What's HOT in the Strip Clubs?
Aug 28, 2026 · 55 min · 13 segments
This one felt less like an interview and more like a great conversation. Ed Gerrard joins Danny Meyers, Ilan Fong, and Bob Chiappardi for a special edition of Off The Charts, sharing stories from his…
Ed GerrardGuest
Bob ChiappardiHost
Ilan FongHost
Danny MeyersHost
So, you know, soundtracks is sort of an art form, like as DJs back before streaming and downloading and all that stuff.
Soundtracks as a DJ where I found great, you know, covers of big songs or remixes of great songs that play better in a strip club or in a club because it's got a dance beat.
So like and then if you think some of the biggest records of all time, Footloose, Top Gun, Dirty Dancing, and then later The Crow.
And then, you know, your movies, The Scream soundtracks all had good stuff on it.
What is sort of the process or how do you know, how do you pick? I know some of it's for the movie or for a specific scene, but there's a lot of filler that just sort of, not filler, but like it tells the story and it's all part of it, right? Go through kind of what you're thinking and like the art form of picking trash.
Well, you know, it's funny because I came up with this over the weekend when I did one of these conferences and
And usually when you do a soundtrack, you do a soundtrack deal with a company, whether it's Warners or EMI or whomever, Sony.
And at the end of the day, back in those days in particular, I think it's a little bit different now, you were forced, fed into using, if you did a deal with that company, you had to use their artist.
That was the deal, okay? So it became a little, you know, like, it kind of compacted a little bit, yeah? Because you only had so much choice, you know, and it depended on the movie and who it was, and then you would go after some of their bigger acts and then some of the smaller.
They would love to load it up with their up-and-coming artists acts that they wanted to release so that they have some sort of marketing thing behind it yeah um so in the first one we had no money in it and i played it for everybody and they turned it all down everybody turned it down i was able to get a partner in tbt out of new york here at the time and you know i'm not so sure it was the greatest partner in terms of that but it did the job right and so When that happened, it was like I had no money.
I could just do what I wanted to do as long as I could clear those things and the rights for them.
We were just putting what we felt was great music to it and then dealing with it later.
So, you know, soundtracks is sort of an art form, like as DJs back before streaming and downloading and all that stuff.
Soundtracks as a DJ where I found great, you know, covers of big songs or remixes of great songs that play better in a strip club or in a club because it's got a dance beat.
So like and then if you think some of the biggest records of all time, Footloose, Top Gun, Dirty Dancing, and then later The Crow.
And then, you know, your movies, The Scream soundtracks all had good stuff on it.
What is sort of the process or how do you know, how do you pick? I know some of it's for the movie or for a specific scene, but there's a lot of filler that just sort of, not filler, but like it tells the story and it's all part of it, right? Go through kind of what you're thinking and like the art form of picking trash.
Well, you know, it's funny because I came up with this over the weekend when I did one of these conferences and
And usually when you do a soundtrack, you do a soundtrack deal with a company, whether it's Warners or EMI or whomever, Sony.
And at the end of the day, back in those days in particular, I think it's a little bit different now, you were forced, fed into using, if you did a deal with that company, you had to use their artist.
That was the deal, okay? So it became a little, you know, like, it kind of compacted a little bit, yeah? Because you only had so much choice, you know, and it depended on the movie and who it was, and then you would go after some of their bigger acts and then some of the smaller.
They would love to load it up with their up-and-coming artists acts that they wanted to release so that they have some sort of marketing thing behind it yeah um so in the first one we had no money in it and i played it for everybody and they turned it all down everybody turned it down i was able to get a partner in tbt out of new york here at the time and you know i'm not so sure it was the greatest partner in terms of that but it did the job right and so When that happened, it was like I had no money.
I could just do what I wanted to do as long as I could clear those things and the rights for them.
We were just putting what we felt was great music to it and then dealing with it later.
The rest of this transcript — segmented and speaker-labeled, so you land on the exact moment something was said
Search every transcript — by keyword, by phrase, or by meaning, across every show Radar indexes
Trends — what is surging across podcasts, measured against its own baseline
Alerts — when a name you follow appears in a newly indexed episode
No account is needed to search Radar.
