We’re still learning new things about what happened on Jan. 6, and each one suggests there’s a lot more damning intel to be found. There’s a new piece by The Washington Post about Tommy Tuberville, the college football coach-turned-senator, who, on his first full day on the job, was one of 13 Republican senators who voted against the certification of now-president Joe Biden’s election. And among the details are this: Tuberville also sneaked away to a closet for a meeting with other senators looking to jeopardize democracy.
After the mob of violent Trump supporters broke into the Capitol building, sending congress members into hiding, Tuberville joined the likes of Ted Cruz, Josh Hawley and other GOP senators in a storage closet inside a bunker, hiding not only from the mob but from their colleagues. It was a mix of die hard Trumpists, the like the Texas senator whose wife Trump had called “ugly,” and more reasonable Republicans, who were worried that voting against Biden’s certification after rioters inspired by their words had infiltrated the Capitol might look bad:
“There were 12 of us gathered to talk about what happens now [and] where do things go from here,” said Sen. James Lankford (R-Okla.).
The mood was “very heavy,” remembered Sen. Cynthia Lummis (R-Wyo.).
“I do remember saying we have to pull the country together,” said Lankford, “We are so exceptionally divided that it’s spilling into the building.”
“I didn’t really listen to them,” Tuberville said about the closet colloquy.
Tuberville recalls that some senators had a change of heart, deciding to abandon the plan to try and overturn an election based on insufficient or even nonexistent evidence. He was not one of them. Why did Tuberville vote against certification, thus ensuring his name would forever be connected to that infamous day?
“I wasn’t voting for me, I was voting for the people of Alabama,” Tuberville told The Post. “President Trump has an 80-percent approval there. I told them, ‘I’m going to vote how you want me to vote.’” (Also, Trump helped get him elected.)
Since that day, Tuberville has not gone full Trump firebrand, like Cruz or Hawley or like fellow first year congresspeople Marjorie Taylor Greene and Madison Crowther. But he also says he has “no regrets” about that day, and even appeared at a rally in August with Trump, where he claimed, without proof, that Biden’s win was part of the “most corrupt election in American history.”
When you think “LA hip-hop,” the mind is quick to conjure images of Pac, Snoop, and N.W.A.. But true rap heads have always known that the LA scene is vastly more diverse than those legendary names might indicate. Yes, gangsta rap and g funk made massive waves, but there’s always been a thriving underground hip-hop scene in the City of Angels.
Planet Asia, Evidence, Chali 2na and his crew Jurassic 5… there’s no shortage of names who carved their own paths while Death Row was taking up most of the Los Angeles airspace. And just like what my team and I built with Rawkus Records out in New York, the music that came out of the West Coast’s independent scene stands the test of time. Over the past two years, Verzuz and our show, People’s Party with Talib Kweli, have helped legends of the culture get their flowers; now a new documentary is helping tell the story of the LA underground and give its pioneers some love.
Where We’re From: The Elements Documentarytells the story of the famed Elements Entertainment events, some of the realest and most revered rap shows, freestyles, and battles in hip-hop history. It’s told through the lens of Element’s co-founders DJ Bonds and DJ Breeze (who co-directed the doc) and Damon Bonds (who exec-produced it) and features all of the aforementioned names, along with Talib Kweli, Cut Chemist, Devine Styler, and so many more.
To celebrate the launch of their documentary, share stories, and learn more about the LA underground scene, I sat down with DJ Bonds and DJ Breeze. Our conversation is sure to interest anyone who loves the voices, energy, and vibe of that magical era in hip-hop culture.
Where We
Culture goes in cycles, as we know. Why do you think right now we’re at a cultural moment where people are looking back at some of these jewels and gems from hip-hop culture and really wanting to shine a light on it?
DJ Bonds: I have these conversations with Anthony Marshall of The Lyricist Lounge. We talk about legacy. We talk about the things that you’ve done as a youth, in your 20s, and what mark you may have left, but it doesn’t mean really anything unless it’s documented and if you don’t tell your story. So I think as I saw Straight Outta Compton coming out, and another Tupac movie and a who killed Biggie movie, there were a lot of movies coming out about the same kind of stories. I was like, “man.” Much love to the legends, but there are more stories in hip-hop than just Death Row and Bad Boy. There are more stories out there that need to be told.
I felt a certain responsibility of telling more stories, not just ours. We pay homage to other clubs and spots and different things that we felt we needed to uplift and shine a light on. There are people in our film that are no longer here. Tomorrow’s not promised and so we need to basically make sure we are shining a light on them while they’re here. So I love the fact we got a chance to shine a light on Planet Asia, and Dilated, and J-Five, and the Beat Junkies, and basically friends and that synergy that we have. I hope it inspires people to do the same, to tell your story, document your story, and push out that culture.
Our culture is dope and our culture is more than just gangster rap, at least for LA. I’m sure the culture is a little bit more than Bad Boy out there. Again, much respect. I’m not trying to diss anybody, but there’s a point to tell more stories in hip-hop culture.
I don’t know if you guys read the Beastie Boys’ book, but I often tell people if you want to understand how a DIY scene works, strategy-wise, read that book. Your documentary also is a testament to the power of the DIY scene. What did you feel like your responsibility was as curators of that scene?
DJ Bonds: Honestly, just not to put on anything whack. I can’t tell you how many times rappers and labels will say, “I’ll pay you to put an artist on.” You can’t pay me enough money for no whack shit on my stage. Fuck that. It’s straight up and down. It has to be dope. It has to be the essence of hip-hop. So when you come into the club, you’re going to hear four turntables, two DJs behind it getting down, going crazy, playing some dope-ass hip-hop. You’re going to see a circle and incredible dancers going back and forth. I might give them a hundred to $200 that night for a dance competition.
You paid the dancers? That’s dope if you did. Dancers should be paid to create the vibe.
DJ Bonds: Well, we would do competitions.
So we’re having this interview on the 30th anniversary of The Low End Theory. Obviously an incredibly important album, one of the greatest albums of all time in any genre. I think people were surprised to find out that Tribe Called Quest was such a big deal also on the West Coast. And by the way, you’re wearing a Tribe Called Quest shirt right now with an LA hat. Break it down.
DJ Breeze: You couldn’t go anywhere in LA without hearing that album. We embraced a lot of that stuff coming up from back east. I remember vividly one time at a red light, I’m in my car bumping the Gangstarr Hard to Earn album. There’s a couple dudes, they look like my age, they were just crossing the street. As they’re walking in front of my car, they start reciting the lyrics for the song that I’m playing.
LA has always embraced hip-hop. It didn’t matter where it come from, as long as it was dope.
Do you think West Coast artists from your scene got their due?
DJ Breeze: Earlier, we brought up Evidence and Planet Asia. These guys are still relevant today. These guys came out 20 years ago and not too many people can say that, that they’re still relevant 20 years later in music. Not only does Element’s story need to be told, but their story needs to be told. It’s almost like a slap in the face to an example like Asia or Ev who’s still touring and selling out shows.
How can you ignore that? The story needed to be told.
Where We
So speaking of stories that need to be told, the story of hip-hop is one that’s pretty much tied, hand in hand, the story of overcoming adversity through creativity. I think that’s very much the story in this documentary about what y’all did and I’m specifically talking about institutional racism in the LA club scene. How did that affect you and what was the outcome?
DJ Bonds: It’s images on TV of violence and images and soundtracks of gangster rap. So this perception that is had by owners of these venues, that’s all they think about. They think that we’re going to fight, and wild out, and kill each other, and so on and so forth, but it was anything but that. Hip-hop culture, we come from and what we do, we embrace DJ-ing and break dancing and emceeing. So it was anything but fighting. So that perception really was there and as I looked back in hindsight, I wish I had the foresight to get 10 guys together and buy our own club. Maybe our own House Of Blues chain.
Can you explain what hip-hop insurance is? It was a tax on what? Let’s be honest.
DJ Bonds: It was a tax on a kind of music. They would ask you, what kind of music are you playing? If you said hip-hop, then you had to take out an additional liability because the perception was that it was more dangerous to have that event at your venue. So I would have to go get liability insurance or I would have to, well, they would say pay more because you’re a liability to my venue.
So I assume that there was a similar thing for punk shows?
DJ Bonds: No.
No? Interesting.
DJ Bonds: Well, let me not misspeak. Let me not because I’m not a punk promoter. So let me not misspeak. Any punk promoters out there, you want to chime in, you can. But from my knowledge, the white boys weren’t having to pay no fucking insurance like I was. From what I know, they didn’t have to do that.
I would have to go get someone who was associated with Golden Voice to get other venues.
Where We
By the way, they were punk promoters.
DJ Bonds: There you go! Again, respect to Paul Tollett, we threw an amazing festival together. We did multiple events together. I love Paul. For folks who don’t know who Paul Tollett is, he’s the mastermind behind Coachella. He was one of the first owners, if you will, of Golden Voice and we did some work together. But I had to reach out to him to help me get into venues, which is fucking crazy. I get passionate about it because when you really go through it, when you really see racism in your face and you’re just trying to do something to put positivity out there, especially in LA, growing up in LA in the ’90s where you’re getting fucked with by the gangs all the time.
I’m not a gang member at all whatsoever. You’re getting fucked with by the cops because if you walk in a group of four or five people together, you’re a gang. It was a gang ordinance kind of thing. We’re wearing cross colors and we’re no way near gang-affiliated, but we were always getting fucked with.
We just wanted to do hip-hop. That’s all we want to do.
When you try to throw your hip-hop shows, you’re getting hit with a gang tax basically.
DJ Bonds: Yeah, yeah. So it’s frustrating and I’m probably not speaking well to it.
No, I felt it. I felt it in the film, really the frustration of it and the unfairness of it. It really jumped out. I know there were a lot of things that affected your ability to not last longer, but that felt like the strongest contributing factor.
DJ Bonds: What’s scary is when you really think about it right now how many clubs are owned by Black and Brown of our culture. So if anything, it’s a wake-up call for a lot of us who love this culture of hip-hop. That we need to own more venues, we need to do more for ourselves. So we have this incredible independent scene that got created. I don’t know why, but for some reason, we didn’t take it a step further and take actual ownership of venues, and hopefully, someone will hear this and get inspired and make something happen in your city. They’ll go own a venue, they’ll own a bar, create an avenue for those kids to have something that they can do outside of being on the streets and getting into trouble.
By the way, I want to thank you guys for allowing me to have played a small role in this film. I remember so well that Fat Beats anniversary show that Elements did with Tash and Everlast, but also Reflection Eternal and Pharoahe Monch, and thinking, “we’re a big label now.” How did you guys feel about that moment?
DJ Breeze: Bonds and I knew we had something — like we had gold.
Where We
Absolutely. And before we sign off, can you explain to people who may not think that they need to know about the history of LA’s underground hip-hop culture, why this documentary is important and why they should watch it?
DJ Breeze: First of all, it’s just a great story about friendship and two guys who had a historic run in LA hip hop. Not only that, but it’s also breaking down that misconception about Los Angeles and that every time Los Angeles is brought up, it always seems to be just gangster rap. That type of culture, which is essential and it’s a beautiful culture and it’s cemented here, but it’s not all we’re about. We didn’t want people to walk away thinking that, that’s all Los Angeles music is about. So we wanted to break that stereotype down.
The NBA’s 75th anniversary celebration began well before the start of the 2021-22 regular season, but the campaign tips off on Tuesday night with great fanfare. In advance of the opening night doubleheader featuring the Brooklyn Nets, Los Angeles Lakers, Golden State Warriors, and the reigning NBA champion Milwaukee Bucks, the folks at TNT released a six-minute video featuring some of the league’s current stars recreating iconic moments from decades past.
The video is full of memories entrenched in the minds of basketball fans, narrated with the NBA’s present-day standouts sharing their thoughts on those that came before them. The nostalgia is significant, much in the way the league presented with its short film “NBA Lane” earlier this month, and the idea is also spot-on in putting the current stars in position to be captured in a reverent way.
Throughout the video presentation, superstars dress in throwback fashion, replicating some of their idols. For example, Kevin Durant stands in the shoes of Spurs legend George Gervin, to whom he is often compared due to a slender frame and smooth style. Elsewhere, Rudy Gobert recreates an iconic Bill Russell moment after a gripping rebound, Chris Paul models Bob Cousy as one of the game’s legendary point guards, and Kawhi Leonard puts together an iconic scoop shot from Dr. J.
One moment that stands out is Jayson Tatum as Kobe Bryant, with Tatum stating plainly that Bryant is “the reason I fell in love with basketball” back when Tatum was in sixth grade. There are several additional scenes, including Draymond Green as Dennis Rodman, Trae Young bowing to the crowd as Reggie Miller, and Luka Doncic recreating a Dirk Nowitzki fadeaway that is sure to bring feels to those in Dallas.
The league will be releasing a 75-player list of the game’s greats, in addition to work from ambassadors like Bob Pettit, in an effort to promote the history of the NBA and grow the game. This video is another intriguing step to that goal, and any long-time basketball appreciator will have memories jogged throughout the presentation.
Just imagine being an 11-year-old boy who’s been shuffled through the foster care system. No forever home. No forever family. No idea where you’ll be living or who will take care of you in the near future.
Then, a loving couple takes you under their care and chooses to love you forever.
What could one be more thankful for?
That’s why when a fifth grader at Deerfield Elementary School in Cedar Hills, Utah was asked by his substitute teacher what he’s thankful for this Thanksgiving, he said finally being adopted by his two dads.
To the child’s shock, the teacher replied, “that’s nothing to be thankful for,” and then went on a rant in front of 30 students saying that “two men living together is a sin” and “homosexuality is wrong.”
While the boy sat there embarrassed, three girls in the class stood up for him by walking out of the room to tell the principal. Shortly after, the substitute was then escorted out of the building.
While on her way out she scolded the boy, saying it was his fault she was removed.
One of the boy’s parents-to-be is Louis van Amstel, is a former dancer on ABC’s “Dancing with the Stars.” “It’s absolutely ridiculous and horrible what she did,” he told The Salt Lake Tribune. “We were livid. It’s 2019 and this is a public school.”
The boy told his parents-to-be he didn’t speak up in the classroom because their final adoption hearing is December 19 and he didn’t want to do anything that would interfere.
He had already been through two failed adoptions and didn’t want it to happen again.
A spokesperson for the Alpine School District didn’t go into detail about the situation but praised the students who spoke out.
“Fellow students saw a need, and they were able to offer support,” David Stephenson said. “It’s awesome what happened as far as those girls coming forward.”
He also said that “appropriate action has been taken” with the substitute teacher.
“We are concerned about any reports of inappropriate behavior and take these matters very seriously,” Kelly Services, the school the contracts out substitute teachers for the district, said in a statement. “We conduct business based on the highest standards of integrity, quality, and professional excellence. We’re looking into this situation.”
After the incident made the news, the soon-to-be adoptive parents’ home was covered in paper hearts that said, “We love you” and “We support you.”
Religion is supposed to make us better people.
But what have here is clearly a situation where a woman’s judgement about what is good and right was clouded by bigoted dogma. She was more bothered by the idea of two men loving each other than the act of pure love they committed when choosing to adopt a child.
Teachers in modern-day America face a whole host of problems. Under-funded schools, low pay, union busting, an overemphasis on standardized testing, and children who are addicted to technology.
But it seems the biggest problem for many teachers is dealing with parents.
“Today, new teachers remain in our profession an average of just 4.5 years, and many of them list ‘issues with parents’ as one of their reasons for throwing in the towel,” Ron Clark, motivation speaker and author of five,books on education, said in a CNN editorial.
“Word is spreading, and the more negativity teachers receive from parents, the harder it becomes to recruit the best and the brightest out of colleges,” Clark continued.
Jessica Gentry, a former kindergarten teacher for 12 years at at Stone Spring Elementary School in Harrisonburg, Virginia, wrote a viral Facebook thread about why she’s left the profession and says that parents were a major reason.
“I think it’s easier for people to believe that I left teaching because of the lousy pay,” she wrote in a post last June that received over 270,000 reactions and 220,000 shares.
“It was easier for my former HR director to believe it was because I found something that I was more passionate about. Some would allow them to assume that… let them be comfortable in their assumptions because your truth may lead to discomfort of others,” she continued.
Gentry made a list of five major reasons why she left the profession and she held absolutely nothing back. Here is an edited version of her five reasons, you can read the whole post here.
1. The old excuse “the kids have changed”. No. No friggin way. Kids are kids. PARENTING has changed. SOCIETY has changed. The kids are just the innocent victims of that. Parents are working crazy hours, consumed by their devices, leaving kids in unstable parenting/coparenting situations, terrible media influences… and we are going to give the excuse that the KIDS have changed?
2. In the midst of all of this… our response is we need to be “21st Century” schools. 1 to 1 student to technology. Oh. Okay. So forget the basics of relationship building and hands on learning. Kids already can’t read social cues and conduct themselves appropriately in social settings… let’s toss more devices at them because it looks good on our website.
3. And since our technology approach doesn’t seem to be working, teachers must need more training. So take away two planning periods a week. And render that time utterly worthless when it comes to ADDING to the quality of the instruction.
4. Instead of holding parents accountable… and making them true partners, we’ve adopted a customer service mindset. I’ve seen the Facebook rants about attendance and getting “the letter”. Well, here’s the thing… I can’t teach your child if he’s not in school. I was cussed out by parents who wanted to attend field trips but missed the THREE notes that went home–and when they did attend a trip, sat on their phone the entire time. I’ve had parents stand me up multiple times on Conference Days then call to tattle on me when I refused to offer an after school option. I’ve had parents tell me that I’m not allowed to tell their child ‘no’…
5. My mental and physical health was in jeopardy every.single.day. Knowing that your kids need and deserve more than they’re getting. Sitting in one meeting after another, begging for more support, only to be told ‘don’t lose sleep over them’… when you LOVE your kids and are PASSIONATE about your mission… these messages tear you apart.
Gentry left the profession to focus on ways to help children where she believes they need it most, in their own homes.
“I decided to start with my 1 at home… and work to help other mommas be able to show up for their ones at home,” she wrote. “Because… I really do believe it starts there. I found something that allows me to impact the environments that [her former students] go home to.”
In an interview with “Good Morning America,” Gentry said the response to her viral post has been “overwhelmingly positive.”
“There is an enormous amount of educators who feel that exact way but have felt alone and guilty for thinking so,” Gentry told “Good Morning America.” “I never expected it to reach farther than a few friends — but I am so humbled to be able to throw the curtains open on the issue and give those who feel unable to say it a voice.”
During the cold open for this past weekend’s episode of Saturday Night Live, the show took a random crack at the Jeopardy! hosting scandal, and Mayim Bialik apparently loved every minute of it. The sketch centered around a press conference for the recently fired Los Angeles Raiders coach Jon Gruden where owner Mark Davis (played by Alex Moffat) revealed that he’d already found a replacement coach: LeVar Burton.
Played by Kenan Thompson, Burton took the podium and immediately announced “Suck on that, Mayim!” a direct reference to the fiasco on Jeopardy! where Burton was passed over as Alex Trebek’s replacement. Despite dredging up the contentious host search, which caused Bialik some social media backlash, the Big Bang Theory star appreciated the shout out.
“One of the highest honors – being mentioned on @nbcsnl!!!! Love this!!!!” Bialik tweeted.
Bialik found herself chained to the Jeopardy! scandal after she was picked to host primetime specials while former executive producer Mike Richards was chosen as Trebek’s successor in a highly controversial decision. Richards would step down as host and be fired from the show not long after. According to reports, Bialik was actually the top choice to be the permanent host, but she was unable to commit to the production schedule. However, following Richards removal, Bialik has been showing signs that she may be interested in becoming the new face of Jeopardy! after all.
Theo Von: Regular People (Netflix stand-up comedy special) — Podcasting funny guy Theo Von is actually not a regular dude, as you’ll find out from this set of stories about his childhood and how, as an adult, he does his best to avoid work. Also, get ready for some matchmaking shenanigans, as related from Ryman Auditorium in Nashville.
Stargirl (CW, 8:00pm) — Hey, Joel McHale will return to this series as a regular (after Starman’s very apparent death in the pilot episode) in Season 3, but first, Courtney’s life is on the line after a frightening encounter, and her hero crew must carefully plot where to go next.
Supergirl (CW, 9:00pm) — The city must fend off a nightmare monster, and that means that Kara must dump her responsibilities and a key interview, which leads her to reflect on her work-life-work balance.
La Brea (NBC, 9:00pm) — Natalie Zea stars in this series about an LA sinkhole that sucks an unfortunate group into some primeval hellhole, where pterodactyls and bad CGI reside. It’s preposterous and not objectively good but might attract Manifest fans, so get ready (sit down for this) for a plane to somehow crash down amongst the survivors.
Queens (ABC, 10:00pm) — Following Girls5Eva‘s success on Peacock, this similarly themed series follows a fractured girl group that was once part of a hip-hop dynasty. Now in their 40s, can these ladies recapture their former magic and swagger?
Chucky: Season 1 (SYFY and USA, 10:00pm) — The good-bad news is that the O.G. homicidal doll shall never die. Granted, a mid-2020 teaser that kept things very mysterious regarding who would voice Chucky, but this trailer puts that mystery to rest. Mark Hamill may have been the most recent Chucky, but original voice actor Brad Dourif will return for this USA Network/SyFy sequel series. Also notably, Jennifer Tilly will return as Tiffany Valentine, but this trailer largely focuses on Zackary Arthur’s Jake, who makes the mistake of adopting Chucky at a garage sale. All hell breaks loose, and as Chucky puts it, this will be the “World Series of Slaughter.”
The Late Show With Stephen Colbert — Nick Offerman, Charlamagne Tha God
In case you missed these streaming picks from last Tuesday:
Convergence: Courage in a Crisis (Netflix film) — This documentary poses an unlikely idea: did the pandemic really bring us together, as much as it’s torn humanity apart? Listen up for the argument that unsung heroes are pushing us toward a collectively brighter future.
Bright: Samurai Soul (Netflix film) — This anime movie takes place in between the Shogunate’s fall and the Meiji era’s rise, all while a wandering ronin and an orc (who’s working toward redemption) meet up with a young elf girl, and they all take a journey toward the land of the elves. In the process, they must evade a shady organization who aims to take the elf’s wand and use it to resurrect the Dark Lord’s power.
It seems as though we are entering the golden age of legacy artist “experiences.” Just last week, the Bowie 75 experience in New York and London was announced, where fans can do everything from don a David Bowie costume (#forthegram, of course) to peruse different thematic photo galleries. Now, Bonnaroo and Outside Lands Festival producer Superfly is partnering with The Prince Estate to put on a similarly minded immersive experience centered on the “legacy and times” of The Purple One.
I visited the “Prince From Minneapolis” exhibit at Seattle’s MoPOP recently and can attest that merely looking at vintage photos of Prince qualifies as an immersive experience in and of itself; he’s a one-of-a-kind figure and his life and incomparable style are fascinating. The details of what exactly will be included in this new Prince experience that will be coming to Chicago next year are still coming to fruition. But one can expect that it’ll be as thorough as Superfly’s recent The Office experience and their wildly entertaining Clusterfest that featured hat-tipping installations to numerous comedy institutions like Seinfeld, South Park, and It’s Always Sunny In Philadelphia.
Superfly says that this is the first in a slew of music experiences that they’ll be rolling out in the next few months. Co-founder Kerry Black added some thoughts in a statement:
“We want to reimagine how fans interact with their favorite artists and music. There are few ways to encounter music in a physical space outside of concerts. This project will change that, pioneering a new approach to experiences while respecting the creative vision of the artist.”
Prince is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
As most movie buffs know, ever since his first appearance in the original 1978 Halloween, Michael Myers has been knifing people down while wearing his now-iconic pale, white Captain Kirk mask. So imagine the surprise of William Shatner when he learned that his classic Star Trek character was now the face of one of cinema’s most brutal horror villains.
“I thought, ‘Is that a joke? Are they kidding?’” Shatner told Jake’s Takes. While the actor never saw the film, he did see the mask in a poster, and immediately knew where it was from. Via The Hollywood Reporter:
“I recognized it as the death mask they had made for me,” he explained. “They made a mask of my face on Star Trek out of clay so I would not have to be available for the prosthetics they would have to put on my face to look old or evil or whatever it was they were making me look like. So somewhere along the line, someone got that mask and made a mask of it for [the holiday] Halloween.”
After making the journey from prop to Halloween costume, the Captain Kirk mask found its way into the first Halloween movie where the eyeholes were widen and it was painted white to give Michael Myers his signature look. However, it’s journey didn’t stop there. The mask would become the basis for The Whisperers on The Walking Dead where it can terrify a new generation of horror fans.
It seems like Dave Grohl is always busy doing one thing or another. One diversion he and his Foo Fighters cohorts occupied themselves with in 2021 was recording an album of Bee Gees covers. The project was good fun, but apparently not everybody was into it, but it’s OK because Grohl actually enjoyed seeing negative reviews the project received.
“Listen, we’re not good at vacations. We were at our studio recording live versions of songs for different radio stations. And in the corner of the room, there were two people talking about the Bee Gees documentary, which everybody had seen at this point, except for me. And so I was like, ‘What is up with this f*cking movie? You know what? Let’s record a Bee Gees song. Let’s do ‘You Should Be Dancing.” That’s the most fun I’ve ever had recording a song, and it quite possibly could be the best thing we’ve ever done. We come in the next day… I said, ‘F*ck it, let’s do another Bee Gees song.’”
He went on to note that he’s not sweating the non-positive feedback because the project wasn’t meant to be a huge deal: “We basically made that record in a week, and for no other reason than just to have fun. The best part was when I started reading bad reviews of it. It was truly just to make ourselves smile. Hopefully other people as well.”
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