Joe Coscarelli

Yeah.

And also introducing those songs to a Timothee Chalamet audience.

Right.

I don't think we would continue getting as many of these as we do if it didn't work in that way.

I'm sure streams go up, especially when these movies become successful.

I think we're focusing a lot on Complete Unknown because that was a real win, I think, for the genre after something like Rocketman and Bohemian Rhapsody, which were, you know, successful in various ways, but I think a bit more polarizing.

But the Dylan thing, I think, really broke through.

And one of the reasons I knew it did was when there started to be, like, TikToks about, like, oh, my God, this guy Bob Dylan.

Or how about this situationship between Joan Baez and Bob Dylan?

And I actually, after the movie, made a playlist called Bobby and Joanie that's just all their songs about each other one after the other.

Is that a public playlist?

I can make it public for this podcast.

And it can go in the inverse, too.

I'm thinking of like when 8 Mile or Get Rich or Die Try in the 50 Cent film came out, like in the early 2000s at the peak of Eminem and 50s powers.

And that sort of worked in like a legitimizing sense where you could say, oh, you think Eminem is making little white kids too rebellious.

But look at this movie.

Like he comes from a factory town and he really made it out.

Like I think that...

There's probably a lot of parents from that era who learned something about rap music from these commercial endeavors.

Austin Butler.