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Latest setlist, cheech & chong on september 22, 2019.

Roy Thomson Hall, Toronto, Ontario

Note: Special Guest: Shelby Chong.

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There have been many successful comedy pairings over the years, but few have been as successful or long lasting as the comedic partnership between Richard ‘Cheech’ Marin and Tommy Chong. Cheech and Chong have successfully turned their hand to various forms of comedy, including stand up, film, television, literature and music, over the years and each medium they work with seems to gel and mould with the others. Their music, or rather comedic songs, seems to be the most malleable, working its way into almost every project the guys work on.

Cheech and Chong are known for their stoner ways and stereotypically-hippy lifestyles, and as such make great fodder for the guys’ comedic tracks. Marijuana and other drug references have always been prominent themes within their music, with titles such as “Marijuana”, “Up in Smoke”, “Let’s Make a Dope Deal” and “Trippin’ in Court” all making very specific references to some of the guys’ favourite pastimes. Their ballsiness and silliness in their music has always worked well, and continues to be a hit in their live concerts today.

When performing live on their most recent tour dates, you’d never know that the guys had spent any time not performing together. Their ease with each other onstage speaks volumes about their friendship, and how in sync their brains and sense of humour are. You are guaranteed to always see diehard fans of the pair at any of their shows and these fans will 100% know every word to songs like “Basketball Jones”, “Earache My Eye” and “Hitchhiking.” Cheech and Chong are a classic comedy pair and you should definitely see them live!

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Cheech & Chong Return for One ‘Last Movie’

By David Fear

Tommy Chong has his cellphone pressed up tight against his ear, trying to find out where the person on the other end of the line is; at 85, his hearing isn’t what it used to be. Sitting across from him in the booth of a restaurant, located right off the lobby of an extremely busy hotel in downtown Austin, Texas, is Richard Marin. The 77-year-old actor is usually known by his nickname, “Cheech,” and he’s perusing the menu while his longtime partner loudly issues directions regarding where to meet up later. Marin orders taquitos, and will spend the rest of lunch generously offering up his meal to everyone at the table. Sitting right between the two of them is filmmaker David Bushell, who is asking what it’s going to take to get Cheech & Chong into the Rock & Roll Hall of Fame. No comedians have ever been nominated, he points out, but these guys are as rock & roll as anyone else who’s been inducted. If not them, then who?

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The fact that no one had ever made the definitive portrait of Cheech & Chong before is, frankly, ridiculous, given how much ground these two guys have covered over a 50-plus year career. “It’s kind of a no-brainer,” Bushell says. Both guys nod in agreement as well. A longtime producer ( Sling Blade, Eternal Sunshine of the Spotless Mind, Dallas Buys Club ), Bushell had been talking to Robbi Chong, Tommy’s daughter about a possible “reunion” film back in the early 2000s. The plan was to make a traditional Cheech & Chong comedy along the lines of Up in Smoke ; a number of obstacles, not the least of which was Chong going to prison in 2003, stalled the project.

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“I remember I was with Johnny Taylor in London,” Chong recalls, “and we’d just done a gig with Jimi Hendrix. We’re all talking about what a fantastic musician he was, and for some reason, I just blurted out, ‘I’m going to be bigger than him.’ The conversation just stops dead. Everyone is staring at me. Finally, the drummer goes, ‘So you’re going to be a better guitarist than Jimi Hendrix?’ And I said, I didn’t say better — I said bigger. I don’t know why I felt that why, I just did. Then later, when I met Cheech, it was immediately like: Oh, now I know why I felt that. This was the reason.”

“The thing is, there were so many coincidences that happened,” Marin says. “Like the fact that I ended up in this small Canadian town where Tommy grew up. I kept hearing about this Chong guy, because he was the most famous musician who’d come from there. His name was in my ear all the time. Then I get to Vancouver, I see ‘Tommy Chong’ on a poster for a club, and it’s like, Oh! It’s that guy!”

“I don’t think you realized who I was right away,” Chong counters. “But we immediately started talking about childhood, drugs, the draft. Cheech didn’t tell me who he was, because he was careful of saying too much due to his situation in the States….”

“I’d seen Second City, and The Committee in San Francisco, so were trying to be like those guys,” Chong interjects. “— and they were performing in this topless bar,” Marin continues. “It was like hippie burlesque.”

“Never been done before,” Chong says.

“Never been done before,” Cheech echoes. “Or since! I joined, because I thought it was hilarious. And then when it just became us …we had a set of common references. I grew up steeped in R&B music, and Tommy played it. I grew up in a Black neighborhood, and Tommy moved in that world. If I mentioned something for a sketch or a bit, I knew he’d get it. ‘Oh, yeah, I know what you’re talking about — what if we did this with it?’ Then we’d go onstage, and it would just sort of happen. And the idea of the hippie generation being portrayed by this Chicano lowrider and this half-Chinese dude, and representing different aspects of America? I got that right away.”

“The humor was not intellectual,” Chong adds. “That’s why stoners and grade school kids both liked it. I mean, you take something like the Sister Mary Elephant character” — he suddenly goes into her nasally voice, familiar to anyone who owns their 1972 album Big Bambu — “‘Class? Claaasss ? Claaaaassssssss ?!’ You didn’t have to be a genius to find it funny.”

“It takes a certain kind of person to tell a joke that’s both brilliant and stupid simultaneously,” Cheech notes. “It’s not easy. And if you can put those things together, everybody gets it.”

As Last Movie winds through their timeline, you see how their ability to riff off of each other informed pretty much every aspect of their career. When they went from being a stage act to recording albums, the creative process wasn’t much different: take an idea, run with it and see where it goes. The movie goes into how they came up with their breakthrough bit, “Dave’s Not Here” — essentially, Cheech was stuck outside the studio on a sweltering day, continually knocked on the door to get let back in, and Chong just kept fucking with him in real time. “That was basically our rehearsal,” Chong says. “I had one of those tiny recorders going, and I wish I still had that rehearsal tape. It was even funnier than the version we cut in the studio a few hours later.”

When the two transitioned their signature “Pedro and Man” act to the movies, they came up with a blueprint for a story that left room for them to just do their thing. “The word on Up in Smoke was, ‘ Cheech and Chong are making a movie, and there’s no script.’ That was bullshit, because there was a script — I know because I wrote it! Cheech and I hashed out the premise, but then we hired a bunch of folks from Robert Altman’s movies and other actors who knew could improvise. Tom Skerritt was from MASH ; Stacey Keach and Strother Martin were great with just rolling with whatever. That was how we made comedy, so….”

Cheech & Chong were already stars. Up in Smoke made them stratospheric. “Luckily for us, we had a producer who made sure we didn’t get too big,” Chong says.

“What he means is, the guy stole our money,” Cheech adds.

“When we on the road or recording, we had money coming in,” Chong says. “When we just making the movie — no money coming in. Later, I got sued over a ‘loan,’ and we discovered some hanky panky was going on, which I can’t talk about because we ended up settling. But I like to think that because we were practically broke, it kept us working a lot, and that’s why we have the legacy we do today.”

“That’s a very nice way of looking at it,” Cheech says, diplomatically.

The duo kept making movies together until the mid-1980s, at which point they decided to go their separate ways. The fact that Chong was now the de facto director of their films had upset the balance of power. And the sort of Dope-and-Crosby double act they’d perfected for the screen was becoming stifling. Marin recalls a story about making Born in East L.A. , the 1987 movie that he made based on his his parody of Bruce Springsteen’s “Born in the USA.” He showed a rough cut to a journalist, “because I just needed some feedback. The guy asked me a question, I answered him, and then he just stares at me. Doesn’t say a word. Finally, I said, ‘What’s going on?’ And he replied, ‘You don’t speak with an accent?!’ Like, he believes I’m really that guy. I thought, I can’t do this anymore.”

The idea was to use those sequences to transition from one segment or era to the next. Chong, for his part, was game to go along. (“Potheads have bad memories, so I thought, ‘Put us in a car together? That seems new, let’s try it,'” he jokes.) Marin wasn’t so sure, but eventually agreed. Bushell, however, was also hoping that these scenes would give them the space to talk openly with each other — “to trap them in one spot and poke them with a fork a little to see what comes up.” The result is a little like sitting in one someone’s couples-counseling session. The two comics bicker and bring up old grudges. It’s uncomfortable, but also remarkably honest in the best possible way.

Chong acknowledged that filming those sequences was “painful.” But both of them admit it makes the doc better, and underlines a key part of their relationship. “There was a discussion that Dave and I had,” Cheech says. “He wanted me to put my arm around Tommy at one point, and I was like, I’m not doing that. Because it’s didn’t feel true to me. I had to say, Look: Tommy and I are not best friends. We’re brothers. There’s a difference. And the thing about brothers is, you don’t always like each other. You get into vicious fights. But you always have your brother’s back. And that’s what those scenes are.”

The two talk some more, reminiscing about the old days and musing about the fact that you can now walk into a dispensary and buy high-quality weed products — including some that bear their name. (“We always acted like pot was legal,” Cheech says. “Because everywhere we went, and when we were with the people we were hanging out with, it was legal! Everyone else just caught up to us.”) Then they get ready to leave, so they can rest up before they do a surprise appearance in a local club and treat an enthusiastic audience to a rendition of “Mexican-American” from 1980’s Cheech and Chong’s Next Movie.

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So even after all that time, it was just like riding a bike?

“It was like fucking a bike, which is kind of like riding a bike but is even better,” Marin says, and he his partner both crack up. “Neither of us had to think about it. We just did it. It’s just part of our shared DNA now.

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• August 13, 2022 Setlist

Cheech & Chong Setlist at Saban Theater, Beverly Hills, CA, USA

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Cheech & Chong Gig Timeline

• Sep 22 2019 Roy Thomson Hall Toronto, ON, Canada Add time Add time
• Oct 04 2019 Southern Alberta Jubilee Auditorium Calgary, AB, Canada Add time Add time
• Aug 13 2022 Saban Theater This Setlist Beverly Hills, CA, USA Add time Add time

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Cheech & Chong

____________________________________________________________________________________________________________________________

Cheech & Chong are a Grammy Award-winning comedy duo consisting of Richard "Cheech" Marin and Tommy Chong, who found a wide audience in the 1970s and 1980s for their films and stand-up routines, which were based on the hippie and free love era, and especially drug culture movements, most notably their love for cannabis.

Discography

Cheech and Chong to Present Global Icon Award to Red Hot Chili Peppers at VMAs (EXCLUSIVE)

Cheech & Chong will be on hand at this Sunday’s MTV Video Music Awards . The iconic stoner comedy duo will present the  Red Hot Chili Peppers with the Global Icon Award, per an MTV rep. The band is also scheduled to perform live at the 2022 MTV VMAs , which air Sunday, August 28 at 8. p.m. ET/PT from Prudential Center in Newark, New Jersey. 

The group’s past VMA performances include their 1992 debut with a rendition of “Give it Away,” a rocking performance of “Warped” in 1995 and their last show appearance in 2000, performing “Californication” before accepting the Video Vanguard Award.

According to a source, Johnny Depp was in consideration for the presenting role, but the band opted for Cheech & Chong. The comedy duo has been at it for five decades and appeared in seven films between 1978 and 1985, starting with “Up in Smoke.” 

If Depp does appear on the show in another capacity, it will come just a few months after winning his highly publicized defamation tria against ex-wife Amber Heard. The jury found that Heard had defamed Depp in her 2018 Washington Post opinion piece, which alluded to being a victim of domestic violence. However, the jury also found that Depp defamed Heard, through his attorney, while fighting back against her charges.

MTV today announced the latest addition to its VMAs performer lineup: Bad Bunny will perform from Yankee Stadium. He joins previously announced artists including Anitta, Blackpink, J Balvin, Jack Harlow, Lizzo, Måneskin, Marshmello x Khalid, Nicki Minaj and Panic! at the Disco; Kane Brown will headline the Toyota Stage.

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CHEECH & CHONG: STILL ROLLIN’—CELEBRATING 40 YEARS OF UP IN SMOKE

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Cheech Marin gives a tour of his new Cheech Center Chicano art museum in Riverside

RIVERSIDE, Calif. — When Cheech Marin walks through his new Chicano art museum in Riverside, he looks at each painting as if it was a long-lost friend.

What You Need To Know

The cheech marin center for chicano art and culture opens saturday in riverside the comedian and actor gifted 550 pieces of chicano art in his personal collection to the new museum its inaugural exhibit features 96 works from 34 artists works from frank romero and germs are among the paintings on display.

Marin stops and takes it in lovingly and calls out the painter by name.

“Judithe Hernandez. This is the one that got away,” Marin said of a large velvet painting of cubist beauties that gets its own wall at the new Cheech Marin Center for Chicano Art and Culture. “Oh, I love this one.”

Hernandez is not a household name. In fact, few of the artists at The Cheech are well known, which is exactly the point.

“You can’t love or hate Chicano art unless you see it, so my goal is to get as many as I can to see it,” said Marin, who — with more than 700 pieces in his collection — is believed to be the largest collector of Chicano art in the world.

Marin is better known as one half of the pot-addled comedy duo Cheech and Chong, but he has spent the last 30+ years cultivating an unparalleled collection of Chicano art. He recently gifted 550 pieces in his collection to the center that now bears his name. Five years in the making, The Cheech opens Saturday.

Located across the street from the Riverside Art Museum in a building that was once a library, the Cheech Center wows from the moment visitors walk through the front door. A giant depiction of the Inland Empire, rendered in a 26-foot-tall lenticular that shifts depending on what angle it’s viewed from, yields to a succession of galleries organized by theme.

The exhibit begins with a room of paintings that demonstrates a sense of community, like the painting of The Arrest of the Peloteros by Frank Romero, “depicting the time in Los Angeles when the city was going to clean up Echo Park and Silver Lake and get rid of all the street vendors because there weren’t other problems like gangs and drugs and prostitution,” Marin deadpanned.

Romero is one of the original Chicano painters and part of an LA-based collective called Los Four, which helped bring the Chicano art movement to national attention. The other three members of the group — Carlos Almaraz, Beto de la Rocha and Gilbert Lujan — are also represented in the inaugural exhibition at The Cheech, which features 96 works from 34 artists in Marin’s collection.

Marin’s interest in art started long before he began collecting as a bored kid at church. Raised Catholic in South LA, Marin went to mass every Sunday.

“It went on forever, and I would look at the ceilings and see paintings up there,” he said. “There’s guys in sheets, and they’re walking around in the clouds, and they’re barbecuing some guy in the corner. What? That’s what drew me to art. It had a lot of sides that caught my imagination.”

Now 76, Marin said he started learning about art because one of his cousins asked him to study it and tell him what he found out. That prompted him to visit the library and look through art books, learning everything he could about Picasso, Cezanne, Miro and other modern Western artists — at least in theory. It wasn’t until a school field trip to LACMA that he first got to see paintings up close.

“Most of the kids weren’t interested, but I was. You have to see paintings in person if you want to get the whole story because of the medium of paint,” Marin said. “I used to get up really close to see how they were done, and when the guard wasn’t looking, I would touch them.”

Marin didn’t learn about Chicano art until his second wife, painter Patti Heid, started taking him to contemporary galleries in the ‘80s. It was at the Robert Berman Gallery in Santa Monica where he learned about Chicano artists, such as photorealist John Valadez and Carlos Almaraz, best known for painting car crash scenes.

“I said, ‘These guys are good, man.’ It’s like hearing the Beatles for the first time. You know the Beatles, and you know what their stuff was built on: Chuck Berry and Elvis and Jerry Lee Lewis. But it was an English version of it. This was Western art but a Chicano version of it, so I recognized it right away.”

At the time, Marin had a string of hit movies under his belt. The money he made from “Up in Smoke,” “Nice Dreams” and other stoner classics put him in the right place at the right time to begin collecting. Stints voicing characters in animated films like “The Lion King,” “Cars” and “Coco” have kept him flush with cash, allowing him to continuously add to his stable.

Marin has always been a collector.

“Whether it was marbles or baseball cards or stamps, I had an affinity for collecting the whole set and putting them in order,” he said.

That affinity is now on display at The Cheech. What started with California-based ‘70s pioneers like graffiti artist Chaz Bojorquez, feminist muralist Yreina Cervantez and political painter Magu has expanded to works from Texas Chicano artists such as portraitist Cesar Martinez, noir painter Adan Hernandez and cityscape painter Jacinto Guevara — many of which are included in the inaugural exhibit at The Cheech.

“This is the first roll out,” Marin said, adding that it will take at least five years for the center to go through the hundreds of pieces he’s given the museum.

Marin said he personally knows all the artists he collects, and that he doesn’t collect just one piece from them, but several. He buys a painting when it haunts him in his dreams, he said.

Marin decided to start a museum because friends in the art museum world insisted he had to show his collection. For seven years, he toured part of it in the traveling exhibit “Chicano Vision: Painters on the Verge,” which featured 30 artists and traveled to 14 cities, including the Smithsonian in Washington, D.C.

Validated by that tour, The Cheech is a permanent museum that expands on the traveling show with dozens more artists and a permanent home. Marin said the city of Riverside approached him after the Riverside Art Museum showed his collection of Chicano works on paper.

“I don’t think I had even been to Riverside before we did a show here, but I saw right away it has all the foundations to build a really strong arts center,” he said. “We can accomplish a lot of things here.”

The Cheech Center is intended to be a locus of Chicano painting, sculpture and photography, though the emphasis with the inaugural exhibit is painting. Its 61,420 square feet of space is curated as an introduction to Marin’s collection.

“Our goal for the exhibition was to weave a narrative of Cheech as a collector and begin to tell a story of the art historical importance of the collection and some of the works,” said Maria Esther Fernandez, The Cheech’s artistic director.

While the basis of Marin’s collection is Chicano art from the ‘70s, during the Mexican-American civil rights movement, Marin’s collection also includes younger painters working today, including surrealist Jaime “Germs” Zacarias and barrio pop artist Cande Aguilar.

To help visitors get a better understanding of Chicano art, The Cheech will support research into the collection.

“Our goal is to learn more about each work and the artists represented but also develop a thoughtful and comprehensive acquisitions plan. We want to be a hub where we will have a pipeline of exhibitions for emerging to established and major artists,” Fernandez said.

Local artists from the Riverside area are among the emerging artists The Cheech intends to showcase.

“You want to encourage local artists,” Marin said. “Not long ago, all these Chicano artists were local artists that had to be promoted in order to be seen and recognized.”

Now, through The Cheech, they are.

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Cheech and Chong take fans along for one last trip in humorous documentary

Opening with the smoke of a joint slowly curling across the screen, “Cheech & Chong’s Last Movie” premiered at SXSW on Tuesday as a capsule of everything fans have loved about the comedy duo for decades. To add to the entertainment of seeing Cheech and Chong skits on the big-screen, the documentary included never-before-shared engaging details about their personal lives and the two’s roots. 

David Bushell directed the two hour documentary and produced it with Robbi Chong, Tommy Chong’s daughter. They told the story of Cheech and Chong through old news interviews, movie scenes, live performances, animations, photographs and individual new commentary from Richard “Cheech” Marin and Thomas Chong. Fitting to their personalities, the film sprinkled skits and jokes throughout to blur the lines between a comedy film and documentary.

The film began by detailing the two’s separate childhoods and early adulthood experiences that prefaced their meeting in 1968. Though they came from different backgrounds, both Chong and Marin developed an appreciation for entertainment early on with Chong performing in bands and Marin enjoying music and using his humor to manage difficult school environments as a kid. Adding to their childhoods, Marin and Chong goofily recounted their separate introductions to pot as young adults — a trademark theme for their characters. 

Eventually, Marin and Chong’s paths led them to meet in Vancouver, Canada. Chong owned a bar in Vancouver that put on a bizarre show that included a musician, a mime, strippers dancing and improv comedy on one stage. The film’s animations illustrate the absurdness of the act in the absence of photographs and footage. When Chong hired Cheech to write scenes for the act, they laid the foundation of mixing humor related to sex and substance the two were eventually known and loved for. 

Soon, the two moved to Los Angeles, California together to take on stand-up comedy and went by “Cheech and Chong” from then on. After fighting to work and struggling to get by and support their families,  producer Lou Adler picked up the pair and  helped them successfully become the first rock & roll comedians. In this second half of the story, recent Marin and Chong commentary explains how from their success and moving into the film industry, the two went down separate career paths because of rising tensions between them in the 1980s. Old interview’s of the two explaining their dynamic and funny scenes from their movies together such as the opening scene to “Up in Smoke” set to the song “Low Rider” by War balance with Marin and Chong’s commentary on their falling-out..

A side-skit of Marin and Chong present-day driving down a desert highway together disagreeing over who was in the wrong in their professional falling-out climaxes near the documentary’s end. Though they don’t come to a concrete agreement on what happened that led to their professional separation, they ultimately agree to not focus on the unimportant issue, and that their friendship prevails. The film closes with them dramatically walking together into a shack that holds a giant, blazing joint on its roof — a place that looks like the perfect hangout for Cheech and Chong. Ending in such a goofy but heartwarming way provided perhaps the perfect ending to the two’s last production together.

5 out of 5, man.  

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AVAILABLE PRODUCT LINES

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Drooler:  no nonsense here man, the name says it all. this line provides a euphoric, deeply relaxing, and oh so tasty experience. all you have to do is find a comfy seat, tokeup, and enjoy the drooler (just don’t forget a napkin.).

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Ahhberry: there's refreshing, and then there's ahhberry. this blast of berries to the face is full of surprises and always packs a delightful punch. .

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Yesca: if you’re going to name a line of cannabis products after an upholstery van made entirely of green goodness, then it better be good. luckily cheech & tommy took their time with putting this one together. citrus fruits, cracked black pepper, and a whole supporting cast of flavor magically blend together to surprise even the smokiest of smoker pallets..

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COSMIC:   Legend says that the first time someone concentrated THC, Cheech & Chong were the first to try it. True or not, the Legends know concentrates and this product line is the intergalactic roundtrip through the cosmos. Strap in and enjoy the ride man!

Products: sugar, badder, diamonds, sauce, shatter, bubble hash & disposable carts.

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