H5N1 bird flu is spreading in poultry and cows. It's rare in people, but bird flu can make you sick. If you work with poultry, dairy cows, wild animals, or with raw, unpasteurized milk, wear protective gear like coveralls, NIOSH approved respirators and eye protection, and wash your hands often. If you start feeling sick, seek medical care and tell them you work with animals. Learn how to reduce your risk at cdc.gov/birdflu, a message from CDC. Now, two pigeons be moaning the fact you can stream direct TV satellite-free. These humans can stream all the top-rated national news channels on direct TV, and now with no satellite dish. This just in. Weather, sports, election coverage. Direct TV has it all, but something is missing. The satellite dish. What are you doing? I'm reporting the news. Back to you, Bob. Here's some news. You're a buffoon. Stream the top-rated national news channels. No satellite dish. Visit directtv.com, internet required. Top-rated news based on 2023 Nielsen ratings. This is Sound Up with Mark Goodman and Alan Light, the only music podcast that matters. Welcome to Sound Up. I'm Mark Goodman. And I'm Alan Light, and on this episode of Sound Up, the Academy Award-winning director, Alex Gibney joins us to discuss his new documentary, Wise Guy, David Chase, and the Sopranos, the massive importance of music in that series and that series on our culture. Plus, in music news, we continue our coverage of the OASIS Reunion, Rolling Stone, Ritten Eggs on Lifetime Subscriptions, and we'll tell you who will play Joni Mitchell in the upcoming Cameron Crow-directed Biopic. All this. Plus, a few Sound Up Pod Squad concert reviews, and as always, our new music picks of the week. Before we get into all of that, I need to hear. Alan, you saw Childish Gambino. I did. I went to see, well, you may recall a few weeks back, I went to see a little event that Childish Gambino, that Donald Glover did to introduce his new album over on Little Island, that weird little construction in the Hudson River, that was just him alone, with a digital deck, and rhyming along to the new songs, and that was its own thing. But I spoke to him, I have a big story about Donald that's coming out next week in the Wall Street Journal, and he said this farewell Childish Gambino tour, because this is, he says, the last project he's doing under this name, the last time he's going out under this alter ego. He said, "This is going to be the best show you ever see. We're doing all this new technology. We're doing all these new visuals, and it's going to be wild." And I got to say, it was pretty wild. Super, this was the Barclay Center that I went last week. He sold out two nights at the Barclay Center, which is pretty impressive. I mean, this album, which I think is an interesting record, but really didn't seem to sell all that much out of the gate, and started pretty slow, but he could still move some tickets, and super elaborate, you know, laser show, all these, I don't even know how to describe these sort of light constructions and things that came down and went up, and light screens, and very laser-fluid, this whole thing, very impressive to look at. And kids were super into this show. He did a lot of the older, straight hip-hop Childish Gambino stuff, and it was everybody in for every word. You know, the sort of running thing was he would do a song, and he's like, "Yeah, but if you were real fans, you'd know this one, and you'd do it, people were screaming." And then it was like, "Yeah, yeah, yeah, but if you really were real fans, maybe you'd know this one." And kids were wild, not elaborate on stage. It's just, it's a little bit of a band, guitar bass and drums playing along with tracks. There were, I think, three dancers that came out, you know, at different points, but it was really Donald holding the stage alone, and he held the stage alone. It was a powerhouse show, and real quick, I gotta say, the opener for most of this tour was Willow. Yeah. And my apologies to Willow, because I was still expecting the, like, pop-punk Willow that we were getting for a few years, I guess I didn't spend the time with this new record. It is much more sort of fusion-y, like, odd time signatures and lots of instrumental stuff. It's got, like, you know, I mean, the default on that doesn't really sound like Steely Dan, but it's got that sort of more complicated jazz thing going on. It was singing much more than the sort of screaming punk thing that I was getting used to. I thought she was really good, and it was not at all what I came in expecting, and that's on me, 'cause she's in a different place that I hadn't kept up with. So all in all, fun night, tour's going on for a long time. He's taking it around the world, going into next year with it, and it's, and it's a spectacle. So it was a great, you know, career retrospective, farewell, kind of a show. Very much. I mean, it was playing stuff throughout, and he's been doing you forget, because he was doing Childish Gambino before he was due, before community. Yeah. You know, before any of that, it's like 15 years of stuff that he's been doing. The night before, not the night that I went, the night before Shabuzzi came out, they did the hit. We may be hearing about this a little bit later. [laughter] We did not, there was not such a special guest the night that I went, but it was just straight ahead, you know, full speed ahead kind of a show. Man. And you've seen him before, right? Yeah, but again, I saw this little thing that he did. I've seen him, you know, at some point along the way. But it was interesting having talked to him about the show and about, and we'll post my piece next week when it goes up, but talking about why he wanted to retire the character and that he feels like it just isn't what he needs to be doing anymore, and also that he likes ending things. He likes that this is now a chapter of stuff that he did, that you can listen to a beginning, middle, and end rather than just, you sort of keep it going and it fades away. He, you know, sort of wants to go out while it's still a thing. Right. And then that's a body of work that you can look at, you know. But hadn't he supposedly retired childish before COVID, I think, wasn't it? Yeah, somewhere in there was a... This is America right around there. It was supposed to be the end, I thought. So, not the end, this apparently the end. Well, then in that case, I encourage everybody to go and see this show. I'm kicking myself that I missed it. Maybe he'll come back around again. I hope. Okay, and he's out there for a long time. I don't know if he's going to extend back to markets or not, but... All right. I was asking you guys last week about Song of the Summer. Now, I don't know. That's still a thing for me. It used to be when I was growing up, the Song of the Summer was clear. There was one song that you heard everywhere all over the boardwalk or whatever, all summer long. And that was the song. That's not the case anymore. It's not, but it's pretty... it's kind of interesting thinking about this. I'm like, the last few years, I've had no interest in thinking about Song of the Summer. It just didn't seem like it was even a thing. I couldn't really define that as much of anything. Somehow, this year, it felt like there were songs that were songs that represented this summer in a different way than I feel like we've had for a while. I don't know if that's me. I don't know if it's just... I don't experience Summer, obviously, the way that we used to. It's not the same thing. My kid's not even. He's done with school. I don't even get that as representing a break anymore. But this year, it did feel like there were songs that had an identity for this time period. Yeah, I think so. Now, there were a few of them. Right. So, you want to give an answer first? Well, full disclosure, I have three. Well, lead with... lead with one. You got to lead with one. All right, I'm going to give the others, but you got to lead with one. I'm going to go with the one that I really believe is the Song of the Summer, just in terms of its ubiquity. Sabrina Carpenter, Espresso, you heard it in the coffee shop. You heard it on the boardwalk. You heard it in restaurant. You heard it on the radio. It was everywhere. And the nature of the song just felt like Summer. It was such a cool song. So, I mean, if I had to pick one, that would be the one. Okay, good. I could stop there. Stay on that. Stop there. Let's do one, and we can loop back to the others. Go ahead. That obviously is a sound pick, and there's much case to be made for that. Right. I think what is one thing that's interesting is I think people release singles differently than they used to. You would put one, you would write it as hard as you could, and that's just not how people release music anymore. In some ways, the problem with Espresso is then, please, please, please came out, which was actually a bigger chart hit for Sabrina than Espresso was. Right. And kind of stepped on the momentum of that, defining the moment. Yeah. Yeah. If I go with one, I'll go back to, we just mentioned it. Tipsy, the Shabuzzi song was the number one song in the country for two months and counting. And, you know, just by stats, I'm going to go with that one. Also, I think representing the time, this sort of crossover of country and pop and hip hop. Sure. You know, the way that things are getting all mixed up in a blender right now, that song obviously is purely representative of that. So, I think it speaks to the time in a certain way. So, I could give you five or six, but I'm going to go with that one if I have, you know, if I have to choose one. And any of the, you know, there's no argument against Espresso for this. It was clearly massive, massive song. But then just to say there is also, please, there's the other Sabrina Carpenter song. There's the various Chapel Rone songs, which was more about the ethos of Chapel Rone than any one. Right. You know, I mean, if I, again, you got to choose one just for what it is, I would say hot to go feels like the summer because the chanting spelling summer song Kendrick Lamar, not like us was a power throughout the entire summer. And the Morgan Wallen and Post Malone song was, you know, one that was just sitting there. All of those, another year could have been the song of this summer. Fair enough. I mean, if I go, if I got, if I got to put one on the table, Shabuzzi will be my one part of the gauge for me. How many mornings did I wake up with that fucking song in my head? Everybody in the club into this. Oh, my God. How many mornings? I have to put this on first thing, honey. I'm sorry, but it's seven a.m. That one and Espresso for me. Tons of mornings with that. But I got to say. But you said you have another. I, I said this when the album came out. Birds of a feather from from our pal from the hit me hard and soft record. And it wasn't, I don't leave it was. I guess it was a single release, but it was, you know, down the line a bit. But the nature of the song, it, you know, summer songs used to feel breezy. They felt like summers. That was one of the, one of the sort of genres of it. Or, you know, the, the see you in September vibe kind of summer song. But birds of a feather for me felt like a summer song from the first time that I heard it, even though it didn't get the air play that any of these songs were talking about. God. But it was, but that was a legit hit. It's not like that's, you know. Yeah, it wasn't. Yeah, it wasn't like a tertiary album cut or something. No, no, no. Here's my last one. And everybody is going to go. Oh, my God. This is the song. Tons and tons and tons of air play nonstop. And I have had punched myself and bang my head against the wall for waking up morning after morning with Jardee Yintz's release. Well, I'm lowering my ego and see. Oh, my God. They're not paying for this. They're not paying for that. I can sing it. I know every damn word. That's a hit. Smells like a hit. And they don't pair with the great story to tell. That's the song of the summer for me. Whatever you're watching, watching the Olympics and watching the news channels. They got you. Right. So we got a couple, a couple of responses from people out in the world. So I'm going to ask about this one. Sherry Thomas wrote in picking die with a smile by Lady Gaga and Bruno Mars. Now, number one, it came out really late in the summer to be a song in the summer. This is that number two. Did that song actually do anything? I saw it. I mean, and I had to go and listen to it because I didn't remember hearing it. But oh, yeah. I heard it. Yeah. But no, not much. I mean, it's there. It's a top 10 song, whatever. But for the event that that could have been. Yeah. That really, that feels like that's a hit on purely on fumes. Right. I don't feel like anybody was talking about or cared about that song. Yeah. Yeah. 100%. Surprised by how little splash. But I'm glad it made your summer, Sherry. Yes. I'm glad you enjoyed. And then we got a note from a friend, Kodakrome, who writes honestly when thinking back to the blur that was the past three months and song of the summer. As a collective us populace, I think Kendrick Lamar and not like us cut through pop culture like a sharp knife with even the Olympics playing instrumental versions of it. Many people who wouldn't know Drake nor Kendrick realizing or know that there was a feud between them. It was everywhere enough that Drake just took the silent route to let it blow over, only recently starting to chirp on social media. That being said, having married into Latin roots now in my extended family, Carol G was on fire this summer across the Latin world with St. Antes Te Uberio Conocido. Apologies for my lack of Spanish butchering that plus her appearance at the Copa Americana in Miami added to her sheer music power as being part of the reason, the chaos. And overpopulating of this game happened just to see her halftime performance in July. Remember that footage from that match in Miami where people were scaling the walls and all of that. So Kodakrome says those are my two thoughts. Now let's break out the pumpkin spice and the sweater weather. Not so fast. It's September, man. That pumpkin spice is out there. It's everywhere already. Pumpkin spice, fine, so be it. What else we got? Let's jump into some music news here. We should do some music news. There is a bunch. Our last episode, we were waiting for the official announcement of the brother's Gallagher, the Oasis reunion. It was made official last week and since then dates have been announced and more dates added, but not without complications mainly due to, you guessed it, dynamic ticket pricing. What the hell? What is the matter with Ticketmaster? Hello, can you say Taylor Swift? You had so much time to fix this and you didn't see what happens. See what happens immediately. There's a problem. You blame Ticketmaster. That's why they get paid the money. Absolutely. You don't blame the artist. You don't say this is the artist's choice. Well, the artist doesn't really have anything to do with ticket prices. Do they have it? Of course not. The artist has everything to do with ticket prices. The artist has everything to do with decisions about dynamic or not dynamic or capping resale or how many tickets are held back are all of those things. You just demonstrated the worth of the Ticketmaster corporation to wear the black hat. Be the bad guy and take the hit for what the artist choose to do. There it is. Okay. So where do we go from here with that? Well, the point that's well taken is clearly still the, you know, hardware infrastructure is not there to keep up with this scale of demand. That's the overriding thing here, right? As people were taught, there were all these stories where people were saying, I was on digital line for nine hours and then it crashed. Right. You know, I was on digital. I was up in the middle of the night and I had a thing and it said, you never logged in, you know, whatever. People talking about being spewing all day and the ticket's doubling while they're in line. While they're in line, you know, the reason that you go to Ticketmaster is they have the most sophisticated equipment. They have, they have the most advanced software anybody has to be able to handle this as a worldwide thing, you know, with all those complications. And still, it's not up to speed. Yeah. That's not even nefarious. It's just, we're not the technology is not caught up with this kind of chaos. And I guess we're not even alluding to the fact that really the band and the management do have a say in how this goes down. So the question going forward then is, who do we get mad at? And when in this particular case, why the hell would these two guys ever get back together and tour if it wasn't for the money? Is there, it's not for the art, right? I mean, do we, do we agree on that? No, it's got a very expensive divorce settlement. That's always the point you in that direction and I'm not even, I'm not joking. That happened recently, that happened this year. I have to believe that changed the dynamic of this negotiation. Fine. Whatever. I have to thank his ex wife for the tour. And it's tough because you're mad in two parts, right? There's the mad about the pricing. You know, they made a big statement. It's going to, they're going to clamp down on resale. It's not going to be, you know, about, they're going to, whatever. And I don't, I haven't read the details to know which things they're using to sort of try to limit the secondary market, the markup. But they did also allow for this dynamic pricing that drives prices up as demand goes up. That's a band decision. Then there's frustration with this, you know, the whole thing crashing on you and not being able to get tickets when you're 10,000th in line or whatever it is. That's a tech issue. So you're getting up mad at everybody. There are some artists and their teams who have decided against using this dynamic pricing thing, Taylor Swift and Ed Sheeran, are not thought to have used it for their latest UK tours. But recently Robert Smith of QR fame has called it, quoting a greedy scam. All artists have the choice not to participate. He wrote in 2023. If no artists participated, it would cease to exist. Other stars have said that they had applied it without their direct knowledge. It would cease to exist is true, but it doesn't answer the other part of that, which is if you're going to do that, then are you also going to make a decision to restrict resale and secondary market tickets, including, as we always like to point out, the second, the business that bans themselves put on the secondary market. That's what people do not realize. I think that the bans, a huge block of tickets, it's part of what they make per venue is that secondary market sale. Just always remember there's a lot of moving pieces to this. I understand the premise of dynamic pricing. I understand the premise that says this is what Uber does. This is what the airlines do. This is what a lot of places do when there's more demand that drives up the price. What the market will allow. And again, do you want the extra money that you spend? Would you rather that it go to the artist, or would you rather that it go to the scalpers running the bots? If it's going to go somewhere. I would rather it go to me in my pocket. That is fine. But then that means, okay, so you can't resell that ticket. You can't buy three and then sell one of them to make up back some of your money. You can't buy it. And then if your wife gets sick, you're going to sell it to somebody else. There are ways to cap the resale market, but they're not as convenient for the consumer who also wants, they want the most convenience and the best tickets at the cheapest prices. And how does that work anywhere else in our world? This is something we should do an entire show on. I really think we've talked about it before and people don't realize all of the inner workings of what it means when you get stuck online. It's not just ticket master's fault. So speaking of where you spend your money, slight disclaimer that as I look into this, this is not a brand new story. This is something that happened earlier in the summer, but just came to our attention. And I just feel like we should point out from my former employers at Rolling Stone magazine that starting about 20 years ago, they offered a lifetime subscription to Rolling Stone for $99. Which 20 years ago, when people still bought magazines, seems like a pretty good deal, though $99 was, you know, more expensive than. But earlier this summer, people started getting notes that said, "Dear Rolling Stone subscriber, we are transitioning the delivery of Rolling Stone's lifetime subscribers to a digital format." The E Edition format is an exact replica of the magazine that you can read on your computer, tablet or phone, blah, blah, blah. If you need to update on your email address, please contact customer service, sincerely from the SVP of subscriptions. So the current ownership of Rolling Stone has said, "Well, those lifetime subscriptions now mean you get the digital edition of the magazine, not a print version of the magazine." And people are pissed. I don't know how many people. I don't know how many people went in for that or still care or are still paying attention. But there are people who are like, "I collect every issue of the magazine. That's why I did it. I did it so that my kid could get it, you know, later on and continue to see what a print magazine was." And that is not happening. Apparently, because of the change in ownership, it's probably not illegal that they're not honoring deals that were made under the previous unless they had, you know, blah, blah, blah. I know some have talked about putting together a class action suit. I don't know that any of that's going to happen, but more just in good faith. Come on, guys. You know, and it's really interesting to me quickly. And then we'll move on. In my day, you would give away subscriptions to give them away. Sure. Like the point was, jack up what you could claim as your, if you could claim all of these as bought, as paid subscriptions, that's what you sell to your advertisers. You drive up your rate base of subscribers. That's why people would send magazines into doctor's office. That's why you would get these $2 a year subscription offers. You take the loss on the subscription, because then that's what you would go and sell and make your money on advertising. Now in a world where there is no magazine advertising, I guess the feeling is any money that we're making is from somebody, you know, the ones who will still pay for a physical copy. So we're going to squeeze that as tight as we can. No comment. No. It's not cool. It's just not good. I don't believe these numbers are big enough that it makes a difference. It just seems chintzy. It does. But I have, I got to wonder, I mean, what the hell, you know, at Sirius XM, we have noticed a huge influx of writers because that business is crashing. Well, that's that's the, you know, the physical copy business is crashed. That's long gone. That has left, that has left the building. So I don't understand what the economics of the Rolling Stone print edition spin just announced they're going to be coming out with more print, you know, quarterly edition, whatever. I guess it's the like, there's a vinyl reunion and kids like tangible things. So we'll do it, you know, but I don't know how that adds up in any kind of dollars and cents. All right, we got to cover one more thing here. And I'm excited about this. There is another music biopic on the way Cameron Crow is bringing us the Joni Mitchell story and he has confirmed a major Oscar winner attached to the project. Who, who would be perfect to play Joni Mitchell? Well, Meryl Streep, of course. I guess. I don't know. We're going to see how he works that out. No, there isn't anything specific about it except that Cameron has cast Meryl Streep to play Joni Mitchell in this upcoming. It's very interesting. There's been talk for a while that Cameron and Joni were working together on a biopic, but not a conventional regular sort of a biopic. Then it's somehow, you know, a different approach, different treatment. Obviously, casting Meryl Streep means that's an older Joni Mitchell. That is not Joni Mitchell in Greece writing blue. That's, you know, I hope so. I mean, you know, they futz around like what they did with that, that De Niro pick from, you know, I've got to pray that Cameron doesn't want to do that. So, you know, is this going to be as told through the lens of Joni now looking back? But then you still have to cast the younger Jones. If you're doing that, it raises other questions. You know, I can't help but be interested, Joni and Cameron are friends forever. Cameron's been working closely with her on these box sets, retrospectives, archives, things that she's been doing is in, you know, regular communication. And somebody has an idea, you know, she's deflected this previously. So for her to commit and do this, obviously there's some something that she likes about it and I'm curious to see what that's going to be. One of the stories that I've seen, it's akin to an autobiography in the sense that Mitchell has had input on Crow's script and been eager to help him tell her story as the two have come to trust each other over the years. So it will be interesting what this, what the structure of this one will wind up being. And for Cameron, the stakes are incredibly high. He's kind of tripped up on his last several projects, and I'm just hoping that I'm a massive fan of Cameron's and I hope that this one gets hit out of the park, not only for him, but because I'm such a massive Tony Mitchell thing. Yes, for every reason. And I'll just say, Meryl Streep doesn't make bad movies. There you go. Well, well, Meryl Streep makes very few bad movies. There you go. Thanks for cleaning that one up, because I was just going to point to as fun as it was the one that's Ricky in the flash, where she sang. Yeah, yeah, yeah, as a pop star with Rick Springfield. You know, not her best work, not her best work. So really excited about that we don't have any release data or anything like that, just that the two are working together and there is something in the works from them. So that's exciting. And the casting is a big deal. I mean, they've been talking about this as an idea for a while. Sure. That actually indicates that something is moving forward. And you got to think about the people you have to cast Graham Nash and all of those Laurel Canyon folks. Yeah, that whole scene. I mean, that's why part of what's so exciting to me about it is that era of Joni, that Laurel Canyon scene and all of those people and what that musically, what that was like. And I know Cameron adores that moment in his life. I'm hoping. So that'll that'll wind up some music news. But while we're speaking about perfect casting, director Alex Gibney will be joining us next after this break to talk about his new HBO documentary that is airing this weekend. Wise guy David Chase and the Sopranos. H5N1 bird flu is spreading in poultry and cows. It's rare in people, but bird flu can make you sick. If you work with poultry, dairy cows, wild animals, or withdraw unpasteurized milk, wear protected gear like coveralls, NIOSH approved respirators and eye protection and wash your hands often. If you start feeling sick, seek medical care and tell them you work with animals. Learn how to reduce your risk at cdc.gov/birdflu, a message from CDC. No two pigeons be moaning the fact you can stream direct TV satellite-free. These humans can stream all the top rated national news channels on direct TV and now with no satellite dish. This is just in weather, sports, election coverage. Direct TV has it all, but something is missing. The satellite dish. What are you doing? I'm reporting the news. Back to you, Bob. Here's some news. You're a buffoon. Visit directtv.com, internet required. Top rated news based on 2023 Nielsen ratings. All right, welcome back. It is Mark Goodman and Alan Light here on Sound Up with a very special guest. Yes, very excited to bring on Alex Gibney. Alex is an Oscar and Emmy award-winning filmmaker who has been called the most important documentarian of our time. He's made a claim documentaries about Scientology, Enron, WikiLeaks, the Catholic Church, countless more, including and maybe of most specific interest to you guys. Films about James Brown, Frank Sinatra, Rolling Stone Magazine, and last year the Paul Simon documentary in Restless Dreams. Later this month, Alex will be receiving a lifetime achievement award at the news and documentaries Emmy ceremony. But first, this weekend comes a wise guy, David Chase and the Sopranos airing in two parts on HBO. I'm happy to say that Alex is an old friend and happy to welcome him to Sound Up. Hey, Alex, thanks for swinging by. Thanks, Alan. Good to be here. The timing could not be more uncanny for this film because my household is in the process of rewatching the Sopranos. My son's never watched it, so we're deep in it right now, so perfect. But for the rest of the world, why was this the time? It's a long time since the Sopranos was on the air. Why was this the time to get into this with David Chase? Go back and look at the creation of this groundbreaking series. Well, I think there were a few reasons. I mean, first of all, it's the 25th anniversary. So that's an anniversary is always good, though this has been in the works for over a year and a half. And I think the other reason is that how this got made, the origin story of the Sopranos seems particularly relevant to this moment. Because, you know, David Chase at the time when he was trying to get the Sopranos made, everybody turned him down until he stumbled onto a fledgling network called HBO. And they gave him the green light for just about everything. But at the time, the distribution channels were extremely sclerotic. They were, the word algorithm really had in surface, but they were definitely, you know, sort of industrial models for how you're supposed to do things rather than just engage in the creativity of the creator. And so, you know, I do think that some of those patterns are evident today. So looking back at a moment where, despite all odds and despite all of the industry pressure to do one thing, David did something very different and in the process changed television. Part of what you bring forward in these two parts is some incredible found footage, some really intimate stuff with all of the characters. And you talk about how important that was and what was that search like to try and find this kind of thing for this project? Well, it was vital because, I mean, obviously, anybody can watch the show. And so while it might have been interesting to show bits and pieces of the show to people who hadn't yet seen it, nevertheless, you know, this needed to dig deeper into sort of the making of how did this happen. And to that end, both on the David Chase side and David had a really incredible cache of both photographs and home movies that were really valuable. But also on the production side, we found incredible material in particular, I would say, the audition tapes. Oh my God. So amazing. Wow. So, I mean, obviously there was a lot of, and also we found a French TV crew had done a show about the Sopranos. And they had spent a good bit of time hanging out at the set and also in the writers room. And because so much of this show is about, or so much of this film is about the writing of it, it was great to be able to be inside the writers room. So with all that, it was great to get inside the show. I could watch the audition footage all day long. Right. It's amazing to just see, you know, random people reading that you don't know who they are to see some of the actors reading for different parts. Right. And to trim, I mean, really the whole, this is a, mentioned the top two part project that you put together. And really the whole first film is kind of assembling this thing. That's right. Putting the pieces together, putting the cast together, putting the writers together. David Chase's own history and how it leads to that. But first of all, just emphasizing how amazingly right all of those decisions were, but also a little bit to imagine in your head. Well, what if probably walnuts had played Tony's like, what would that show be? Right. It just opens up all these other paths. Maybe the biggest one was, you know, David was very much convinced that Stevie Van Zant should be Tony Soprano. Right. And that would have been a very different show. And we have that audition tape in the film where he is reading for Tony, but they liked him so much that they ended up just creating a role for him. But talk a little bit about that just because obviously we got Bruce fans and Stevie fans listening, what it was that inspired David to go after him. And then that they just, they made up this additional character as a way to get him in. Well, I mean, David is a huge music fan, huge music freak, and had been along admire of Springsteen, of course, and Stevie Van Zant. And when he saw him do, I think something on the Rock and Roll Hall of Fame, I believe. Initially, it was the Rock and Roll Hall of Fame, it was the rascal. He saw him on that, and he thought, "Jesus, he's funny." And that's something that's interesting to me, and he's charismatic. And I mean, I've seen him in the Springsteen shows, so he just thought, "Wouldn't that be energetic? Wouldn't that be a tough-minded decision? He's Italian." Italian enough, right, exactly. What the hell was he thinking, first of all, to try and get him for the lead? I mean, I think that's ultimately where HBO came down. It's like, "Well, by the way, I should say one of the inspiring things about this whole show was that it became an enormous hit, but without any superstar attached to the show." I mean, Jim Galdonfini was an actor of extraordinary talent, as we know from the show, but he wasn't a breakout star. The closest person to a kind of a star was Lorraine Bronco. She had been in good fellows, but she wasn't like a superstar. And now, it's sort of like you have to attach a star to do it, and this really gave the lie to that idea. You can do something great without having to anchor it with a superstar. But yeah, I think the Stevie Van Zant thing was just like, "I'm ready to roll the dice." And I think he was interested in the way Stevie read, but honestly, when Galdonfini came in, he just blew everybody away. It didn't happen at first. I mean, one of the interesting things was that Galdonfini himself came in first and then started it, and then he was dissatisfied with his own performances as David Chase said he did his Van Morrison thing. Like, "This sucks. I'm walking." But they persuaded him to come back and to do an audition in David's garage. That was the one tape we couldn't find, but nevertheless, he definitely convinced everybody with that. And with all the people who auditioned, some of them very good. When Jim steps in, it's like game over. Going in, did you already have a sense of how important David's personal life, David's childhood? James Gandolfini's personality and backstory, how important they were to the development of each of those characters. You beautifully, your editor, and you beautifully give examples of this throughout the movie. Did you know that going in? It was a question for me going in. I mean, going in, you know, I was interested in David. There was no doubt about it. And I was also interested going in, in the idea that the Sopranos was not a kind of entertainment confection in search of how to make a hit. It was actually a personal exploration. David wanted to do a film about his mother. And so you can't get more personal than that. So I was very much interested in David's personal story and how he came to the Sopranos. That said, I think it's fair to say that in the course of making the film, I became more and more interested in the three-way relationship, which David even mentions during Jim Gandolfini's funeral, of the three-way relationship between David, Jim, and Tony Soprano. And how that dynamic, which was a fluid and real dynamic, even though one of the three was a fictional character, really impacted the show over time and even changed over time. That was really interesting to me. It is fascinating how much of them each is a part of what the Tony character becomes. And also, you know, in each case, this situation where, you know, the other writers talk about, we had ideas, we did stuff, but it was David. Like, he made the decisions, he directed the, not just the direction, but what this show was going to be, what this story was going to be. This was not a democracy. This was his vision. He was the master cylinder, as Edie said. And that's the story of every band that breaks up. Right? Is that tension? Is, you know, I don't want to be in charge, but I don't want him to be in charge. Right? That's, we hear that story over and over again. And that parallel to these kinds of enterprises are not, you know, there's input, but it's, there's a reason it's, you know, Bruce Springsteen's name goes on the album, not Bruce Springsteen in the East Street Band. Right? That's right. For that, for David, you know, that, talk about that, that dynamic, but for everybody about that dynamic. Well, the tension was there and it was palpable. And, and, and while everybody had enormous respect for David, you know, I think there was tension when, you know, people felt like maybe they weren't being heard. And, and, and David ran a tight ship and a tough ship. You know, and I think even David said, at some point, you know, in the doc, he says, you know, I got frustrated with people that they weren't contributing more. But he said, I had to admit that maybe after I kept saying no over and over and over again, that, you know, they stopped trying. That said, I do know that all the writers contributed enormously to the show. And, and David would say the same thing. The other interesting part that I hadn't really reckoned with though, and this may apply to the band analogy to. But David's role as showrunner was eerily similar to Tony Soprano's role as a mob leader, which is to say at times he had to decide some people got to go, enough yacking time for some whacking. And, and, and so David's job was to decide like this character has to go, you know, they snitched the FBI, they got to go down. And, and he had to be ruthless about it, even though he developed deep affection for the actors in question and everybody would come in for every script reading like you still in. We're talking a bit about how the knitting together of this fictional character and the real person, whether we're talking about David or talking about James Gandolfini or the knitting together of these two things. Did David come away at the end, what do I want to say reconciled or was there at the end of this series, which had no end by the way. Was there some sort of day new mall or some was there a moment did he have a moment where I've done this I've told my mother's story you know it was there any of that for him. I didn't have to ask him I mean I did. I didn't mean you did the documentary. Yeah. We did spend some time on the ending as you know, and you know, I think that David, for a long time just kept going because the network was letting go. And and then he, he recounts how he, you know, Chris Albrecht and asked him at one point, we got to start thinking about how to end this. And David said what do you mean it just ends whenever the network decides to cancel it that's how you know, but you know whenever I get whacked by the network that's when the show's over, but I think he needed to also come to some conclusion about, you know, when he was ready. And he got to a place where he figured out how to end it which became very controversial, but I think in a way that was satisfying to him. I want to talk a little bit about the ending but also talk about the music some in this series and the radical revolutionary ways that it was used but let's talk about that the most famous music sync in television history, probably, is that closing scene with Don't stop believing and, you know, David tells you, I was playing around with the idea of using that. Everybody hated it. Everybody said, you can't possibly use that. And that was what convinced me I had to use it. Yeah, he said it wasn't just because he was being contrarian but also that the street, the feelings about it were so strong. In other words, you can't do that. And there's something about well the feelings are that strong then maybe that's what I should use. So he did. That ending scene is masterful because it's all driven really by the song and the editing but it's really the editing of the pictures to the music and it's moving in and out of source and but also, you know, it becomes score as well. And the lyrics, if you listen carefully to the lyrics are also driving the action. It's great. It's incredible. Was that the first and last idea he had or how did he get to that as an ending? He talks about how he got there. I mean, there are a few songs. He was, I think he added down to like three songs and don't stop believing was where he landed. I think that at some point he had the idea for the ultimate end. I say that with some irony. But, and he stuck with that. And then how to realize it in terms of the people who are coming and going. I think that then became sort of the skill of how you write and direct such a scene. Remember, it was interesting to me because I didn't know this at the beginning. David Chase only directed two episodes. The first episode and the last episode. And he brought back a league soccer off to shoot this. And so he was also very fast and very much fascinated with the idea of present and past and the idea of characters walking into their own POVs, which he got from 2001 space Odyssey, which is a way of kind of looking at your own life. If you think about that, which was a nice device to use for the ending show where you're looking at your own life or the characters are looking at their own lives in effect. So all that was rattling through his head. I love the current you cross cutting to the 2001 scene, which is probably my favorite movie and, you know, illustrating that music in this you don't talk too much within your film about music in the series but you do mention David Chase was a drummer. Music obsessed rock and roll obsessed and a player himself and whatever that says about his thoughts about rhythm and everything else. But music in the show was it's silly to just say it's integral. Nobody had ever used music on television, the way that it was in the sopranos and reached the point where, you know, Bob Dylan calls up and says, I want to do a song for the sopranos, you know, how was that woven into what this show was what, you know, what was the, the thinking there and how did HBO sign off on spending that kind of money. Yeah. Well, once you start to break down the music in the show and there's a lot of it. That said, it's almost more useful to think about the negative space in terms of music. One, he decided not to use a composer ever. There is no composed music in the film. It's all music that's licensed. The other thing to understand is there's a lot of the show and it took us a long time to understand it. It's a long time to understand this and actually informed our own cutting where there is no music playing. It's the track is clean. You're in the moment without any music to kind of guide your emotions. That's it. Then when the music enters, it becomes a kind of a character and whether it's, you know, Gandolfini sort of singing along to that steely dance on dirty work. Yeah, dirty work or, or suddenly it's like Bo Diddley. Did they call that Manish boy? Do they call it I'm a man? His version of that song. I think it's I'm a man as his, right? Yeah. And, you know, when, when Christopher kills that guy in the, in the meat shop for the end credits, I mean, they found ways of making the music live. And sometimes it was a kind of toe tapping Greek chorus. Sometimes it's background, but it had the feeling of like music is for all of us. It's rock and roll. It seeps into your, into your consciousness at times and unexpected and very powerful ways. It's pretty interesting what has, in my view, what has now happened to that journey song as great. And it was a massive hit and went back in the day at MTV. Oh, God, great, great. But what David did with that moment is made that song into something in the stratosphere. It becomes part of our culture. When music videos first started, like, it was kind of an odd feeling because when music videos first started, suddenly you'd be hearing a song and you'd be seeing the images instead of you recalling your own images, you'd be seeing the images from the music video. Well, now I think the song is so associated with the sopranos, you automatically go to that scene and invest in it. Is there anything, just speaking in broad terms, Alex, if we could for a moment as we let you go here, Alan reeled off some of your projects in the past and all over the place. Is there, as I was looking and I was looking at your credits, is there something in your body of work that is a through line for you that reflects what it is that you look for when you do these projects. I mean, I generally look for interesting stories, you know HBO offered this one to me, and I was not initially that interested in it because I thought maybe they wanted me to do like a soprano sort of retrospective. Yeah, here's some, yeah, here's some, yeah so greatest hits, and that was an interesting to me until I found my way in after I had a lunch with David Chase. You know obviously there are films I do that are about abuses of power and that are investigative. Over time, I've really enjoyed, I'm not a musician, but I really enjoyed doing some of the music films I've done. And, and unexpected ones like I did a movie about Felicuti called Finding Feloch, and I didn't really understand his music until I started to do the doc and then wow that really became interesting to me. I didn't really understand Sinatra's music until I did the doc and then that became really interesting to me, and also doing in restless dreams was super interesting because I got to watch somebody create music and being up close to the creative process that way was cool. So the opportunity to do that here to look at the creative process but this time in filmmaking which is much more adjacent to what it is I do as my, as part of my day job, that was really a blast. And, because I like, I like films about, I like origin stories and I like process stories so I don't know, but you guys, you guys should figure out the patterns my job is just keep going forward. Anything else, yeah, put the pieces together. I'm going to make a left turn here because we're going to let you go in a second and I have to ask you about the film that you have screening at the Toronto Film Festival coming up. Is it next week I think? It'll screen on Monday. We're going to be hearing about Alex, you know, coming up very rapidly with a significant project that's about to come out. Yeah, it's called the BB files and BB refers to BB Netanyahu. And this is a film that was directed by Alexis Bloom that came out of a moment where I was leaked all of the interrogation videos that the police conducted in regards to the Netanyahu corruption trial. And what the film does is the juxtapose some of that material with what's going on today and to essentially show through a lot of voices principally in Israel, how BB's attempt to elude a legal reckoning in that corruption trial led him to these policies which are engulfing Israel, Palestine, Gaza, the West Bank, and increasingly if BB Netanyahu gets his way of the world, all coming out of a kind of fundamental addiction to power and corruption. So that's what the film's about. I don't want to get too much into it except to say that, wow, talk about timing. The timing of this particular project is scary. We decided to release it in Toronto as a work in progress. The film's not even finished yet, but we felt strongly that people are dying every day. And so it was important to kind of plant the flag and to take account and to hold BB Netanyahu to account. So that's what we're doing. So believe it or not, we're on to the next project by next week. Yes, in the meantime, wise guy, David Chase and the Sopranos airs this weekend on HBO coming up on Saturday and Sunday. And Alex, thank you. Thank you for the work. Thanks for spending the time with us and hope I'll see you soon. Thanks, Alan. Thanks, Mark. The first one, the first project we were talking about is coming up this weekend on HBO Saturday night. I think they both drop on Saturday night. They do. I was going to mention that. That's very helpful. We don't have to wait. We need immediate gratification. Part one and part two back to back Saturday night on HBO. Alex, give me such a pleasure to speak with you about all of your work. And thank you so much for coming on Sound Up with us. Thanks, guys. Really appreciate it. Alex, give me many thanks and you need to stay right where you are. We've got more to go. Concert reviews and new music picks of the week coming up next on Sound Up. At KeyBank, we know a small moment like, "Huh, what's it like to have a yard?" Can lead to an even bigger question like, "Am I ready to buy a home?" And that's the type of moment where we'll meet you. Prepare to talk about everything you need to know when applying for a mortgage. So you can try to turn those backyard dreams into reality. Paul? Yes? Question. Are you a hammock person? You know, I think I might be. For every financial need, we'll meet you in the moment. KeyBank opens doors. NMLS-399797, equal housing lender. We'll meet you next time. We'll meet you next time. We'll meet you next time on Sound Up. We'll meet you next time. We'll meet you next time on Sound Up. We'll meet you next time on Sound Up. We'll meet you next time on Sound Up. We'll meet you next time on Sound Up. We'll meet you next time on Sound Up. We are back at Sound Up with Mark Goodman and Alan Light. We do have our new music picks to get to, but before we get into that, we've got a few concert reviews from you, our Pod Squad, including this review of Dog Star from Lindsay in Oklahoma. Hey there, Sound Up. It's your Oklahoma Lindsey, checking in with a concert review. And no, it's not Rock Oklahoma. My concert review this week is for the band Dog Star. If you're not familiar with Dog Star, it is a side project for this little-known actor named Keanu Reeves. I don't know if you've heard of him, but I do think he's going to be going places. He and two other actors have this band, and they were playing this weekend in my least favorite city in Oklahoma, Norman, which is the home of OU, and I am an SU grad. Go, folks. Keanu Reeves was the only reason that I would actually travel to that God forsaken city, but it was a lot of fun. I went with the friend from work. We actually had a meet and greet, and we were able to go in early to listen to two songs while they did some sound check stuff. And then in an orderly fashion, with others filed across the stage, we were able to shake hands with each of the three band members, just say a very quick hello. And then in about group five or six, we were able to have a professional photo taken with the band and some random strangers, so that should be interesting when we get that back. So the opener actually was really, really good. And so I definitely want to mention the opening band. They were Sons of Silver. They are from Los Angeles, and a few things to note, the singer was amazing. He was a great front man. He had a lot of energy, great voice. The guitarist actually used to be in the band's skillet, and then the bass player was with Candlebox. So lots and lots of talent. They did a great set. I wish they actually would have played longer. And then Dogstar came on, and I will say Dogstar, I'm not great. I mean, they're okay, and obviously people are there to see Keanu Reeves. And he did a fine job on bass. They all did a fine job. It just wasn't really that dynamic. The songs kind of sounded the same, but you could tell they just really enjoyed being there. So that was fun. They did play One Cover, the Cures Just Like Heaven. That was my favorite song they did. And then towards the end, when they came out for their encore, they got a little more energy. But overall, it was really neat too, for just a few seconds, be shaking the hand of Keanu Reeves, and then to actually watch him from the second row play his bass and just have a big time. So to recap, the band was fine. The best song they played was a cover, and you should really go see the opening act. Recapping, just to say, that's the takeaway. Thank you. I'm curious which night she saw them because over the weekend was Keanu's 60th birthday. Oh, he probably didn't bring that up on stage, though. So apparently, also, Lindsey sent some photos from the show. We're going to post those in our gallery with the band and some random strangers. I don't know. Fingers crossed. Our gallery at sounduppod.com. You can go and check it all out there. Jessica in Houston sent us this review of the Fool in Love Festival. This is Jessica in Houston, aka Texas Running Chick with a review of the Fool in Love Music Festival this past weekend in Los Angeles. I went to the show with fellow soundup pod squad member, Dina, runner wine beach, and later in the day, we met up with April SoCal Music Gal. This was the first music festival I've ever attended as I'm not really a festival person, but Dina was a fantastic festival buddy giving me all the pointers. Fool in Love was a one day festival with four stages and 69 musical acts of primarily 70s R&B soul funk disco, which is my absolute favorite period and genre of music. The show was filled with legends, 12 of the 15 acts on the two main stage are in the rock hall, and the other two stages had additional rock five rock hall members. With four stages, there was no way to see all the acts. So tough choices had to be made. The acts I saw were Lionel Richie, Diana Ross, who had four costume changes in 90 minutes. Santana, now Rogers and cheek, the Isley brothers, the OJ's, Gladys Knight, the spinners, the Jackson's, Shaka Khan, Eric Burton, Charlie Wilson and Heatwave. I was hoping for a Lionel, Lionel Diana Ross duet on Endless Love, but that didn't happen and was also hoping for now Rogers to come out and play with Diana on the songs that he wrote and produced for her but that didn't happen either. However, Dionne Warwick did come out during the spinner set and saying then came you together with them. Obviously, many of the performers are up there in age and some acts don't have many of the original members, but all put on great sets. The highlight for me were the acts I hadn't seen before, Diana Ross, Isley brothers and the OJ's. If they do this festival again, I will be their hands down. I would hope they would make it multiple days so we could hear more of the acts. Stan Warwick and the spinners singing then came you would be reason enough worth the price of a show up for a festival man. And finally, Podsquatter Sunita filed this report. Sunita says, I sound up. I am not writing to tell you about my trip to the legendary Wembley Stadium to see Taylor Swift on the last night of the European leg of her tour. I am not going to tell you about camping out in line for nearly 12 plus hours, starting just past midnight, or the incredible show where she brought out two surprise guests Florence Welch and Jack Antonoff, nor about the four surprise songs. Instead, I wanted to highlight the Roots I Love Hip Hop tour with special guests arrested development and diggable planets. The roots stayed on stage the whole time while the other two groups were intermingled throughout the show. I think Questlove only stopped drumming once during the whole two and a half hours. This tour is called the I Love Hip Hop tour, but it should really just be called the I Love Music tour, although it is definitely hip hop forward. It really is a mix of jazz and funk with some rock thrown in. The roots are known for covers, some of the ones I got were Zeppelin, Cheryl Crow, Chate, and speaking of song of the summer, a contender, Shabuzzi. Also, if you can harness the energy of arrested development, you could solve the world's energy crisis five times over. I had mainly gone to see diggable planets and they were perfection. After the show, I was unexpectedly invited backstage and got to hang out with the bands for a while, where although I was totally freaking out internally, I tried to play it cool and was able to get the following intel from the band. The Roots will most likely be inducting a certain act at the Rock and Roll Hall of Fame ceremony in October. It all made for a very memorable experience. Sadly, I don't think tickets are selling all that well for this tour, but hopefully that's just a geographic issue. I was able to grab an amazing same-day seat. Tickets were pretty affordable overall. Go see this show. Finally, as for song of the summer, it was the season of Female Pop, Espresso, Brat, or Take Your Pick of Chapel Rones songs. It's hard to pick, but because of her meteoric rise, I'll give it to Hot To Go purely because spelling is fun. Here's to a music field September, Sunita. All right, playing in across multiple fronts. We didn't even mention Charlie XCX. We didn't mention Brat Summer when we were talking about Song of the Summer. Right, that's true, because there's not just one song in the summer anymore. Guess not. Thank you, Sunita, always, always an extensive and well-thought-out review. Absolutely. Before we wrap the show up here, we got to do it. We do this every week in hopes of us being your final floodgate for new music. We have our new music picks of the week. I already mentioned at the top of the show. Johnny Yintz is really swells. I pick every week. Every week, every week. But real quick, I had new music from Lucius, that duo who I have been a huge fan of since they first came out years upon years ago. The new song from them is called Old Tape, and it features Adam Grandiceal who was wore on drugs. We did something on his record a while back now on the "I Don't Live Here" anymore record. So now he has returned the favor. He's got vocals on and guitar on this song Old Tape. And there is a new music video out too with Fred Armisen, which is, as you would imagine, bizarre, because it's Fred Armisen. Finally is the new song from Swedish House Mafia that is not new at all. And that's the amazing house song. Finally with a great couple of... Is this a contestant? Yup. Well, that was one of the games of tomorrow was, I think that was the original. But finally, Alicia Keys on vocals with Swedish House Mafia. And also finally, the last dinner party, who I know we've talked about quite a bit here, a great new band. This town ain't big enough for the both of us. You're a Sparks fan. You remember this song. And who the hell would have imagined? Last dinner party covering that tune and a new album of covers and acoustic versions coming out October 11th. That's what I was wondering. Is that from a soundtrack or from a... It's from a covers project? Covers. Covers. A short prelude to ecstasy film is going to be screened at a Soho cinema and live stream to the Last Dinner Party's YouTube channel on September 12th. I'm guessing more information coming there about this upcoming project. October 11th. Those are my picks. Alright, real quick from me from some heavyweights this week. This Friday, LL Cool J's got an album coming out. His first two many years produced by Q-Tip. Lots of guests. Very excited to hear it. And last Friday we got our first taste, a duet with Marshall Mathers. LL and Eminem on Murdergram duh. A callback to the track Murdergram from the Mama Said Knock You Out album. We know Eminem has always said LL Cool J was his idol, was his guy. He would stand that in the front yard and rhyme along to the bigger and duffer album. So had to be a thrill for him to get up on this track. Eminem and LL Cool J produced by Q-Tip and it's really fun. Like Murdergram, it's just rhymes, rhymes, rhymes. No hook, no melody, no chorus, just blazing. And it's really fun. I don't know if people are going to care about hearing LL Cool J rhyme. I don't even know if people still know that LL Cool J was a guy who used to be a rapper. Or if they just think of him as a TV star and all the other stuff that he's done. But this track is really fun and I'm looking forward to the rest of the album. We got a new song on Friday, Thursday or Friday, from Stevie Wonder. His first song in four years, I believe. We haven't had an album from Stevie for decades. But a timely as we move into, deeper into election season, a song called Can We Fix Our Nations Broken Heart? Really gentle acoustic guitar, ballad, one of those Stevie Wonder harmonica solos in the middle. And just a very sweet sentiment, I think. I hope getting towards what people seem to be thinking about as we look toward November of Can we just get back, get back on track here? Can we just learn to talk to each other? Can we just look to try to heal and make things better instead of just yelling at each other? It's a different, it's not, you haven't done nothing. It's not that kind of a protest song. It's fix. Can we fix our nation's broken heart? Absolutely worth listening to. And finally, I know you guys have no patience for Radiohead at all. I know that I was a huge fan who then kind of fell off in the later years and have blown very hot and cold on this man, The Smile, that's Tom York and Johnny Greenwood's other project. They just announced what will be their second album of the year coming, I think, in November. But they put a song out called Zero Some, that's really good. Dare I say, I don't want to say it's funky. I'm not going to give them that. But very sort of chattery, snakey guitars up and down in and out. I mean, I love how Johnny Greenwood plays. A very sort of propulsive thing going on. Reminiscent of some of the stuff that I really loved when I loved the Radiohead albums. So I've not been signed on all the way for what The Smile has done. There's songs I like, other stuff I don't really care about. But this one, I do like a lot. So The Smile, Stevie Wonder and LL and Eminem, those are my picks. All right. And I'm still seeing Johnny in. Stop, stop. They didn't pay for it to keep giving them that. That's going to wrap it up for this edition of Sound Up. Do not forget, check us out on socials and YouTube. We are up on YouTube now for exclusive content, full video episodes and quite a bit more. It's all at Sound Up Pod. Please go and give us a five star review. Share us with your friends, like our Facebook page. Subscribe to our YouTube page and always email us as you heard voicemails or write it out the old school way. Let us know what you're thinking, what shows you've been to, what questions you have, what you want to talk about, connect@sounduppod.com. Thank you so much for listening and supporting us here on Sound Up with Mark Goodman and Alan Light. We'll catch you next week. Sound Up is hosted by Mark Goodman and Alan Light produced by Roger Coletti for Roger That Media Distributed by Revolver Podcasts, theme music by Smile from Tovia. Kendra manages your payroll. She's also six weeks pregnant. Maybe it's time for a group dental plan with extra TLC for moms to be. Green from within, United Concordia Dental. Learn more at grinwithucd.com products under written by United Concordia Insurance Company. We'll see you next week. We'll see you next week. We'll see you next week on Sound Up with Mark Goodman and Alan Light. We'll see you next week on Sound Up with Mark Goodman and Alan Light. We'll see you next week on Sound Up with Mark Goodman and Alan Light. We'll see you next week on Sound Up with Mark Goodman and Alan Light. We'll see you next week on Sound Up with Mark Goodman and Alan Light. We'll see you next week on Sound Up with Mark Goodman and Alan Light. We'll see you next week on Sound Up with Mark Goodman and Alan Light. We'll see you next week on Sound Up with Mark Goodman and Alan Light. Aditya.
On episode #57 of “Sound Up!,” Mark and Alan welcome Oscar- and Emmy-winning director Alex Gibney to talk about his new HBO documentary “Wise Guy: David Chase and the Sopranos.” We discuss what was the real Song of the Summer, and members of the Sound Up! Pod Squad offer their reviews of the “Fool for Love” festival and the “I Love Hip-Hop” tour. In music news, there’s the Oasis ticket chaos and developments on the Joni Mitchell biopic, and we present our new music picks of the week, including songs by Swedish House Mafia, the Last Dinner Party, LL Cool J with Eminem, and Stevie Wonder.
