1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:11,639 Speaker 1: next episode of hollywood Land to drop. 5 00:00:12,680 --> 00:00:13,119 Speaker 2: I got you. 6 00:00:13,960 --> 00:00:29,680 Speaker 1: Welcome to hollywood Land, the Rap Party. Welcome to the 7 00:00:29,720 --> 00:00:33,360 Speaker 1: hollywood Land bonus episode. That's right, it's the Rap Party. 8 00:00:33,680 --> 00:00:35,400 Speaker 1: This is where you come to hang out. After that 9 00:00:35,479 --> 00:00:38,479 Speaker 1: last camera rolls, after the gate is checked, the director 10 00:00:38,479 --> 00:00:41,360 Speaker 1: calls cut, and the studio lot empties out. On this 11 00:00:41,479 --> 00:00:44,639 Speaker 1: bonus episode, we are talking about this week's full episode 12 00:00:44,680 --> 00:00:48,480 Speaker 1: subject of hollywood Land, John Belushi. We are previewing next 13 00:00:48,520 --> 00:00:52,919 Speaker 1: week's episode on Bruce Lee. We're talking movie and music recommendations, 14 00:00:53,320 --> 00:00:56,040 Speaker 1: and we're going to check out your voicemails, texts, dms, 15 00:00:56,120 --> 00:01:14,240 Speaker 1: and emails. So come on, everybody, let's party. Back in 16 00:01:14,280 --> 00:01:17,199 Speaker 1: the summer of nineteen seventy eight, the weekend of July 17 00:01:17,319 --> 00:01:19,840 Speaker 1: twenty eighth, to be exact, the number one movie at 18 00:01:19,840 --> 00:01:23,520 Speaker 1: the American box office was the College Frat comedy Animal House, 19 00:01:24,280 --> 00:01:27,160 Speaker 1: and then seven months later, in February of nineteen seventy nine, 20 00:01:27,280 --> 00:01:30,440 Speaker 1: the number one album in America was Briefcase of Blues 21 00:01:30,720 --> 00:01:33,480 Speaker 1: by the Blues Brothers. Now, I'm sure you already know 22 00:01:33,520 --> 00:01:36,959 Speaker 1: the common denominator here between those two things. John Belushi 23 00:01:37,040 --> 00:01:39,559 Speaker 1: starred in Animal House, and of course he was also 24 00:01:39,600 --> 00:01:42,720 Speaker 1: a member of the Blues Brothers band, which means that 25 00:01:43,040 --> 00:01:45,679 Speaker 1: immediately after John Belushi had the number one movie in 26 00:01:45,720 --> 00:01:48,120 Speaker 1: the country, just over a half a year later, he 27 00:01:48,160 --> 00:01:50,800 Speaker 1: had the number one album in the country, all while 28 00:01:50,840 --> 00:01:53,280 Speaker 1: he was still a cast member in his fourth and 29 00:01:53,360 --> 00:01:56,960 Speaker 1: final season of Saturday Night Live. Now, SNL was not 30 00:01:57,040 --> 00:01:58,840 Speaker 1: the number one TV show at the time. I'm not 31 00:01:58,840 --> 00:02:00,640 Speaker 1: sure it's ever been the number one on TV show. 32 00:02:01,000 --> 00:02:03,760 Speaker 1: That honor back in nineteen seventy eight nineteen seventy nine 33 00:02:03,880 --> 00:02:07,000 Speaker 1: was given to sitcoms like Laverne and Shirley and Three's Company. 34 00:02:07,320 --> 00:02:11,640 Speaker 1: But SNL was culturally relevant, revolutionary even and also arguably 35 00:02:11,720 --> 00:02:15,720 Speaker 1: at that time still a sharp piece of counter culture entertainment. 36 00:02:16,000 --> 00:02:18,960 Speaker 1: Which means that John Belushi, with his number one movie 37 00:02:19,080 --> 00:02:22,040 Speaker 1: and number one album, and also with his status as 38 00:02:22,080 --> 00:02:24,880 Speaker 1: a not ready for primetime player, had one foot in 39 00:02:24,880 --> 00:02:27,400 Speaker 1: the world of mainstream culture and the other in the 40 00:02:27,400 --> 00:02:30,560 Speaker 1: realm of the anti mainstream. These days, it would be 41 00:02:30,800 --> 00:02:32,840 Speaker 1: one or the other. You start as an indie, as 42 00:02:32,880 --> 00:02:36,280 Speaker 1: a subversive, as anti mainstream. Maybe then you cash the 43 00:02:36,360 --> 00:02:39,240 Speaker 1: check and you graduate to mass commercial appeal and leave 44 00:02:39,280 --> 00:02:42,200 Speaker 1: all that indie shit behind you. John Belushi, perhaps more 45 00:02:42,240 --> 00:02:46,079 Speaker 1: than any other performer in modern times, had both simultaneously. Okay, 46 00:02:46,440 --> 00:02:48,799 Speaker 1: that would be like if Adam Sandler released an album 47 00:02:48,840 --> 00:02:52,320 Speaker 1: on Matador Records later this fall, after Happy Gilmour II 48 00:02:52,520 --> 00:02:55,200 Speaker 1: comes out on Netflix, and look before you come out 49 00:02:55,400 --> 00:02:57,880 Speaker 1: for that comparison. Yes, I know that having a record 50 00:02:57,919 --> 00:03:00,760 Speaker 1: a Matador is very different from having a show on NBC, 51 00:03:00,919 --> 00:03:03,880 Speaker 1: no matter how counterculture that show is. But in terms 52 00:03:03,880 --> 00:03:07,280 Speaker 1: of an artist retaining their indie cred while also dominating 53 00:03:07,320 --> 00:03:10,000 Speaker 1: the charts, that seems like an elusive goal. 54 00:03:10,120 --> 00:03:10,400 Speaker 2: To me. 55 00:03:11,080 --> 00:03:12,840 Speaker 1: It's probably not even a goal. I don't think it's 56 00:03:12,840 --> 00:03:15,679 Speaker 1: something you can manufacture, just as I don't think that 57 00:03:15,760 --> 00:03:19,120 Speaker 1: John Belushi set out to become a triple threat, but 58 00:03:19,200 --> 00:03:21,400 Speaker 1: he was. Now, if you go and look up the 59 00:03:21,440 --> 00:03:24,560 Speaker 1: definition of a triple threat, you'll likely get the old 60 00:03:24,600 --> 00:03:27,960 Speaker 1: school definition, which is an entertainer who can sing, dance, 61 00:03:28,080 --> 00:03:30,760 Speaker 1: and act. Think of the Sammy Davis Juniors or the 62 00:03:30,840 --> 00:03:34,000 Speaker 1: Gene Kelly's of the world. A real vaudeville into early 63 00:03:34,040 --> 00:03:37,320 Speaker 1: Hollywood sense of the term. But I'm talking triple threat 64 00:03:37,360 --> 00:03:41,200 Speaker 1: here in the sense that John Belushi dominated movies, television, 65 00:03:41,320 --> 00:03:44,320 Speaker 1: and music all at the same time, and he did 66 00:03:44,360 --> 00:03:47,720 Speaker 1: so in a quantifiable way. Gene Kelly may have been 67 00:03:47,720 --> 00:03:50,400 Speaker 1: a triple threat in his own way, but he didn't 68 00:03:50,400 --> 00:03:52,480 Speaker 1: have a number one movie and a number one album 69 00:03:52,480 --> 00:03:54,120 Speaker 1: at the same time that he was in one of 70 00:03:54,160 --> 00:03:57,680 Speaker 1: the most groundbreaking TV shows of his time. But John 71 00:03:57,680 --> 00:04:00,240 Speaker 1: Belushi did, and for a period of time, as brief 72 00:04:00,280 --> 00:04:02,920 Speaker 1: as it was, he was a juggernaut of an entertainer, 73 00:04:03,160 --> 00:04:07,880 Speaker 1: highly influential, highly bankable. And yet when you think about influential, 74 00:04:07,960 --> 00:04:10,880 Speaker 1: bankable movie and music stars from the late seventies, who 75 00:04:10,960 --> 00:04:14,520 Speaker 1: do we think about Christopher Reeve and Superman, John Travolta 76 00:04:14,560 --> 00:04:19,640 Speaker 1: and Greece, Blondie Chic The Beg's. John Travolta, for one, 77 00:04:19,839 --> 00:04:22,400 Speaker 1: is an interesting comp because he was in the hit 78 00:04:22,440 --> 00:04:25,159 Speaker 1: TV show Welcome Back Carter as well as a number 79 00:04:25,200 --> 00:04:27,680 Speaker 1: one movie, Grease, and the soundtrack to that movie, which 80 00:04:27,720 --> 00:04:30,320 Speaker 1: Travolta sang on, also went to number one. But I 81 00:04:30,360 --> 00:04:33,080 Speaker 1: guess my point here is that at the time John 82 00:04:33,080 --> 00:04:36,080 Speaker 1: Belushi existed on this elevated level along with all these 83 00:04:36,120 --> 00:04:38,760 Speaker 1: other big stars. He was culture at the end of 84 00:04:38,760 --> 00:04:40,919 Speaker 1: the seventies in a way that was so impactful. 85 00:04:41,279 --> 00:04:43,359 Speaker 2: He was everywhere. But where is he today? 86 00:04:43,680 --> 00:04:46,159 Speaker 1: How has time changed, how he is seen as a 87 00:04:46,200 --> 00:04:49,159 Speaker 1: triple threat? Is he even seen as a triple threat anymore? 88 00:04:49,880 --> 00:04:50,599 Speaker 2: What do you think? 89 00:04:50,960 --> 00:04:54,360 Speaker 1: Who were some of the greatest triple threat entertainers from 90 00:04:54,360 --> 00:04:58,480 Speaker 1: Hollywood history whose impact and legacy had perhaps fallen by 91 00:04:58,480 --> 00:05:00,760 Speaker 1: the wayside a bit. Are there any the actors working 92 00:05:00,760 --> 00:05:03,360 Speaker 1: today who have one foot in the counterculture and the 93 00:05:03,400 --> 00:05:06,000 Speaker 1: other in the mainstream? I want to know? Call or 94 00:05:06,040 --> 00:05:08,760 Speaker 1: text me at six one seven nine oh six six 95 00:05:08,920 --> 00:05:12,320 Speaker 1: six three eight, send me an email at Disgraceslampod at 96 00:05:12,320 --> 00:05:15,040 Speaker 1: gmail dot com, or hit me up on the socials 97 00:05:15,080 --> 00:05:20,440 Speaker 1: at disgracelampod. Okay, speaking of threats, next week's subject here 98 00:05:20,520 --> 00:05:24,239 Speaker 1: in Hollywoodland, Bruce Lee was once perceived as a threat 99 00:05:24,279 --> 00:05:27,560 Speaker 1: by a grieving widow who suspected that Bruce has something 100 00:05:27,560 --> 00:05:30,039 Speaker 1: to do with the savage murder of his wife and 101 00:05:30,080 --> 00:05:32,679 Speaker 1: her friends. You do not want to miss this insane 102 00:05:32,720 --> 00:05:35,880 Speaker 1: story about how Bruce Lee was tangled up in the 103 00:05:35,880 --> 00:05:39,159 Speaker 1: Manson murders. In the next week's episode of Hollywood Land, 104 00:05:39,200 --> 00:05:42,120 Speaker 1: So stay tuned for that, and stay tuned here to 105 00:05:42,160 --> 00:05:45,360 Speaker 1: the Rap Party, because after this very short break, I'll 106 00:05:45,360 --> 00:05:47,599 Speaker 1: be back with my guy Jake Brennan, and we'll be 107 00:05:47,640 --> 00:05:51,159 Speaker 1: answering your dms, your emails, your texts and giving you 108 00:05:51,200 --> 00:05:52,080 Speaker 1: some recommendations. 109 00:05:52,400 --> 00:05:53,440 Speaker 2: Don't nobody go nowhere. 110 00:06:06,920 --> 00:06:10,719 Speaker 1: We are back Rap Party and full effect and real quick. 111 00:06:10,839 --> 00:06:14,280 Speaker 1: Just a friendly reminder Apple podcast listeners, make sure you've 112 00:06:14,279 --> 00:06:17,680 Speaker 1: got those auto downloads turned on for Hollywood Land. That's 113 00:06:17,720 --> 00:06:19,840 Speaker 1: the only way you can be sure that you're not 114 00:06:19,880 --> 00:06:22,320 Speaker 1: going to miss an episode. All right, joining me now 115 00:06:22,400 --> 00:06:26,200 Speaker 1: once again. Back it's the incredible Jake Brennan. What's happening, dude? 116 00:06:27,240 --> 00:06:30,560 Speaker 3: Not much man, chilling out, having myself, having myself a 117 00:06:30,560 --> 00:06:34,719 Speaker 3: good little little day. Tuesday, right, yeah, yeah, it is Tuesday. 118 00:06:35,120 --> 00:06:36,000 Speaker 3: I'm doing well. How are you? 119 00:06:36,640 --> 00:06:37,479 Speaker 2: I'm great. I'm great. 120 00:06:37,520 --> 00:06:40,840 Speaker 1: The sun is out, the temperatures up, spirits are high. 121 00:06:40,920 --> 00:06:41,960 Speaker 1: It's things are looking up. 122 00:06:42,000 --> 00:06:43,960 Speaker 3: Man. Love that. I love the PMA. 123 00:06:44,279 --> 00:06:47,560 Speaker 1: Yeah yeah, yeah. So you and I are about the 124 00:06:47,560 --> 00:06:50,880 Speaker 1: same age. You're a few years older. What do you 125 00:06:50,920 --> 00:06:55,360 Speaker 1: remember about late seventies early eighties popular culture when you 126 00:06:55,400 --> 00:06:58,240 Speaker 1: were younger? And where did like did John Belushi fit 127 00:06:58,240 --> 00:06:58,960 Speaker 1: into that at all. 128 00:06:59,040 --> 00:07:04,760 Speaker 3: For you, it was a constant fight to consume movies 129 00:07:04,960 --> 00:07:07,679 Speaker 3: that I was not allowed to consume by my parents. 130 00:07:07,720 --> 00:07:10,280 Speaker 3: And I recognize that in my oldest son right now, 131 00:07:10,320 --> 00:07:12,600 Speaker 3: it's all he wants to do is push the limits 132 00:07:13,160 --> 00:07:16,160 Speaker 3: and watch things that are that he thinks are inappropriate 133 00:07:16,240 --> 00:07:17,920 Speaker 3: for him. Now. He has a different idea of what 134 00:07:17,960 --> 00:07:22,920 Speaker 3: inappropriate is shit his age eleven than I did at 135 00:07:23,520 --> 00:07:27,239 Speaker 3: whatever age I was, early seventies, early eighties, I was younger, actually, 136 00:07:27,400 --> 00:07:32,160 Speaker 3: but I do remember John Belushi, having John Belushi being 137 00:07:32,240 --> 00:07:35,680 Speaker 3: part of all these different movies that I wanted to 138 00:07:35,680 --> 00:07:37,800 Speaker 3: see but I could not see. My parents would not 139 00:07:37,880 --> 00:07:39,680 Speaker 3: let me see. Well, my mother wouldn't put my father. 140 00:07:40,000 --> 00:07:43,320 Speaker 3: My father took me to the movie theater to see Neighbors, 141 00:07:43,440 --> 00:07:46,600 Speaker 3: which is a little movie John Belushi did with Dan 142 00:07:46,640 --> 00:07:49,200 Speaker 3: Aykroyd that not a lot of people had seen. And 143 00:07:49,280 --> 00:07:51,400 Speaker 3: I was thinking about this today in anticipation of coming 144 00:07:51,480 --> 00:07:54,640 Speaker 3: on here, and I don't think that I knew who 145 00:07:54,720 --> 00:07:57,120 Speaker 3: John Belushi was at that point. He was just some 146 00:07:57,360 --> 00:08:01,640 Speaker 3: weird guy in this weird movie. And then later on 147 00:08:02,000 --> 00:08:04,560 Speaker 3: he was the guy an Animal House, and when Cable 148 00:08:04,680 --> 00:08:07,360 Speaker 3: came to town, Animal House was one of those movies 149 00:08:07,400 --> 00:08:10,400 Speaker 3: that like you'd be blessed to catch, you know, it 150 00:08:11,240 --> 00:08:13,600 Speaker 3: was it was raunchy. People were talking about it all 151 00:08:13,600 --> 00:08:16,000 Speaker 3: the time. It was a period in my young childhood 152 00:08:16,000 --> 00:08:18,560 Speaker 3: where I had not yet seen it and I coveted it. 153 00:08:18,960 --> 00:08:21,840 Speaker 3: And Belushi, of course is you know, from a little 154 00:08:21,920 --> 00:08:24,440 Speaker 3: kid's perspective, he's really the star of that film. He 155 00:08:24,480 --> 00:08:27,000 Speaker 3: is from anyone's perspective, he's the star of that of course. 156 00:08:27,040 --> 00:08:29,160 Speaker 3: So that's those are my you know, SNL wasn't on 157 00:08:29,200 --> 00:08:34,040 Speaker 3: my radar at that point, but those two movies in particular, 158 00:08:34,120 --> 00:08:36,720 Speaker 3: and later I saw nineteen forty one on cable as well, 159 00:08:36,960 --> 00:08:38,880 Speaker 3: and you know, I just kind of liked it because 160 00:08:38,920 --> 00:08:40,680 Speaker 3: it was the Animal House guy that was really the reason. 161 00:08:40,800 --> 00:08:42,320 Speaker 2: Yeah, yeah, yeah, totally. Yeah. 162 00:08:42,480 --> 00:08:45,640 Speaker 1: SNL was a thing in our house early, not that 163 00:08:45,679 --> 00:08:47,480 Speaker 1: I was allowed to stay up and watch it when 164 00:08:47,480 --> 00:08:50,520 Speaker 1: I was younger, but I remember, I think, I just 165 00:08:50,520 --> 00:08:55,360 Speaker 1: remember my dad quoting stuff from Saturday Live. You know, 166 00:08:56,440 --> 00:08:58,920 Speaker 1: we don't have fries, only cheaps. That's sort of all 167 00:08:58,960 --> 00:09:01,760 Speaker 1: these like Belushi is an that my dad would say 168 00:09:01,840 --> 00:09:03,520 Speaker 1: and I'd be like, what are you talking about? 169 00:09:03,600 --> 00:09:05,880 Speaker 2: This sounds so funny, and I want to know what 170 00:09:05,920 --> 00:09:06,160 Speaker 2: it is. 171 00:09:06,200 --> 00:09:08,720 Speaker 1: And I still remember, and this is after Belushi was gone, 172 00:09:08,720 --> 00:09:10,920 Speaker 1: but I still remember the first night when I was 173 00:09:10,960 --> 00:09:13,120 Speaker 1: I forget how old I was, my dad was like, hey. 174 00:09:13,120 --> 00:09:15,480 Speaker 2: You want to stay up tonight with me? 175 00:09:15,720 --> 00:09:16,080 Speaker 3: Wow? 176 00:09:16,320 --> 00:09:19,320 Speaker 1: And it was like the just the gates opened, you know, 177 00:09:19,480 --> 00:09:21,439 Speaker 1: that Heaven's parted. It was pretty incredible. 178 00:09:21,520 --> 00:09:25,520 Speaker 3: So I do remember later on a little a little 179 00:09:25,520 --> 00:09:27,000 Speaker 3: being a little bit older. I don't know how old, 180 00:09:27,080 --> 00:09:29,120 Speaker 3: but I remember Blues Brothers was one of those movies 181 00:09:29,160 --> 00:09:33,640 Speaker 3: that was equally satisfying for kids, oh man, and our 182 00:09:33,679 --> 00:09:36,960 Speaker 3: parents totally absolutely, and that was that was the music 183 00:09:37,040 --> 00:09:40,680 Speaker 3: my parents love. My mother and my stepdad like Aretha Franklin, 184 00:09:40,800 --> 00:09:43,240 Speaker 3: Ray Charles, all that stuff, like they just ate that. 185 00:09:43,400 --> 00:09:45,440 Speaker 3: Those are the records we had in the house. I 186 00:09:45,480 --> 00:09:47,320 Speaker 3: didn't love that stuff at the time. I didn't see 187 00:09:47,320 --> 00:09:49,520 Speaker 3: any value in it. I just loved the dude from 188 00:09:49,760 --> 00:09:51,720 Speaker 3: Animal House. And all of a sudden, it was like 189 00:09:51,840 --> 00:09:55,360 Speaker 3: a new view at music that I thought was lame 190 00:09:55,440 --> 00:09:56,959 Speaker 3: that my parents liked, and I was all of a 191 00:09:56,960 --> 00:10:01,120 Speaker 3: sudden like, oh, Wretha Franklin is the a badass waitress. 192 00:10:01,240 --> 00:10:02,760 Speaker 3: I'm going to check this record out again. 193 00:10:02,880 --> 00:10:03,160 Speaker 2: You know what? 194 00:10:03,160 --> 00:10:04,599 Speaker 3: I mean, I can't have that effect on me. 195 00:10:04,840 --> 00:10:06,560 Speaker 2: Yeah, great gateway thing for sure. 196 00:10:06,880 --> 00:10:09,240 Speaker 1: Yeah, everybody out there listening, what do you what are 197 00:10:09,280 --> 00:10:12,960 Speaker 1: your earliest recollections of John Belushi? Do you did you 198 00:10:12,960 --> 00:10:15,760 Speaker 1: grow up with him? With his movies, TV shows, Saday 199 00:10:15,800 --> 00:10:18,360 Speaker 1: and Live. Let us know you know how to get 200 00:10:18,400 --> 00:10:20,920 Speaker 1: at us. You can call or text us six one 201 00:10:21,040 --> 00:10:24,040 Speaker 1: seven nine oh six sixty six three eight. You can 202 00:10:24,200 --> 00:10:28,120 Speaker 1: hit us up on the socials at disgrace lamppod. Let's 203 00:10:28,120 --> 00:10:30,640 Speaker 1: get into some messages here from some some Hollywoodland listeners 204 00:10:30,720 --> 00:10:34,720 Speaker 1: over on Instagram. We've been getting a lot of comments 205 00:10:35,000 --> 00:10:39,920 Speaker 1: consistently on our Jack Nicholson episode at ira X salor 206 00:10:40,200 --> 00:10:44,200 Speaker 1: Ira ira axeler ira exhaler fumus. Excuse me if I'm 207 00:10:44,880 --> 00:10:48,680 Speaker 1: mispronouncing any of that said, I think Jack deservely. 208 00:10:48,400 --> 00:10:50,680 Speaker 3: You're excuse, dude. That's a that's a crazy that's a 209 00:10:50,679 --> 00:10:53,720 Speaker 3: crazy handle. You're You're totally excused, Thank you, thank irak 210 00:10:53,760 --> 00:10:56,920 Speaker 3: seller fumis. With a couple of underscores thrown in just 211 00:10:56,960 --> 00:10:57,600 Speaker 3: to further. 212 00:10:57,400 --> 00:10:58,959 Speaker 1: There are some underscores. I'm not going to tell you 213 00:10:59,000 --> 00:11:01,720 Speaker 1: where they are, but they're in there all right. Anyways, 214 00:11:01,800 --> 00:11:05,120 Speaker 1: Ira ira X over here says, I think Jack deserves 215 00:11:05,160 --> 00:11:09,000 Speaker 1: a ten part series, which, yes, Ira X, if those 216 00:11:09,040 --> 00:11:12,280 Speaker 1: walls could talk right, referring, of course, to the walls 217 00:11:12,280 --> 00:11:15,960 Speaker 1: of Jack Nicholson's Mulholland Drive house. And not just because 218 00:11:15,960 --> 00:11:18,960 Speaker 1: of what happened with Roman Polanski, but Jack's house was 219 00:11:19,000 --> 00:11:23,840 Speaker 1: full of a rotating cast of Hollywood celebrities, partying, hiding out, 220 00:11:24,000 --> 00:11:26,200 Speaker 1: doing lots of things that honestly are never going to 221 00:11:26,200 --> 00:11:28,160 Speaker 1: be made public, because that was the whole point of 222 00:11:28,200 --> 00:11:30,360 Speaker 1: being a Jack's house is that you could go there 223 00:11:30,360 --> 00:11:32,040 Speaker 1: when you wanted to be out of the public eye. 224 00:11:32,559 --> 00:11:34,320 Speaker 1: Did you have a house like that growing up? You 225 00:11:34,360 --> 00:11:36,440 Speaker 1: could go hang out in a Jack. 226 00:11:36,360 --> 00:11:39,480 Speaker 3: Nicola's house called my parents' house if he wanted to 227 00:11:39,480 --> 00:11:41,520 Speaker 3: be out of the public eye. You know, it's funny. 228 00:11:41,520 --> 00:11:43,520 Speaker 3: I'm reading this book on Frank Sinatra right now, and 229 00:11:44,080 --> 00:11:48,280 Speaker 3: it's it's that's that was his Palm Springs. That was 230 00:11:48,320 --> 00:11:51,839 Speaker 3: a purpose of his Palm Springs, sorry, not as Palm 231 00:11:51,840 --> 00:11:55,600 Speaker 3: Spray's house, his the house he had near Encino, which 232 00:11:55,800 --> 00:11:59,439 Speaker 3: was his sort of party pad that was opposite his 233 00:11:59,520 --> 00:12:02,560 Speaker 3: Palm Springs house, which was his family pad. And it 234 00:12:02,920 --> 00:12:09,040 Speaker 3: just dawned on me, what a weird world. Fifty sixty seventies, 235 00:12:09,080 --> 00:12:12,720 Speaker 3: Hollywood was where media was so different. They could, like 236 00:12:13,040 --> 00:12:16,880 Speaker 3: a list, actors could really get away with having a 237 00:12:16,920 --> 00:12:19,360 Speaker 3: whole other, separate life almost. I'm not saying that you 238 00:12:19,440 --> 00:12:23,400 Speaker 3: know that Jack Nicholson was married and carrying on with 239 00:12:23,440 --> 00:12:25,240 Speaker 3: another family where the Frank Sinatra was at all, but 240 00:12:25,280 --> 00:12:27,080 Speaker 3: they had these I mean, last couple of weeks ago, 241 00:12:27,080 --> 00:12:29,560 Speaker 3: I was in la and I was in Betty Davis's 242 00:12:29,640 --> 00:12:33,160 Speaker 3: party house, like these stars had party houses, and I 243 00:12:33,160 --> 00:12:35,120 Speaker 3: had a meeting in one of these houses. And it's 244 00:12:35,160 --> 00:12:38,120 Speaker 3: just wild that they would have to take out other 245 00:12:38,160 --> 00:12:43,200 Speaker 3: mortgages essentially to house their debauchery. Just incredible stuff. 246 00:12:43,280 --> 00:12:48,040 Speaker 1: That reminds me of Harry Houdini's story about the two 247 00:12:48,080 --> 00:12:51,840 Speaker 1: houses across the street. And there's the supposedly these tunnels 248 00:12:51,840 --> 00:12:55,960 Speaker 1: that were built that people assumed him being a magician, 249 00:12:56,200 --> 00:12:58,920 Speaker 1: were these tunnels that he could escape from the house 250 00:12:59,160 --> 00:13:01,840 Speaker 1: when he performed tricks for people, But actually they were 251 00:13:01,960 --> 00:13:06,560 Speaker 1: escape tunnels for you know, mistresses and allegedly mistresses and 252 00:13:06,600 --> 00:13:08,720 Speaker 1: for people to sort of get in and out with 253 00:13:08,800 --> 00:13:09,720 Speaker 1: the illicit stuff, you. 254 00:13:09,720 --> 00:13:13,280 Speaker 3: Know, allegedly. You bring tunnels into any story and you 255 00:13:13,400 --> 00:13:16,719 Speaker 3: up the creep factor by a multiple of ten, and 256 00:13:17,520 --> 00:13:19,840 Speaker 3: it goes up from Harry Houdini all the way up 257 00:13:19,880 --> 00:13:25,080 Speaker 3: to Diddy search shirch Ditty tunnels on TikTok and it's 258 00:13:25,080 --> 00:13:26,640 Speaker 3: the darkest of holes. 259 00:13:26,640 --> 00:13:28,880 Speaker 1: Oh, I didn't know that Diddy was fucking with tunnels, 260 00:13:28,880 --> 00:13:29,760 Speaker 1: but it doesn't surprise me. 261 00:13:31,080 --> 00:13:33,240 Speaker 3: Supposedly, allegedly. 262 00:13:35,080 --> 00:13:38,040 Speaker 1: Also about Jack over on Instagram, this is one's easier 263 00:13:38,080 --> 00:13:41,360 Speaker 1: at Matt McCarthy sixteen. I can pronounce that one, Matt 264 00:13:41,400 --> 00:13:44,400 Speaker 1: McCarthy commented. Another surprise for Jack was finding out the 265 00:13:44,440 --> 00:13:48,600 Speaker 1: true identity of his mom and sister. Yes, Matt McCarthy, 266 00:13:48,679 --> 00:13:50,839 Speaker 1: out of all the wild Jack stories, that is one 267 00:13:50,840 --> 00:13:54,199 Speaker 1: of the wildest, the fact that you spoiler alert for 268 00:13:54,240 --> 00:13:57,840 Speaker 1: those who haven't heard, Jack thought that his mother was 269 00:13:57,920 --> 00:13:59,920 Speaker 1: actually his sister. And it wasn't until the mid seven 270 00:14:00,280 --> 00:14:02,720 Speaker 1: when he was in his late thirties that Jack found 271 00:14:02,720 --> 00:14:05,480 Speaker 1: out that his quote unquote mother was actually his grandmother 272 00:14:05,559 --> 00:14:09,160 Speaker 1: and then his quote unquote sister was his mother. Have 273 00:14:09,280 --> 00:14:10,800 Speaker 1: you when did you find out about this? Did you 274 00:14:10,800 --> 00:14:12,280 Speaker 1: find out about this when we did the research on 275 00:14:12,280 --> 00:14:14,280 Speaker 1: this episode or did you know this beforehand? 276 00:14:14,920 --> 00:14:17,160 Speaker 3: No, when we when we got into the episode, I 277 00:14:17,200 --> 00:14:19,360 Speaker 3: found out about it is. It is absolutely one of 278 00:14:19,360 --> 00:14:22,600 Speaker 3: the crazier stories you come across a bit of that 279 00:14:23,200 --> 00:14:27,720 Speaker 3: in you know, early to mid twentieth century history, the 280 00:14:27,800 --> 00:14:30,400 Speaker 3: sort of the closeness of age some of these some 281 00:14:30,480 --> 00:14:32,680 Speaker 3: of these families, some of these parents to their kids. 282 00:14:32,720 --> 00:14:34,320 Speaker 3: And I should say, you know, my mom is only 283 00:14:34,360 --> 00:14:36,960 Speaker 3: eighteen years older than I am. She she actually could 284 00:14:37,000 --> 00:14:40,320 Speaker 3: have perpetrated the same crime upon me, be closed as 285 00:14:40,400 --> 00:14:43,680 Speaker 3: my sister growing up. I probably would have bought it. 286 00:14:45,400 --> 00:14:47,840 Speaker 3: But no, I had no idea this sort of Jack 287 00:14:47,920 --> 00:14:50,640 Speaker 3: Nicholson law until we got into the into the research 288 00:14:50,720 --> 00:14:51,880 Speaker 3: for this subject. 289 00:14:51,640 --> 00:14:54,320 Speaker 1: And as well, when you think about I guess he 290 00:14:54,320 --> 00:14:56,360 Speaker 1: found out about it around the time that Chinatown came out. 291 00:14:56,360 --> 00:14:59,880 Speaker 1: In Chinatown has a very similar you know ending where 292 00:15:00,320 --> 00:15:03,280 Speaker 1: with the father and the sister and all that stuff. Anyways, Okay, 293 00:15:03,320 --> 00:15:06,560 Speaker 1: over on the telephone, that's the Hollywood Lands Slash Disgrace 294 00:15:06,680 --> 00:15:07,400 Speaker 1: lamb bat phone. 295 00:15:07,400 --> 00:15:07,800 Speaker 2: It's red. 296 00:15:07,840 --> 00:15:10,440 Speaker 1: It's one of those old school rotary phones housed in 297 00:15:10,440 --> 00:15:13,560 Speaker 1: this plexiglass. Is this plexiglass thing that you open up 298 00:15:13,560 --> 00:15:14,960 Speaker 1: and you pick up the phone. All right, that's not 299 00:15:15,000 --> 00:15:18,080 Speaker 1: true because those phones can't text, and we're getting text 300 00:15:18,120 --> 00:15:20,560 Speaker 1: from you guys like this one from Wrong and the 301 00:15:20,560 --> 00:15:25,160 Speaker 1: two three Ron texts. Love the pod idea for a 302 00:15:25,160 --> 00:15:29,480 Speaker 1: future story Don Simpson. Give him credit for bringing MTV 303 00:15:29,560 --> 00:15:33,360 Speaker 1: to the movies, producing Flashdance, Beverly Hills, Cop Top Gun, 304 00:15:33,600 --> 00:15:36,840 Speaker 1: Days of Thunder, Crimson Tide, and The Rock among others, 305 00:15:37,120 --> 00:15:39,960 Speaker 1: before his excess is led to an early death by OD. 306 00:15:40,720 --> 00:15:44,560 Speaker 1: There are also claims he was on a mob hit list. 307 00:15:44,880 --> 00:15:47,520 Speaker 1: A good source is the book High Concept, Don Simpson 308 00:15:47,560 --> 00:15:51,160 Speaker 1: and the Hollywood Culture of Excess rock a Rolla. First 309 00:15:51,200 --> 00:15:52,960 Speaker 1: of all, I love this idea and it got me 310 00:15:53,000 --> 00:15:55,600 Speaker 1: thinking about other producers from Hollywood history as well, like 311 00:15:55,720 --> 00:15:58,200 Speaker 1: Bob Evans and the like. But second of all, did 312 00:15:58,240 --> 00:16:00,480 Speaker 1: you know this Jake about Don Simpson being on a 313 00:16:00,520 --> 00:16:01,360 Speaker 1: mob hitless? 314 00:16:02,680 --> 00:16:04,840 Speaker 3: I had no idea, and this has got me thinking 315 00:16:04,920 --> 00:16:07,240 Speaker 3: our listeners are the best. This is incredible, This is 316 00:16:07,520 --> 00:16:12,160 Speaker 3: this is potentially great, great territory. First story here. I'm 317 00:16:12,200 --> 00:16:15,800 Speaker 3: fascinated first and foremost by what he's saying here with 318 00:16:15,800 --> 00:16:17,920 Speaker 3: bringing MTV to the movies, and I think he's talking 319 00:16:17,920 --> 00:16:20,360 Speaker 3: about the production value, like I think stopping the sort 320 00:16:20,400 --> 00:16:24,520 Speaker 3: of modern modernism of the eighties video culture and implementing 321 00:16:24,520 --> 00:16:27,200 Speaker 3: that into filmmaking. But I had no idea. I had 322 00:16:27,200 --> 00:16:30,240 Speaker 3: no idea the mob hitless curious as to why, curious 323 00:16:30,240 --> 00:16:32,960 Speaker 3: as to what Don Simpson did to get on the 324 00:16:33,000 --> 00:16:34,920 Speaker 3: wrong side of the mob. And I'm also interested too, 325 00:16:35,040 --> 00:16:39,000 Speaker 3: because how much influence did the mafia actually have in 326 00:16:39,040 --> 00:16:42,760 Speaker 3: Hollywood in the nineteen eighties. It was waning by that point, 327 00:16:42,800 --> 00:16:45,480 Speaker 3: but they certainly had more influence them than they have now, 328 00:16:45,640 --> 00:16:47,840 Speaker 3: perhaps not as much as they had in the forties, 329 00:16:47,880 --> 00:16:48,840 Speaker 3: fifties and sixties. 330 00:16:49,680 --> 00:16:50,560 Speaker 2: Good call, good call. 331 00:16:50,600 --> 00:16:54,400 Speaker 1: When did that whole thing go down, the the FBI 332 00:16:54,960 --> 00:16:57,120 Speaker 1: sting with the mob, where they got the mob involved 333 00:16:57,120 --> 00:16:57,560 Speaker 1: in the movies? 334 00:16:57,640 --> 00:17:02,040 Speaker 2: Was that in the eighties? Oh shit? Wait, know what 335 00:17:02,040 --> 00:17:03,400 Speaker 2: I'm talking about? The Boston thing. 336 00:17:03,600 --> 00:17:05,960 Speaker 3: Yeah, we got into this for a while. Yeah, yeah, 337 00:17:06,000 --> 00:17:07,840 Speaker 3: I think that was the eighties. I think that was 338 00:17:07,840 --> 00:17:09,640 Speaker 3: the eighties. Whatever happened to that story? 339 00:17:10,880 --> 00:17:14,840 Speaker 1: We it's still percolating, brother, We're gonna we'll get back. 340 00:17:14,840 --> 00:17:16,719 Speaker 1: Maybe we'll get back to it with Don Simpson. 341 00:17:16,720 --> 00:17:17,080 Speaker 2: I don't know. 342 00:17:17,800 --> 00:17:20,160 Speaker 3: Yeah, yeah, maybe let's not burn it here for sure? 343 00:17:20,240 --> 00:17:24,000 Speaker 1: All right, great, okay, so real quick to shifting gears here. 344 00:17:24,040 --> 00:17:26,119 Speaker 1: I just wanted to give a shout out to some 345 00:17:26,200 --> 00:17:28,560 Speaker 1: of our listeners who have been leaving reviews of hollywood 346 00:17:28,640 --> 00:17:33,480 Speaker 1: Land at places like Apple Spotify, like this review from 347 00:17:33,680 --> 00:17:38,879 Speaker 1: libster seventy two over on Apple. This is an amazing 348 00:17:38,960 --> 00:17:41,880 Speaker 1: that's all caps amazing podcasts. I just finished the David 349 00:17:41,920 --> 00:17:44,640 Speaker 1: Lynch episode. I liked it so much yesterday I'm going 350 00:17:44,680 --> 00:17:47,280 Speaker 1: back for a second helping today. I listened to this 351 00:17:47,560 --> 00:17:50,720 Speaker 1: and the sister podcast as Graceland Weekly. Between the new 352 00:17:50,720 --> 00:17:54,600 Speaker 1: original content bonus episodes and the rewine episodes, Jake and 353 00:17:54,600 --> 00:17:57,399 Speaker 1: the team of Double Elvis will keep you entertained all week. 354 00:17:57,800 --> 00:17:59,800 Speaker 1: You might just learn something along the way as well. 355 00:18:00,160 --> 00:18:03,160 Speaker 1: Rock and ROLLA Well, rock and ROLLA to you as well, 356 00:18:03,359 --> 00:18:06,119 Speaker 1: Libster seventy two. And remember if you rate and review 357 00:18:06,119 --> 00:18:09,639 Speaker 1: the show on Apple, Spotify, iHeart Amazon wherever you're listening. 358 00:18:10,080 --> 00:18:12,560 Speaker 1: That helps us with Discovery to get new listeners, to 359 00:18:12,680 --> 00:18:15,040 Speaker 1: grow and for us to keep on making all this 360 00:18:15,119 --> 00:18:17,760 Speaker 1: awesome content for all of you. So leave us some 361 00:18:17,800 --> 00:18:21,320 Speaker 1: reviews and send us your recommendations for future hollywood Land episodes. 362 00:18:21,880 --> 00:18:24,520 Speaker 1: Call us text us six one seven nine oh six 363 00:18:24,560 --> 00:18:27,840 Speaker 1: sixty six three eight, hit us up on Instagram, Facebook X, 364 00:18:28,119 --> 00:18:31,119 Speaker 1: send an email to Disgrace slampod at gmail dot com. 365 00:18:31,400 --> 00:18:32,960 Speaker 2: We want to hear from you. 366 00:18:33,680 --> 00:18:36,440 Speaker 1: And speaking of recommendations, Jake and I will be back 367 00:18:36,480 --> 00:18:40,119 Speaker 1: with our music and movie recommendations rate after this quick break, 368 00:18:40,200 --> 00:18:41,240 Speaker 1: so stick around. 369 00:19:00,400 --> 00:19:00,960 Speaker 2: Once again. 370 00:19:01,040 --> 00:19:03,760 Speaker 1: We are back Zeth Lundy here with Jake Brennan and 371 00:19:03,840 --> 00:19:06,120 Speaker 1: it's time for a little segment of the show. We're 372 00:19:06,119 --> 00:19:08,960 Speaker 1: calling for your consideration. This is the part of the 373 00:19:09,000 --> 00:19:12,840 Speaker 1: Rap Party that's all about recommendations. Music and movie recommendations. 374 00:19:13,080 --> 00:19:15,639 Speaker 1: But they are recommendations that have something to do with 375 00:19:15,680 --> 00:19:18,480 Speaker 1: the actor or actress or director or whoever we're covering 376 00:19:18,760 --> 00:19:21,320 Speaker 1: this week in our full episode of Hollywood Land. All right, 377 00:19:21,359 --> 00:19:23,960 Speaker 1: so we're gonna start with Jake and the music side. Jake, 378 00:19:24,000 --> 00:19:26,199 Speaker 1: I know that last week you touched upon John Belushi 379 00:19:26,240 --> 00:19:27,520 Speaker 1: a little bit. You kind of jumped the gun on 380 00:19:27,520 --> 00:19:29,679 Speaker 1: me a bit, But that's okay. It gives you a 381 00:19:29,760 --> 00:19:33,119 Speaker 1: challenge for this week. So what other music recommendations do 382 00:19:33,119 --> 00:19:36,720 Speaker 1: you have that you can sort of segment off from Belushi? 383 00:19:37,720 --> 00:19:41,280 Speaker 3: All right? Last week I talked about John Lee Hooker 384 00:19:41,480 --> 00:19:44,960 Speaker 3: jumping off of John Belushi, jumping off of Fatty or 385 00:19:44,960 --> 00:19:48,679 Speaker 3: a buckle gonna go in a different direction. Of course, 386 00:19:49,160 --> 00:19:50,919 Speaker 3: we may or may not know I don't know how 387 00:19:50,920 --> 00:19:54,000 Speaker 3: many of you know this, but in the early eighties, Fear, 388 00:19:54,160 --> 00:19:57,119 Speaker 3: the punk band, played on SNL. Right, Zeth, you're well 389 00:19:57,160 --> 00:20:00,400 Speaker 3: aware of this. Oh yeah, and you know leaving from Fear, 390 00:20:00,400 --> 00:20:02,960 Speaker 3: who's in a bunch of movies as well, and Belushi 391 00:20:03,080 --> 00:20:08,240 Speaker 3: was responsible for getting Fear the gig and complete mayhem 392 00:20:08,480 --> 00:20:11,159 Speaker 3: erupted when they played. All these kids started slam dancing, 393 00:20:11,160 --> 00:20:12,720 Speaker 3: and now you got to think, this is, like, Zeth, 394 00:20:12,760 --> 00:20:15,560 Speaker 3: what year is this, like eighty one something like that? 395 00:20:15,600 --> 00:20:16,080 Speaker 2: So early? 396 00:20:16,160 --> 00:20:19,000 Speaker 3: Ye, yeah, very early, so so early, and it was 397 00:20:19,040 --> 00:20:21,680 Speaker 3: like Thanksgiving or Christmas or New Year's I can't remember 398 00:20:21,720 --> 00:20:23,400 Speaker 3: what the date was, but it was it was a holiday. 399 00:20:23,560 --> 00:20:27,240 Speaker 1: Probably like percent of your TV viewing audience at home 400 00:20:27,280 --> 00:20:28,280 Speaker 1: and never seen. 401 00:20:28,560 --> 00:20:31,960 Speaker 3: Shit like that before, had never seen slam dancing before. Yeah, 402 00:20:32,080 --> 00:20:33,760 Speaker 3: and it just looked like a bunch of kids with 403 00:20:33,840 --> 00:20:36,880 Speaker 3: shaved heads, shaved heads and mohawks running into each other. 404 00:20:37,560 --> 00:20:41,800 Speaker 3: So the hardcore lore of this is that as Fear 405 00:20:41,920 --> 00:20:44,200 Speaker 3: was making their way up the Eastern seaboard to get 406 00:20:44,200 --> 00:20:46,040 Speaker 3: to the gig, they stopped in DC and they picked 407 00:20:46,080 --> 00:20:48,520 Speaker 3: up a bunch of hardcore kids, kids from bands like 408 00:20:48,760 --> 00:20:53,399 Speaker 3: Minor Threat, right so Spring and they brought them to 409 00:20:53,480 --> 00:20:55,440 Speaker 3: the gig so they could have a reaction, so they 410 00:20:55,920 --> 00:21:00,840 Speaker 3: for as there the band's television audience. Amongst SNL television audience, 411 00:21:00,840 --> 00:21:03,280 Speaker 3: there's also some New York cardcore kids in that crowd 412 00:21:03,400 --> 00:21:06,840 Speaker 3: as well, so I thought I would you know, for 413 00:21:06,880 --> 00:21:09,000 Speaker 3: those of you who are interested in hardcore, this is 414 00:21:09,040 --> 00:21:14,280 Speaker 3: a great introduction Visa v. John Belushi. And there's if 415 00:21:14,320 --> 00:21:15,800 Speaker 3: you want to hear some of the music made by 416 00:21:15,800 --> 00:21:17,800 Speaker 3: the kids in that crowd, the New York carcore compilation 417 00:21:17,920 --> 00:21:21,200 Speaker 3: on Revelation Records that came out and I believe nineteen 418 00:21:21,440 --> 00:21:24,439 Speaker 3: eighty nine, perhaps eighty eight. It's called Where the Wild 419 00:21:24,480 --> 00:21:27,159 Speaker 3: Things Are. It's a New York hardcore comp grab that. 420 00:21:27,320 --> 00:21:29,640 Speaker 3: There's also this book, Zeth you can see if it's 421 00:21:29,640 --> 00:21:32,240 Speaker 3: a book of photographs if you're interested in the DC 422 00:21:32,400 --> 00:21:35,800 Speaker 3: hardcore end of the spectrum. This is called bandon DC 423 00:21:36,040 --> 00:21:39,000 Speaker 3: Photos and Anecdotes from the DC Punk Underground nineteen seventy 424 00:21:39,080 --> 00:21:44,280 Speaker 3: ninety eighty five. These photos are incredible. I think Discord 425 00:21:44,520 --> 00:21:48,040 Speaker 3: Discord Records published this book. I'm not sure, but these 426 00:21:48,040 --> 00:21:50,480 Speaker 3: photos are amazing. It's the hr from the Bad Brains 427 00:21:50,480 --> 00:21:52,439 Speaker 3: there on the pod col A Bunch of these kids, 428 00:21:52,600 --> 00:21:56,040 Speaker 3: we're in the SNL audience rubbing shoulders up with John Belushi. 429 00:21:56,440 --> 00:21:59,440 Speaker 3: So there's that. I wanted to give a quick shout 430 00:21:59,480 --> 00:22:04,440 Speaker 3: out to Kathy Valentine via John Belushi as well Kathy 431 00:22:04,520 --> 00:22:06,720 Speaker 3: Valentine from The Go Gos, which we just published a 432 00:22:06,720 --> 00:22:10,080 Speaker 3: Gogos episode of Disgraceland, and this Belushi story didn't make 433 00:22:10,080 --> 00:22:13,560 Speaker 3: it into the episode, and I just loved this story. 434 00:22:14,119 --> 00:22:18,280 Speaker 3: Kathy Valentine from The Go Gos in her autobiography, she 435 00:22:18,440 --> 00:22:23,840 Speaker 3: goes to great lengths to explain her version of John Belushi. 436 00:22:24,040 --> 00:22:25,800 Speaker 3: She was tight with John Belushi, she was friends with 437 00:22:25,840 --> 00:22:29,080 Speaker 3: John Belushi. John Belushi became friends with Kathy Valentine because 438 00:22:29,080 --> 00:22:31,080 Speaker 3: he liked the Go Gos and he was part of 439 00:22:31,119 --> 00:22:33,639 Speaker 3: the La club scene as well, where the Go Gos 440 00:22:33,680 --> 00:22:38,160 Speaker 3: were playing. And her vision of Belushi is not at 441 00:22:38,200 --> 00:22:41,400 Speaker 3: all what the publix is of this sort of mad 442 00:22:42,720 --> 00:22:46,560 Speaker 3: crazed drug addict. I think we take with Belushi, we 443 00:22:46,640 --> 00:22:51,400 Speaker 3: take the Bluto character from Animal House and we project 444 00:22:51,560 --> 00:22:56,439 Speaker 3: onto it his overdose and to just sort of like 445 00:22:56,560 --> 00:22:59,879 Speaker 3: build this picture of a guy that was out of 446 00:23:00,080 --> 00:23:02,439 Speaker 3: control all the time. And her claim was he was 447 00:23:02,480 --> 00:23:05,440 Speaker 3: not like that at all. He was a sweet guy. 448 00:23:06,000 --> 00:23:08,200 Speaker 3: He just wanted to hang out. They would they would 449 00:23:08,200 --> 00:23:09,560 Speaker 3: hang out. This is what they would do. They wouldn't 450 00:23:09,560 --> 00:23:11,760 Speaker 3: go out and party and get wasted. They'd go grab 451 00:23:11,800 --> 00:23:14,439 Speaker 3: guitars and instruments and they'd head over I think it 452 00:23:14,480 --> 00:23:16,280 Speaker 3: was I can't remember what music shop it was in 453 00:23:16,400 --> 00:23:18,760 Speaker 3: LA and they would just jam like all night, they'd 454 00:23:18,800 --> 00:23:22,520 Speaker 3: just play. And I just thought that was so fucking cool, 455 00:23:22,600 --> 00:23:26,120 Speaker 3: right it isn't that just so cool and a real 456 00:23:26,240 --> 00:23:29,879 Speaker 3: different picture. And we're always looking for the different the 457 00:23:29,920 --> 00:23:32,320 Speaker 3: different stories, you know, And that was a big one. 458 00:23:32,800 --> 00:23:34,919 Speaker 3: And then you know, just one final, real quick one. 459 00:23:35,000 --> 00:23:36,639 Speaker 3: I still have it up here. You can't see it, 460 00:23:36,680 --> 00:23:39,680 Speaker 3: but it's on the shelf above my head. It's the Ray 461 00:23:39,800 --> 00:23:44,679 Speaker 3: Charles Atlantic Records box set that I got on my 462 00:23:44,840 --> 00:23:48,840 Speaker 3: graduation day as a gift from my dad. And I remembered, 463 00:23:49,040 --> 00:23:51,000 Speaker 3: you know, I do nothing really about Ray Charles except 464 00:23:51,000 --> 00:23:53,000 Speaker 3: Blues Brothers. And again, that was that sort of like 465 00:23:53,280 --> 00:23:56,480 Speaker 3: permission structure to get into Ray Charles at a young age, 466 00:23:56,960 --> 00:23:59,520 Speaker 3: and that came through Belushi. So I would say, if 467 00:23:59,560 --> 00:24:01,719 Speaker 3: you if you want some music res that are related 468 00:24:01,720 --> 00:24:04,159 Speaker 3: to Blushi, it's the New York Harcore where the Wild 469 00:24:04,160 --> 00:24:06,679 Speaker 3: Things Are comp the Band in DC, Book of Photography 470 00:24:06,720 --> 00:24:11,920 Speaker 3: from the Washington DC Hardcore scene, anything by Kathy Valentine 471 00:24:11,920 --> 00:24:14,240 Speaker 3: and the Go Gos, and of course the Ray Charles 472 00:24:14,320 --> 00:24:16,520 Speaker 3: Atlantic box sets. So those are my REX for this week. 473 00:24:17,200 --> 00:24:20,040 Speaker 1: Those are awesome, awesome recommendations. And I got to speak 474 00:24:20,119 --> 00:24:23,600 Speaker 1: real quick on the Ray Charles box set from my money, 475 00:24:23,720 --> 00:24:28,760 Speaker 1: that is like my platonic ideal of what good music 476 00:24:28,800 --> 00:24:31,879 Speaker 1: sounds like. And I don't mean just the writing of 477 00:24:31,920 --> 00:24:36,800 Speaker 1: the performance, but the way those recordings sound. They sound 478 00:24:37,200 --> 00:24:40,280 Speaker 1: so good. They sound so it sounds like you're in 479 00:24:40,320 --> 00:24:43,280 Speaker 1: the room with Ray and the band, all that early 480 00:24:43,320 --> 00:24:46,640 Speaker 1: Atlantic stuff. I just love the sound of it. And 481 00:24:47,800 --> 00:24:50,600 Speaker 1: I've talked with Matt about this a lot. Matt often 482 00:24:50,640 --> 00:24:55,879 Speaker 1: will reference these pictures of the John Coltrane Quartzet recording 483 00:24:55,920 --> 00:24:59,879 Speaker 1: and like Rudy Van Gelder's living room with two microphones 484 00:25:00,160 --> 00:25:00,800 Speaker 1: that photo. 485 00:25:00,840 --> 00:25:02,840 Speaker 3: I have that photo book as well, right down here, 486 00:25:02,920 --> 00:25:03,639 Speaker 3: a blot one. 487 00:25:03,800 --> 00:25:06,280 Speaker 1: Yeah, well, it's like there's like two microphones in their room, right. 488 00:25:06,480 --> 00:25:08,479 Speaker 1: I mean, maybe I'm exaggerating, maybe there's a few more 489 00:25:08,520 --> 00:25:11,359 Speaker 1: than two, but still it's the fact that these people, 490 00:25:11,480 --> 00:25:14,240 Speaker 1: these musicians, you could put a microphone in the room 491 00:25:14,280 --> 00:25:16,320 Speaker 1: and the record would sound fucking incredible because it was 492 00:25:16,359 --> 00:25:19,399 Speaker 1: John Coltrane, and it was McCoy tyner and it's Ray Charles, 493 00:25:19,480 --> 00:25:20,240 Speaker 1: and you know what I mean. 494 00:25:20,640 --> 00:25:25,359 Speaker 3: So much of the heavy lifting of tone they'd already done. Yeah, 495 00:25:25,359 --> 00:25:27,879 Speaker 3: you know, it's in there playing and that's the I 496 00:25:27,920 --> 00:25:29,480 Speaker 3: was actually trying to explain this to my son the 497 00:25:29,480 --> 00:25:31,679 Speaker 3: other day because he's playing bass and he's trying to 498 00:25:31,680 --> 00:25:34,800 Speaker 3: get like a particular tone, and he's frustrated that he 499 00:25:34,960 --> 00:25:37,359 Speaker 3: can't get it out of his amp and his and 500 00:25:37,800 --> 00:25:40,240 Speaker 3: the pedal he was using. And I was like, look, 501 00:25:40,280 --> 00:25:42,679 Speaker 3: there's only so much you can do with the mechanics 502 00:25:42,680 --> 00:25:46,000 Speaker 3: at a certain point. It's how you apply your body 503 00:25:46,359 --> 00:25:48,600 Speaker 3: and your souls and your being, and that is tone. 504 00:25:48,920 --> 00:25:50,600 Speaker 3: And a lot of people don't understand that. When you're 505 00:25:50,600 --> 00:25:52,680 Speaker 3: talking about the Coultrane stuff and the recording of it, 506 00:25:52,880 --> 00:25:56,040 Speaker 3: those guys had already, you know, just years workshopping that 507 00:25:56,119 --> 00:25:58,320 Speaker 3: and getting it down. So when someone just sticks a 508 00:25:58,359 --> 00:26:00,560 Speaker 3: mic in your face, it's like, oh, yeah, got this, 509 00:26:00,680 --> 00:26:04,160 Speaker 3: and you have to imagine exactly exactly. 510 00:26:04,440 --> 00:26:04,800 Speaker 2: All right. 511 00:26:05,760 --> 00:26:08,440 Speaker 1: Let me switch on to some movie recommendations here and 512 00:26:08,680 --> 00:26:12,840 Speaker 1: thinking about John Belushi. Thinking about The Blues Brothers. I 513 00:26:12,920 --> 00:26:15,360 Speaker 1: was trying to find an angle for this, and I thought, okay, well, 514 00:26:15,440 --> 00:26:19,679 Speaker 1: the Blues Brothers opens with Belushi's character Juliet Jake getting 515 00:26:19,680 --> 00:26:22,080 Speaker 1: released from prison. So then I thought, all right, what 516 00:26:22,160 --> 00:26:25,640 Speaker 1: are some movies Not prison break movies that's a completely 517 00:26:25,680 --> 00:26:29,040 Speaker 1: different category, but movies in which we start with the 518 00:26:29,080 --> 00:26:33,600 Speaker 1: main character getting out of prison. Right, So, thinking about this, 519 00:26:33,800 --> 00:26:37,240 Speaker 1: my first thought went to Wild at Heart, which is 520 00:26:37,359 --> 00:26:42,440 Speaker 1: David Lynch's crime drama slash absurdist comedy, slash fucked up romance, 521 00:26:42,440 --> 00:26:46,159 Speaker 1: slash road movie from nineteen ninety. It technically does not 522 00:26:46,280 --> 00:26:49,359 Speaker 1: open with Nicholas Cage's character Sailor getting out of prison, 523 00:26:49,800 --> 00:26:52,520 Speaker 1: but it opens with this crazy violent scene in which 524 00:26:52,560 --> 00:26:55,160 Speaker 1: he gets put in prison because he kills a dude 525 00:26:55,200 --> 00:26:58,280 Speaker 1: on the stairs very very very violently if you haven't 526 00:26:58,280 --> 00:27:01,200 Speaker 1: seen this, and then very shortly after he's released from prison, 527 00:27:01,600 --> 00:27:03,560 Speaker 1: and the movie sort of begins in earnest So it 528 00:27:03,640 --> 00:27:07,040 Speaker 1: kind of counts for me for those who haven't seen 529 00:27:07,080 --> 00:27:10,240 Speaker 1: this movie, it's probably up there with Raising Arizona for 530 00:27:10,320 --> 00:27:13,840 Speaker 1: me personally as the quintessential Nick Cage performance. He's really 531 00:27:13,840 --> 00:27:16,959 Speaker 1: dialing up the manic Elvis vibes in this one, and 532 00:27:16,960 --> 00:27:19,480 Speaker 1: this is part of this golden period again for me 533 00:27:19,480 --> 00:27:21,920 Speaker 1: and Nicholas Cage, before he won the Oscar for leaving 534 00:27:21,960 --> 00:27:25,119 Speaker 1: Las Vegas, before he started starring in big budget action movies, 535 00:27:25,119 --> 00:27:29,000 Speaker 1: where he was just rocking this incredible idiosyncratic acting style. 536 00:27:29,600 --> 00:27:32,959 Speaker 1: Ditto for Willem Dafoe, who plays one of the creepiest 537 00:27:33,080 --> 00:27:36,240 Speaker 1: dudes on screen ever in this movie. This is always 538 00:27:36,240 --> 00:27:38,080 Speaker 1: in my favorite David Lynch movie. I think it was 539 00:27:38,119 --> 00:27:40,240 Speaker 1: one of the first I discovered when I was younger. 540 00:27:40,720 --> 00:27:43,760 Speaker 1: I rewatched it recently when Lynch passed away, and it 541 00:27:43,840 --> 00:27:47,960 Speaker 1: remains one hundred percent as bold and visionary and uncompromising 542 00:27:48,000 --> 00:27:50,200 Speaker 1: as it always was. If you haven't seen it, it's 543 00:27:50,200 --> 00:27:53,320 Speaker 1: a wild ride. It's got tons of sex, violence images 544 00:27:53,359 --> 00:27:54,760 Speaker 1: you will not be able to get out of your head, 545 00:27:54,840 --> 00:27:58,600 Speaker 1: and typical for Lynch, a soundtrack that runs from thrash 546 00:27:58,640 --> 00:28:02,480 Speaker 1: metal to Chris Isaac's Wicked Game. And it's also this 547 00:28:02,520 --> 00:28:04,919 Speaker 1: great take on a Bonnie and Clyde style doom lovers 548 00:28:04,920 --> 00:28:06,760 Speaker 1: on the run kind of thing that it's just right 549 00:28:06,840 --> 00:28:07,439 Speaker 1: up my alley. 550 00:28:07,600 --> 00:28:08,359 Speaker 2: So if you're into. 551 00:28:08,240 --> 00:28:10,399 Speaker 1: Weird shit, wild shit, if you like big swings in 552 00:28:10,440 --> 00:28:13,720 Speaker 1: your filmmaking. Definitely check this one out. Okay, the next 553 00:28:13,720 --> 00:28:15,480 Speaker 1: one I have is also a film from a great 554 00:28:15,480 --> 00:28:18,760 Speaker 1: filmmaker that's not often mentioned when people discuss his quote 555 00:28:18,840 --> 00:28:22,040 Speaker 1: unquote best. This one's The Getaway from nineteen seventy two, 556 00:28:22,160 --> 00:28:24,880 Speaker 1: directed by the great Sam Peckhampaw peck'm Pah. 557 00:28:24,880 --> 00:28:25,639 Speaker 2: I know you love this one. 558 00:28:25,720 --> 00:28:29,040 Speaker 1: Jake peckham Pah, best known for his epic Western movies 559 00:28:29,160 --> 00:28:31,320 Speaker 1: like The Wild Bunch and Peckyarrett and Bill with a Kid. 560 00:28:31,800 --> 00:28:33,720 Speaker 1: But The Getaway is not set in the dusty West 561 00:28:33,720 --> 00:28:36,520 Speaker 1: of the past. It's set in the modern times, which 562 00:28:36,560 --> 00:28:39,880 Speaker 1: Steve McQueen plays Doc McCoy. He's serving time in a 563 00:28:39,960 --> 00:28:42,560 Speaker 1: Texas prison for armed robbery, and with the help of 564 00:28:42,600 --> 00:28:46,400 Speaker 1: his wife Carol played by Alan McGraw, this corrupt parole 565 00:28:46,440 --> 00:28:48,560 Speaker 1: board member gets him an early release. But there's a 566 00:28:48,640 --> 00:28:50,960 Speaker 1: catch and the catches he has to help out with 567 00:28:51,040 --> 00:28:54,400 Speaker 1: the bank robbery that this corrupt parole board member is orchestrating. 568 00:28:54,440 --> 00:28:56,440 Speaker 1: It's a lot more complicated than that. That's just sort 569 00:28:56,440 --> 00:28:57,280 Speaker 1: of the nuts and bolts. 570 00:28:57,320 --> 00:28:59,479 Speaker 3: For those of you who are like, oh fuck, Steve McQueen, 571 00:28:59,560 --> 00:29:00,560 Speaker 3: you know what I mean. I mean like I feel 572 00:29:00,560 --> 00:29:02,200 Speaker 3: like Steve McKean is one of these guys who's just 573 00:29:02,240 --> 00:29:05,440 Speaker 3: like so iconic, people's eyes sort of like roll to 574 00:29:05,480 --> 00:29:09,200 Speaker 3: the back of their heads. It's this, to me, is 575 00:29:09,240 --> 00:29:13,000 Speaker 3: the best Steve McQueen performance there is. Take it for 576 00:29:12,440 --> 00:29:15,800 Speaker 3: you for for what that's worth. But I'm just saying 577 00:29:15,960 --> 00:29:18,320 Speaker 3: it because he's allowed to go a little bit darker 578 00:29:18,360 --> 00:29:20,160 Speaker 3: than he usually went. I think it's his take, and 579 00:29:20,200 --> 00:29:22,880 Speaker 3: he got this movie made, like he he pushed this movie. 580 00:29:22,920 --> 00:29:26,320 Speaker 3: He went to bat for this movie. It's it's very dark. 581 00:29:26,360 --> 00:29:29,120 Speaker 3: I feel like it's his statement on the time as well, 582 00:29:29,160 --> 00:29:31,840 Speaker 3: like the time in place and when it was made. 583 00:29:32,280 --> 00:29:36,080 Speaker 3: And it's he's not being manhandled by anyone but Steve 584 00:29:36,160 --> 00:29:39,360 Speaker 3: McQueen creatively, not that he ever really was prior to that. 585 00:29:39,440 --> 00:29:43,760 Speaker 3: But the reins are fully off and he's fantastic, and 586 00:29:43,840 --> 00:29:48,000 Speaker 3: the the violence is they make no excuses for it, 587 00:29:48,080 --> 00:29:50,800 Speaker 3: and it's and it works for some for some reason. 588 00:29:50,880 --> 00:29:52,640 Speaker 3: There's no excuses for the violence. But it doesn't come 589 00:29:52,640 --> 00:29:56,320 Speaker 3: off as gratuitous in anyway. It's just it's stark, brutal 590 00:29:56,480 --> 00:29:57,600 Speaker 3: and fucking awesome. 591 00:29:58,120 --> 00:29:58,600 Speaker 2: I love that. 592 00:29:59,080 --> 00:30:02,840 Speaker 1: And not only Steve McQueen get it made with Bob 593 00:30:02,840 --> 00:30:07,480 Speaker 1: Evans producing, but then he stole Bob Evans wife, so that. 594 00:30:07,480 --> 00:30:09,120 Speaker 2: Was a win win for Seed Queen. 595 00:30:11,280 --> 00:30:14,480 Speaker 1: All Right, my third pick, I'm gonna actually flip this 596 00:30:14,560 --> 00:30:16,720 Speaker 1: theme on its head and go with a movie about 597 00:30:16,760 --> 00:30:19,000 Speaker 1: a guy who's about to go to prison, which is 598 00:30:19,080 --> 00:30:21,000 Speaker 1: the whole setup of the film, The twenty fifth Hour, 599 00:30:21,640 --> 00:30:24,400 Speaker 1: directed by Spike Lee from two thousand and two. This 600 00:30:24,520 --> 00:30:26,680 Speaker 1: is about a guy played by Edward Norton who's about 601 00:30:26,680 --> 00:30:29,400 Speaker 1: to serve time for dealing drugs. The movie is essentially 602 00:30:29,440 --> 00:30:32,320 Speaker 1: his last day before he sent away. This has got 603 00:30:32,640 --> 00:30:36,240 Speaker 1: great scene stealing, movie stealing performance by the late great 604 00:30:36,280 --> 00:30:40,200 Speaker 1: Philip Seymour Hoffman, as always, other great stuff from Anna Paquin, 605 00:30:40,320 --> 00:30:43,240 Speaker 1: Rosaria Dawson, Brian Cox, and Barry Pepper peak. 606 00:30:43,480 --> 00:30:48,800 Speaker 3: Rosario Dawson don't peak in this film in particular, it's painful. 607 00:30:49,680 --> 00:30:53,000 Speaker 1: I think it's also one of the first movies to 608 00:30:53,040 --> 00:30:56,360 Speaker 1: portray New York City Posts nine to eleven. And it's got, 609 00:30:56,400 --> 00:30:58,360 Speaker 1: you know, as all the Spikes movies do, his great 610 00:30:58,440 --> 00:31:01,000 Speaker 1: kinetic cinematic language. So I feel like the theme with 611 00:31:01,040 --> 00:31:03,320 Speaker 1: all these movies is that not only their true crime 612 00:31:03,480 --> 00:31:06,160 Speaker 1: given the obvious prison theme here, but that they're all 613 00:31:06,240 --> 00:31:10,000 Speaker 1: maybe arguably underrated masterpieces by directors who are better known 614 00:31:10,000 --> 00:31:10,560 Speaker 1: for other stuff. 615 00:31:10,560 --> 00:31:12,240 Speaker 2: I don't know. Check them out. What do you think? 616 00:31:12,360 --> 00:31:15,400 Speaker 1: Have you seen Wildeheart, The Getaway, The twenty fifth Hour? 617 00:31:15,680 --> 00:31:16,760 Speaker 2: Do you love them? Hate them? 618 00:31:17,080 --> 00:31:19,680 Speaker 1: What are your recommendations for other great movies where one 619 00:31:19,680 --> 00:31:21,600 Speaker 1: of the main characters because out of prison at the beginning? 620 00:31:22,080 --> 00:31:24,680 Speaker 1: Hit us up, let us know text or call us 621 00:31:24,680 --> 00:31:29,680 Speaker 1: at six one seven nine oh six six six three eight. Jake, dude, 622 00:31:30,040 --> 00:31:32,200 Speaker 1: it's been real, but I'm looking at the time. I 623 00:31:32,240 --> 00:31:34,720 Speaker 1: know you got places to be, people to talk to, 624 00:31:35,360 --> 00:31:36,760 Speaker 1: sick kids to take care of I do. 625 00:31:36,960 --> 00:31:38,239 Speaker 3: I have all those things to do, but I think 626 00:31:38,280 --> 00:31:40,080 Speaker 3: what I want to do more than anything is hang 627 00:31:40,160 --> 00:31:42,480 Speaker 3: this Friends of Eddy Coil poster up on my wall 628 00:31:42,520 --> 00:31:45,440 Speaker 3: that I've been staring at for this entire taping. 629 00:31:46,320 --> 00:31:48,480 Speaker 2: That's been on your for like what five years. 630 00:31:48,560 --> 00:31:51,000 Speaker 3: Finally found a spot for it. It's in a new house, 631 00:31:51,040 --> 00:31:54,240 Speaker 3: in a new studio completely, but yeah, I got the 632 00:31:54,280 --> 00:31:55,040 Speaker 3: place for it. 633 00:31:56,000 --> 00:31:56,760 Speaker 2: Zech. This is awesome. 634 00:31:56,760 --> 00:31:58,520 Speaker 3: Looking forward to talk more movies and music with you 635 00:31:58,520 --> 00:31:58,960 Speaker 3: next week. 636 00:31:59,240 --> 00:32:00,400 Speaker 2: Yeah, man, thanks so much. 637 00:32:00,720 --> 00:32:03,360 Speaker 1: Everybody else, don't change that dial because I'll be right 638 00:32:03,400 --> 00:32:07,719 Speaker 1: back to wrap. Up this wrap party in a pretty bow. 639 00:32:26,240 --> 00:32:29,840 Speaker 1: Oh right, we are back again and it's just us now, 640 00:32:29,840 --> 00:32:32,360 Speaker 1: it's just you and me again, which means it's that 641 00:32:32,480 --> 00:32:34,800 Speaker 1: part of the show where we get ready to part 642 00:32:34,840 --> 00:32:37,880 Speaker 1: again for another week. But I'll be here next week 643 00:32:38,000 --> 00:32:41,920 Speaker 1: on Wednesday again to continue this ongoing conversation between you and me, 644 00:32:42,320 --> 00:32:46,400 Speaker 1: all of us. Until then, remember number one, available right 645 00:32:46,440 --> 00:32:50,120 Speaker 1: now in your Hollywood Land feed. Our episode on John Belushi. 646 00:32:50,800 --> 00:32:53,280 Speaker 1: Number two coming next week on Monday. Our episode on 647 00:32:53,360 --> 00:32:57,640 Speaker 1: Bruce Lee number three. Don't forget our other show, also 648 00:32:57,680 --> 00:33:00,840 Speaker 1: hosted by Jake, Disgraceland, a show made four and about 649 00:33:00,920 --> 00:33:04,080 Speaker 1: rock and roll animals, the OG Music and True Crime pod, 650 00:33:04,440 --> 00:33:07,720 Speaker 1: with new episodes in these coming weeks on the Go Gos, 651 00:33:08,040 --> 00:33:12,360 Speaker 1: Marilyn Manson, The Who, Frank Sinatra, The Replacements, and so 652 00:33:12,480 --> 00:33:14,959 Speaker 1: many more. That show is available for you in its 653 00:33:15,000 --> 00:33:18,000 Speaker 1: own feed, So if you're not following and listening, just 654 00:33:18,040 --> 00:33:22,080 Speaker 1: go search up Disgraceland wherever you get podcasts. And number four, 655 00:33:22,600 --> 00:33:25,920 Speaker 1: in honor of this week's episode, me reading you the 656 00:33:26,000 --> 00:33:28,600 Speaker 1: list of the top movies in March of nineteen eighty two, 657 00:33:29,120 --> 00:33:32,040 Speaker 1: the month that John Belushi died of a speedball overdose. 658 00:33:32,400 --> 00:33:36,720 Speaker 1: At the age of thirty three. Number one on Golden Pond, 659 00:33:37,520 --> 00:33:42,920 Speaker 1: Number two Richard Pryor Live on the Sunset Strip, number three, 660 00:33:43,120 --> 00:33:47,800 Speaker 1: The Last Porky six five, number four, Raiders of the 661 00:33:47,840 --> 00:33:51,680 Speaker 1: Lost Arts number five Death wish to share it, Fire 662 00:33:51,800 --> 00:33:55,880 Speaker 1: number sex Evil, number six number death wish to shoot 663 00:33:55,880 --> 00:33:59,120 Speaker 1: the Evil. Number seven, So number ten Arthur Death Trip 664 00:33:59,400 --> 00:34:02,720 Speaker 1: number eight three Evil and apud hasn it's. 665 00:34:02,600 --> 00:34:05,480 Speaker 2: A number nine. Shoot the moss. 666 00:34:05,520 --> 00:34:12,360 Speaker 1: It's a number of temas dessus, quit talking and start mixing. 667 00:34:12,600 --> 00:34:12,960 Speaker 3: Cut it