when it kind of originally made
• 48:51
  like a lot of movies that have been now deemed too woke, It's
• 48:55
  no, it's giving a different culture a way to to to tell
• 48:59
  their storytelling and. To do it in a way that they can
• 49:02
  be celebrated. It's funny because like we tell,
• 49:05
  we've had storytellers for centuries and we've stolen other
• 49:08
  people's culture stories and whitewashed them and put them in
• 49:11
  front of with white characters and stuff.
• 49:13
  And then now the movies being done with the the right culture
• 49:16
  and the right people and the right storytelling.
• 49:18
  And it's like, well, this is woke.
• 49:19
  You're forcing it on. This is like, no, this has
• 49:21
  always been here, but. Growth.
• 49:23
  And in case you missed it, you're supposed to freaking
• 49:26
  grow. Yeah, but it was these stories
• 49:28
  have always been here, but instead of the stories being
• 49:30
  told to you by what is your representation, it's now being
• 49:35
  told by someone else's representation.
• 49:37
  And and because because you can't wrap your head around a
• 49:40
  way of accepting somebody else's representation and not seeing
• 49:44
  yourself in the character because they visually don't look
• 49:47
  like you, you cannot separate. You can't see the humanity in
• 49:50
  that and still find the representation.
• 49:52
  That's a you problem out of world problem, right?
• 49:54
  Yeah. How has Coco changed how you see
• 49:59
  Pixar? What have you expected more from
• 50:01
  the animated storytelling? I will say that Pixar, I think,
• 50:09
  holds true to the way that they tell stories.
• 50:13
  They do have that gut punch effect in their storytelling and
• 50:17
  they they have a way of making emotional connections with
• 50:22
  things. I wouldn't say that's
• 50:24
  necessarily Disney. Not that Disney doesn't have a
• 50:30
  way of doing that as well, but I don't think that as far as like
• 50:34
  animated storytelling goes, I think that the way that it's
• 50:37
  done was done very well because it, although the animation style
• 50:42
  was all done in, I don't recall what year you just said this
• 50:46
  comes out. But I do like the way that they
• 50:48
  did kind of make it go back to like that almost black and white
• 50:51
  feeling of like the very, very early days when they're talking
• 50:54
  about how like whenever, whenever Hector is reminiscing
• 51:00
  about his younger days and they they animated that part.
• 51:04
  I thought that that was really cool how they did that.
• 51:06
  Like they're still there is they're doing a world within a
• 51:09
  world within a world. Yeah, Pixar has always been for
• 51:13
  me. If I'm going to watch a kids
• 51:15
  movie, I will probably lean heavier into a Pixar movie than
• 51:18
  I would a Disney movie. And I know they're one and the
• 51:20
  same, but they are I feel. About a what is it I'm?
• 51:23
  Sorry, DreamWorks. Yeah.
• 51:25
  So DreamWorks is the the AW to the AWWE Pixar DreamWorks has
• 51:34
  made. So DreamWorks kind of set the
• 51:35
  standard, then Pixar was created or vice versa.
• 51:39
  It was 1 was created before the other and then the one people
• 51:41
  didn't like the way they were being done there.
• 51:42
  So they went and created their own thing type deal.
• 51:44
  So there's a little bit of a rivalry and they have poked fun
• 51:46
  at each other within different movies.
• 51:49
  But Pixar for me has always been the second I seen is Toy Story
• 51:52
  as a kid, I was like, Oh, this is different.
• 51:54
  They're they're telling different stories here.
• 51:56
  They have a different animation style.
• 51:57
  This is they're they're they're going for it.
• 52:00
  You know what I mean? Like it's just visually telling
• 52:02
  it better. So for just from this, I know
• 52:06
  this happened in 2017 and I'm watching it with brand new 2025
• 52:09
  eyes and never even realized any of this ever existed.
• 52:14
  I'm enough in the cop pop culture reference that I
• 52:17
  understand who these characters are and what they exist.
• 52:19
  Like what they look like. Like if you showed me a picture
• 52:21
  of Hector the skeleton, I couldn't tell you his name was
• 52:23
  Hector, but I don't. Oh, that's the that's the thing
• 52:25
  from Coco. Yeah, that's kind of the
• 52:28
  furthest I've went into the story.
• 52:29
  Like, I looked at the Mama Coco, and I'm like, oh, that's that's
• 52:32
  the little old lady from the movie Coco.
• 52:34
  Yeah, but you have no idea. No fucking clue.
• 52:36
  That she only has five whole minutes of screen.
• 52:39
  Time yeah. And it's it to me, this movie
• 52:42
  has like maybe opened me up a little more to be like, I should
• 52:45
  probably give more Pixar movies a second look at like I think
• 52:48
  the last kids movie I watched was what's the one with the
• 52:51
  where the animals are all kind of talking about racism, where
• 52:54
  like the one animals are feral and the other ones are good and
• 52:58
  they're playing a cop. It's like a Bunny rabbit.
• 53:00
  Ohh. Zootopia.
• 53:01
  Zootopia. I think that's the last case
• 53:02
  movie I watched before this one. I'm sorry, for some reason my my
• 53:05
  brain went right to wicked. Oh really?
• 53:08
  But I was like that the animals are going feral.
• 53:10
  Do you mean they're be like they're more animalistic?
• 53:13
  Are you calling them beasts? How could you?
• 53:15
  That's what they were doing in that movie.
• 53:16
  Where? My brain.
• 53:17
  Went Yeah, yeah, no. So Zootopia is probably the last
• 53:20
  one I watch. Is that Pixar as well?
• 53:21
  No, that's a dream. That's DreamWorks.
• 53:22
  Yeah, but like, that's probably the last one I watched.
• 53:25
  And then like this after watching Coco, I was like, I
• 53:26
  kind of want to see more. What?
• 53:27
  The kids you watched, How to train your dragon.
• 53:30
  I've seen that before though. Fair.
• 53:32
  How to train a dragon I watched with Austin and Nathaniel.
• 53:34
  Did you watch the second one? We were watching them with the
• 53:37
  light fury. I have not.
• 53:38
  You were also playing Fortnite. At the fair How to Train a
• 53:41
  Dragon, I must have watched probably 30 times with Nathaniel
• 53:43
  because that was his movie and he would just watch it.
• 53:47
  Tater, Brian. I'm sorry.
• 53:51
  Yeah, okay, sorry. He would watch that 100 times.
• 53:53
  He loved it. That was his movie.
• 53:55
  And he would always come here like every Monday.
• 53:57
  And if I wasn't working on a Monday, 'cause I was working at
• 53:59
  swing shift, he would come to my room and he's like, can you put
• 54:01
  the Dragon movie on? And I was like, alright.
• 54:03
  And I watched that like a bunch of times with him.
• 54:06
  But let's get into the last one. Fun facts.
• 54:07
  And behind the scenes, the film's title, Coco, refers to
• 54:10
  not the boy, but his great grandmother, symbolizing how the
• 54:14
  oldest among us even often hold the most powerful memories.
• 54:18
  Hector's guitar design hides a skull motif in the body shape on
• 54:22
  the neck of it. I think that looks so fucking
• 54:24
  sick. Well.
• 54:25
  They're not just talking about that, they're talking about the
• 54:27
  entire guitar. OK, the the guitar body itself
• 54:31
  is. In the shape of I want to find
• 54:32
  that guitar. Oh, I do too.
• 54:34
  I want to put it on display. We should just get a guitar.
• 54:36
  They make them on Amazon where it's like build your own guitar
• 54:39
  and we can just design it. I can use my cricket to.
• 54:41
  Design Disney has a $300 guitar that you could buy like an
• 54:44
  acoustic, but the neck of the card doesn't have the teeth on
• 54:47
  the I'm like, I'm not buying that.
• 54:48
  I'm not paying $300 if it doesn't have that fucking teeth
• 54:50
  to go tooth. On the gold tooth on.
• 54:53
  It every a Brea alebrije adabrije.
• 54:57
  There you go. Is.
• 54:58
  Inspired by real Mexican folk art creatures, Coco was the
• 55:02
  first film to put a featured fully Latino cast, which is wow
• 55:07
  that it took till 2017 to do that.
• 55:09
  I didn't realize that this movie set the standard, which is kind
• 55:11
  of dope too. What is your favorite Easter egg
• 55:13
  or detail? I think you kind of talked about
• 55:14
  this with the food right? That would probably be.
• 55:16
  So yeah, with the food and the Papa El Picado, like I said,
• 55:18
  them putting even the shoes into it, I thought that was really
• 55:21
  cool. Another Easter egg I think I was
• 55:23
  telling you about when you're looking.
• 55:25
  So Coco, although it had a fully Latino cast, I believe was
• 55:30
  released, I don't know if it was released in English and in
• 55:33
  Spanish at the same time. I'm really not certain about
• 55:37
  that. But I was telling you in his
• 55:38
  little shack, I thought it was cool that if you look on the
• 55:41
  posters, a lot of them say Remember Me, Remember Me,
• 55:44
  Remember Me. And then there's one where he's
• 55:46
  got the vinyl where he's he's taking the vinyl out and he
• 55:49
  takes it out of the sleeve and he puts the vinyl on to the
• 55:52
  record player. But when he puts the sleeve
• 55:54
  away, it says which is Remember Me, but in Spanish.
• 55:57
  I thought that was a cool thing. And another thing so UN poco
• 56:03
  loco, do you know what that means?
• 56:05
  Something crazy I'm not. Super white, a little a little
• 56:08
  crazy. You make me a little crazy.
• 56:11
  UN poco UN poco UN V1, right? Yeah.
• 56:15
  So UN poco loco I would I would have said I always think Paquito
• 56:20
  is little, but Poco is little too a.
• 56:21
  Little crazy. Yeah, I'm crazy, but only a
• 56:24
  little. A little crazy.
• 56:25
  Got you. OK.
• 56:26
  Itty bitty crazy would be a Poquito loco.
• 56:28
  Got you itty bitty bitty. So when I poquito is itty bitty
• 56:32
  shit. OK, There's a guy at my job
• 56:34
  who's not very tall and I always say he's very paquito.
• 56:36
  So I'm saying he's very, very small.
• 56:38
  You're calling him Bicano? Yeah, he's fucking tiny.
• 56:41
  His feet are this big. I call him that.
• 56:44
  What did I? I've been saying this since day
• 56:45
  one. Kids don't talk about people's
• 56:47
  looks. I had people's looks.
• 56:49
  I had to get on his lips anyway to move it.
• 56:51
  And I dude, I couldn't like, it's like getting in the car
• 56:55
  after someone's got Tiny's in it and I'm like, and then I had to
• 56:58
  pull the seat back and I didn't put it back when I got off
• 57:01
  because forklift seats aren't something you can like, you have
• 57:03
  to be physically sitting on it to fire.
• 57:05
  And then he got on it. He was like, and I was like, oh,
• 57:08
  Poquito, He's like. What a jerk.
• 57:12
  I didn't know I was saying little, little, little, yeah.
• 57:14
  Something funny about that. So loco is crazy.
• 57:18
  Yes, I know that and Loca is a little crazy for women.
• 57:21
  You don't have to be offended, I'm just trying to.
• 57:23
  I know. So Coco.
• 57:25
  What is Coco? Coco is chocolate coca, right?
• 57:31
  Isn't Coco chocolate? But it could also mean in the
• 57:34
  head, so UN poco loco and then Coco, they're a little gone in
• 57:39
  the head. It's a little crazy in the head.
• 57:41
  So Coco being Coco, she's a little out there.
• 57:46
  She's a little Spacey. And I thought that that was I
• 57:48
  don't know that they did that intentionally, but I was like
• 57:50
  when they first I was like, Dang, they really called her
• 57:52
  grandma crazy out the bat. And then I watched it.
• 57:55
  I was like, Oh, is she not to cut?
• 57:58
  It, but she's been Coco since she's a baby.
• 57:59
  Right. Yeah, like that was her name,
• 58:01
  but yeah, so it's kind of like Mita Bell in Encanto being and
• 58:05
  they call her Mita. I didn't finish that.
• 58:07
  I did like that one though, but I never finished.
• 58:09
  It watch that one too. That's a good one too.
• 58:11
  I'm. Gonna watch that one we got
• 58:13
  halfway through and I liked because I remember I laughed
• 58:15
  because that one's more Dominican, right?
• 58:17
  Because I showed you, I said whenever she does the present to
• 58:20
  him, she goes. She points out with her lips.
• 58:22
  And I thought that was funny. Like they added that element
• 58:24
  because working with a lot of Dominicans are like.
• 58:26
  So that one, I don't think they actually said they had a
• 58:29
  specific heritage that they were going after.
• 58:32
  It was just like Latino. Yeah, Latino for me, just going
• 58:37
  back to the representation stuff like I can't really pull the
• 58:39
  representation of the Mexican culture in this.
• 58:42
  So I had to like kind of in my brain, like, what does this
• 58:45
  remind me of? And, and he reminded me a lot of
• 58:48
  Elvis, where I felt like, oh, oh, Elvis is this giant
• 58:51
  phenomenon who did the movies and the music and had all the
• 58:54
  merchandise, right. So but then also stole
• 58:56
  everyone's culture and stole someone's artwork and kind of
• 58:58
  gotten popular because of it. I.
• 59:01
  I mean, you're not wrong, but actually like when you said that
• 59:04
  yesterday, yesterday we were watching it, that when you said
• 59:09
  that, I was like, actually ironically, I could see that.
• 59:11
  I could see like all of Elvis's little get UPS with his
• 59:14
  rhinestone fits. They definitely could have been
• 59:17
  mariachi outfits like that. 100% like.
• 59:22
  Yeah, so let's let's close this one out.
• 59:25
  Remember Me always, Coco reminds us.
• 59:30
  The stories, songs and love keep us alive long after we're gone.
• 59:35
  It's a celebration of identity, heritage and the unbreakable
• 59:38
  thread between generations. So as we wrap up, light a
• 59:42
  candle, play a song and remember someone who made your life
• 59:45
  brighter. Because as the film says, our
• 59:48
  love for each other will live on forever.
• 59:53
  So we, we, we've actually adapted this to the the truth
• 59:58
  behind illusion, where every episode we dedicate the episode
• 1:00:00
  or say like, hey, we're going to invite a spirit to come and join
• 1:00:04
  us or whatever it may be, or just say hey, remembering a
• 1:00:06
  person or a place or a thing. If, if, if this movie were to be
• 1:00:11
  for you, who would you? Who would you light your candle
• 1:00:14
  or welcome to the the table? Even though we're pretty much
• 1:00:17
  done. But for this episode, who was
• 1:00:19
  someone you wouldn't remember? I'll get back to you on that.
• 1:00:25
  OK, I'm going to say my grandparents, my the ones that
• 1:00:28
  are no longer with me, I would say just because it kind of
• 1:00:30
  struck me of like, oh man, I feel like I didn't have that
• 1:00:32
  time with them when they were here.
• 1:00:34
  Like my grandfather that my grand, my pop up, my grandma and
• 1:00:37
  Betty. And then I, I, my grandfather,
• 1:00:39
  like I don't even really, we were so separate.
• 1:00:41
  I don't even know what to call him like because I I was so used
• 1:00:44
  to calling pop up and then I met this guy and I was like, are you
• 1:00:47
  what were you pop up? Are you grandpa?
• 1:00:49
  Like I don't really develop a name for him.
• 1:00:51
  Like, which kind of sucks because like in the world of
• 1:00:54
  this thing is he is he now gone in this in the afterlife,
• 1:00:57
  because I've never really remembered him or talked about
• 1:00:59
  him. You know what I mean?
• 1:01:00
  Like is that that kind of like kind of sucks when you think
• 1:01:03
  about it. So like, I don't know.
• 1:01:05
  But like that my grandparents, I think my I'm very entitled with
• 1:01:08
  that. I have people tattooed on my
• 1:01:10
  body and my, my grandfather, my dad's side too, also has that
• 1:01:14
  part. Part of him were like, yeah, he
• 1:01:16
  wasn't a great dude. He his alcoholism and he was
• 1:01:19
  kind of violent and treated women and kids kind of terribly.
• 1:01:21
  But like the guy I met on his deathbed look like he kind of
• 1:01:26
  gotten past that. And he was a super nice dude and
• 1:01:29
  he used to dance with me and he was really excited to see me as
• 1:01:32
  a, as his grandkid. And even though I only met him
• 1:01:34
  like two or three times, like he, he was beyond how I just
• 1:01:40
  remember hit the enter like the immense love and gratitude he
• 1:01:44
  felt for my parents bringing me there.
• 1:01:46
  And it was a very short, short lived, but it was just like, it
• 1:01:50
  was almost like when Coco has life again.
• 1:01:53
  Like my, my dad, my grandfather was always told him, like I was
• 1:01:56
  always told my grandfather was a dancer like him and my
• 1:01:57
  grandmother will go to these dances and like swing better
• 1:02:00
  than they were. Like they would steal the
• 1:02:01
  fucking show. They'd go out in the middle of
• 1:02:03
  the floor and like, and when he seen me, he was like getting up
• 1:02:05
  and dancing and like, Oh my God, my grandson.
• 1:02:08
  Like, so that's where I'm going to dedicate mine too.
• 1:02:10
  I'm going to, I'm going to say my grandparents that are no
• 1:02:11
  longer with us. We.
• 1:02:14
  How? About your grandfather that you
• 1:02:17
  would listen to music for because you said that he kind of
• 1:02:19
  inspired you. So yeah, my great grandparents,
• 1:02:21
  like I said, they both, they died when I was younger.
• 1:02:24
  My great grandfather died at the ripe old age of 98.
• 1:02:29
  Jesus and his wife died, I believe the same year, a few
• 1:02:34
  months prior to that, and she was 97.
• 1:02:39
  They were both, they were both older.
• 1:02:42
  But yeah, yeah, I would dedicate it to them, Dolores and Dolores.
• 1:02:48
  Dude it's so insane how a lot of these cultures are so it's like
• 1:02:52
  Mexican culture and fucking Italian culture, so goddamn
• 1:02:55
  similar. So my, my great grandfather and
• 1:02:59
  my great grandmother, they're both of their names were
• 1:03:00
  Dolores. My great grandmother was Maria
• 1:03:04
  Dolores. Yeah.
• 1:03:06
  So what movie or thing would you like to dive into next?
• 1:03:09
  Would you do music movies? Do we do we do we.
• 1:03:12
  Try to do a kid friendly episode with your daughters and put two
• 1:03:16
  more microphones out and try to see if they would stay
• 1:03:18
  structured enough to do a podcast and give them a shot.
• 1:03:21
  Think that we could keep you to get it to be APG 13?
• 1:03:26
  Yeah, I think. I think I can.
• 1:03:27
  When I'm more around them I don't really curse.
• 1:03:29
  No, I think that's fair. But there are very, there are
• 1:03:31
  still sometimes where I got to give you a look and be like,
• 1:03:34
  Anthony, I got to do AI, got to do an Anthony, the kids are here
• 1:03:40
  and you're like. I I.
• 1:03:42
  They have ears. They, they, there's adults
• 1:03:44
  around. Yeah, I've, I've hung out with
• 1:03:47
  their the father and their family and they've said way
• 1:03:50
  worse than I the grounds don't make it right.
• 1:03:52
  I understand. But I'm saying I'm not, I'm not,
• 1:03:54
  I'm not ground breaking them. No, I know.
• 1:03:56
  I just. Yeah, I'm funny.
• 1:03:58
  Like I said, there's reasons I don't talk to people.
• 1:04:00
  I'm funny. I'm yeah, I feel.
• 1:04:02
  I feel so maybe, maybe we can invite the girls for an episode,
• 1:04:05
  but what would you like to dive into next?
• 1:04:06
  If the people watching, what would be the next thing that you
• 1:04:09
  would possibly join? Are we going?
• 1:04:10
  Are we going Like, are we? This is just pop culture.
• 1:04:12
  This is not not horror. Not horror.
• 1:04:14
  This is not cool. In high school this anything.
• 1:04:16
  Pop culture, books, movies, television, music, art.
• 1:04:24
  Actually there is a there is a album that I I recently just
• 1:04:30
  downloaded and I would like to listen to it.
• 1:04:33
  It's a an artist called Somber. OK SOM.
• 1:04:36
  You don't want to. Life is showgirl.
• 1:04:39
  SO MB R drop the E in somber, but his music gives me heavy 70s
• 1:04:45
  vibes. But I've heard a few songs on
• 1:04:48
  the radio and didn't realize it was the same guy singing them
• 1:04:51
  and then heard a third song and went to download it and I'm
• 1:04:54
  like, all right, it's the same guy where I want a deep dive
• 1:04:57
  into him. I think that he would be, I, I
• 1:04:59
  think his sound, it's not something that you've never
• 1:05:02
  heard before, but it's so like from another time, you know what
• 1:05:06
  I mean? Send me that and I will I will
• 1:05:07
  start doing my research and get everything set up.
• 1:05:09
  That'll be our next one. I think that would be a cool
• 1:05:11
  one. Plug and promote where your what
• 1:05:12
  your stuff? Where can people find to support
• 1:05:14
  you? You can find me on the Internet.
• 1:05:19
  You can find me at on Instagram, at Witchcrafts by Lily, on
• 1:05:24
  Facebook, at Witchcrafts by Lily, on Tiktok, at Witchcrafts
• 1:05:28
  by Lily 13. I just went back on threads as
• 1:05:33
  of 2 days ago that craft witch Lily, all of the plugs there.
• 1:05:37
  But yeah, I'm going to be I'm doing a lot.
• 1:05:40
  I have a couple of craft fairs coming up, so you can find me at
• 1:05:44
  your local vending stations, vending areas around the area.
• 1:05:48
  I wanna do more stuff as far as dealing with people in the
• 1:05:53
  occult. It's not necessarily creepy, but
• 1:05:56
  I think that that's kind of more where I wanna dabble my toes
• 1:06:01
  into. I think like my business name is
• 1:06:03
  Witchcraft by Lily. That's something I'm really
• 1:06:05
  inspired by. And although fashion is mainly
• 1:06:08
  what I work on and what I like creating, I still like it to all
• 1:06:12
  have that kind of witchy vibe. So I want to do more
• 1:06:14
  collaboration. Can I make a request for a
• 1:06:16
  project? You have a year to do it.
• 1:06:20
  For Halloween next. Year.
• 1:06:21
  No. I would like a vest, Another
• 1:06:24
  vest done, but I want a Day of the Dead vest.
• 1:06:29
  No, wouldn't be a vest then if we're going to do Day of the Jed
• 1:06:34
  traditional? Like a vest, like a wear out for
• 1:06:36
  like if I do ring announcing. But I would do it a traditional
• 1:06:39
  jacket. I wouldn't do a vest.
• 1:06:41
  OK, whatever you want, I want to do, I want to, I want to paint
• 1:06:45
  my face next year and. And I think I was telling you, I
• 1:06:47
  I know this is neither here nor there.
• 1:06:49
  We're talking about traditions though.
• 1:06:50
  You want to embrace more of your culture.
• 1:06:52
  Yeah, I think another part that really like hit me was them
• 1:06:55
  eating tamales. Like I was like tamales was like
• 1:06:58
  that. My grandma used to make them.
• 1:06:59
  We would spend all of like Christmas, make like the week
• 1:07:03
  before Christmas just making it obscenely amount.
• 1:07:07
  Are tamales hot? You can make them spicy, but you
• 1:07:10
  don't have to. I just think it's tamales and
• 1:07:12
  it's it's. Corn maze.
• 1:07:14
  OK, so it's made into like a dough almost, and you fill it
• 1:07:19
  with stuff. So you could get pork or beef
• 1:07:22
  and then so a lot of people put beans in with them too, but then
• 1:07:26
  you could get spicy meat. That's more for Christmas.
• 1:07:29
  It's like a really, it could be whenever, but that was just one
• 1:07:32
  of my grandma made them because that's when like all of the
• 1:07:34
  family. I'm for it.
• 1:07:35
  I want to help you embrace more of your culture and do more
• 1:07:38
  things, so I'm for it. I'll become the white boy
• 1:07:41
  Mexican. You know, it's funny you should
• 1:07:43
  say that because I was thinking A teams wings and things.
• 1:07:48
  They make amazing food, amazing food, and every time we see them
• 1:07:52
  I've got to get some cornbread because Eddie makes some banging
• 1:07:55
  cornbread. I don't like cornbread.
• 1:07:57
  I like his cornbread. I don't like greens.
• 1:07:58
  I like his greens. Oh, I.
• 1:07:59
  Love their greens with but let me go back to the cornbread for
• 1:08:04
  a second. The first time I tasted Eddie's
• 1:08:06
  cornbread I cried. He doesn't make it the same way
• 1:08:09
  he makes it now. He makes it almost more of like
• 1:08:11
  a pudding now. But the first time he I had his
• 1:08:15
  cornbread I literally had a tear in my eye because it reminded me
• 1:08:18
  of my grandma making freaking what is it jiffy quick.
• 1:08:21
  Yeah, Cornbread. Whatever it was, I owe him a
• 1:08:22
  podcast. But I really, really want to
• 1:08:25
  make my grandma would make this cornbread with jalapenos in it,
• 1:08:28
  and then she would make this whole soup that went on the side
• 1:08:31
  of it. And I was when we were eating
• 1:08:32
  that cornbread the other night, I was thinking, Dang, I really
• 1:08:35
  want to make that chili like my grandma used to make.
• 1:08:37
  So we're going to have to embrace full on.
• 1:08:42
  If these camera setups that we've been doing the past few
• 1:08:44
  days work out and I'm liking the way that this is doing the
• 1:08:47
  editing, it goes really smooth. I I definitely want to bring
• 1:08:49
  this to Eddie and listen to his story because I think he has a
• 1:08:53
  really interesting story and he really wants to tell it too.
• 1:08:56
  I'm not sure where they were headed today, but I saw them on
• 1:08:58
  the road and I was like waving and your mom's like, who's that?
• 1:09:00
  I was like, well, I only know one truck like that that carries
• 1:09:04
  a black food truck behind them. So don't worry who it was, I'll
• 1:09:07
  say. Yeah, they're amazing.
• 1:09:08
  Check about 18 wins and things they're for Maumee City.
• 1:09:11
  They go all over the place, some of the best food you'll have,
• 1:09:13
  best soul food and they're amazing people so my.
• 1:09:15
  Gosh, so it was just like spooky season and they and Pottsville
• 1:09:20
  was having the big pumpkin pour off and they're amazing.
• 1:09:24
  I did. It was amazing.
• 1:09:25
  I had one of Andres the other night.
• 1:09:27
  He let me try one. He didn't have a pumpkin one.
• 1:09:29
  Yeah, he went and got a little bit of sauce, so I was able to
• 1:09:32
  try. Oh, you motherfucker.
• 1:09:33
  Was good, but yeah they made the pumpkin spot sauce for their for
• 1:09:39
  their wings. It's, it's funny, she she made
• 1:09:42
  the post about the chicken parm and I was like, oh man, I seen
• 1:09:44
  her post about her making chicken parm.
• 1:09:46
  He goes and he goes excuse you, and I go.
• 1:09:49
  Oh yeah, yeah. And I was like, no, the chicken
• 1:09:51
  parm she. Said a thing about the.
• 1:09:52
  Making the chicken. Parm.
• 1:09:53
  He's like, who made that? What?
• 1:09:55
  He's like, I'm the fucking cook of this house.
• 1:09:59
  Yeah, yeah, they're amazing. I love the death that's gonna
• 1:10:02
  wrap it up for not cool in high school, not horror, not cool in
• 1:10:05
  high school. ABJ is coming a long way.
• 1:10:08
  It's it's closing in on 2025 and I'm I'm watching kids movies.
• 1:10:14
  I'm almost crying at Coco. It's amazing.
• 1:10:16
  Remember Me was a banger song and I might even add it to my
• 1:10:20
  Spotify. Playlist.
• 1:10:21
  I'm going to go make him watch this in in Espanol.
• 1:10:24
  Not tonight. I'm not going to do it tonight,
• 1:10:26
  but I definitely. I'm interested in watching it.
• 1:10:27
  Even better in Espanol. They probably are.
• 1:10:30
  Yeah, it probably. The entire vibe of the movie is
• 1:10:32
  probably better. Yeah.
• 1:10:33
  All right, we'll see you guys next time we're out of here.
• 1:10:35
  Bye.