And when high schooler Julie Molina’s mother died, she couldn’t find it in herself to play music ever again. When the three-piece rock band Sunset Curve died after eating hot dogs served to them from a questionable vehicle, they missed out on the chance of performing the biggest show of their career. “Oh, my God, we used to do songs from the movie Beyond the Valley of the Dolls, which is just an iconic, classic B-movie,” Susanna Hoffs of the Bangles said. So they’re the rare example of a fictional band inspiring real bands. They didn’t have many real-world counterparts at the time and became a cult legend as a female group playing instruments. (He really should have won his Pulitzer for poetry like, “You’re a groovy boy - I’d like to strap you on sometime!”) But the Carrie Nations bash out tough rockers like “Find It” and “Sweet Talkin’ Candy Man” - written by Stu Philips, vocals by Lynn Carey and Barbara Robison. Dolly Read stars as Kelly, the singer of a three-woman garage-punk group that goes to Hollywood, changes its name to the Carrie Nations, and gets sucked into a Hollywood vortex of sex, drugs, and psychedelic sleaze. The 1970 Russ Meyer trash classic Beyond the Valley of the Dolls tells the tale of a band living on the edge: The Carrie Nations. And it led to Homer meeting George Harrison, even if all he cared about was where the Quiet Beatle got a delicious-looking brownie. Everett Koop was misguided, but Homer’s tribute to the omnipresent rear-windshield decal deservedly won a Grammy for Outstanding Soul, Spoken Word, or Barbershop Album of the Year. Maybe their song about Surgeon General C. But the pick has to be from the series’ note-perfect Beatles-parody episode, “Homer’s Barbershop Quartet.” A loving riff on the Fab Four’s history finds Homer, Barney, Apu, and Principal Skinner briefly becoming Eighties musical stars with their mix of throwback melodies and au courant subject matter. Navy recruitment tool, Homer managing a country singer who has a crush on him, or a college-age Homer fronting a grunge band called Sadgasm. Periodically, though, we’ll see a member of the Simpson family get involved in the music industry, like Bart joining a boy band that’s secretly a U.S. Though The Simpsons have featured dozens upon dozens of great songs over its long run, very few of them qualify here. (Otherwise, “Daydream Believer” would have been very highly ranked.) We also had a long debate about what to do with the Monkees, before it was decided that at a certain point, they Pinocchio’ed their way into being a real band, and thus didn’t qualify. We set out the following eligibility rules: 1) Original songs only, with apologies to the Blues Brothers, the Commitments, and other great fictional cover artists 2) No biopics or other films where musicians essentially play themselves (e.g., Prince in Purple Rain or Eminem in 8 Mile) and 3) It has to be some kind of genuine fictional music act, rather than someone just performing an original song in the context of a movie, show, or stage musical. It’s a strange but often hugely appealing musical subgenre, and this is our attempt to figure out which are the true best songs of the fake best songs. TODAY’S LAUNCH OF Daisy Jones & The Six, Amazon’s 10-episode adaptation of Taylor Jenkins Reid’s bestselling novel about the rise and fall of a fictional Seventies rock band has us wondering where The Six lands in the long and sometimes distinguished history of fake bands and singers in film and television.
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