Category Archives: Featured

WWE DVD chronicles “The Epic Journey” of The Rock

Finally The Rock HAS COME BACK to DVD! Well, OK. It really hasn’t been that long since WWE‘s last Rock DVD set (2008’s The Rock: The Most Electrifying Man in Sports Entertainment) was released. But given the year-plus build to his return to singles competition at WrestleMania XXVIII in his hometown of Miami, there are many electrifying reasons to release another set of highlights from The Rock’s wrestling career.

From his childhood days watching his father, Rocky Johnson, and grandfather, Peter Maivia, set standards in the ring, through his time playing for the University of Miami’s national championship football team up to his recent return as host of WrestleMania XXVII, The Rock: The Epic Journey of Dwayne “The Rock” Johnson recounts The Rock’s rise to becoming not only the most electrifying man in sports entertainment, but one of the biggest success stories in all of show business. Using family photos, footage that dates back to his 1996 debut at the Survivor Series and commentary from the likes of Triple H, Chris Jericho, The Rock’s WrestleMania XXVIII opponent John Cena and former Miami Hurricanes teammate Warren Sapp (The Rock himself naturally has plenty to say as well), The Epic Journey covers Johnson’s career in and out of the squared circle.

Whether they’re friends, foes or completely unbiased, no one can deny The Rock’s charisma, determination and natural talents, whether they be athletic, comedic or musical. But what is interesting to note (and might be easy to forget, given his aforementioned talents) is that The Rock was not always adored by the fans. Sure, most of us remember his lackluster attempts to endear himself to the fans early in his career as Rocky Maivia. But even after he dropped that gimmick, he was still greeted in much the same way his fans greet Cena today – with chants of “Rocky sucks.” But after joining the Nation of Domination, The Rock began to embrace his arrogant side, which allowed him to talk the kind of smack people, oddly enough, wanted to hear. (Mick Foley even acknowledges on The Epic Journey that The Rock all but invented the term “smackdown.”) But it wasn’t so much that fans wanted to hear him eloquently talking trash to just about anyone he encountered, then backing it up with his in-ring abilities. It’s just that fans can sense when someone is being genuine and, in much the same way they embraced “Stone Cold” Steve Austin‘s antihero behavior, they also took to The Rock’s innate ability to sincerely say what was on his mind and make it wildly entertaining.

But even after he dethroned Farooq as the leader of the Nation, formed an unlikely alliance with Foley as the popular Rock & Sock Connection and became a pop cultural icon, The Rock still fell out of favor with the fans for a while as his rivalry with the previous generation’s icon, Hulk Hogan, came to a boil, as well as when fans began to label him as a Hollywood sellout. We all know The Rock was able to recover from that, but with the back-and-forth between The Rock and Cena over the past year or so, seeing The Rock being treated the way many fans treat Cena now puts everything into new perspective.

Courtesy WWE

Another thing that helps put things into perspective is the matches that are included on this three-disc set. With the things people like Razor Ramon, Shawn Michaels, the Hardy Boyz and others have done in ladder matches, re-watching The Rock and Triple H do battle for the Intercontinental Championship at SummerSlam in 1998 is a reminder of how these two big guys redefined what a ladder match could be. And the “I quit” match against Mankind at the ’99 Royal Rumble shows us a vicious side of The Rock not often revealed.

The Epic Journey also includes his no holds barred match for the World Wrestling Federation Championship against Austin at Backlash in ’99, the triple threat match between The Rock, Triple H and Kurt Angle for that same title at SummerSlam 2000 and his match against Brock Lesnar for the Undisputed Championship at SummerSlam in 2002. Other classic encounters include a 2002 Raw match against Ric Flair, the No Way Out match against Hulk Hogan in 2003 and his recent return to Raw and WrestleMania in 2011. In much the same way the recent Stone Cold DVD set duplicated very little from the previous Stone Cold set, none of the matches on The Epic Journey are featured on The Most Electrifying Man. And that fact not only gives fans plenty of reason to check out this new DVD (even if they’ve already seen the other one), but it’s also a testament to just how electrifying The Rock’s journey in wrestling and beyond has been.

For more information, go to www.wweshop.com.

Tim and Eric talk about the big-screen surrealism of “Tim and Eric’s Billion Dollar Movie”

Anyone who has ever watched Adult Swim‘s Tim and Eric Awesome Show, Great Job! knows that Tim Heidecker and Eric Wareheim have a really weird sense of humor. And when I say “weird,” I mean waaay out there sketch comedy absurdity that is like a Saturday Night Live hallucination. The duo’s awkward stream-of-consciousness humor has garnered a cult following, including the likes of “Weird Al” Yankovic, John C. Reilly, Will Ferrell, Marilyn Manson, Paul Reubens, Danny Trejo and Rainn Wilson, all of whom have also appeared on the show.

Photo courtesy Magnet Releasing

With the release of Tim and Eric’s Billion Dollar Movie, the duo takes its squirm-inducing sketch skills (and some of the people that have been on the show) to the big screen in a feature-length film about the duo squandering a billion dollars given to them by the Schlaaang corporation to make a feature-length film. Sound confusing? Well it is, sort of. Since Heidecker and Wareheim play themselves, and Tim and Eric’s Billion Dollar Movie is like a movie within a movie (within a movie, if you count the short film starring Johnny Depp (played by Ronnie Rodriguez) that starts the film), it can be a bit hard to follow. And that’s not even factoring in the part about them buying a dilapidated shopping mall filled with vagrants and oddball shops in order to make the billion back. Trying to make sense of it all is making me sleepy, so here’s an interview the guys did with Wrestling with Pop Culture to further confuse you.

Talk a little bit about the writing process for this movie in comparison to the work you’ve done in the past.

Heidecker: Well, we tried to take our time with it. We knew we didn’t want to make a sketch movie and we didn’t want to make a long episode of the Awesome Show, so we focused on trying to come up with a story that would fit our sensibility and not clog it up with too much plot. We wanted to make a movie where we could do all of our little tricks and stuff. We went back and forth working on it for quite a while and getting into a good position where we had something we could use to shoot the movie with.

Did you have an trouble adapting to a feature film?

Heidecker: There was no trouble, it was just a challenge. We didn’t really consider it to be adapting, it was just doing something different.

Wareheim: We can do anything, really.

A lot of sacrifices were obviously made to make this movie – Will Forte, a young boy and others. Looking back on all that, is there anything you would have done differently or anyone else  you might have sacrificed in the process?

Heidecker: No regrets. All those people were obviously fake. No one was really killed or anything.

When you were deciding how you were going to make this movie, how did you decide how far you would go with some things and how much you would hold back with others?

Photo courtresy Magnet Releasing

Wareheim: We definitely knew it wasn’t going to be cut as fast as the Awesome Show or have that kind of look. We wanted it to look like a movie so people going into a movie theater have somewhat of a cinematic experience. So some parts, like the Johnny Depp movie, have a more heightened Hollywood look. For the rest of the movie, we wanted to have a higher production value but at the same time we have some of the commercials that have the Tim and Eric style.

Heidecker: The basic rule is, “What makes sense?” So if you’re making a shitty commercial, it makes sense for it to be a shitty commercial. But in a narrative, when you’re just telling a story, it doesn’t make sense for it to be all shitty and weird. We want you to forget about the form of watching a movie until it makes sense for the scene.

You guys have a very niche audience. Not everyone is familiar with Tim and Eric and the movie itself is kind of extreme. How do you want this movie to be taken by people who may not be familiar with the show?

Heidecker: The only thing we’re doing differently is we’re doing a lot of press. We’re talking to as mainstream press as you can get. It’s different than your normal film, I guess, but it should be treated like anything else. It’s not a remake of something, it’s not an animated CGI thing…

Wareheim: At the same time, though, our objective is not for it to do well in the mainstream. We want lots of people to see it, but our objective was to make our movie.

When you started the process of making the movie, was there ever any temptation to make it as crazy and bizarro as possible, which would make it much less accessible to a mainstream audience?

Heidecker: From a superfan’s perspective, they might be like, “Hey, you made this traditional movie!” In that sense, we kind of found a middle ground. We knew we couldn’t get the movie made if it was just going to be completely out-the-window bonkers. And that’s probably not a movie we’d really want to make anyway. We wouldn’t want to spend all that money and all that time and all that opportunity to kind of wank off.

Photo courtesy Magnet Releasing

A lot of the people in the movie have also been part of the show, but there were also people who have been part of the show who weren’t in the movie. How did you go about choosing which of your regulars would be part of this project?

Wareheim: We sort of wrote the characters, then kind of assigned people to those characters. It was just whoever fit. There was a lot of people who didn’t get in there and a lot of people who wanted to get in there.

Heidecker: There was just too many people we wanted to have in the movie, but there just weren’t enough places for them. We didn’t want it just to be a parade of cameos necessarily. So it was just striking a balance and we hope if we get to make another movie we’ll include other people. This isn’t meant to be a time capsule of all the things we care about.

If you got an opportunity to do other films, would you want to keep this continuity or would you want to collaborate on something that went in a different direction?

Wareheim: We’d love to make another Tim and Eric movie or something in the style of this.

Heidecker: It’s kind of weird because the way this movie ends, I’m not sure how you’d continue because there’s the ending of the movie within the movie and there’s this other ending. So I don’t know if it would continue from the screening room or from the mall. So we can kind of do whatever we want.

If you actually had a billion dollars to make a movie, what would you do with the money?

Heidecker: We’d give probably 99 percent of it away. The problem with having lots and lots of money for a movie is that’s somebody else’s money. So they’re going to want it back and they’re going to try to fuck with it to make it as successful to the most people as possible.

This movie is obviously still grounded in your aesthetic, but how big of an adjustment was it to be using different kinds of equipment and a different tool set from your Adult Swim process?

Heidecker: We had made these two short films, Father and Son and The Terrys, for Funny or Die. The process isn’t that different when you’re doing short stuff versus long stuff. It’s just more days. The general fundamentals of filmmaking still apply. So that was pretty much it. We had great producers, a great cinematographer… That’s what ended up mattering was having a great team. We had a couple of people who had made a movie before, so they knew some of the workings arounds of all the technical stuff. So it was just trusting your instincts, working with good people, making sure things were in focus.

Is there anyone you haven’t already had on the show or otherwise collaborated with that you think has a similar aesthetic or that you’d like to work with?

Heidecker: We’ve talked about doing stuff with Peter Serafinowicz and Robert Popper from England who do the Look Around You show. But everybody’s stuff is so personal that it’s hard to even consider working with other people. As far as talent, we’ve worked with everybody we wanted to work with. There are a couple of people like Christopher Guest that I think would be too intimidating and nerve racking.

Wareheim: Tosh. I’ve been tweeting with Tosh.

You just need a viral video.

Wareheim: I’ve submitted tons. Trust me.

Tim and Eric’s Billion Dollar Movie. Written and directed by Tim Heidecker and Eric Wareheim. Starring Tim Heidecker, Eric Wareheim, Will Ferrell, John C. Reilly, Will Forte, Robert Loggia, Zach Galifianakis and Jeff Goldblum. Rated R. www.magnetreleasing.com/timandericmovie.

“The Lorax” spreads ecological message in colorfully animated adventure

Morality plays are at the center of all of Dr. Seuss‘ limerick-like tales of humanoid creatures in various fantastical settings. These morals are usually either universally accepted ideals that transcend most (if not all) political, religious and cultural boundaries, or are subtly conveyed through whimsical stories filled with colorful characters. The Lorax, however, has a clear environmental message that is made all the more apparent by its namesake, a grumpy little orange creature voiced by Danny DeVito whose existence is based solely on protecting the forest.

That message is made even more colorfully clear in Dr. Seuss’ The Lorax, which brings the story to life in computer animated 3-D. As has been done with previous Dr. Seuss adaptations, The Lorax is fluffed up with some back story explaining that Ted’s (Zac Efron) motivation for finding a real tree is to impress Audrey (Taylor Swift), the nature-loving hottie he’s pining for. But in Thneedville, where everything is plastic and a Napoleonic business man (Rob Riggle) has built an empire on bottled air sales, there is no nature.

At the urging of his Grammy Norma (Betty White), Ted sets out to find the Once-ler (Ed Helms), the only one who can tell him where to find a real tree. In much the same way the Grinch lives outside of Whoville’s society, the Once-ler is a hermit who lives in a boarded up mansion in the gloomy area outside of town. This recluse recounts the story of a young entrepreneur who set out to impress his oppressive hillbilly family by  mass producing the Thneed, a sweater-like garment that can actually be used for just about anything.

Made from the foliage of the forest’s Truffula Trees, which grows in spirals of flowing hair-like tufts in cotton candy pink and other pastels, the Thneed soon becomes the need of the nearby townspeople.  After initially cutting down a Truffula (the very act that summons the Lorax), the young man agrees to harvest the tufts of trees rather than continue chopping them down. But at the urging of his fickle family, he breaks this promise in order to keep up with supply and demand.

This simple act of defiance snowballs into typical human greed until there are no more trees in the forest, obviously leading to the present-day phoniness of Thneedville. When business ceases to blossom, his family deserts him (again) and the cute little forest creatures are forced to follow their Trail of Tears-like fate to a new forest, the young inventor watches the Lorax float away in disappointment and  is left alone in his big fancy house. Lesson learned the hard way, but there’s still room for redemption.

Luckily for Ted, the Once-ler has the last remaining Truffula seed. Though he’s initially hesitant about letting it go (especially after realizing that Ted’s biggest motivation is impressing a girl), the Once-ler finally gives Ted the seed, with instructions for him to plant the seed in the center of Thneedville. But O’Hare, who has been very Big Brother-like in his attempts to prevent his bottled air-buying townspeople from finding out that real trees create fresh air, has different plans.

Watching Ted race around on the oversized tire of his motorized unicycle thing while avoiding O’Hare’s goons is a lot of fun, and makes great use of the 3-D technology, which actually feels like part of the movie rather than something thrown in for added effect. Though much of Seuss’ magic is lost when all this extra stuff is added to his original story just to make it long enough to be a feature film, Illumination Entertainment (who also made Despicable Me and Hop) still does a great job of nurturing the whimsy and wonder of Seuss. And though most of the dialogue is not in Seuss’ signature rhyme, much of the story is told through musical numbers in which woodland creatures, fish, humanoids and other beings jovially convey pivotal plot points.

The Lorax‘s  ecological urgings are a bit heavy handed at times, which has already drawn criticism from some. But as the Lorax himself states, “A tree falls the way it leans. Be careful which way you lean.” Take such advice with an open mind and you’re likely not to lean too far in either direction. Somehow I think Seuss would be happy to know his message is still being spread, especially since this movie is being released on the 108th anniversary of his birth.

Dr. Seuss’ The Lorax. Directed by Chris Renaud and Kyle Balda. Starring Danny DeVito, Zac Efron, Taylor Swift, Ed Helms, Rob Riggle, Betty White and Jenny Slate. Rated PG. www.theloraxmovie.com.

Review by Jonathan Williams

Paul Rudd and Jennifer Aniston find themselves in “Wanderlust”

It's more than just the nudist tendencies of Wayne (Joe Lo Truglio) that George (Paul Rudd) is avoiding in "Wanderlust"

Sometimes it’s good to just get away from it all. Especially after you suddenly find yourself out of a job and unable to afford the tiny New York City apartment you just purchased with your wife, whose documentary about testicular cancer in penguins simply isn’t drawing any studio interest. But in Wanderlust it seems like things are going to work out just fine for George (Paul Rudd) and Linda (Jennifer Aniston) when George’s brother Rick (Ken Marino, who also co-wrote the script) gets him a job in Atlanta.

George and Linda pack their car and hit the road for a comically unnerving road trip that gives the couple enough alone time to open up about some of their frustrations with each other. Just when this road trip from hell reaches it’s breaking point, the couple happens upon Elysium, a free-spirited retreat where the first person they encounter is a nudist (Reno 911!‘s Joe Lo Truglio) who inadvertently causes George to flip his car over while trying to find his own retreat. Once they get past his free-flapping schlong, the couple ends up having a great time with the quirky characters that populate this Eden-like commune.

The couple somewhat reluctantly leaves for Atlanta the next day because they couldn’t possibly abandon their comfy city lifestyle for a place like this, right? After spending one night in the spaciously uncomfortable home of Rick and Marisa (a dolled-up Michaela Watkins, who masks her misery with margaritas and medication), George and Linda return to Elysium in hopes that they can find true happiness by living off the fat of the land with that free-loving bunch.

George (Paul Rudd) isn't quite as willing to drink Seth's (Justin Theroux) Kool-Aid as is Linda (Jennifer Aniston) in "Wanderlust"

Though it takes some getting used to, they soon feel like part of the Elysium family. But that comes with strains of its own as Elysium doesn’t believe in things like doors and privacy but does believe in things like swapping sexual partners. And when a woman like Malin Åkerman is nonchalantly saying things like, “Think about being inside of me,” the temptation is strong. And Seth (Justin Theroux), the unofficial (and somewhat Manson-esque) leader of this comical cult-like unit, proves that douchebags are douchebags, whether in a suburban Atlanta McMansion or in a hippie commune in North Goergia, as he aggressively pursues Linda while passive-aggressively belittling George.

These pressures eventually tear George and Linda apart, with Linda choosing to stay at Elysium while George returns to his depressing job at his brother’s portable toilet company. It doesn’t take him long to smell the proverbial shit, however, and he goes back to Elysium to win Linda back (despite her many shortcomings and relationship-destroying mistakes). And eventually everyone finds true happiness by attaining a balance between the comforts of city life and the freedom of their primal spirits.

Wanderlust. Written and directed by David Wain. Starring Paul Rudd, Jennifer Aniston, Justin Theroux, Malin Åkerman, Kathryn Hahn, Lauren Ambrose, Ken Marino and Alan Alda. Rated R. www.wanderlustmovie.net.

Review by Jonathan Williams

Woody’s walls crumble in “Rampart”

Dave Brown is the type of cop that makes people hate cops. He’s spent more than two decades playing fast and loose with the rules and abusing his authority, but is able to rationalize any of his actions as finding true justice. But in the wake of the Rampart scandal of the 1990s, in which dozens of officers were scrutinized for similar misconduct, Brown’s attitude is about to get him into serious trouble.

Stepping away from the comedic role he normally plays (his irreverent and endearing sarcasm is even present when he’s playing a serial killer or other such dramatic role), Woody Harrelson portrays Brown in Rampart in much the same way Denzel Washington played the bad cop in Training Day. Brown is, in many ways, like a cross between Washington’s Training Day persona and Michael Douglas’ Falling Down character. Brown’s ability to do heinous things while convincing himself he is justified in doing so is chillingly convincing thanks to Harrelson’s ability to immerse himself in the role without letting many of his Harrelsonisms shine through as they usually do.

But Brown’s dysfunctions aren’t exclusive to his profession. He has two daughters by two women who happen to be sisters, making the children siblings and cousins. And they all live in the same house, which is yet another example of Brown’s complexity. He’s a chain-smoking womanizer who, when questioned about his racism by another cop played by Ice Cube, contradicts his obvious racism with the fact that he has had sex with black women. Yet he’s charming enough that the mothers of his daughters (Anne Heche and Cynthia Nixon), for example, don’t object to living as one big unhappy family under the same roof. It all makes sense in his mind and he can usually make those around him go along with his rationalizations as well.

After another car unexpectedly smashes into Brown’s car while he’s on patrol, he is caught on tape giving the other driver a relentless Rodney King-like beatdown. The ’90s political landscape caused by Rampart isn’t the only blemish on Brown’s reputation as he is also known as “Date Rape” Dave after the death of serial sex offender was attributed to him a few years earlier (though never proven). All of this is used against him after the beating tape surfaces and the structured life Brown has manipulated for himself starts to unravel.

Things only get worse for him when his teenage daughter (Brie Larson) becomes increasingly defiant and his significant others tire of his negligence and kick him out of his own house. In Brown’s mind, everyone is out to get him. But in reality, he has brought all of this on himself and everything just happens to be imploding simultaneously. Though he plots a pretty effective strategy to get himself out of his bigger dilemmas, it seems that everyone has finally wised up to his conniving ways and his plans continuously backfire.

Despite his many shortcomings, it is ultimately his stubbornness that proves to be his biggest flaw. Even as he watches his personal and professional lives crumble before his eyes, Brown refuses to turn his frustrations inward in order to find the true source of his problems. Once a hero in his own eyes, Brown makes himself a victim to help him cope with the reality of what is happening. Sadly, he will never see that he is a victim, but of his own actions, which is what makes him a convincingly flawed character rarely examined as thoroughly as is done in Rampart.

Rampart. Written and directed by Oren Moverman. Starring Woody Harrelson, Ned Beatty, Ben Foster, Anne Heche, Ice Cube, Cynthia Nixon, Sigourney Weaver, Robin Wright and Steve Buscemi. Rated R. www.rampartmovie.com.

Review by Jonathan Williams

“Act of Valor” shows the heroism and hardships of real Navy SEALs

To my understanding, Act of Valor was originally to be a recruitment tool produced by the United States Navy in order to promote the Navy SEAL (Sea, Air and Land) program that evolved into a feature film. The SEALs are the elite of the elite. These guys are true badasses. Known as “operators,” these groups form a tight bond that is forged in combat and strengthened through hardship and time. Since a majority of the cast of Act of Valor is made up of active-duty Navy SEALs (whose real names are not revealed for obvious reasons), these hardships and bonds are on full display.

A Navy SEAL emerges from the water in "Act of Valor". Photo courtesy IATM LLC

Though the weaknesses in acting are noticeable, that doesn’t take away from the overall experience of the film. And there are some recognizable faces throughout the movie, but the meat and potatoes consists of the true operators. Watching the SEALs and actors interact is comparable to watching a truly athletic individual partake in a wrestling match for the first time: they’re not as good as those seasoned veterans, but you know that they are doing well.

One of the main points of the film (besides the kick-ass action) is the story of the families that these operators leave behind each time they leave for whatever remote location they are required to infiltrate to complete their next mission. One line in the movie says something along the lines of “these wives say goodbye to their husbands knowing that it might be the last time they ever see them again.” It’s hard to relate to these people and their situations unless you’ve personally experienced it in much the same way that most people can’t understand why wrestlers leave home to drive hundreds of miles for little pay unless they are wrestlers themselves. We do it for the love and passion; the SEALs do it because it is their job to protect our nation. They could choose to do something else, but they know that they belong and are doing the right thing. The difference is we are more than likely coming home after every trip, but they might not.

Lt. Rorke leaves for deployment in "Act of Valor". Photo courtesy IATM LLC

As a veteran who served more than eight years in the United States Army, what I appreciate in Act of Valor is that it’s not too overdone. It’s not over the top, it’s not a blow-as-much-shit-up-as-we-can kind of film, but the action is engaging and keeps your attention the whole time. One amazing moment in the film is when the sniper picks off one of the goons and before the body splashes into the water, another operator’s hands come up from under the water to gently pull him under. The communication and synergy between these SEAL Teams is unparalleled and quite amazing. I’ve seen it firsthand and it is truly a sight to behold.

I’m not going to give away any more of the film because I’d rather you see it and form your own opinions. But trust me, it is worth the trip and you will walk away with a different perspective on the military and the sacrifices that they make daily protecting our freedom.

Act of Valor. Directed by Mike McCoy and Scott Waugh. Starring Alex Veadov, Roselyn Sánchez, Nestor Serrano and Emilio Rivera. Rated R. www.actofvalor.com.

Review by dany only

Pat Young becomes a true “Guitar Hero” with Hero for the Heart

By Jonathan Williams

For the past few years, many video gamers have wasted countless hours living out their rock ‘n’ roll fantasies on Guitar Hero. But for Atlanta-based improv actor Pat Young, his heart is really in it when it comes to playing this game. In fact, Guitar Hero was one of the many things that made his relationship with his father that much more special.

Pat Young channels Axl Rose in Guitar Hero

Originally from Connecticut, Young moved to Atlanta after earning a theatre degree from Florida State University. The aspiring actor chose Atlanta over Orlando (“where I would have been owned by a big giant mouse”) as a stepping stone towards eventually pursuing a career in film and television in New York or Los Angeles. But after moving to the unfamiliar city, Young soon found himself once again turning to his father for reassurance.

“I was very close with my dad,” Young recalls. “He was very supportive of me and everything I did. I moved to Atlanta in 2006 and I didn’t have any friends or a job. I was doing OK until a week later when my car died. He ended up coming down to help me and a few months later came down to visit again. I was telling him about Guitar Hero, which had just come out. I told him it was the coolest video game I had ever seen. The next morning I found him playing ‘Smoke on the Water.’ I thought it was hilarious. It was just like the South Park episode.”

Over the next few years, Young got some of the acting and improv opportunities he was looking for. He’s been in Relapse Comedy Theatre productions such as History of the Devil and regularly appears in Stone Mountain Park productions like Dr. Busybody’s Boogiebot Blast, Wake the Bear and A Crossroads Christmas Carol. But while he was hitting high scores in his professional life, he was hit with a personal whammy when his father was stricken with a heart disease.

“He ended up passing away in November of 2009 from atherosclerosis,” says Young. “Before he died, we talked about making bucket lists and doing stuff we’d always wanted to do. I’d always wanted to break a world record [and] I wanted to try and do something that combined those three ideas: Guitar Hero, my dad and breaking a world record. And I wanted to maybe help other people who are going through or have experienced heart disease.”

Hero for the Heart logo by Joanna Davidovich (www.cupojo.net)

Beginning at noon on Feb. 23, Young will attempt to set a new Guinness World Record for playing Guitar Hero with an event called Hero for the Heart, a benefit for the American Heart Association. The current record is a little longer than 50 hours, but Young plans on playing for 72 hours on the stage of the Horizons School‘s theater, with a goal of raising $5,000 in the process. And the timing couldn’t be better – Young’s father’s birthday would have been Feb. 26, and February is American Heart Month.

“I will be playing Guitar Hero the entire time,” he says. “There will be other people jumping in from time to time and there will be people playing online as well. But I’m the only person that is going to be playing for 72 hours.”

But even if you aren’t into Guitar Hero, there will be other ways to help the cause. Hero for the Heart will also include a silent auction featuring art by the likes of Stephanie Anderson of Neon Armour body painting, and there will be different contests throughout the event with prizes such as Guitar Hero bundle packs, DJ Hero items and, for the person who donates the most money to the cause, the Golden Fiddle Award, a Les Paul controller custom painted by Young, who is becoming a true Guitar Hero over the next three days.