Welcome to the New York Times Popcast, your, this one's for you, Sean, with music news and criticism.

I'm your host, John Care, Monica. No, no, no, no, no, no, no, no, no, no, no, no, no, no,

no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, go, go, go,

go, go, go, go.

And go.

And go. And go. And go. And do you know.

And do you know, Even if you don't know what movie that music was from you certainly recognize it. You know it's the work of Ennio Morricone.

Morricone died recently, age 91, left behind hundreds of film scores, one of the most renowned film composers in history.

And I wanted to talk about his legacy on this week's popcast in part because I gotta be honest.

I know precious little about Morricone about the films of the 60s and 70s.

This is all stuff that I am at the most rudimentary level of understanding of.

And so when confronted with the vastness of his catalog, and I started poking through it and realizing how much of it actually had become

familiar to me through secondary and tertiary means, you know, whether it's Metallica or whatnot I realized that I was struggling and I was

suffering from lack of knowledge and because of that I wanted to double down and absorb as much as I could and invite people

on to podcast this week to help educate me and maybe a bunch of other people about what Morr Kone did and why it was so unique.

So we're going to have two conversations this week.

First, we're going to have Josh Rothkoff calling in.

Josh is a writer about film and editor who wrote a piece for the times on some more

Kone, greatest hits and deep cuts and later our beloved John Prellas, JP,

is going to call in because JP actually got to go to Rome to interview the Maestro so we're going to hear that story and talk a little bit about more connaise more eccentric side.

So starting off first, Josh Rothkoff is here. Thanks for being here. Appreciate that.

Thank you. Thanks for having me.

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