1 00:00:01,030 --> 00:00:04,110 Speaker 1: Dear listeners of Hollywoodland, does it feel like you're stuck 2 00:00:04,230 --> 00:00:07,530 Speaker 1: in limbo, standing under a flickering streetlight at the corner 3 00:00:07,570 --> 00:00:10,549 Speaker 1: of Hollywood and true crime, waiting for the next episode 4 00:00:10,570 --> 00:00:14,980 Speaker 1: of Hollywoodland to drop? I got you. Welcome to Hollywoodland, 5 00:00:15,420 --> 00:00:33,360 Speaker 1: the rap party. What's the good word, my fellow movie geeks? 6 00:00:33,520 --> 00:00:36,760 Speaker 1: You true crime freaks just like me. You guys like 7 00:00:36,780 --> 00:00:39,000 Speaker 1: your movie history served up with a side of grit 8 00:00:39,360 --> 00:00:42,780 Speaker 1: and grime. And this is, of course, the place where 9 00:00:42,800 --> 00:00:45,200 Speaker 1: we rescue those stories from the cutting room floor. The 10 00:00:45,220 --> 00:00:48,240 Speaker 1: stories that were left behind, the very same stories that 11 00:00:48,270 --> 00:00:51,169 Speaker 1: have now made you the most dangerous person at the party. 12 00:00:51,890 --> 00:00:54,930 Speaker 1: I'm your host, Zeth Lundy, writer, showrunner, and good doctor 13 00:00:55,010 --> 00:00:58,390 Speaker 1: here at Double Elvis. And today in the Hollywoodland Rap Party, 14 00:00:58,430 --> 00:01:02,020 Speaker 1: we are talking about the 100 greatest TV shows of 15 00:01:02,040 --> 00:01:05,780 Speaker 1: the 21st century. We're talking about Phil Hartman's unproduced horror 16 00:01:05,880 --> 00:01:08,110 Speaker 1: comedy film. And I'm here to give you guys some 17 00:01:08,170 --> 00:01:11,729 Speaker 1: dirty wrecks for some great movie soundtracks that double as 18 00:01:11,950 --> 00:01:15,750 Speaker 1: albums of new material by their makers. Plus, I've got 19 00:01:15,810 --> 00:01:18,720 Speaker 1: your calls, your texts, and your emails. So come on, everybody. 20 00:01:19,250 --> 00:01:39,459 Speaker 1: Let's party. Thinking about Phil Hartman this week here in Hollywoodland, obviously, 21 00:01:39,540 --> 00:01:42,399 Speaker 1: because we've got our episode from the archive all about 22 00:01:42,480 --> 00:01:45,259 Speaker 1: him right there at the top of your feed, right 23 00:01:45,280 --> 00:01:48,830 Speaker 1: before this here episode. But I was thinking about Phil 24 00:01:48,870 --> 00:01:52,370 Speaker 1: Hartman specifically through the lens of this new New York 25 00:01:52,470 --> 00:01:56,610 Speaker 1: Times list of the 100 best TV shows of the 26 00:01:56,850 --> 00:02:00,950 Speaker 1: 21st century. Perhaps you saw this. This came out and 27 00:02:01,030 --> 00:02:04,330 Speaker 1: was instantly noticed. much talked about and much debated as 28 00:02:04,710 --> 00:02:06,910 Speaker 1: all these other recent lists that the New York Times 29 00:02:06,970 --> 00:02:10,410 Speaker 1: has been making about this century have been as well. Now, 30 00:02:10,690 --> 00:02:14,290 Speaker 1: Phil Hartman was a staple of TV for years, most 31 00:02:14,389 --> 00:02:17,660 Speaker 1: notably his tenure on Saturday Night Live, where he was 32 00:02:17,740 --> 00:02:21,180 Speaker 1: known not only for his wide range of impressions and characters, 33 00:02:21,840 --> 00:02:24,720 Speaker 1: but for his role as the glue, or in other words, 34 00:02:25,300 --> 00:02:27,940 Speaker 1: the guy who held everything together because he was so 35 00:02:28,240 --> 00:02:32,100 Speaker 1: damn rock solid. And he was also known for stuff 36 00:02:32,139 --> 00:02:35,780 Speaker 1: like News Radio, the NBC sitcom where he was a regular, 37 00:02:35,860 --> 00:02:39,160 Speaker 1: and most definitely The Simpsons, where he voiced characters like 38 00:02:39,200 --> 00:02:43,720 Speaker 1: the incompetent lawyer Lionel Hutz and the B-movie actor Troy McClure. 39 00:02:44,650 --> 00:02:47,369 Speaker 1: In fact, Phil Hartman was such a fixture of TV, 40 00:02:47,669 --> 00:02:51,130 Speaker 1: in my life especially growing up, that I honestly expected 41 00:02:51,150 --> 00:02:53,549 Speaker 1: to see one of his shows pop up on this 42 00:02:53,690 --> 00:02:56,250 Speaker 1: new New York Times list. But then I had this realization. 43 00:02:56,950 --> 00:03:00,940 Speaker 1: Phil Hartman died in 1998. Phil Hartman never died. got 44 00:03:01,040 --> 00:03:05,870 Speaker 1: to the 2000s, which for whatever reason, it just surprises me. 45 00:03:06,350 --> 00:03:09,780 Speaker 1: Because in my mind, he did SNL in the 90s, 46 00:03:09,850 --> 00:03:12,110 Speaker 1: and then he moved on to his movie career, which 47 00:03:12,190 --> 00:03:16,609 Speaker 1: was in the 2000s. But in reality, his murder came 48 00:03:16,770 --> 00:03:22,020 Speaker 1: only four years after he left Saturday Night Live. Four years. 49 00:03:22,080 --> 00:03:25,760 Speaker 1: He was only 49. And he had all these wild 50 00:03:25,820 --> 00:03:28,960 Speaker 1: ambitions for what he was going to do next. And 51 00:03:29,080 --> 00:03:32,520 Speaker 1: for some context here, If you grew up watching SNL 52 00:03:32,580 --> 00:03:35,020 Speaker 1: in the 80s and the 90s like I did, you 53 00:03:35,040 --> 00:03:38,760 Speaker 1: would remember Phil Hartman as the unfrozen caveman lawyer, the 54 00:03:38,880 --> 00:03:42,720 Speaker 1: anal retentive chef. He was Frank Sinatra. He was Lee Iacocca. 55 00:03:43,120 --> 00:03:45,870 Speaker 1: He did Clinton. He did Reagan. He did Charlton Heston. 56 00:03:46,340 --> 00:03:50,150 Speaker 1: He even narrated the deep thoughts with Jack Handy spiritual 57 00:03:50,250 --> 00:03:55,310 Speaker 1: affirmations that remain funnier than most things the contemporary cast 58 00:03:55,490 --> 00:03:58,350 Speaker 1: of SNL is doing these days. But there was this 59 00:03:58,410 --> 00:04:01,930 Speaker 1: depth to Phil Hartman's that went well beyond all of that. 60 00:04:02,010 --> 00:04:05,090 Speaker 1: And it was difficult perhaps to see because he was 61 00:04:05,130 --> 00:04:07,960 Speaker 1: just so dependable and willing to be the guy that 62 00:04:08,020 --> 00:04:12,540 Speaker 1: his co-stars could lean on. Now, we didn't really get 63 00:04:12,560 --> 00:04:15,020 Speaker 1: into this in our episode, our scripted episode on Phil Hartman, 64 00:04:15,040 --> 00:04:17,320 Speaker 1: at least I don't think we did. But Phil Hartman 65 00:04:17,400 --> 00:04:21,840 Speaker 1: co-created the Pee Wee Herman character with Paul Rubens in 66 00:04:21,860 --> 00:04:26,000 Speaker 1: the 1970s. And then Hartman also co-wrote the script to 67 00:04:26,110 --> 00:04:29,770 Speaker 1: Pee Wee's Big Adventure, the 1985 movie, that marked the 68 00:04:30,080 --> 00:04:33,760 Speaker 1: auspicious feature film debut of director Tim Burton and remains, 69 00:04:33,920 --> 00:04:37,440 Speaker 1: in my estimation at least, one of the funniest, most bizarre, 70 00:04:37,600 --> 00:04:42,340 Speaker 1: and most creative movie-going experiences from that decade. But shortly 71 00:04:42,440 --> 00:04:46,140 Speaker 1: after the success of Pee-Wee's Big Adventure, Phil Hartman began 72 00:04:46,180 --> 00:04:48,930 Speaker 1: writing a screenplay for a new film, a horror comedy, 73 00:04:49,670 --> 00:04:50,450 Speaker 1: entitled Mr. 74 00:04:50,529 --> 00:04:50,929 Speaker 2: Fix-It. 75 00:04:52,190 --> 00:04:56,270 Speaker 1: In describing this film to the press, Hartman said, I 76 00:04:56,310 --> 00:04:58,570 Speaker 1: love that. How amazing does that sound? The father's face 77 00:04:58,589 --> 00:05:00,330 Speaker 1: gets torn off in the first act, but it's got 78 00:05:00,370 --> 00:05:26,120 Speaker 1: a good message and a positive upbeat ending. I'm just 79 00:05:26,180 --> 00:05:30,260 Speaker 1: thinking of the landscape of horror comedy films in the 80 00:05:30,320 --> 00:05:35,850 Speaker 1: late 80s and early 90s. Evil Dead 2, Beetlejuice, The Burbs, Tremors, 81 00:05:35,970 --> 00:05:39,190 Speaker 1: Dead Alive. You know, this would have fit perfectly into 82 00:05:39,230 --> 00:05:44,150 Speaker 1: that particular milieu, right? And even better, Robert Zemeckis was 83 00:05:44,430 --> 00:05:47,450 Speaker 1: supposedly coming on board to produce Mr. Fix-It. This is 84 00:05:47,490 --> 00:05:51,470 Speaker 1: Zemeckis firmly in his Back to the Future, Roger Rabbit era. 85 00:05:52,930 --> 00:05:56,909 Speaker 1: And when Phil Hartman joined SNL in 1986, the LA 86 00:05:56,950 --> 00:06:01,060 Speaker 1: Times reported that he had recently sold the script for Mr. 87 00:06:01,120 --> 00:06:04,900 Speaker 1: Fix-It to MGM. But then the trail goes cold on 88 00:06:04,940 --> 00:06:08,480 Speaker 1: this thing. I think the script was widely circulated at 89 00:06:08,520 --> 00:06:11,770 Speaker 1: the time, but it seems to have just disappeared into 90 00:06:11,830 --> 00:06:14,050 Speaker 1: thin air, which is a drag because, you know, it 91 00:06:14,070 --> 00:06:16,849 Speaker 1: would be a real gas, as the kids say, to 92 00:06:16,890 --> 00:06:20,030 Speaker 1: give this thing a read. But again, another example of 93 00:06:20,089 --> 00:06:22,830 Speaker 1: how There was so much more depth there to Phil 94 00:06:22,870 --> 00:06:25,610 Speaker 1: Hartman than we realized. And if you've heard our episode 95 00:06:25,730 --> 00:06:28,770 Speaker 1: on him from Monday and you know about his background 96 00:06:29,040 --> 00:06:33,000 Speaker 1: as an artist who created cover artwork for a number 97 00:06:33,040 --> 00:06:35,640 Speaker 1: of albums in the 70s, you know about his work 98 00:06:35,700 --> 00:06:39,540 Speaker 1: as a rock and roll roadie who once held Jimi 99 00:06:39,580 --> 00:06:42,430 Speaker 1: Hendrix's drummer's kick drum pedal together in the middle of 100 00:06:42,490 --> 00:06:46,330 Speaker 1: a set, then you know about the depth of Phil Hartman. 101 00:06:47,190 --> 00:06:48,830 Speaker 1: So he would have turned 78 a few days ago. 102 00:06:50,770 --> 00:06:53,330 Speaker 1: but of course he was murdered by his wife in 103 00:06:53,390 --> 00:06:56,160 Speaker 1: May of 1998, after which she took her own life. 104 00:06:57,080 --> 00:06:59,279 Speaker 1: And again, you can hear all about this in this 105 00:06:59,339 --> 00:07:02,500 Speaker 1: truly tragic story in our fully scripted and sound design 106 00:07:02,560 --> 00:07:06,200 Speaker 1: episode in your feed. But Phil Hartman dies like seven 107 00:07:06,260 --> 00:07:10,290 Speaker 1: months before TV, which he was such a big part 108 00:07:10,310 --> 00:07:14,650 Speaker 1: of in his career, seven months before TV changes forever. 109 00:07:15,390 --> 00:07:20,540 Speaker 1: Phil Hartman, a staple of television since 1986, Phil Hartman 110 00:07:20,580 --> 00:07:24,660 Speaker 1: never gets to see The Sopranos, which premiered on HBO 111 00:07:24,720 --> 00:07:29,280 Speaker 1: that following January, January of 1999. And why do I 112 00:07:29,340 --> 00:07:34,890 Speaker 1: mention this? I mention this because since it premiered in 1999, 113 00:07:34,890 --> 00:07:38,630 Speaker 1: The Sopranos was not eligible for inclusion on this New 114 00:07:38,670 --> 00:07:42,800 Speaker 1: York Times 100 best TV shows of the 21st century list. 115 00:07:43,540 --> 00:07:47,160 Speaker 1: And I'm going to say right now, that is complete bullshit. 116 00:07:47,580 --> 00:07:51,960 Speaker 1: Because not only did The Sopranos change television forever, but 117 00:07:52,740 --> 00:07:55,660 Speaker 1: it is the single greatest show of the 21st century. 118 00:07:56,460 --> 00:08:00,580 Speaker 1: It ran for six seasons, technically seven seasons, because the 119 00:08:00,620 --> 00:08:04,110 Speaker 1: final season was split into two, and it had almost 120 00:08:04,230 --> 00:08:07,570 Speaker 1: twice as many episodes as a regular season. And of 121 00:08:07,650 --> 00:08:12,850 Speaker 1: those technically seven seasons, six of them aired in the 2000s, okay? 122 00:08:13,070 --> 00:08:16,910 Speaker 1: It was only that first season that ran in 1999. 123 00:08:17,090 --> 00:08:22,030 Speaker 1: This show ran until 2007. This show was still running 124 00:08:22,550 --> 00:08:25,670 Speaker 1: when the other major HBO show at that time, Six 125 00:08:25,710 --> 00:08:29,180 Speaker 1: Feet Under, had run its course. Six Feet Under, by 126 00:08:29,190 --> 00:08:31,980 Speaker 1: the way, made this New York Times list because it 127 00:08:32,040 --> 00:08:37,360 Speaker 1: premiered in 2001. I just find it incomprehensible to make 128 00:08:37,460 --> 00:08:41,860 Speaker 1: a list like this, a list of 100 shows, 100 129 00:08:41,860 --> 00:08:45,230 Speaker 1: fucking shows from the last 26 years, many shows that 130 00:08:45,260 --> 00:08:48,530 Speaker 1: existed at the same time, as the Sopranos or in 131 00:08:48,570 --> 00:08:52,710 Speaker 1: the immediate shadow of the Sopranos. And yet, the Sopranos 132 00:08:52,770 --> 00:08:56,490 Speaker 1: is not part of the conversation. I just vehemently disagree 133 00:08:57,010 --> 00:09:00,690 Speaker 1: with this line of thinking. But of course, this line 134 00:09:00,740 --> 00:09:05,200 Speaker 1: of thinking was part of the strategy here, right? You know, 135 00:09:05,360 --> 00:09:07,880 Speaker 1: the New York Times references the fact that the Sopranos 136 00:09:07,900 --> 00:09:11,350 Speaker 1: was not eligible in this little intro before the list 137 00:09:11,470 --> 00:09:15,000 Speaker 1: even begins. Like, they know exactly what they're doing. To 138 00:09:15,100 --> 00:09:18,780 Speaker 1: get people talking, stir shit up, that's what these lists do, 139 00:09:19,300 --> 00:09:21,219 Speaker 1: and the Times keeps cranking them out, and I keep 140 00:09:21,240 --> 00:09:25,660 Speaker 1: getting cranky about them, right? Speaking of getting cranky, it's 141 00:09:25,679 --> 00:09:29,650 Speaker 1: a little sus that this list has Curb, 30 Rock, 142 00:09:30,170 --> 00:09:33,630 Speaker 1: and Veep all in the top 10, but It's Always 143 00:09:33,650 --> 00:09:37,120 Speaker 1: Sunny in Philadelphia is is way down at 78. What's 144 00:09:37,160 --> 00:09:39,950 Speaker 1: up with that, New York Times? This is the top 10, 145 00:09:39,950 --> 00:09:44,000 Speaker 1: by the way. 10, Atlanta. 9, Curb Your Enthusiasm. 8, 146 00:09:44,000 --> 00:09:51,110 Speaker 1: 30 Rock. 7, Veep. 6, Game of Thrones. 5, Fleabag. 4, Succession. 3, 147 00:09:51,110 --> 00:09:56,630 Speaker 1: Mad Men. 2, The Wire. 1, Breaking Bad. Now, number 148 00:09:56,710 --> 00:09:59,729 Speaker 1: one should be The Sopranos, okay? I think number two 149 00:09:59,830 --> 00:10:03,020 Speaker 1: is them. The Wire. Number three is Mad Men. Number 150 00:10:03,100 --> 00:10:07,640 Speaker 1: four is Succession. Number five is Breaking Bad, if we're 151 00:10:07,660 --> 00:10:11,480 Speaker 1: arranging the top five. That's just my taste. But my 152 00:10:11,520 --> 00:10:14,920 Speaker 1: taste also has a lot of love for the bottom 153 00:10:14,920 --> 00:10:17,340 Speaker 1: 10 of this list. There's a bunch of shit from 154 00:10:17,420 --> 00:10:20,190 Speaker 1: number 100 to number 90 that are some of my 155 00:10:20,250 --> 00:10:23,310 Speaker 1: favorite shows from the last few decades. Like the OA 156 00:10:23,990 --> 00:10:27,830 Speaker 1: is in there. That was Brit Marling's incredible Lynchian show 157 00:10:27,890 --> 00:10:30,790 Speaker 1: about a woman who resurfaces after having gone missing for years. 158 00:10:31,270 --> 00:10:34,510 Speaker 1: It was sort of like notoriously canceled by Netflix after 159 00:10:34,550 --> 00:10:36,520 Speaker 1: only two seasons. They had to like wrap it up 160 00:10:37,640 --> 00:10:41,280 Speaker 1: a little prematurely. Supposedly they had a much longer multi-season 161 00:10:41,400 --> 00:10:44,840 Speaker 1: arc planned. Really sucked, but I still really enjoyed what 162 00:10:44,880 --> 00:10:48,739 Speaker 1: they did with those two seasons. Station Eleven. is in 163 00:10:48,780 --> 00:10:51,300 Speaker 1: that bottom 10. I never read the novel, but I 164 00:10:51,340 --> 00:10:53,720 Speaker 1: found the show to be a fresh and unexpected twist 165 00:10:53,780 --> 00:10:58,830 Speaker 1: on the whole post-apocalyptic dystopian thang. The Night Of is 166 00:10:58,880 --> 00:11:03,050 Speaker 1: in here. That's the Richard Price and Steven Zalian series, 167 00:11:03,130 --> 00:11:05,830 Speaker 1: great limited series for HBO in which Riz Ahmed plays 168 00:11:05,870 --> 00:11:08,229 Speaker 1: a kid who's arrested for murder that he may or 169 00:11:08,250 --> 00:11:11,930 Speaker 1: may not have committed. Catastrophe is in that bottom 10. 170 00:11:11,929 --> 00:11:15,880 Speaker 1: Incredible and incredibly real sitcom with the great Rob Delaney 171 00:11:15,960 --> 00:11:19,100 Speaker 1: and the even greater Sharon Horgan, who, by the way, 172 00:11:19,540 --> 00:11:22,380 Speaker 1: has a new show on HBO called Youth, which is excellent. 173 00:11:23,120 --> 00:11:25,760 Speaker 1: And also rounding out the bottom 10 at number 90 174 00:11:25,760 --> 00:11:28,400 Speaker 1: is Eastbound and Down, which, you know, is Danny McBride's 175 00:11:28,500 --> 00:11:32,319 Speaker 1: comedic masterpiece. It's almost like the bottom 10 is more 176 00:11:32,380 --> 00:11:34,809 Speaker 1: interesting than the top 10, you know, because the top 177 00:11:34,809 --> 00:11:36,350 Speaker 1: 10 is to be expected. Do you know what I mean? 178 00:11:36,710 --> 00:11:38,229 Speaker 1: We all know that Mad Men's going to be there. 179 00:11:38,570 --> 00:11:40,349 Speaker 1: We all know that Game of Thrones is going to 180 00:11:40,370 --> 00:11:43,250 Speaker 1: be there. We all know that Breaking Fucking Bad is 181 00:11:43,270 --> 00:11:45,470 Speaker 1: going to be there, right? I just, I don't know 182 00:11:45,530 --> 00:11:49,050 Speaker 1: when when Breaking Bad suddenly took over as the sort 183 00:11:49,070 --> 00:11:55,110 Speaker 1: of preeminent show of this century. I feel like it's 184 00:11:55,190 --> 00:11:57,580 Speaker 1: pushed the Sopranos out of the way, and I just 185 00:11:58,120 --> 00:12:01,840 Speaker 1: disagree with that. I don't know. Unpacking the bottom half 186 00:12:02,000 --> 00:12:03,760 Speaker 1: of a list like this, for me, it's where all 187 00:12:03,780 --> 00:12:06,079 Speaker 1: the weird shit lives and the strange stuff and the 188 00:12:06,179 --> 00:12:09,900 Speaker 1: offbeat stuff, and I don't know. That's my bag. What 189 00:12:09,920 --> 00:12:11,709 Speaker 1: do you guys think? Have you seen this list? Do 190 00:12:11,770 --> 00:12:13,859 Speaker 1: you love it? Do you hate it? Do you agree 191 00:12:13,880 --> 00:12:16,569 Speaker 1: with my assessment that the Sopranos should have been allowed 192 00:12:16,670 --> 00:12:19,130 Speaker 1: in here? Hit me up and let me know. You 193 00:12:19,170 --> 00:12:24,470 Speaker 1: can call me or you can text me at 617-906-6638. 194 00:12:25,350 --> 00:12:30,429 Speaker 1: You can also email me at disgracelandpod at gmail.com. Okay, listen, 195 00:12:30,610 --> 00:12:33,510 Speaker 1: coming up later in this episode. Well, first of all, 196 00:12:33,590 --> 00:12:35,819 Speaker 1: I should preface it with this. I'm flying solo today, 197 00:12:35,840 --> 00:12:39,540 Speaker 1: all right? Jake is traveling. He's back in Boston doing 198 00:12:39,580 --> 00:12:43,130 Speaker 1: Boston things. Hopefully he won't get stuck there. like you 199 00:12:43,150 --> 00:12:45,150 Speaker 1: did last time. Hopefully I didn't just jinx it by 200 00:12:45,190 --> 00:12:48,810 Speaker 1: saying that. But later here in the Dirty Rex section 201 00:12:48,910 --> 00:12:50,469 Speaker 1: of the show, it's just going to be me. You're 202 00:12:50,490 --> 00:12:53,050 Speaker 1: stuck with me today, all right? And maybe for some 203 00:12:53,070 --> 00:12:55,190 Speaker 1: of you, you're excited about that, and I love you 204 00:12:55,210 --> 00:12:57,490 Speaker 1: for that. And those of you who are like rolling 205 00:12:57,510 --> 00:12:59,010 Speaker 1: your eyes right now, sorry, man, I don't know what 206 00:12:59,030 --> 00:13:01,080 Speaker 1: to tell you. Jake will be back next week, okay? 207 00:13:02,640 --> 00:13:05,140 Speaker 1: So what I want to talk about today is inspired 208 00:13:05,220 --> 00:13:07,819 Speaker 1: by something which means a lot to me, and it 209 00:13:07,900 --> 00:13:10,220 Speaker 1: comes from the world of music, but ultimately it's about 210 00:13:10,420 --> 00:13:15,320 Speaker 1: the movie world. So let me explain. Yesterday was September 28th. 211 00:13:15,600 --> 00:13:21,000 Speaker 1: It was the 50th anniversary of Stevie Wonder's landmark 1976 album, 212 00:13:21,600 --> 00:13:24,060 Speaker 1: Songs and the Key of Life, which was released roughly 213 00:13:24,200 --> 00:13:27,870 Speaker 1: one year before I was born. As some of you know, 214 00:13:27,880 --> 00:13:30,670 Speaker 1: I wrote a book about this album a while back. 215 00:13:30,730 --> 00:13:32,770 Speaker 1: It was written as part of the 33 and a 216 00:13:32,830 --> 00:13:36,150 Speaker 1: Third series, which if you don't know, is this killer 217 00:13:36,190 --> 00:13:40,980 Speaker 1: series of small yet mighty books published by Bloomsbury Records. 218 00:13:41,700 --> 00:13:45,190 Speaker 1: written about albums of all genres. And they're written not 219 00:13:45,270 --> 00:13:48,750 Speaker 1: only by music critics or journalists, but by musicians, by authors, 220 00:13:49,290 --> 00:13:53,830 Speaker 1: by great minds from many other disciplines. If you're wondering, 221 00:13:53,850 --> 00:13:56,170 Speaker 1: if you're curious, you can grab a copy of my 222 00:13:56,210 --> 00:13:59,000 Speaker 1: book wherever good books are sold. And if you do, hey, 223 00:13:59,460 --> 00:14:02,179 Speaker 1: thank you. I appreciate that. And I hope you enjoy it. 224 00:14:02,240 --> 00:14:04,940 Speaker 1: It was written by a much younger me, a much 225 00:14:05,040 --> 00:14:08,689 Speaker 1: more naive me. What else can I say about me 226 00:14:08,730 --> 00:14:14,650 Speaker 1: at that age? Fuck were you doing, dude? No, I 227 00:14:14,690 --> 00:14:16,579 Speaker 1: still have a fondness for this book, but it's just, 228 00:14:16,650 --> 00:14:19,140 Speaker 1: you know, it's like John Lennon 10 years after the 229 00:14:19,160 --> 00:14:22,060 Speaker 1: Beatles broke up being like, I would go back and 230 00:14:22,140 --> 00:14:24,460 Speaker 1: change every one of those songs again. Not that I'm 231 00:14:24,500 --> 00:14:28,020 Speaker 1: in any way trying to compare myself to John Lennon 232 00:14:28,300 --> 00:14:32,040 Speaker 1: at all, okay? I'm just saying that my mind goes there. 233 00:14:33,260 --> 00:14:37,010 Speaker 1: So anyways... It's September 28th. It's the 50th anniversary of 234 00:14:37,050 --> 00:14:39,710 Speaker 1: Songs in the Key of Life. I'm thinking a lot 235 00:14:39,730 --> 00:14:42,790 Speaker 1: about Stevie. And you know what was really cool about 236 00:14:42,830 --> 00:14:47,380 Speaker 1: yesterday was there was this surprise release. Stevie surprise dropped 237 00:14:47,440 --> 00:14:52,600 Speaker 1: this four-song EP featuring songs from the Key of Life 238 00:14:52,900 --> 00:14:56,560 Speaker 1: sessions that have been locked in a vault for 50 years. 239 00:14:56,600 --> 00:14:59,900 Speaker 1: They've never been heard before. And like Prince and like 240 00:14:59,940 --> 00:15:03,130 Speaker 1: Bruce Springsteen, Stevie Wonder is one of those artists who 241 00:15:03,190 --> 00:15:07,350 Speaker 1: has so much unreleased music from this era. And it's not, 242 00:15:07,390 --> 00:15:10,260 Speaker 1: I'm not just talking about like the Beatles have unreleased 243 00:15:10,280 --> 00:15:13,180 Speaker 1: stuff and that they have like outtakes, not outtakes, but 244 00:15:13,200 --> 00:15:16,640 Speaker 1: they have, you know, alternate versions or alternate takes of 245 00:15:16,700 --> 00:15:21,470 Speaker 1: songs that we know. Prince, Springsteen, Stevie Wonder, they've got songs, 246 00:15:21,540 --> 00:15:25,390 Speaker 1: they've got albums that they shelved and never released, right? 247 00:15:25,730 --> 00:15:28,950 Speaker 1: So it's pretty awesome because Stevie Wonder has never teased 248 00:15:29,110 --> 00:15:33,400 Speaker 1: out Any unreleased music like this, it's noteworthy that this 249 00:15:33,440 --> 00:15:35,200 Speaker 1: has been released. And the tracks are really fun. I 250 00:15:35,380 --> 00:15:38,670 Speaker 1: listened to it a couple times yesterday and really enjoyed it. 251 00:15:38,680 --> 00:15:41,270 Speaker 1: They've got that, you know, something that I love about 252 00:15:41,310 --> 00:15:42,810 Speaker 1: Songs of the Key of Life and I wrote about 253 00:15:42,850 --> 00:15:45,090 Speaker 1: a lot in my book is just sort of this, like, 254 00:15:46,150 --> 00:15:51,130 Speaker 1: the refrain, like the repetition, the over and over and over, like, 255 00:15:51,150 --> 00:15:55,850 Speaker 1: you know, as and another star and joy inside my tears. 256 00:15:56,590 --> 00:15:59,430 Speaker 1: The refrain is repeated over and over, and it feels 257 00:15:59,490 --> 00:16:03,150 Speaker 1: like it gets deeper and more profound as the minutes 258 00:16:03,200 --> 00:16:04,800 Speaker 1: go by. And there's a lot of songs in this 259 00:16:04,880 --> 00:16:09,040 Speaker 1: EP that do that. So anyways, I'm listening to these songs. 260 00:16:09,120 --> 00:16:11,580 Speaker 1: I'm thinking about Stevie Wonder. And at some point, my 261 00:16:11,620 --> 00:16:15,470 Speaker 1: thoughts turned to this album called Journey Through the Secret 262 00:16:15,540 --> 00:16:19,810 Speaker 1: Life of Plants, which was Stevie's curious follow-up to Songs 263 00:16:19,850 --> 00:16:22,210 Speaker 1: in the Key of Life. It was a soundtrack to 264 00:16:22,230 --> 00:16:26,800 Speaker 1: a documentary about plants. Like, I kid you not. it 265 00:16:26,840 --> 00:16:29,840 Speaker 1: was like that Dylan album that came out, the one 266 00:16:29,880 --> 00:16:32,300 Speaker 1: that Grail Marcus was like, what the hell is this 267 00:16:32,360 --> 00:16:35,120 Speaker 1: shit when he reviewed it in Rolling Stone? Self-Portrait, right? 268 00:16:36,220 --> 00:16:38,240 Speaker 1: When this came out, after Songs of the Key of Life, 269 00:16:38,280 --> 00:16:39,920 Speaker 1: I think a lot of people were just scratching their 270 00:16:39,960 --> 00:16:42,830 Speaker 1: heads like, wait, what is this? Because half of it 271 00:16:42,870 --> 00:16:46,530 Speaker 1: is instrumental, and it's got all these kooky synthesizer sounds 272 00:16:46,570 --> 00:16:48,970 Speaker 1: going on. And so like I said, it was a 273 00:16:49,010 --> 00:16:51,830 Speaker 1: curio at the time. It's been reappraised, I think, in 274 00:16:51,870 --> 00:16:55,230 Speaker 1: more recent years, and people have come around to its 275 00:16:55,650 --> 00:17:00,220 Speaker 1: particular brilliance. But This record, Journey Through the Secret Life 276 00:17:00,260 --> 00:17:03,400 Speaker 1: of Plants, was the first of three soundtracks that Stevie 277 00:17:03,950 --> 00:17:06,740 Speaker 1: would go on to create for movies. The next was 278 00:17:06,810 --> 00:17:10,010 Speaker 1: his original soundtrack for The Woman in Red. That's the 279 00:17:10,010 --> 00:17:13,630 Speaker 1: 1984 film written, directed by, and starring Gene Wilder. That's 280 00:17:13,650 --> 00:17:17,790 Speaker 1: the one with I Just Called to Say I Love You, which, remember, 281 00:17:17,890 --> 00:17:21,150 Speaker 1: is one of the musical crimes perpetrated by Stevie Wonder, 282 00:17:21,190 --> 00:17:25,270 Speaker 1: according to Jack Black's character in High Fidelity. And then 283 00:17:25,310 --> 00:17:28,450 Speaker 1: in 1991, Stevie produced a soundtrack for Spike Lee's film 284 00:17:28,650 --> 00:17:34,190 Speaker 1: Jungle Fever. Now, these are soundtracks, but especially these last two, 285 00:17:34,770 --> 00:17:37,909 Speaker 1: The Woman in Red and Jungle Fever, they are also albums. 286 00:17:37,950 --> 00:17:43,080 Speaker 1: They are full musical statements. Jungle Fever, for example, is 287 00:17:43,100 --> 00:17:46,480 Speaker 1: an 11-song album consisting of brand new songs written and 288 00:17:46,520 --> 00:17:50,760 Speaker 1: performed by Stevie Wonder. It's interesting that it took him 289 00:17:50,800 --> 00:17:52,609 Speaker 1: this long to do this because back in the 1970s, 290 00:17:54,420 --> 00:17:56,280 Speaker 1: this kind of thing was all the rage. Stevie was 291 00:17:56,359 --> 00:18:00,900 Speaker 1: perhaps the only high-profile black male artist who did not 292 00:18:00,960 --> 00:18:06,620 Speaker 1: make a soundtrack for a blaxploitation film. Curtis Mayfield did Superfly, 293 00:18:07,200 --> 00:18:10,450 Speaker 1: Marvin Gaye did Trouble Man, James Brown did Black Caesar, 294 00:18:10,630 --> 00:18:13,810 Speaker 1: Isaac Hayes, of course, did Shaft. But this sort of 295 00:18:13,850 --> 00:18:17,050 Speaker 1: thing has really become a lost art, has it not? 296 00:18:17,810 --> 00:18:20,730 Speaker 1: Why do we not see this sort of thing anymore? 297 00:18:20,830 --> 00:18:26,100 Speaker 1: Soundtracks that double as full albums of new music by 298 00:18:26,960 --> 00:18:29,359 Speaker 1: the artists that made them. So later in the show, 299 00:18:29,800 --> 00:18:31,480 Speaker 1: I'm going to give you guys some dirty recs for 300 00:18:31,740 --> 00:18:37,600 Speaker 1: soundtrack albums, soundtracks that can double as just an album 301 00:18:37,619 --> 00:18:41,280 Speaker 1: of new material by the artists, okay? That's coming up 302 00:18:41,540 --> 00:18:44,720 Speaker 1: in just a few minutes. Speaking of coming up, baseball 303 00:18:44,740 --> 00:18:47,810 Speaker 1: playoffs are starting. Of course, I'm fully vested in this 304 00:18:47,869 --> 00:18:50,030 Speaker 1: because of my beloved Red Sox, who had yet another 305 00:18:50,070 --> 00:18:54,990 Speaker 1: funky season. As per usual, Uh, you know, the funky socks, man, 306 00:18:55,470 --> 00:18:57,600 Speaker 1: we're taking on our mortal enemies, the Yankees in the 307 00:18:57,630 --> 00:19:00,500 Speaker 1: wildcard race. I'm recording this on Tuesday. So game one 308 00:19:00,580 --> 00:19:02,800 Speaker 1: is happening tonight. I have no idea by the time 309 00:19:02,840 --> 00:19:05,220 Speaker 1: we hear this, by the time you hear this, I 310 00:19:05,240 --> 00:19:07,520 Speaker 1: don't know who will have won game one though. You know, 311 00:19:07,540 --> 00:19:11,399 Speaker 1: around these parts where we're rooting for the socks, my daughter, 312 00:19:11,480 --> 00:19:13,240 Speaker 1: my youngest daughter this morning on the way to school, 313 00:19:13,280 --> 00:19:14,899 Speaker 1: we were talking and I had mentioned the playoffs to 314 00:19:14,940 --> 00:19:16,510 Speaker 1: her and she said, who are we rooting for dad? 315 00:19:17,310 --> 00:19:19,990 Speaker 1: Now she's 12. And she likes to play dumb a 316 00:19:20,010 --> 00:19:22,430 Speaker 1: lot on stuff. She likes to, you know, she's way 317 00:19:22,470 --> 00:19:25,149 Speaker 1: smarter than she lets on. And it's just one of 318 00:19:25,190 --> 00:19:28,290 Speaker 1: her traits. And I was like, we're rooting for the 319 00:19:28,330 --> 00:19:32,540 Speaker 1: Red Sox, of course. Like, that's our team. And if 320 00:19:32,560 --> 00:19:34,880 Speaker 1: it wasn't the Red Sox, we root for whoever was 321 00:19:35,040 --> 00:19:37,619 Speaker 1: playing against the Yankees because we don't root for the Yankees. 322 00:19:37,740 --> 00:19:41,119 Speaker 1: That's just a, you know, that's a thing. And she 323 00:19:41,140 --> 00:19:43,639 Speaker 1: wanted to be contrarian. And she was like, well, I'm 324 00:19:43,660 --> 00:19:44,920 Speaker 1: going to root for the Yankees because I want to 325 00:19:44,940 --> 00:19:46,629 Speaker 1: root for the team that you're not rooting for or whatever, 326 00:19:46,710 --> 00:19:49,060 Speaker 1: just to kind of be funny, right? And that's how 327 00:19:49,100 --> 00:19:50,879 Speaker 1: it begins, right? 10 years from now, I'm going to 328 00:19:50,900 --> 00:19:53,100 Speaker 1: look back and be like, this is why my daughter 329 00:19:53,160 --> 00:19:57,900 Speaker 1: is a Yankees fan. I lost her to the dark side. Honestly, 330 00:19:57,920 --> 00:20:00,760 Speaker 1: I don't care. If she wants to be a Yankees fan, 331 00:20:01,040 --> 00:20:05,520 Speaker 1: then good on her. This whole Red Sox versus Yankees, 332 00:20:05,560 --> 00:20:09,500 Speaker 1: this us versus them, the evil empire thing. It's just, 333 00:20:09,520 --> 00:20:13,700 Speaker 1: it's so 2004, you know? It's so Pedro and Manny 334 00:20:13,960 --> 00:20:19,889 Speaker 1: and Poppy and tossing Don Zimmer's bald head to the ground. 335 00:20:19,930 --> 00:20:23,050 Speaker 1: It's all, I feel like we should have grown up 336 00:20:23,290 --> 00:20:26,570 Speaker 1: and evolved in the last 20 years. And hopefully we 337 00:20:26,609 --> 00:20:29,629 Speaker 1: have a little bit, probably not so much in the 338 00:20:29,670 --> 00:20:33,130 Speaker 1: bleachers at Fenway Park, but hopefully elsewhere in our lives, right? 339 00:20:33,770 --> 00:20:37,010 Speaker 1: So anyways, baseball, perhaps you're watching this series, perhaps you're 340 00:20:37,050 --> 00:20:40,429 Speaker 1: watching playoff ball in general, but also make sure you 341 00:20:40,470 --> 00:20:43,389 Speaker 1: find some time to watch our brand new episode of 342 00:20:43,450 --> 00:20:47,830 Speaker 1: this film, Should Be Played Loud, which we just dropped today, 343 00:20:47,970 --> 00:20:50,970 Speaker 1: all right? Or it is dropping today, depending on how 344 00:20:51,109 --> 00:20:54,970 Speaker 1: early you're listening to this podcast. This film, Should Be 345 00:20:55,010 --> 00:20:58,409 Speaker 1: Played Loud, if you don't know, is our video podcast 346 00:20:58,430 --> 00:21:02,629 Speaker 1: that's available exclusively on on Patreon for members of Disgraceland, 347 00:21:02,730 --> 00:21:06,070 Speaker 1: all access there on Patreon, co-hosted by yours truly and 348 00:21:06,130 --> 00:21:09,419 Speaker 1: Jake Brennan from our sister show, Disgraceland. This is all 349 00:21:09,460 --> 00:21:12,700 Speaker 1: about the greatest music from some of our favorite movies, soundtracks, 350 00:21:12,800 --> 00:21:17,100 Speaker 1: needle drops, scores. And this brand new episode today coming 351 00:21:17,180 --> 00:21:20,909 Speaker 1: out available now or available very soon is about Gross 352 00:21:21,010 --> 00:21:24,970 Speaker 1: Point Blank from 1997 in which John Cusack is a 353 00:21:25,030 --> 00:21:27,470 Speaker 1: hit man who goes back home for his 10th high 354 00:21:27,510 --> 00:21:31,129 Speaker 1: school reunion. So this film is stacked with Gen X 355 00:21:31,170 --> 00:21:33,620 Speaker 1: tracks from the 80s and from the 90s as well. 356 00:21:34,119 --> 00:21:37,359 Speaker 1: The Specials, The Pixies, The Cure, Suji and the Banshees, 357 00:21:37,460 --> 00:21:40,659 Speaker 1: Faith No More. It goes on and on. Plus, it's 358 00:21:40,700 --> 00:21:43,940 Speaker 1: got an original score by Joe Strummer of The Clash. 359 00:21:44,040 --> 00:21:47,109 Speaker 1: I mean, come on, man. Joe Strummer? Score on a movie? 360 00:21:47,570 --> 00:21:51,550 Speaker 1: Who doesn't want to talk about that? So you can 361 00:21:51,590 --> 00:21:53,810 Speaker 1: watch that starting today as a member of Disgraced Day 362 00:21:53,830 --> 00:21:56,889 Speaker 1: on all access. Again, over on Patreon. If you are 363 00:21:56,990 --> 00:21:58,750 Speaker 1: not yet a member and you want to check this out, 364 00:21:59,420 --> 00:22:04,070 Speaker 1: Just go to disgracelandpod.com. There's info there on the homepage 365 00:22:04,140 --> 00:22:07,129 Speaker 1: to sign up. We've got a few tier options available 366 00:22:07,170 --> 00:22:10,109 Speaker 1: for you, but for this film, you want the video tier, 367 00:22:10,150 --> 00:22:12,750 Speaker 1: which is the sound and fury tier. It's 10 bucks 368 00:22:12,790 --> 00:22:15,109 Speaker 1: a month. It's less if you sign up for an 369 00:22:15,230 --> 00:22:20,760 Speaker 1: annual membership. And this membership also unlocks many perks, including 370 00:22:21,280 --> 00:22:27,260 Speaker 1: ad-free listening, bonus content, and 24-7 chat with your fellow discos. 371 00:22:27,780 --> 00:22:32,060 Speaker 1: As Ben Stiller would say, And Starsky and Hutch, do it. 372 00:22:33,910 --> 00:22:34,210 Speaker 2: Do it. 373 00:22:34,210 --> 00:22:38,679 Speaker 1: Okay? All right, coming at you Friday here in the 374 00:22:38,720 --> 00:22:42,000 Speaker 1: Hollywoodland feed, a new installment of The Screening Room where 375 00:22:42,040 --> 00:22:44,940 Speaker 1: I'll do a deep dive into the 1993 film So 376 00:22:45,040 --> 00:22:48,780 Speaker 1: I Married an Axe Murderer starring Mike Myers and featuring 377 00:22:48,840 --> 00:22:52,330 Speaker 1: one of the greatest one-scene performances ever by our guy 378 00:22:52,410 --> 00:22:55,490 Speaker 1: Phil Hartman. And then next week on Monday, our scripted 379 00:22:55,550 --> 00:22:58,290 Speaker 1: sound design episode From the Archive is all about Tim 380 00:22:58,450 --> 00:23:02,440 Speaker 1: Allen's specifically his days long before Home Improvement and Toy 381 00:23:02,480 --> 00:23:05,900 Speaker 1: Story when he was a low-level drug dealer facing serious 382 00:23:05,960 --> 00:23:08,820 Speaker 1: time in prison and how he used that time in 383 00:23:08,859 --> 00:23:13,320 Speaker 1: prison to hone his comedic chops. It's a wild one, guys. 384 00:23:13,380 --> 00:23:17,359 Speaker 1: One of my favorites. So check that out. And in 385 00:23:17,400 --> 00:23:21,570 Speaker 1: the meantime, I'm going to check out your calls, your emails, 386 00:23:21,619 --> 00:23:24,450 Speaker 1: your texts, your everything. We're going to do that right 387 00:23:24,530 --> 00:23:46,850 Speaker 1: after this quick break. All right, what's up? Dr. Lundy 388 00:23:46,910 --> 00:23:49,830 Speaker 1: hanging with you guys here in the Hollywoodland Rap Party. 389 00:23:49,850 --> 00:23:50,250 Speaker 2: 617-906-6638. 390 00:23:50,270 --> 00:23:56,050 Speaker 1: Leave me a voicemail. Send me a text. Let's say 391 00:23:56,070 --> 00:24:03,030 Speaker 1: that one more time for the people in the cheap seats. 617-906-6638. 392 00:24:05,130 --> 00:24:08,650 Speaker 1: I was asking you guys last week about the glue. 393 00:24:09,310 --> 00:24:12,650 Speaker 1: Phil Hartman was called glue by his fellow cast members 394 00:24:12,690 --> 00:24:15,090 Speaker 1: at Saturday Night Live, and I was wondering... There are 395 00:24:15,109 --> 00:24:18,229 Speaker 1: other actors, part of sort of ensemble casts who you 396 00:24:18,290 --> 00:24:22,820 Speaker 1: believe to be the glue and got this voicemail all 397 00:24:22,859 --> 00:24:24,379 Speaker 1: about this from the 785. 398 00:24:24,380 --> 00:24:27,980 Speaker 2: Howdy there. My name is Brooks. I think your podcast 399 00:24:28,060 --> 00:24:30,760 Speaker 2: is super awesome. It's great to listen to. You're talking 400 00:24:30,780 --> 00:24:36,699 Speaker 2: about glue for cast members that hold an ensemble together. Immediately, 401 00:24:37,290 --> 00:24:43,439 Speaker 2: Johnny Knoxville holding together the sheer chaos of setting the 402 00:24:43,500 --> 00:24:50,680 Speaker 2: emotional tone to every stunt from Jackass, from Jackass 1, 2, 3, 403 00:24:50,680 --> 00:24:57,360 Speaker 2: Jackass forever, Jackass best and last, like seeing him across 404 00:24:57,460 --> 00:25:03,340 Speaker 2: screens or seeing him just in every single stunt, just 405 00:25:03,480 --> 00:25:06,980 Speaker 2: holding the entire cast together from their evolutions to their 406 00:25:07,119 --> 00:25:11,480 Speaker 2: devolutions to everything in between. We know that the Jackass 407 00:25:11,510 --> 00:25:16,389 Speaker 2: cast has... undergone some changes over the two decades they've done. 408 00:25:16,650 --> 00:25:19,920 Speaker 2: But for a bunch of guys just doing stupid shit 409 00:25:19,980 --> 00:25:24,040 Speaker 2: across the board for over two decades, it feels like 410 00:25:24,760 --> 00:25:29,260 Speaker 2: there's been no emotional or just sheer MC of that 411 00:25:29,359 --> 00:25:32,639 Speaker 2: kind of glue or that kind of anchor. Imagine Jackass 412 00:25:32,660 --> 00:25:36,060 Speaker 2: without Johnny Knoxville. I sure couldn't appreciate your time. 413 00:25:36,720 --> 00:25:41,320 Speaker 1: Brooks, thanks for the call, man. Jackass, Johnny Knoxville, absolutely. 414 00:25:41,420 --> 00:25:42,820 Speaker 1: And I never would have thought about that, and I'm 415 00:25:42,840 --> 00:25:46,680 Speaker 1: glad you pointed that out. Johnny Knoxville, absolutely the glue, 416 00:25:46,720 --> 00:25:51,669 Speaker 1: because look, this jackass crew is the most, is the 417 00:25:51,770 --> 00:26:01,190 Speaker 1: motleyest crew of motley crews. These wild, feral personalities. Unpredictable, untameable, untameable? 418 00:26:01,210 --> 00:26:05,440 Speaker 1: Is that a word? I don't care. Uh, And to 419 00:26:05,500 --> 00:26:08,590 Speaker 1: be able to wrangle all of these dudes and create 420 00:26:08,630 --> 00:26:12,230 Speaker 1: something that makes any sort of sense is just remarkable, really. 421 00:26:12,970 --> 00:26:16,129 Speaker 1: And also the cool thing about Johnny Knoxville is that 422 00:26:16,190 --> 00:26:19,119 Speaker 1: you can tell he really cares about each one of 423 00:26:19,150 --> 00:26:23,320 Speaker 1: these crazy motherfuckers. And he also cares about the concept, 424 00:26:23,359 --> 00:26:26,379 Speaker 1: you know, so much so that I saw an interview 425 00:26:26,420 --> 00:26:29,720 Speaker 1: with him in advance of the latest Jackass movie. What's 426 00:26:29,740 --> 00:26:33,290 Speaker 1: it called? Jackass Best and Last, right? And he got 427 00:26:33,330 --> 00:26:36,409 Speaker 1: emotional about it because he was talking about how the 428 00:26:36,430 --> 00:26:39,170 Speaker 1: whole thing is coming to an end because he's getting 429 00:26:39,230 --> 00:26:41,830 Speaker 1: older and he can't afford to break any more bones 430 00:26:41,890 --> 00:26:44,129 Speaker 1: in his body because he's broken pretty much everything in 431 00:26:44,150 --> 00:26:48,189 Speaker 1: his body at least once. And you can see how 432 00:26:48,230 --> 00:26:51,450 Speaker 1: it really affected him, which is something else, man. I 433 00:26:51,490 --> 00:26:54,070 Speaker 1: love that. And I love this answer. I still have 434 00:26:54,150 --> 00:26:58,490 Speaker 1: not seen this latest Jackass film, but I absolutely 150% will. 435 00:26:58,510 --> 00:26:59,109 Speaker 1: So I will report. 436 00:27:01,980 --> 00:27:02,300 Speaker 2: Back to you. 437 00:27:02,320 --> 00:27:04,360 Speaker 1: You know, I used to think when this was first 438 00:27:04,420 --> 00:27:06,920 Speaker 1: on MTV, I was like, this is so stupid and lame. 439 00:27:07,820 --> 00:27:11,540 Speaker 1: And now I'm like, this is so stupid and lame, 440 00:27:13,400 --> 00:27:15,020 Speaker 1: but like in a good way. You know what I mean? 441 00:27:15,080 --> 00:27:18,200 Speaker 1: I love it. Love Jackass. 442 00:27:18,220 --> 00:27:18,600 Speaker 2: 617-906-6638. 443 00:27:19,420 --> 00:27:23,659 Speaker 1: Regarding the glue, we got a text from the 646 444 00:27:23,660 --> 00:27:27,310 Speaker 1: that says, the glue, Diane Wiest and the late great 445 00:27:27,430 --> 00:27:33,520 Speaker 1: Catherine O'Hara. Yes, 646. Diane Weiss, especially in all the 446 00:27:33,560 --> 00:27:37,020 Speaker 1: Woody Allen stuff she was in. I know Woody Allen 447 00:27:37,080 --> 00:27:40,200 Speaker 1: is he who shall not be named these days, but 448 00:27:40,700 --> 00:27:43,139 Speaker 1: he made some great movies back in the day. Hannah 449 00:27:43,160 --> 00:27:47,129 Speaker 1: and Her Sisters, Purple Rose of Cairo, Radio Days, September, 450 00:27:47,770 --> 00:27:52,790 Speaker 1: and especially Bullets Over Broadway. Diane Weiss saying, don't speak, 451 00:27:52,910 --> 00:27:57,090 Speaker 1: don't speak to John Cusack and putting her hands over 452 00:27:57,490 --> 00:28:00,530 Speaker 1: his lips is just the greatest thing. Um, she's so 453 00:28:00,590 --> 00:28:04,810 Speaker 1: great and she's so, she always seems like she's holding 454 00:28:04,830 --> 00:28:06,609 Speaker 1: it all together, but it seems like she's going to 455 00:28:06,710 --> 00:28:09,010 Speaker 1: crack at any moment. You know what I mean? An 456 00:28:09,770 --> 00:28:13,110 Speaker 1: unsung actress for sure. And then Catherine O'Hara, you know, 457 00:28:13,250 --> 00:28:15,949 Speaker 1: if you look back at SCTV, which was like the 458 00:28:15,990 --> 00:28:19,609 Speaker 1: Canadian Saturday Night Live back in the day, um, you know, 459 00:28:19,690 --> 00:28:22,550 Speaker 1: Catherine O'Hara, I think was definitely the glue of that 460 00:28:22,770 --> 00:28:25,189 Speaker 1: show as well, because she could be like Phil Hartman. 461 00:28:25,750 --> 00:28:28,660 Speaker 1: She could play just about any character. And she could 462 00:28:28,830 --> 00:28:33,609 Speaker 1: really sell the character. But she also knew how to 463 00:28:33,850 --> 00:28:36,790 Speaker 1: act with an ensemble and how it wasn't all about her, 464 00:28:37,330 --> 00:28:39,350 Speaker 1: that it was all about the collective, and that sometimes, 465 00:28:39,650 --> 00:28:43,940 Speaker 1: most of the time, she would let other people lean 466 00:28:44,040 --> 00:28:47,060 Speaker 1: on her. She would give them the boost, right? Which 467 00:28:47,120 --> 00:28:48,580 Speaker 1: is the sign of a great one. It's the sign 468 00:28:48,600 --> 00:28:55,510 Speaker 1: of the glue, man. 617. 906-6638. You can also message us. 469 00:28:55,530 --> 00:28:56,950 Speaker 1: There's many ways of getting in touch here. And one 470 00:28:56,970 --> 00:28:58,590 Speaker 1: of the ways you can get in touch is via 471 00:28:58,830 --> 00:29:03,770 Speaker 1: our website, disgracelandpod.com. There's like a contact page there. You 472 00:29:03,790 --> 00:29:06,120 Speaker 1: can fill out like a form and it goes right 473 00:29:06,140 --> 00:29:09,240 Speaker 1: to our email address. I got a website message here. Shoot, 474 00:29:09,380 --> 00:29:11,260 Speaker 1: I didn't note the name of the person who sent 475 00:29:11,300 --> 00:29:14,700 Speaker 1: this in. I apologize. But the subject line is best 476 00:29:14,780 --> 00:29:17,680 Speaker 1: musician to actor. And it says, I believe this was 477 00:29:17,840 --> 00:29:21,620 Speaker 1: asked for in Hollywoodland. My vote for best musician to 478 00:29:21,780 --> 00:29:25,980 Speaker 1: actor is Jack Black, even though he's still rocking. I 479 00:29:26,000 --> 00:29:28,920 Speaker 1: started listening to Tenacious D in high school and also 480 00:29:28,940 --> 00:29:31,830 Speaker 1: watched their show on HBO. The man can shred, has 481 00:29:31,890 --> 00:29:35,010 Speaker 1: amazing pipes, and is also a comic genius. He's in 482 00:29:35,050 --> 00:29:37,390 Speaker 1: a ton of movies, but to name a few, The Jackal, 483 00:29:37,510 --> 00:29:41,160 Speaker 1: Shallow Hal, Saving Silverman, School of Rock, Orange County, Tropic Thunder, 484 00:29:41,700 --> 00:29:43,880 Speaker 1: and High Fidelity. It's also nice to see him in 485 00:29:43,900 --> 00:29:46,740 Speaker 1: a bunch of movies that my kids are watching, so 486 00:29:46,780 --> 00:29:51,700 Speaker 1: that type of humor gets passed down to the next generation. 100% agree, 487 00:29:51,760 --> 00:29:55,740 Speaker 1: Jack Black is, he can do it all, man. Be Kind, Rewind, 488 00:29:55,780 --> 00:29:58,020 Speaker 1: was that the movie with most staff he made? the 489 00:29:58,040 --> 00:30:00,440 Speaker 1: Michelle Gondry movie. I think that was Michelle Gondry's film 490 00:30:00,640 --> 00:30:05,200 Speaker 1: after Eternal Sunshine of the Spotless Mind. The Tenacious D 491 00:30:05,240 --> 00:30:08,460 Speaker 1: show is a formative one for me. It was made 492 00:30:08,480 --> 00:30:10,920 Speaker 1: at the same time, I think, that the Mr. Show 493 00:30:10,960 --> 00:30:13,040 Speaker 1: team was making their show. Mr. Show was like my 494 00:30:13,100 --> 00:30:15,580 Speaker 1: favorite show ever. You see a lot of the Mr. 495 00:30:15,600 --> 00:30:19,800 Speaker 1: Show people in this show as well. Tenacious D had like, what, five, 496 00:30:19,920 --> 00:30:24,540 Speaker 1: six episodes tops. You can watch them on HBO now 497 00:30:24,620 --> 00:30:29,220 Speaker 1: streaming there. They're so great. because it's basically these two 498 00:30:29,300 --> 00:30:35,650 Speaker 1: diluted musicians, Jack Black and Kyle, his bandmate Kyle, with 499 00:30:35,670 --> 00:30:38,610 Speaker 1: their acoustic guitars, thinking that they're like God's gift to 500 00:30:38,710 --> 00:30:41,870 Speaker 1: rock and roll, that they're going to be huge. They 501 00:30:41,890 --> 00:30:43,610 Speaker 1: probably already think that they are huge in their minds. 502 00:30:44,470 --> 00:30:49,960 Speaker 1: And they play this local open mic night every week. 503 00:30:51,820 --> 00:30:55,140 Speaker 1: It's just, it's so funny. But yes, I agree here 504 00:30:55,300 --> 00:30:57,960 Speaker 1: with the listener. who wrote in via the website, and 505 00:30:57,980 --> 00:31:00,680 Speaker 1: I apologize I don't have your name, but Jack Black, 506 00:31:00,800 --> 00:31:03,460 Speaker 1: absolutely agree. Go watch Tenacious D, guys, if you have not. 507 00:31:04,200 --> 00:31:06,880 Speaker 1: Speaking of Jack Black, got a text here from the 508 00:31:06,880 --> 00:31:10,880 Speaker 1: 808 that says, for Jake and Zeth, actor turned musician, 509 00:31:11,530 --> 00:31:14,590 Speaker 1: Jack Black, although I personally fell off the Jack Black train, 510 00:31:14,690 --> 00:31:18,250 Speaker 1: can't deny that was a good transition, and for funsies, 511 00:31:18,830 --> 00:31:22,890 Speaker 1: for so bad, it's good, the Hoff and Shatner. Also, 512 00:31:23,740 --> 00:31:26,300 Speaker 1: Side note, where would you place an artist like Ariana Grande? 513 00:31:26,420 --> 00:31:29,480 Speaker 1: Started in Broadway, but did acting on Nickelodeon, then broke 514 00:31:29,540 --> 00:31:32,260 Speaker 1: out with her debut album, as well as continuing with 515 00:31:32,440 --> 00:31:36,100 Speaker 1: acting roles, musician to actor or actor to musician, keep 516 00:31:36,140 --> 00:31:40,290 Speaker 1: up the great combos, rock-a-rola. Well, I'm going to shock 517 00:31:40,350 --> 00:31:42,310 Speaker 1: no one here and say that I don't know enough 518 00:31:42,370 --> 00:31:47,730 Speaker 1: about Ariana Grande to answer this question intelligently, because I'm curious. 519 00:31:47,830 --> 00:31:51,150 Speaker 1: She started on Broadway. Was that singing and acting? Was 520 00:31:51,190 --> 00:31:54,650 Speaker 1: the Nickelodeon show, did that involve singing? I feel like, 521 00:31:55,170 --> 00:31:57,580 Speaker 1: was it Olivia Rodrigo that was in the high school 522 00:31:57,620 --> 00:32:01,680 Speaker 1: musical or the whatever show? I don't know. I can't 523 00:32:02,040 --> 00:32:05,640 Speaker 1: competently answer that question. I'm sorry. But I mean, some 524 00:32:05,660 --> 00:32:09,430 Speaker 1: of these people are just, this was the idea of 525 00:32:09,470 --> 00:32:12,070 Speaker 1: an entertainer back in the day was, you could sing, 526 00:32:12,210 --> 00:32:14,550 Speaker 1: you could dance, you could act, you could do it all. 527 00:32:15,930 --> 00:32:20,600 Speaker 1: And these days, it seems like people's talents are often 528 00:32:21,800 --> 00:32:24,480 Speaker 1: one or the other, they're not sort of all encompassing. 529 00:32:24,540 --> 00:32:27,050 Speaker 1: So she's just, Ariana Grande is one of those people 530 00:32:27,070 --> 00:32:27,930 Speaker 1: where it's all encompassing, I. 531 00:32:27,930 --> 00:32:28,290 Speaker 2: Guess, right? 532 00:32:28,330 --> 00:32:32,350 Speaker 1: And I think Jack Black is as well. Thank you 533 00:32:32,670 --> 00:32:40,330 Speaker 1: for the text, 808-617-906-6638. A text here from the 208, again, 534 00:32:40,410 --> 00:32:44,140 Speaker 1: talking about actors turn musicians and vice versa. Hey, Seth, 535 00:32:44,160 --> 00:32:47,640 Speaker 1: has anyone brought up Tupac yet as an actor slash musician? 536 00:32:48,110 --> 00:32:49,690 Speaker 1: I guess he was an actor first when he was 537 00:32:49,730 --> 00:32:52,120 Speaker 1: in school and then became a musician before he made 538 00:32:52,200 --> 00:32:55,220 Speaker 1: any movies. I think if his life hadn't been tragically 539 00:32:55,260 --> 00:32:57,140 Speaker 1: cut short, he would have gone on to give us 540 00:32:57,360 --> 00:33:02,420 Speaker 1: Oscar-winning performances. Lauren, who lives in the 208s. Lauren, I 541 00:33:02,500 --> 00:33:05,810 Speaker 1: think you are absolutely right. I completely agree with you. 542 00:33:06,910 --> 00:33:11,170 Speaker 1: The depth to what Tupac was capable of truly had 543 00:33:11,250 --> 00:33:14,030 Speaker 1: not been seen yet. If you think about what he 544 00:33:15,590 --> 00:33:19,930 Speaker 1: or Biggie would be up to today, especially given all 545 00:33:19,950 --> 00:33:22,180 Speaker 1: they had accomplished in such a short period of time, 546 00:33:23,320 --> 00:33:27,000 Speaker 1: it does blow one's mind. And I really think you're 547 00:33:27,040 --> 00:33:29,420 Speaker 1: onto something here. I think he would have gone on 548 00:33:29,500 --> 00:33:33,860 Speaker 1: to more acting. I honestly, my hot take here is 549 00:33:33,880 --> 00:33:37,110 Speaker 1: he would have done less music and more film. I 550 00:33:37,130 --> 00:33:37,690 Speaker 1: think that's where he. 551 00:33:37,650 --> 00:33:38,050 Speaker 2: Would have gone. 552 00:33:39,770 --> 00:33:43,630 Speaker 1: But what do I know? Got a lot of website 553 00:33:43,770 --> 00:33:46,330 Speaker 1: action this week. What's up with the website, guys? You 554 00:33:46,350 --> 00:33:48,630 Speaker 1: guys are enjoying sending those forms into us. Got a 555 00:33:48,650 --> 00:33:53,330 Speaker 1: website message here from Michael with the subject line, so 556 00:33:53,390 --> 00:33:57,430 Speaker 1: bad it's good movies. And it reads as follows, Zeth, 557 00:33:58,250 --> 00:34:00,630 Speaker 1: last week you posed as one of the questions, best 558 00:34:01,320 --> 00:34:05,600 Speaker 1: so bad it's good movies and or music. Here's my 559 00:34:05,660 --> 00:34:11,000 Speaker 1: top 25 list of great themes to so bad they're 560 00:34:11,060 --> 00:34:15,180 Speaker 1: good movies. Oh, this is good now. Great themes to 561 00:34:15,280 --> 00:34:18,910 Speaker 1: so bad They're good movies. Oh man, ready? You guys ready? 562 00:34:19,690 --> 00:34:19,950 Speaker 2: Hold on. 563 00:34:20,610 --> 00:34:23,790 Speaker 1: Michael's out here doing the work. I gotta say, Michael, just, 564 00:34:23,950 --> 00:34:28,160 Speaker 1: you know, this is incredible work. I just, I salute you. 565 00:34:28,880 --> 00:34:32,000 Speaker 1: All right, here we go. Number one, John Parr, St. 566 00:34:32,100 --> 00:34:36,200 Speaker 1: Elmo's Fire, Man in Motion from St. Elmo's Fire. Number two, 567 00:34:36,739 --> 00:34:41,150 Speaker 1: Dragon Sound, Against the Ninja from Miami Connection. Number three, 568 00:34:41,830 --> 00:34:46,650 Speaker 1: Dolly Parton's Tennessee Homesick Blues from Rhinestone. Number four, Pia 569 00:34:46,670 --> 00:34:50,400 Speaker 1: Zadora and Jermaine Jackson's When the Rain Begins to Fall 570 00:34:50,520 --> 00:34:54,040 Speaker 1: from Voyage of the Rock Aliens. Number five, Boyz II 571 00:34:54,080 --> 00:34:58,360 Speaker 1: Men featuring Michael Bivens, Motown Philly from House Party 2. 572 00:34:58,360 --> 00:35:02,540 Speaker 1: Number six, Smash Mouth, Their Song All-Star from Mystery Men. 573 00:35:03,239 --> 00:35:07,330 Speaker 1: Number seven, The Beach Boys' Kokomo from Cocktail. Number eight, 574 00:35:07,390 --> 00:35:11,230 Speaker 1: Miley Cyrus, The Climb from Hannah Montana the Movie. Number nine, 575 00:35:11,670 --> 00:35:15,640 Speaker 1: Coven's One Tin Soldier from Billy Jack. Number ten, DeBarge's 576 00:35:15,760 --> 00:35:18,830 Speaker 1: Rhythm of the Night from The Last Dragon. Number 11, 577 00:35:18,820 --> 00:35:22,220 Speaker 1: Paul Simon, Late in the Evening from One Trick Pony. 578 00:35:22,580 --> 00:35:26,560 Speaker 1: Number 12, Drowning Pool's Bodies from The One. Number 13, 579 00:35:26,560 --> 00:35:30,600 Speaker 1: Aaliyah's Try Again from Romeo Must Die. Number 14, Neil 580 00:35:30,620 --> 00:35:34,040 Speaker 1: Diamond's America from The Jazz Singer. Number 15, Aaliyah again 581 00:35:34,080 --> 00:35:37,270 Speaker 1: with Are You That Somebody from Dr. Doolittle. Number 16, 582 00:35:37,270 --> 00:35:40,690 Speaker 1: Alien Ant Farm, Smooth Criminal from American Pie 2. Number 17, UB40. 583 00:35:42,440 --> 00:35:47,660 Speaker 1: Can't Help Falling in Love from Sliver. Number 18, Leanne Rimes, 584 00:35:47,800 --> 00:35:51,620 Speaker 1: Can't Fight the Moonlight from Coyote Ugly. Number 19, The Beatles, 585 00:35:51,660 --> 00:35:56,680 Speaker 1: Hey Bulldog from Yellow Submarine. Number 20, George Krantz, Dindada 586 00:35:56,780 --> 00:36:00,820 Speaker 1: from Breaking 2, Electric Boogaloo. Number 21, Bon Jovi, Blaze 587 00:36:00,860 --> 00:36:05,010 Speaker 1: of Glory from Young Guns 2. Number 22, Luther Vandross 588 00:36:05,120 --> 00:36:07,950 Speaker 1: and Janet Jackson featuring Belle Biv DeVoe and Ralph Tresvant. 589 00:36:08,469 --> 00:36:11,629 Speaker 1: The Best Things in Life are Free from Mo Money. 590 00:36:12,170 --> 00:36:15,530 Speaker 1: Number 23, Red Hot Chili Peppers, sold a squeeze from Coneheads. 591 00:36:15,590 --> 00:36:18,730 Speaker 1: Number 24, Dan Hartman, I Can Dream About You from 592 00:36:18,770 --> 00:36:23,710 Speaker 1: Streets of Fire. Number 25, The Immortals, Techno Syndrome from 593 00:36:23,850 --> 00:36:28,130 Speaker 1: Mortal Kombat. Like you said, a few of these you 594 00:36:28,150 --> 00:36:30,830 Speaker 1: might say, that's a good movie, but the overall ratings 595 00:36:30,969 --> 00:36:35,030 Speaker 1: don't lie. Keep up the great work. Rock-a-rola, Michael. Michael, 596 00:36:35,210 --> 00:36:40,739 Speaker 1: rock-a-fucking-rola to you. This was a heroic fucking list. Truly, 597 00:36:40,900 --> 00:36:45,089 Speaker 1: all these movies... Truly, I think the majority of them 598 00:36:45,469 --> 00:36:48,160 Speaker 1: could be considered so bad they're good. But I will say, 599 00:36:48,860 --> 00:36:52,440 Speaker 1: some of these songs fucking rule. Soul to Squeeze by 600 00:36:52,480 --> 00:36:56,900 Speaker 1: Red Hot Chili Peppers. Incredible song. The Beatles' Hey Bulldog 601 00:36:57,120 --> 00:37:00,879 Speaker 1: is one of my favorite deep cut Beatles songs. Incredible riff. 602 00:37:01,719 --> 00:37:05,430 Speaker 1: Of course, Paul Simon's Late in the Evening. When you're 603 00:37:05,450 --> 00:37:08,390 Speaker 1: a kid and you hear Paul Simon singing about sneaking 604 00:37:08,410 --> 00:37:11,899 Speaker 1: outside to smoke myself a J. You're like, this guy? 605 00:37:15,350 --> 00:37:18,649 Speaker 1: Paul Simon's getting high? And then also as a kid, 606 00:37:18,710 --> 00:37:21,149 Speaker 1: you know, you guys forget growing up when I did, 607 00:37:21,410 --> 00:37:22,969 Speaker 1: you know, a lot of us were introduced to the 608 00:37:22,989 --> 00:37:25,670 Speaker 1: Beach Boys via Kokomo, which is just a fucking crime. 609 00:37:26,310 --> 00:37:28,330 Speaker 1: If Brian Wilson knew, he would have been so upset. 610 00:37:28,370 --> 00:37:30,500 Speaker 1: He probably didn't know and he probably was upset. What 611 00:37:30,580 --> 00:37:35,700 Speaker 1: a just abomination of a song, Kokomo. But one which 612 00:37:35,840 --> 00:37:37,520 Speaker 1: we're all now going to have stuck in our heads 613 00:37:37,580 --> 00:37:39,719 Speaker 1: for the rest of the day. So thanks, Michael, for that. 614 00:37:41,000 --> 00:37:43,719 Speaker 1: Speaking of songs, I got more songs coming up for 615 00:37:43,760 --> 00:37:46,440 Speaker 1: you guys here right after this break. I'm going to 616 00:37:46,500 --> 00:37:49,260 Speaker 1: talk about some, give you guys some dirty wrecks for 617 00:37:49,640 --> 00:37:54,290 Speaker 1: soundtracks that double as albums in their own right. We're 618 00:37:54,310 --> 00:37:57,690 Speaker 1: going to do that in just a moment. So please 619 00:37:57,930 --> 00:37:59,690 Speaker 1: stay put. I'll see you guys on the other side. 620 00:38:10,830 --> 00:38:13,160 Speaker 1: All right, guys, it's Dr. Lundy hanging with you here 621 00:38:13,340 --> 00:38:17,900 Speaker 1: in the Hollywoodland Rap Party. And as promised earlier, I 622 00:38:17,920 --> 00:38:22,180 Speaker 1: was talking about taking some inspiration from the 50th anniversary 623 00:38:22,260 --> 00:38:25,859 Speaker 1: of Stevie Wonder's classic album, Songs and the Key of Life. 624 00:38:26,880 --> 00:38:30,029 Speaker 1: Stevie went on to write not one, not two, but 625 00:38:30,219 --> 00:38:35,090 Speaker 1: three soundtracks for movies, two features in one documentary. Soundtracks 626 00:38:35,190 --> 00:38:40,790 Speaker 1: which doubled as... actual studio albums in their own right, 627 00:38:40,969 --> 00:38:43,730 Speaker 1: albums like Jungle Fever, which he made for the Spike 628 00:38:43,770 --> 00:38:46,549 Speaker 1: Lee film of the same name. So inspired by that, 629 00:38:46,690 --> 00:38:49,890 Speaker 1: since I'm hanging here solo today in the wrap party, 630 00:38:49,989 --> 00:38:52,509 Speaker 1: I figured I would throw out some dirty recs to 631 00:38:52,530 --> 00:38:58,200 Speaker 1: you guys, some recommendations for other soundtracks that double as 632 00:38:58,420 --> 00:39:01,719 Speaker 1: just regular old albums by the artists that made them, 633 00:39:01,860 --> 00:39:05,029 Speaker 1: all right? without further ado, let's go, okay? My first 634 00:39:05,130 --> 00:39:08,450 Speaker 1: one here is by an artist named Badly Drawn Boy. 635 00:39:08,469 --> 00:39:12,440 Speaker 1: The album is called About a Boy. Badly Drawn Boy 636 00:39:12,660 --> 00:39:18,020 Speaker 1: is this singer-songwriter Damon Gough from Manchester. My college roommate 637 00:39:18,219 --> 00:39:20,439 Speaker 1: and good friend Dave turned me on to this guy 638 00:39:20,500 --> 00:39:23,850 Speaker 1: back in the day. I remember hearing his debut album, 639 00:39:23,870 --> 00:39:27,910 Speaker 1: The Hour of Bewilderbeast, which came out in 2000. So, 640 00:39:28,230 --> 00:39:32,359 Speaker 1: so good. We were talking about homemade records this past week. 641 00:39:32,920 --> 00:39:35,480 Speaker 1: I don't know if he made Hour of Bewilderbeast in 642 00:39:35,540 --> 00:39:37,880 Speaker 1: his home or in a bedroom or in a fucking 643 00:39:37,920 --> 00:39:41,020 Speaker 1: basement or what, but it sounds like that kind of record, 644 00:39:41,060 --> 00:39:42,899 Speaker 1: and that's what I love about it. So that came 645 00:39:42,960 --> 00:39:45,600 Speaker 1: out in 2000, and then Dave and I were lucky 646 00:39:45,640 --> 00:39:49,600 Speaker 1: enough to catch Badly Drawn Boy's American debut in when 647 00:39:49,620 --> 00:39:52,140 Speaker 1: he played his first show on US soil at the 648 00:39:52,200 --> 00:39:56,400 Speaker 1: Paradise in Boston. I just remember Damon climbing into the 649 00:39:56,460 --> 00:40:01,450 Speaker 1: crowd and constantly taunting us with this, I'm from Manchester bravado. 650 00:40:01,489 --> 00:40:03,109 Speaker 1: He kept on saying that over and over again, like, 651 00:40:03,130 --> 00:40:06,950 Speaker 1: don't fuck with me, I'm from Manchester. It was this 652 00:40:07,030 --> 00:40:12,290 Speaker 1: really funny counterpoint to his more reserved musical persona. So anyways, 653 00:40:12,469 --> 00:40:16,190 Speaker 1: after his first record comes out, his second record, released 654 00:40:16,270 --> 00:40:20,650 Speaker 1: in 2002, doubled as a soundtrack for the film called 655 00:40:20,770 --> 00:40:23,169 Speaker 1: About a Boy. This is a film based on Nick 656 00:40:23,190 --> 00:40:26,110 Speaker 1: Hornby's novel. It was directed by Chris and Paul Weitz, 657 00:40:26,210 --> 00:40:28,920 Speaker 1: starred Hugh Grant, Tony Collette, and at the time, a 658 00:40:29,530 --> 00:40:33,520 Speaker 1: newcomer named Nicholas Holt, who plays the titular boy in 659 00:40:33,560 --> 00:40:36,960 Speaker 1: this film. Now, this is the example of nailing the 660 00:40:37,000 --> 00:40:40,840 Speaker 1: fucking assignment, because the songs are so incredible, the record 661 00:40:40,880 --> 00:40:45,120 Speaker 1: is so rich, that it can exist entirely on its own. 662 00:40:45,160 --> 00:40:47,090 Speaker 1: You don't have to know a thing about about the 663 00:40:47,180 --> 00:40:50,719 Speaker 1: movie or the book or Hugh Grant or whatever to 664 00:40:50,760 --> 00:40:54,899 Speaker 1: appreciate this record. It's got Tom Rothrock co-producing. He's best 665 00:40:54,940 --> 00:40:57,560 Speaker 1: known for his work with Elliot Smith. It's got Joey 666 00:40:57,580 --> 00:41:01,260 Speaker 1: Warnicker on drums, great session drummer. It's got Pete Thomas 667 00:41:01,420 --> 00:41:05,940 Speaker 1: on drums, who is Elvis Costello's drummer. John Bryan is 668 00:41:06,020 --> 00:41:08,360 Speaker 1: on here playing instruments. It just has this wealth of 669 00:41:09,040 --> 00:41:12,899 Speaker 1: LA area session musicians. And again, the songs on here, 670 00:41:13,239 --> 00:41:15,759 Speaker 1: A Peak You Reach, Something to Talk About, Above You, 671 00:41:15,820 --> 00:41:18,879 Speaker 1: Below Me, If you received a mixtape from me back 672 00:41:18,920 --> 00:41:22,770 Speaker 1: in the early aughts, it likely included the song River, Sea, 673 00:41:23,070 --> 00:41:24,810 Speaker 1: Ocean from this album. 674 00:41:25,610 --> 00:41:26,029 Speaker 2: It's great. 675 00:41:26,090 --> 00:41:28,350 Speaker 1: If you don't know this, Badly Drawn Boy, the album 676 00:41:28,489 --> 00:41:31,210 Speaker 1: is about a boy. The next album I want to 677 00:41:31,230 --> 00:41:36,340 Speaker 1: recommend is an Amy Mann album. Well, it's the Magnolia soundtrack. 678 00:41:36,700 --> 00:41:42,860 Speaker 1: This is the soundtrack to the 1999 Paul Thomas Anderson film. Now, Technically, 679 00:41:43,140 --> 00:41:45,839 Speaker 1: the soundtrack for this movie includes a couple of other 680 00:41:45,880 --> 00:41:48,739 Speaker 1: tracks by other people. There's like one or two Supertramp 681 00:41:48,780 --> 00:41:51,860 Speaker 1: songs on here, a few others, but the majority of 682 00:41:51,900 --> 00:41:55,160 Speaker 1: the songs, we're talking like nine out of 13, are 683 00:41:55,300 --> 00:41:59,630 Speaker 1: original Amy Mann songs. Or maybe it's eight, because one 684 00:41:59,650 --> 00:42:03,710 Speaker 1: of her songs is a sublime cover of Harry Nilsson's One. 685 00:42:04,870 --> 00:42:08,390 Speaker 1: Some of these songs also appear on her record Bachelor No. 2, 686 00:42:08,390 --> 00:42:10,979 Speaker 1: which came out around the same time. But a number 687 00:42:11,000 --> 00:42:15,320 Speaker 1: of songs are available only here, like the aforementioned cover 688 00:42:15,390 --> 00:42:21,250 Speaker 1: of One, also Momentum, Build That Wall, the Oscar-nominated Save Me, 689 00:42:21,410 --> 00:42:23,930 Speaker 1: and then Wise Up, which if you know this movie, 690 00:42:24,630 --> 00:42:26,870 Speaker 1: you know that the song Wise Up is used in 691 00:42:26,910 --> 00:42:29,850 Speaker 1: this film unlike any song has ever been used in 692 00:42:30,050 --> 00:42:34,549 Speaker 1: any movie before or since. Because it happens... at this 693 00:42:34,610 --> 00:42:38,290 Speaker 1: climactic moment in which all the characters suddenly start singing 694 00:42:38,350 --> 00:42:40,670 Speaker 1: along to the song just out of nowhere, out of 695 00:42:40,690 --> 00:42:43,140 Speaker 1: the blue. And they're like sitting in a car or 696 00:42:43,180 --> 00:42:46,040 Speaker 1: they're sitting in their house or wherever they are. Their 697 00:42:46,100 --> 00:42:50,240 Speaker 1: disparate stories are all kind of colliding in these dramatic ways. 698 00:42:50,340 --> 00:42:52,600 Speaker 1: And they all have this collective moment where they stop 699 00:42:53,340 --> 00:42:56,529 Speaker 1: and they sing along to this song. And it's just 700 00:42:56,590 --> 00:42:59,810 Speaker 1: the wildest. It could be the wildest thing that happens 701 00:42:59,850 --> 00:43:02,009 Speaker 1: in this film if you don't count the frogs. It's 702 00:43:02,050 --> 00:43:04,290 Speaker 1: either this or the frogs. If you know, you know. 703 00:43:04,710 --> 00:43:08,469 Speaker 1: Paul Thomas Anderson, he wrote the script for this film 704 00:43:08,550 --> 00:43:13,670 Speaker 1: while listening to these songs before they were released. And 705 00:43:13,770 --> 00:43:18,670 Speaker 1: so the music is part of the film's DNA that is, again, 706 00:43:20,130 --> 00:43:22,109 Speaker 1: in a way that I don't think has ever been 707 00:43:22,310 --> 00:43:26,090 Speaker 1: replicated since and certainly was not done before. And the 708 00:43:26,170 --> 00:43:30,130 Speaker 1: songs are so good. Amy Mann is one of the greatest. 709 00:43:30,210 --> 00:43:33,140 Speaker 1: The bridge in Save Me, like, are you kidding me? 710 00:43:33,940 --> 00:43:37,279 Speaker 1: that bridge is like, that's like a bridge for the ages. Magnolia, 711 00:43:38,140 --> 00:43:41,100 Speaker 1: you know, I gotta say, for the longest time, my 712 00:43:41,180 --> 00:43:45,339 Speaker 1: North Star for film, it was my favorite thing. And 713 00:43:45,380 --> 00:43:47,400 Speaker 1: then at some point I drifted away from it as, 714 00:43:47,660 --> 00:43:50,700 Speaker 1: you know, PTA started to make stuff that felt more 715 00:43:50,800 --> 00:43:53,879 Speaker 1: like him or, you know, more like who he really 716 00:43:53,940 --> 00:43:56,980 Speaker 1: was underneath his influences. You know what I mean? Like 717 00:43:57,040 --> 00:43:59,660 Speaker 1: movies like There Will Be Blood and The Master just 718 00:43:59,700 --> 00:44:03,750 Speaker 1: felt more sort of like unique to him than the 719 00:44:03,790 --> 00:44:06,730 Speaker 1: films he'd made prior. And so I began to shrug 720 00:44:06,810 --> 00:44:10,529 Speaker 1: off Magnolia as just PTA trying to be Scorsese and 721 00:44:10,660 --> 00:44:12,680 Speaker 1: Altman and all these guys at once. But I recently 722 00:44:12,719 --> 00:44:15,279 Speaker 1: rewatched it again for the first time in at least 723 00:44:15,360 --> 00:44:18,660 Speaker 1: a decade, probably even more. And I'm happy to report 724 00:44:18,760 --> 00:44:22,260 Speaker 1: that I'm back on the Magnolia train. It's undeniably great. 725 00:44:22,320 --> 00:44:25,540 Speaker 1: It's a thrill to watch. It's one of his greatest movies, period, 726 00:44:25,719 --> 00:44:31,069 Speaker 1: full stop. Okay, next recommendation is a Peter Gabriel album 727 00:44:31,330 --> 00:44:35,180 Speaker 1: called Passion. Music for The Last Temptation of Christ. This 728 00:44:35,219 --> 00:44:39,000 Speaker 1: was Peter Gabriel's album of music for Martin Scorsese's film, 729 00:44:39,540 --> 00:44:43,259 Speaker 1: Last Temptation of Christ. The film came out in 1998, 730 00:44:43,260 --> 00:44:46,799 Speaker 1: but even after the film was done, Peter Gabriel kept 731 00:44:46,880 --> 00:44:50,799 Speaker 1: working on the songs, kept on improving it, and the soundtrack, 732 00:44:50,860 --> 00:44:55,790 Speaker 1: or the album, was released in early 1988. Now, like 733 00:44:55,830 --> 00:44:58,890 Speaker 1: the Badly Drawn Boy album, this doubled as a legit 734 00:44:59,210 --> 00:45:03,560 Speaker 1: Peter Gabriel studio album. It's largely instrumental. though there are 735 00:45:03,660 --> 00:45:09,580 Speaker 1: voices in here. Jeff Buckley's Elvis, Nusrat Fateh Ali Khan 736 00:45:10,060 --> 00:45:13,640 Speaker 1: is on this. Yuson Dor is on this, the Senegalese 737 00:45:13,680 --> 00:45:16,040 Speaker 1: singer who you know from Peter Gabriel's In Your Eyes. 738 00:45:16,620 --> 00:45:19,430 Speaker 1: Baba Mal is on this. This was like, you know, 739 00:45:20,450 --> 00:45:22,330 Speaker 1: they used to classify this back in the day as 740 00:45:22,390 --> 00:45:25,870 Speaker 1: world music. It was like music that wasn't from America 741 00:45:26,010 --> 00:45:30,069 Speaker 1: and wasn't from like the UK and that sounded like 742 00:45:30,090 --> 00:45:31,589 Speaker 1: it was from some other part of the world all 743 00:45:31,630 --> 00:45:35,739 Speaker 1: got lumped into this like world music category, which kind 744 00:45:35,760 --> 00:45:37,540 Speaker 1: of did a disservice, you know what I mean? Because 745 00:45:38,660 --> 00:45:41,380 Speaker 1: so much of the music inside that category sounded completely 746 00:45:41,420 --> 00:45:45,140 Speaker 1: different from other music. I don't know how it's termed today, 747 00:45:45,160 --> 00:45:47,040 Speaker 1: if that genre still exists, if it's still like a 748 00:45:47,100 --> 00:45:51,890 Speaker 1: blanket genre. But this record brought together these musicians from 749 00:45:51,950 --> 00:45:55,549 Speaker 1: the Middle East, from Africa, from South Asia, A lot 750 00:45:55,570 --> 00:45:57,970 Speaker 1: of people who the general public had never heard about before. 751 00:45:58,290 --> 00:45:59,810 Speaker 1: And so this is where a lot of people heard 752 00:45:59,830 --> 00:46:02,470 Speaker 1: You So Endure. Well, they heard You So Endure first, 753 00:46:02,510 --> 00:46:05,210 Speaker 1: I guess, on In Your Eyes. But, you know, a 754 00:46:05,230 --> 00:46:07,590 Speaker 1: lot of people probably didn't, people who weren't Jeff Buckley 755 00:46:07,630 --> 00:46:11,370 Speaker 1: didn't know about Nusrat Fateh Ali Khan before this record 756 00:46:11,390 --> 00:46:14,830 Speaker 1: came out. There's something so mystical and so magical about 757 00:46:14,850 --> 00:46:18,050 Speaker 1: this album. You know, you talk about the mystery of faith, which, 758 00:46:18,219 --> 00:46:22,130 Speaker 1: you know, this film definitely explores. And that concept is 759 00:46:22,190 --> 00:46:25,089 Speaker 1: baked into this music. It's full of intrigue. It's full 760 00:46:25,110 --> 00:46:28,680 Speaker 1: of wonder and doubt. And for whatever reason, I was 761 00:46:28,800 --> 00:46:33,680 Speaker 1: so attracted to this as a teenager because it's so cinematic, 762 00:46:33,719 --> 00:46:36,200 Speaker 1: I think. And just listening to it just set my 763 00:46:36,239 --> 00:46:38,920 Speaker 1: mind reeling in so many different directions. I had a 764 00:46:38,980 --> 00:46:42,980 Speaker 1: cassette copy that never left my parents' Volvo. And just 765 00:46:43,160 --> 00:46:47,120 Speaker 1: driving around, listening to music as inspiring and electric as this, 766 00:46:47,600 --> 00:46:50,779 Speaker 1: just letting it wash over you. There's few feelings like 767 00:46:50,840 --> 00:46:54,060 Speaker 1: that in the world, especially when you're discovering music for 768 00:46:54,080 --> 00:46:57,620 Speaker 1: the first time. One honorable mention I wanted to throw 769 00:46:57,640 --> 00:47:01,920 Speaker 1: out here, too, is Neil Young's score for Jim Jarmusch's 770 00:47:01,920 --> 00:47:06,029 Speaker 1: 1995 film Dead Man, which I know I was just 771 00:47:06,090 --> 00:47:08,270 Speaker 1: talking about Jarmusch last week in the wrap party. I 772 00:47:08,290 --> 00:47:11,910 Speaker 1: talked about Down by Law and Tom Waits and John Lurie. 773 00:47:12,730 --> 00:47:16,070 Speaker 1: But this is worth mentioning because it's Neil's only film score, 774 00:47:16,130 --> 00:47:19,870 Speaker 1: I believe. And he made it while watching an early 775 00:47:19,989 --> 00:47:22,230 Speaker 1: edit of the film. He was just in a screening 776 00:47:22,270 --> 00:47:26,089 Speaker 1: room with his electric guitar and he's just improvising this 777 00:47:26,150 --> 00:47:28,670 Speaker 1: music to go along with what he's seeing. There's no 778 00:47:28,730 --> 00:47:31,710 Speaker 1: vocals on this record at all. It's just electric guitar, 779 00:47:32,210 --> 00:47:34,750 Speaker 1: except there's like one song where he breaks out the organ, which, 780 00:47:34,790 --> 00:47:37,670 Speaker 1: you know, Neil got all into the organ around this time, 781 00:47:37,770 --> 00:47:42,060 Speaker 1: the pump organ too, which is like, you know, that's 782 00:47:42,120 --> 00:47:46,279 Speaker 1: a whole thing. If you haven't seen his unplugged performance before, 783 00:47:46,550 --> 00:47:49,760 Speaker 1: you're going to see way more organ than you're expecting 784 00:47:49,800 --> 00:47:53,279 Speaker 1: when you watch that. There's a real looseness to the 785 00:47:53,300 --> 00:47:57,920 Speaker 1: Deadman score soundtrack, right? And Neil's always had this looseness. 786 00:47:58,520 --> 00:48:02,050 Speaker 1: Shortly before he makes this record in 95, he released 787 00:48:02,090 --> 00:48:05,069 Speaker 1: an album called Arc, which was this companion piece to 788 00:48:05,110 --> 00:48:08,370 Speaker 1: a live album called Weld. And Arc was just like 789 00:48:08,870 --> 00:48:13,080 Speaker 1: feedback and noise for 35 minutes, right? Now, the Deadman 790 00:48:13,120 --> 00:48:16,489 Speaker 1: soundtrack is not all feedback and noise, but It is 791 00:48:16,750 --> 00:48:20,549 Speaker 1: like the guitar as a train or the guitar as 792 00:48:20,590 --> 00:48:25,170 Speaker 1: the wind. And when these melodies emerge from the improvisations, 793 00:48:25,350 --> 00:48:29,739 Speaker 1: they really truly can feel like these revelatory moments. And 794 00:48:29,760 --> 00:48:31,720 Speaker 1: I don't know that Neil's guitar has ever sounded better 795 00:48:31,900 --> 00:48:35,120 Speaker 1: than it sounds on this album, in this soundtrack. You know, 796 00:48:35,460 --> 00:48:40,160 Speaker 1: Neil's always had his own sound, his electric guitar, his 797 00:48:40,200 --> 00:48:43,980 Speaker 1: Les Paul sounds like it's melting. It sounds like molten thunder. 798 00:48:45,010 --> 00:48:48,190 Speaker 1: there's no better example of that than here on this record. 799 00:48:48,230 --> 00:48:51,670 Speaker 1: It's just, if you like the way things sound, if 800 00:48:51,700 --> 00:48:58,560 Speaker 1: you like this, like crackling, um, lava, electricity, whatever the 801 00:48:58,820 --> 00:49:02,180 Speaker 1: fuck it is. Um, this is the best place to 802 00:49:02,219 --> 00:49:07,170 Speaker 1: find that. Neil Young, dead man. All right, guys, let 803 00:49:07,210 --> 00:49:09,529 Speaker 1: me know. Maybe you've got some dirty wrecks of your 804 00:49:09,650 --> 00:49:13,489 Speaker 1: own for soundtracks that can double as albums of new material. 805 00:49:13,850 --> 00:49:20,649 Speaker 1: by a musical artist. Call me or text me 617-906-6638. 806 00:49:21,110 --> 00:49:25,510 Speaker 1: You can also email me at disgracelandpod at gmail.com. All right. 807 00:49:26,000 --> 00:49:28,220 Speaker 1: While you're doing that, I got to take another break 808 00:49:28,380 --> 00:49:30,020 Speaker 1: real quick. I got to drink some water. I got to, 809 00:49:30,160 --> 00:49:32,560 Speaker 1: I'm patched. All right. I'll be back in just a 810 00:49:32,600 --> 00:49:59,640 Speaker 1: moment though. So don't nobody go nowhere. All right, gang, 811 00:49:59,820 --> 00:50:01,700 Speaker 1: we are once again coming to the end of the 812 00:50:01,739 --> 00:50:05,860 Speaker 1: road here for this week's Hollywoodland Rap Party episode. And 813 00:50:05,880 --> 00:50:08,120 Speaker 1: I just want to take a second here to say 814 00:50:08,260 --> 00:50:12,649 Speaker 1: thank you. Thank you. Thank you. Everyone who's listening. Yes, 815 00:50:13,090 --> 00:50:15,589 Speaker 1: you as well. Thanks to those of you who have 816 00:50:15,610 --> 00:50:18,770 Speaker 1: been here from the start. Thanks to those who just 817 00:50:18,810 --> 00:50:22,430 Speaker 1: started listening yesterday. I see you guys. I hear you guys. 818 00:50:22,489 --> 00:50:25,850 Speaker 1: I'm so appreciative that you spend your time with us because, 819 00:50:25,870 --> 00:50:29,210 Speaker 1: you know, time is a valuable thing these days. And 820 00:50:29,230 --> 00:50:32,509 Speaker 1: we're pulled in a thousand different directions. So, you know, 821 00:50:32,650 --> 00:50:35,770 Speaker 1: it's very cool that you've chosen to be here with me, 822 00:50:35,870 --> 00:50:38,710 Speaker 1: with us, with Jake, with Matt, with Double Elvis here 823 00:50:39,090 --> 00:50:41,070 Speaker 1: for some of that time. And if you want to 824 00:50:41,110 --> 00:50:42,630 Speaker 1: get at me and let me know what you're thinking 825 00:50:42,670 --> 00:50:44,370 Speaker 1: about all this stuff we've been talking about, you know 826 00:50:44,410 --> 00:50:49,050 Speaker 1: you are always free to do that. No pressure. No presh. 827 00:50:49,989 --> 00:50:52,910 Speaker 1: But if you're dying to let me know your thoughts 828 00:50:53,610 --> 00:50:55,450 Speaker 1: on the New York Times list of the 100 best 829 00:50:55,489 --> 00:50:58,899 Speaker 1: TV shows of the 21st century, give me a shout. 830 00:50:59,710 --> 00:51:01,230 Speaker 1: If you're dying to let me know your thoughts about 831 00:51:01,450 --> 00:51:04,990 Speaker 1: soundtracks that double as albums of new material by their maker, 832 00:51:05,730 --> 00:51:07,380 Speaker 1: let me know. And you know how to do it. 833 00:51:07,910 --> 00:51:14,759 Speaker 1: Call me or text me, 617-906-6638. Or just send me 834 00:51:15,500 --> 00:51:20,020 Speaker 1: an email, disgracelandpod at gmail.com. Or of course, if you 835 00:51:20,100 --> 00:51:22,160 Speaker 1: are a member of Disgraced Land All Access, you can 836 00:51:22,180 --> 00:51:25,410 Speaker 1: just jump into the chat there on Patreon, like Harry 837 00:51:25,450 --> 00:51:28,620 Speaker 1: Nelson jumping into the fire. I watched a couple things 838 00:51:28,660 --> 00:51:32,160 Speaker 1: this week, guys. There were numerous people who called or 839 00:51:32,200 --> 00:51:35,660 Speaker 1: texted in over the last few weeks recommending Garth Merengue's 840 00:51:35,760 --> 00:51:38,660 Speaker 1: Darkplace to me. We talked about this earlier in the show. 841 00:51:38,840 --> 00:51:40,719 Speaker 1: I finally got around to watching some of this and 842 00:51:41,420 --> 00:51:46,620 Speaker 1: it did not disappoint. Like, oh my God, the ADR alone, 843 00:51:46,820 --> 00:51:52,290 Speaker 1: the ADR jokes in the show alone are just absolute gold. 844 00:51:52,489 --> 00:51:56,690 Speaker 1: And I didn't realize just how much I absolutely adore 845 00:51:56,830 --> 00:52:01,790 Speaker 1: Matt Berry. I appreciate everybody who recommended the show to me. 846 00:52:02,150 --> 00:52:04,670 Speaker 1: I've watched a couple episodes. I've absolutely adored it. Can't 847 00:52:04,690 --> 00:52:07,330 Speaker 1: wait to watch more. I also started watching that, that 848 00:52:07,630 --> 00:52:10,380 Speaker 1: the Jay-Z and Rick Rubin thing they've got on HBO. 849 00:52:10,440 --> 00:52:12,660 Speaker 1: It's like Jay-Z and Rick Rubin sit down at a 850 00:52:12,739 --> 00:52:15,640 Speaker 1: table and they listen to some, some of Jay-Z's stuff 851 00:52:15,680 --> 00:52:18,140 Speaker 1: and they talk about it. Rick Rubin had done this 852 00:52:18,940 --> 00:52:22,320 Speaker 1: earlier with Paul McCartney. The Paul McCartney one was cool 853 00:52:22,360 --> 00:52:26,050 Speaker 1: because it also added in, you know, other footage from 854 00:52:26,170 --> 00:52:29,529 Speaker 1: the past and, And this one with Jay-Z, it's literally 855 00:52:29,680 --> 00:52:34,129 Speaker 1: just Jay and Rick Rubin talking together in a room 856 00:52:34,210 --> 00:52:37,250 Speaker 1: by themselves, you know, 30 minutes per episode. So I 857 00:52:37,290 --> 00:52:38,670 Speaker 1: kind of wish there was a little bit more variety 858 00:52:38,730 --> 00:52:41,799 Speaker 1: in what I'm seeing. However, so far I've found the 859 00:52:41,860 --> 00:52:47,760 Speaker 1: conversation to be really illuminating, really fascinating, just really getting 860 00:52:47,800 --> 00:52:54,390 Speaker 1: inside the creative process and how Jay-Z creates what he creates. 861 00:52:55,430 --> 00:52:57,509 Speaker 1: I've found it to be quite illuminating. I've seen a 862 00:52:57,550 --> 00:53:00,700 Speaker 1: number of people kind of say it's meh or blah 863 00:53:01,200 --> 00:53:05,259 Speaker 1: or frustrating or whatever. I'm not sure where that's coming 864 00:53:05,300 --> 00:53:08,560 Speaker 1: from because I do find this to be, again, extremely 865 00:53:08,719 --> 00:53:12,030 Speaker 1: illuminating to me. And then the coolest thing I watched 866 00:53:12,050 --> 00:53:14,569 Speaker 1: this week was this new film or new-ish film called 867 00:53:14,630 --> 00:53:19,730 Speaker 1: Tuner that stars Leo Woodall and co-stars Dustin Hoffman. Leo 868 00:53:19,750 --> 00:53:23,430 Speaker 1: Woodall plays this younger piano tuner. He works for Dustin 869 00:53:23,469 --> 00:53:27,069 Speaker 1: Hoffman's piano tuner tuning company, he has this hearing thing 870 00:53:27,110 --> 00:53:30,330 Speaker 1: where his ears are super sensitive to loud noises. So 871 00:53:30,370 --> 00:53:34,029 Speaker 1: he's always wearing these like plugs in his ears. But 872 00:53:34,110 --> 00:53:37,209 Speaker 1: because he's so sensitive, he has perfect pitch as well. 873 00:53:37,290 --> 00:53:39,529 Speaker 1: So this is perfect for his job as a piano tuner. 874 00:53:40,090 --> 00:53:43,390 Speaker 1: But then these criminals sort of like co-opt his skills 875 00:53:44,050 --> 00:53:47,780 Speaker 1: to help them do nefarious criminal things like crack into safes. 876 00:53:48,520 --> 00:53:52,000 Speaker 1: And this becomes like Baby Driver meets Good Will Hunting 877 00:53:52,040 --> 00:53:55,719 Speaker 1: meets Drive. but with a jazz state of mind, I guess, 878 00:53:55,800 --> 00:53:59,700 Speaker 1: because there's a bunch of Herbie Hancock in this film, 879 00:53:59,739 --> 00:54:03,700 Speaker 1: the soundtrack. There's some Dave Brubeck. Great, great soundtrack of jazz. 880 00:54:04,020 --> 00:54:06,980 Speaker 1: Herbie Hancock actually makes a cameo appearance in it as well. 881 00:54:07,580 --> 00:54:12,430 Speaker 1: But just a super, super great, small character study crime film. 882 00:54:12,510 --> 00:54:14,469 Speaker 1: Feels like it could have been a movie from the 883 00:54:14,510 --> 00:54:18,520 Speaker 1: 70s or the 90s. And I really, really enjoyed it. 884 00:54:18,610 --> 00:54:22,120 Speaker 1: So I highly recommend that tuner. Let me know. what 885 00:54:22,160 --> 00:54:28,860 Speaker 1: you recommend, 617-906-6638, disgracelandpod at gmail.com. You don't have to 886 00:54:28,900 --> 00:54:31,380 Speaker 1: go home, but you know what? You can't stay here. 887 00:54:31,660 --> 00:54:35,180 Speaker 1: I'm going to bounce. But before I split for real, 888 00:54:35,930 --> 00:54:39,010 Speaker 1: let me remind you guys of a few important things. 889 00:54:39,550 --> 00:54:42,129 Speaker 1: Number one, first of all, right now in your Hollywoodland feed, 890 00:54:42,270 --> 00:54:45,630 Speaker 1: our episode on Phil Hartman. Number two, coming at you 891 00:54:45,650 --> 00:54:47,989 Speaker 1: this Friday, we've got a new episode of The Screening Room, 892 00:54:48,530 --> 00:54:51,270 Speaker 1: And this week, I'm talking all about the 1993 film, 893 00:54:51,390 --> 00:54:55,050 Speaker 1: So I Married an Axe Murderer. Number three, next week 894 00:54:55,200 --> 00:54:57,540 Speaker 1: on Monday, we're bringing you our fully scripted and sound 895 00:54:57,560 --> 00:55:02,520 Speaker 1: design episode on Tim Allen. Number four, over in our 896 00:55:02,580 --> 00:55:05,819 Speaker 1: sister show, Disgraceland, we've got a brand new episode on 897 00:55:05,920 --> 00:55:11,170 Speaker 1: Quincy Jones, Q. And well, what about Q? Well, Quincy 898 00:55:11,210 --> 00:55:15,550 Speaker 1: Jones brought truth through music. We heard what America really 899 00:55:15,590 --> 00:55:17,730 Speaker 1: felt like in the albums he produced and the films 900 00:55:17,890 --> 00:55:19,969 Speaker 1: he scored. But at the end of his life, he 901 00:55:20,010 --> 00:55:23,390 Speaker 1: made wild claims that Michael Jackson was a thief, that 902 00:55:23,410 --> 00:55:26,350 Speaker 1: the Beatles were frauds, and that he knew who killed 903 00:55:26,430 --> 00:55:30,340 Speaker 1: Kennedy in part because of his relationship with Frank Sinatra. 904 00:55:30,980 --> 00:55:34,500 Speaker 1: In this episode, Jake dives into those crimes, musical and otherwise, 905 00:55:35,000 --> 00:55:37,760 Speaker 1: to determine if arguably the greatest producer who ever lived, 906 00:55:38,239 --> 00:55:40,760 Speaker 1: the man who claimed all I've ever done is tell 907 00:55:40,800 --> 00:55:45,089 Speaker 1: the truth, was in fact telling us The Truth. Check 908 00:55:45,130 --> 00:55:49,080 Speaker 1: it out on Apple Podcasts, the iHeartRadio app, or wherever 909 00:55:49,500 --> 00:55:52,879 Speaker 1: you get your podcasts. Number five, this film should be 910 00:55:52,960 --> 00:55:57,080 Speaker 1: played loud. Our video podcasts available exclusively to members of 911 00:55:57,120 --> 00:56:00,620 Speaker 1: Disgraceland All Access on Patreon has a brand new episode 912 00:56:00,719 --> 00:56:05,420 Speaker 1: coming out today all about Gross Point Blank. It's got 913 00:56:05,460 --> 00:56:08,779 Speaker 1: a great 80s and 90s Gen X soundtrack. If you 914 00:56:08,840 --> 00:56:11,950 Speaker 1: are not yet a member of Disgraceland All Access on Patreon, 915 00:56:12,469 --> 00:56:16,190 Speaker 1: Just go to disgracelandpod.com for more info and to sign up. 916 00:56:16,830 --> 00:56:19,150 Speaker 1: And now, in honor of this week's episode, here's what 917 00:56:19,190 --> 00:56:22,739 Speaker 1: America was watching at the movies in May 1998, the 918 00:56:22,760 --> 00:56:25,400 Speaker 1: month that Phil Hartman was killed at the age of 49. 919 00:56:25,400 --> 00:56:32,640 Speaker 1: Number one, Deep Impact, directed by Mimi Lader. Number two, Godzilla, 920 00:56:32,940 --> 00:56:37,720 Speaker 1: directed by Roland Emmerich. Number three, The Horse Whisperer, directed 921 00:56:37,760 --> 00:56:41,819 Speaker 1: by Robert Redford. Number four, City of Angels, directed by 922 00:56:41,840 --> 00:56:47,510 Speaker 1: Brad Sibberman. Number five, He Got Game, directed by Spike Lee. 923 00:56:47,890 --> 00:56:54,069 Speaker 1: Number six, Titanic, directed by James Cameron. Number seven, Quest 924 00:56:54,090 --> 00:57:00,180 Speaker 1: for Camelot, directed by Frederick Dushow. Number eight, Bullworth, directed 925 00:57:00,219 --> 00:57:05,260 Speaker 1: by Warren Beatty. Quit talking and start mixing!