1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:13,159 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:29,159 Speaker 1: Welcome to hollywood Land, the Rap Party. Welcome everybody to 6 00:00:29,160 --> 00:00:31,800 Speaker 1: another bonus episode of hollywood Land. You know what time 7 00:00:31,840 --> 00:00:34,519 Speaker 1: it is, It's time for the Rap Party. This is 8 00:00:34,560 --> 00:00:36,400 Speaker 1: the show that gets you from one full episode of 9 00:00:36,440 --> 00:00:38,840 Speaker 1: hollywood Land to the next. The place where we dig 10 00:00:38,880 --> 00:00:41,840 Speaker 1: deeper into the stories that we tell, Stories where movie 11 00:00:41,920 --> 00:00:45,280 Speaker 1: history finds itself in the shadow of true crime, Stories 12 00:00:45,280 --> 00:00:47,920 Speaker 1: that go deeper into the truth, hiding behind the myth, 13 00:00:48,200 --> 00:00:50,960 Speaker 1: the kinds of stories hiding in plain sight. On the 14 00:00:51,000 --> 00:00:54,279 Speaker 1: cutting room floor, my name is Zeth Lundy, writer at 15 00:00:54,280 --> 00:00:57,880 Speaker 1: Double Elvis, showrunner for hollywood Land. And on this bonus episode, 16 00:00:57,920 --> 00:01:01,840 Speaker 1: we are talking about this week's full episode subject Charlie Chaplin. 17 00:01:02,280 --> 00:01:05,640 Speaker 1: We are previewing next week's episode on Carrie Fisher. We're 18 00:01:05,680 --> 00:01:08,720 Speaker 1: talking movie and music recommendations, and we're gonna check out 19 00:01:08,760 --> 00:01:12,440 Speaker 1: your voicemails, text dms, and emails. So come on, everybody, 20 00:01:12,520 --> 00:01:31,080 Speaker 1: let's party. What's up, guys, I hope you had a 21 00:01:31,080 --> 00:01:33,520 Speaker 1: great Labor Day weekend. I hope you had a great 22 00:01:33,560 --> 00:01:37,039 Speaker 1: summer rip to the summer. If you were lucky to 23 00:01:37,080 --> 00:01:39,440 Speaker 1: have Labor Day off, I hope you were able to 24 00:01:39,600 --> 00:01:42,360 Speaker 1: enjoy it, maybe with family and friends. And if not, 25 00:01:42,480 --> 00:01:45,039 Speaker 1: I hope you enjoyed what you were doing for work. 26 00:01:45,120 --> 00:01:47,600 Speaker 1: Maybe you get to put these shows in your ears 27 00:01:47,640 --> 00:01:51,400 Speaker 1: while you work too. Wherever you're listening to us at work, 28 00:01:51,480 --> 00:01:54,680 Speaker 1: at home, while you're doing a task, while you're relaxing, 29 00:01:54,720 --> 00:01:58,200 Speaker 1: whatever it is, just know that I appreciate all of you. 30 00:01:59,120 --> 00:02:04,040 Speaker 1: I had a pretty eventful, i'd say an unexpectedly eventful weekend. 31 00:02:05,040 --> 00:02:06,600 Speaker 1: So I got to do a lot of stuff around 32 00:02:06,600 --> 00:02:08,320 Speaker 1: the house, which is great, did a lot of cleaning. 33 00:02:08,639 --> 00:02:10,960 Speaker 1: But then on Sunday, I took my kids out to 34 00:02:10,960 --> 00:02:14,440 Speaker 1: do some last minute school shopping for just some notebooks 35 00:02:14,440 --> 00:02:16,919 Speaker 1: and pencils and things like that. School started back up today, 36 00:02:17,120 --> 00:02:19,200 Speaker 1: And just a quick shout out to all you parents 37 00:02:19,200 --> 00:02:22,080 Speaker 1: with school age kids, welcome back to the routine. We 38 00:02:22,120 --> 00:02:25,280 Speaker 1: made it. We made it once again out of another 39 00:02:25,400 --> 00:02:29,280 Speaker 1: mad Max beyond Thunderdome, free for all that we call summer. 40 00:02:29,800 --> 00:02:32,680 Speaker 1: Back to routine, back to the norm. I'm glad to 41 00:02:32,680 --> 00:02:34,840 Speaker 1: be here with all of you. Anyways, back to what 42 00:02:34,919 --> 00:02:37,080 Speaker 1: I was talking about. So I'm out shopping with my kids, 43 00:02:37,720 --> 00:02:40,359 Speaker 1: and it was at this time I finally decided to 44 00:02:40,600 --> 00:02:43,240 Speaker 1: pick up a mandolin, and not the instrument, the mandolin, 45 00:02:43,800 --> 00:02:47,399 Speaker 1: but the kitchen tool to slice food with. And now 46 00:02:47,440 --> 00:02:50,200 Speaker 1: you know where this story is going. Okay, but hang tight, Okay, 47 00:02:50,440 --> 00:02:53,880 Speaker 1: brace yourself. So we had just gotten some new potatoes 48 00:02:53,919 --> 00:02:56,079 Speaker 1: from the farmer's market, and I wanted to make some 49 00:02:56,240 --> 00:02:59,080 Speaker 1: homemade potato chips, Like, why don't you just buy the 50 00:02:59,080 --> 00:03:01,919 Speaker 1: potato chips, because I don't know. I just I came 51 00:03:01,960 --> 00:03:05,000 Speaker 1: from a family that you know, you didn't buy the 52 00:03:05,040 --> 00:03:07,240 Speaker 1: cake mix, you made the cake from scratch. You know 53 00:03:07,280 --> 00:03:09,840 Speaker 1: you didn't buy the bread, you made the bread from scratch. 54 00:03:09,919 --> 00:03:12,640 Speaker 1: We just that's how I was raised, and it's just 55 00:03:13,240 --> 00:03:16,600 Speaker 1: part of how I enjoy spending my downtime is by 56 00:03:16,960 --> 00:03:19,880 Speaker 1: baking and cooking and listening to good music while I 57 00:03:20,000 --> 00:03:24,600 Speaker 1: do it. So anyways, new potatoes, new mandolin, and so 58 00:03:24,639 --> 00:03:28,000 Speaker 1: I'm slicing the first potato, literally, brand new mandolin. Slicing 59 00:03:28,000 --> 00:03:32,760 Speaker 1: the first potato. I'm like halfway through and there goes 60 00:03:33,040 --> 00:03:37,560 Speaker 1: the tip of my ring finger. Okay, just gone. Now. 61 00:03:38,000 --> 00:03:42,600 Speaker 1: I took off way more than I imagined one would in 62 00:03:42,640 --> 00:03:45,760 Speaker 1: this scenario. If I imagine this happening in my mind and 63 00:03:45,800 --> 00:03:47,800 Speaker 1: not actually seeing it, I'd be like, oh, just a 64 00:03:47,800 --> 00:03:51,320 Speaker 1: little piece. No, it was a lot, Okay, So I 65 00:03:51,440 --> 00:03:55,240 Speaker 1: grabbed a I freaked out, bleeding all over the place. 66 00:03:55,280 --> 00:03:58,640 Speaker 1: I grabbed some paper towels. My couple of my kids 67 00:03:58,640 --> 00:04:01,520 Speaker 1: were there. My son, my fourteen year old. He actually 68 00:04:02,000 --> 00:04:08,600 Speaker 1: jumped into action after he called me Tony Iomi, like, 69 00:04:08,680 --> 00:04:11,440 Speaker 1: thanks a lot. I'm sitting there like bleeding, and he's like, 70 00:04:11,480 --> 00:04:14,160 Speaker 1: Tony Iomi. But it finally he got kind of sprun 71 00:04:14,200 --> 00:04:16,320 Speaker 1: into action and he grabbed some band aids. We got 72 00:04:16,480 --> 00:04:18,360 Speaker 1: under control, which was great because I had to go 73 00:04:18,400 --> 00:04:21,359 Speaker 1: pick up my oldest daughter from work in like ten minutes. 74 00:04:21,720 --> 00:04:24,520 Speaker 1: My wife was out. She couldn't help, so I gotta 75 00:04:24,520 --> 00:04:26,520 Speaker 1: go pick her up. Right, But we got a couple 76 00:04:26,560 --> 00:04:28,120 Speaker 1: of band aids on. This had some pressure, and I 77 00:04:28,160 --> 00:04:30,200 Speaker 1: was like, oh, okay, it's not bleeding through the band aids, 78 00:04:30,240 --> 00:04:34,039 Speaker 1: so we're good. So got my daughter from work, got 79 00:04:34,080 --> 00:04:37,159 Speaker 1: back home. Fast forward to my wife comes home and 80 00:04:37,200 --> 00:04:38,840 Speaker 1: we took off the band aids to see what's happening, 81 00:04:38,839 --> 00:04:40,360 Speaker 1: and it was just like it was like a fountain. 82 00:04:40,400 --> 00:04:41,839 Speaker 1: It was disgushing, and I was like, oh my god, 83 00:04:41,839 --> 00:04:43,680 Speaker 1: I gotta go up walking care. So I went to 84 00:04:43,720 --> 00:04:48,640 Speaker 1: walking Care and saw some great nurses and docs there, 85 00:04:48,800 --> 00:04:52,480 Speaker 1: and they gave me this stuff called surgeofhoam, which is like, 86 00:04:53,279 --> 00:04:55,400 Speaker 1: I guess, it's this stuff that was developed by the military. 87 00:04:55,440 --> 00:04:57,119 Speaker 1: It looks like, I think in the seventies. I'm guessing 88 00:04:57,120 --> 00:05:00,440 Speaker 1: maybe for Vietnam or whatever, but it's this. It's this 89 00:05:00,960 --> 00:05:04,320 Speaker 1: some kind of a foam that cauterizes the wound and 90 00:05:04,480 --> 00:05:07,159 Speaker 1: fuses to your skin. So now I've got this huge 91 00:05:07,680 --> 00:05:12,200 Speaker 1: bandage and tape apparatus wrapped around my ring finger, my 92 00:05:12,520 --> 00:05:14,600 Speaker 1: right hand ring finger. And I'm right handed, which sucks 93 00:05:14,600 --> 00:05:16,360 Speaker 1: because all I do all day long is type on 94 00:05:16,400 --> 00:05:18,479 Speaker 1: the computer. So I'm just like, I got this huge, 95 00:05:18,560 --> 00:05:21,839 Speaker 1: big knobby thing here that's banging around on my laptop. 96 00:05:21,880 --> 00:05:23,760 Speaker 1: And if you could see the docks I've created, say 97 00:05:23,800 --> 00:05:26,760 Speaker 1: the documents for this episode and others, it's they're just 98 00:05:26,880 --> 00:05:29,960 Speaker 1: riddled with spelling errors and with just random characters, because 99 00:05:30,000 --> 00:05:32,599 Speaker 1: that's just the world I'm living in today. Okay, I 100 00:05:32,600 --> 00:05:35,480 Speaker 1: guess the lesson here is what pay attention. Don't use 101 00:05:35,480 --> 00:05:37,920 Speaker 1: a mandolin. I don't know. The nurse asked me, actually 102 00:05:38,000 --> 00:05:40,760 Speaker 1: if I used a mandolin glove. I was like, what's 103 00:05:40,800 --> 00:05:44,039 Speaker 1: a mandolin glove? She said that her mandolin came with 104 00:05:44,120 --> 00:05:47,719 Speaker 1: a glove that you wear, which I was not aware 105 00:05:47,720 --> 00:05:52,039 Speaker 1: of this, So you know, you learn something new every day. Clearly, 106 00:05:52,080 --> 00:05:54,080 Speaker 1: I need this glove because the reason I bought this 107 00:05:54,520 --> 00:05:56,880 Speaker 1: fucking thing in the first place is because despite my 108 00:05:56,960 --> 00:05:59,760 Speaker 1: knife skills, which are pretty solid for someone who doesn't 109 00:05:59,800 --> 00:06:03,039 Speaker 1: really have any culinary experience beyond growing up in a 110 00:06:03,080 --> 00:06:05,679 Speaker 1: household again where things were made from scratch all the time, 111 00:06:06,040 --> 00:06:08,719 Speaker 1: I do often cut myself up slicing, which so I 112 00:06:08,760 --> 00:06:11,360 Speaker 1: thought the mandolin would make it easier and would take 113 00:06:11,360 --> 00:06:14,440 Speaker 1: the slicing my fingers out of the equation. But at 114 00:06:14,440 --> 00:06:17,240 Speaker 1: the same time, I'm like, wasn't it Anthony Bourdain who 115 00:06:17,240 --> 00:06:19,640 Speaker 1: said you weren't truly a chef or you weren't one 116 00:06:19,640 --> 00:06:23,080 Speaker 1: with a kitchen or accepted by the people in the 117 00:06:23,160 --> 00:06:25,880 Speaker 1: kitchen until you were covered with burn marks and scars 118 00:06:25,880 --> 00:06:27,279 Speaker 1: and all that kind of stuff. So I don't know. 119 00:06:27,279 --> 00:06:30,200 Speaker 1: Maybe I'm on the right track here, but again, you know, 120 00:06:30,440 --> 00:06:33,400 Speaker 1: my son the whole time calling me Tony Iomi. From 121 00:06:33,440 --> 00:06:36,000 Speaker 1: now on, I'm just gonna refer to this event as 122 00:06:36,040 --> 00:06:39,000 Speaker 1: that time my Tony iomied myself. I hope all of 123 00:06:39,000 --> 00:06:42,280 Speaker 1: you had a safer labor Day weekend than me. And 124 00:06:42,400 --> 00:06:45,560 Speaker 1: I was wondering if our subject of this week's full 125 00:06:45,600 --> 00:06:48,960 Speaker 1: hollywood Land episode, Charlie Chaplin, if he ever cut off 126 00:06:48,960 --> 00:06:52,080 Speaker 1: his finger. So I did some light research online to 127 00:06:52,080 --> 00:06:54,120 Speaker 1: see if I could use this to make a smooth 128 00:06:54,320 --> 00:06:58,200 Speaker 1: segue into talking about Chaplin. But alas, he was apparently 129 00:06:58,240 --> 00:07:00,880 Speaker 1: more careful with kitchen tools than I, or maybe he 130 00:07:01,000 --> 00:07:04,239 Speaker 1: just had someone to do the slicing for him. Plus 131 00:07:04,680 --> 00:07:07,240 Speaker 1: he had bigger fish to fry, bigger problems to deal with. 132 00:07:07,320 --> 00:07:10,480 Speaker 1: He was an Englishman who came to America and then, 133 00:07:10,520 --> 00:07:13,640 Speaker 1: through his groundbreaking work in the film industry here drew 134 00:07:13,680 --> 00:07:16,560 Speaker 1: the ire of captains of industry with movies like The 135 00:07:16,600 --> 00:07:20,760 Speaker 1: anti capitalist Modern Times in nineteen thirty six. He then 136 00:07:20,800 --> 00:07:24,280 Speaker 1: wrestled feathers with the Great Dictator in nineteen forty, his 137 00:07:24,360 --> 00:07:27,080 Speaker 1: first sound film, which spoofed Adolf Hitler. And this was 138 00:07:27,160 --> 00:07:29,640 Speaker 1: before the United States got involved with the war, and 139 00:07:29,680 --> 00:07:32,360 Speaker 1: before many people were speaking out against what was happening. 140 00:07:33,560 --> 00:07:36,520 Speaker 1: So there's that controversy. And then there's of course all 141 00:07:36,560 --> 00:07:39,120 Speaker 1: of his marriages to what's be honest, to teenage girls. 142 00:07:39,360 --> 00:07:43,120 Speaker 1: His first two wives were sixteen when he was twenty nine, 143 00:07:43,120 --> 00:07:45,840 Speaker 1: and then thirty five. That second one was a discreet 144 00:07:45,920 --> 00:07:49,560 Speaker 1: ceremony they had to hold down in Mexico because I mean, look, 145 00:07:49,680 --> 00:07:54,360 Speaker 1: don't you don't do that. Oh and anyways, then there's 146 00:07:54,360 --> 00:07:57,000 Speaker 1: all these whispers to his ties at the Communist Party. 147 00:07:57,880 --> 00:08:01,560 Speaker 1: So this all got Charlie Chaplin under FBI surveillance. They 148 00:08:01,600 --> 00:08:05,480 Speaker 1: ended up creating like an almost two thousand page file 149 00:08:06,000 --> 00:08:10,040 Speaker 1: on him at the FBI, and of course that led 150 00:08:10,080 --> 00:08:13,280 Speaker 1: to his not being allowed back in the United States. 151 00:08:13,400 --> 00:08:15,880 Speaker 1: After he left. He actually got in a boat. He 152 00:08:15,960 --> 00:08:17,680 Speaker 1: left to go to London for the premiere of his 153 00:08:18,040 --> 00:08:21,400 Speaker 1: movie Limelight in nineteen fifty two, and while he was gone, 154 00:08:21,480 --> 00:08:26,040 Speaker 1: the US government was like, you are you cannot come back. 155 00:08:26,280 --> 00:08:29,280 Speaker 1: You were not allowed here anymore. So that was that 156 00:08:29,320 --> 00:08:33,120 Speaker 1: for Chaplain and he died. It was another twenty plus years. 157 00:08:33,120 --> 00:08:35,240 Speaker 1: I think he died in nineteen seventy seven. So for 158 00:08:35,280 --> 00:08:37,160 Speaker 1: the last twenty something years of his life he was, 159 00:08:37,800 --> 00:08:40,640 Speaker 1: I guess in exile from the US. Now, we touch 160 00:08:40,679 --> 00:08:43,800 Speaker 1: upon many of these things in our episode on Charlie Chaplin, 161 00:08:44,240 --> 00:08:46,560 Speaker 1: but as you know, and as you'd expect, we go 162 00:08:46,840 --> 00:08:49,319 Speaker 1: way deeper than that to look at all of these 163 00:08:49,640 --> 00:08:51,960 Speaker 1: things I've just been talking about through the lens of 164 00:08:52,040 --> 00:08:58,240 Speaker 1: true crime, specifically why Charlie Chaplin was targeted by Japanese 165 00:08:58,280 --> 00:09:01,439 Speaker 1: assassins and this was some thirty years before a very 166 00:09:01,440 --> 00:09:04,920 Speaker 1: similar thing happened to the Beatles, and then who would 167 00:09:05,000 --> 00:09:10,040 Speaker 1: dig up Charlie Chaplin's corpse for ransom? Now I feel like, 168 00:09:10,120 --> 00:09:14,200 Speaker 1: for whatever reason, these stories from old Hollywood are just 169 00:09:14,280 --> 00:09:18,080 Speaker 1: crazier than any other time in movie history, and this 170 00:09:18,200 --> 00:09:22,240 Speaker 1: episode is no exception. It's probably one of my favorites. 171 00:09:22,280 --> 00:09:24,360 Speaker 1: So if you haven't listened to this one yet, please 172 00:09:24,559 --> 00:09:27,240 Speaker 1: make sure you check it out. And then coming up 173 00:09:27,320 --> 00:09:29,520 Speaker 1: next on your feed on Monday, our episode in the 174 00:09:29,600 --> 00:09:32,760 Speaker 1: late Great Carrie Fisher, who as a kid growing up 175 00:09:32,800 --> 00:09:36,720 Speaker 1: even more so than Princess Leiah was to me the 176 00:09:36,760 --> 00:09:40,800 Speaker 1: bazuka wielding jilted ex girlfriend and the Blues Brothers, And 177 00:09:40,840 --> 00:09:43,040 Speaker 1: in our episode we get into her time with another 178 00:09:43,080 --> 00:09:46,719 Speaker 1: Blues brother, Paul Simon, and the mind altering trip they 179 00:09:46,760 --> 00:09:49,040 Speaker 1: took in the desert I always forget that they were 180 00:09:49,200 --> 00:09:52,280 Speaker 1: married for a minute there, and I think that Paul 181 00:09:52,360 --> 00:09:57,360 Speaker 1: wrote a song about her. I'm blanking on the name, Oh, 182 00:09:57,480 --> 00:09:59,640 Speaker 1: Hearts and Bones. Hearts and Bones title track to an 183 00:09:59,720 --> 00:10:02,760 Speaker 1: under rated Paul Simon album, Hearts and Bones. That's got 184 00:10:03,080 --> 00:10:05,560 Speaker 1: Renee and Georgette mcgreet with her dog after the war. 185 00:10:05,800 --> 00:10:09,920 Speaker 1: Incredible song title man, great song too, so check that out. 186 00:10:09,960 --> 00:10:12,240 Speaker 1: Carrie Fisher coming next week. Check out Paul Simon's Hearts 187 00:10:12,240 --> 00:10:14,240 Speaker 1: and Bones record. Maybe kind of like listen to those 188 00:10:14,320 --> 00:10:16,760 Speaker 1: like in concert with each other and see how that 189 00:10:16,760 --> 00:10:19,280 Speaker 1: works for you. Okay, hay tight, I've got to take 190 00:10:19,280 --> 00:10:21,920 Speaker 1: a quick break, but coming up right after this, I'm 191 00:10:22,000 --> 00:10:25,400 Speaker 1: going to get into your voicemails, your texts, your dms 192 00:10:25,440 --> 00:10:43,640 Speaker 1: and all that jazz. So don't nobody go nowhere, all right, 193 00:10:43,760 --> 00:10:46,160 Speaker 1: all right, all right, Welcome back to the Rap Party, 194 00:10:46,200 --> 00:10:49,679 Speaker 1: your weekly bonus episode of the Hollywood Lamb Podcast. And this, 195 00:10:49,800 --> 00:10:52,719 Speaker 1: of course is the engagement portion of the show. And 196 00:10:52,800 --> 00:10:55,480 Speaker 1: you know how to do this. You know how to engage, 197 00:10:55,520 --> 00:10:59,040 Speaker 1: Like Captain Picard, You text, or you call six one 198 00:10:59,200 --> 00:11:03,280 Speaker 1: seven nine six six three eight and leave a message 199 00:11:03,320 --> 00:11:07,040 Speaker 1: for me or Jake Brennan, host of of course Hollywood 200 00:11:07,080 --> 00:11:10,280 Speaker 1: Land and the Disgraceland podcast, and typically this is the 201 00:11:10,320 --> 00:11:12,600 Speaker 1: place where we bring in Jake and the two of 202 00:11:12,679 --> 00:11:15,600 Speaker 1: us engage with your comments and questions, and then later 203 00:11:15,679 --> 00:11:18,160 Speaker 1: on we talk about our recommendations based on this week's 204 00:11:18,160 --> 00:11:22,600 Speaker 1: Hollywood Land subject. But we over here at Double Elvis 205 00:11:22,760 --> 00:11:28,160 Speaker 1: HQ have made the executive decision to move some moving 206 00:11:28,200 --> 00:11:31,400 Speaker 1: parts around a little bit. So the recommendations chat here 207 00:11:31,480 --> 00:11:35,440 Speaker 1: between Jake and myself is going to get moved over 208 00:11:35,559 --> 00:11:38,960 Speaker 1: to the after Party, which is the weekly bonus episode 209 00:11:39,000 --> 00:11:43,560 Speaker 1: of Disgraceland. So if you're looking for interaction between me 210 00:11:43,600 --> 00:11:46,880 Speaker 1: and Jake, you're looking for those recommendations, you're looking for 211 00:11:46,920 --> 00:11:49,439 Speaker 1: the other the research and development thing we've been doing, 212 00:11:49,760 --> 00:11:52,280 Speaker 1: which we formally called rabbit Hole, and by formally I 213 00:11:52,320 --> 00:11:55,200 Speaker 1: mean for one week. You can find all those things 214 00:11:55,240 --> 00:11:58,120 Speaker 1: over in the Disgraceland feed in the after Party. So 215 00:11:58,679 --> 00:12:01,760 Speaker 1: what does that mean for us here right now? It 216 00:12:01,880 --> 00:12:04,160 Speaker 1: means you get a one hundred percent more of me one 217 00:12:04,240 --> 00:12:07,480 Speaker 1: hundred percent of the time. What's that line from Anchorman? 218 00:12:07,840 --> 00:12:11,800 Speaker 1: Sixty percent of the time, it works every time? That's me. Man. 219 00:12:11,920 --> 00:12:14,160 Speaker 1: At any rate, we're switching things up just slightly so 220 00:12:14,240 --> 00:12:17,360 Speaker 1: that the rap party is just me, along with all 221 00:12:17,440 --> 00:12:20,440 Speaker 1: of you and probably sometimes Jake, though not today because 222 00:12:20,480 --> 00:12:22,920 Speaker 1: he is sick as a dog today and he needs 223 00:12:22,960 --> 00:12:25,240 Speaker 1: to rest up for some other stuff we got going 224 00:12:25,280 --> 00:12:29,160 Speaker 1: on this week. So before I get to your text 225 00:12:29,160 --> 00:12:31,840 Speaker 1: and emails and voicemails and all that, Jazz, I got 226 00:12:31,880 --> 00:12:34,600 Speaker 1: to close this loop on the Martin Scorsese debate I 227 00:12:34,679 --> 00:12:37,760 Speaker 1: was having with Jake last week. Now, Jake's not here 228 00:12:37,880 --> 00:12:41,200 Speaker 1: to offer a retort to any of this, but I 229 00:12:41,280 --> 00:12:43,880 Speaker 1: wanted to state this for the record because maybe some 230 00:12:43,960 --> 00:12:47,640 Speaker 1: we're expecting this based on Jake basically challenged me to 231 00:12:47,679 --> 00:12:52,240 Speaker 1: bring my top five Martin Scorsese movies to the show 232 00:12:52,320 --> 00:12:55,000 Speaker 1: this week, and I have done. So they really haven't 233 00:12:55,080 --> 00:12:57,360 Speaker 1: changed from when I was sort of saying last week. 234 00:12:57,800 --> 00:13:02,520 Speaker 1: But these are my five Martin Scorsese movies, in no 235 00:13:02,559 --> 00:13:09,480 Speaker 1: particular order, Taxi Driver, Goodfellas, After Hours, The Color of Money, 236 00:13:09,920 --> 00:13:13,800 Speaker 1: and The Wolf of Wall Street. Now, Jake might have 237 00:13:13,840 --> 00:13:16,040 Speaker 1: burst a blood vessel last week, and maybe some of 238 00:13:16,080 --> 00:13:18,360 Speaker 1: you did as well when I told him that I 239 00:13:18,440 --> 00:13:22,560 Speaker 1: consider After Hours not only one of Scorsese's best, but 240 00:13:23,280 --> 00:13:26,560 Speaker 1: better than The Departed. Hang on one second, put a 241 00:13:26,559 --> 00:13:28,160 Speaker 1: pin in that. I'll get to that in a minute. 242 00:13:28,559 --> 00:13:31,080 Speaker 1: First of all, I want you to get into my 243 00:13:31,120 --> 00:13:34,080 Speaker 1: brain here and how I'm thinking about this. For a 244 00:13:34,120 --> 00:13:38,000 Speaker 1: list like this, if I'm picking Taxi Driver and Raging 245 00:13:38,040 --> 00:13:42,280 Speaker 1: Bull and Casino and Goodfellas and The Departed, which, by 246 00:13:42,320 --> 00:13:44,120 Speaker 1: the way, do not get me wrong, all of them 247 00:13:44,160 --> 00:13:48,439 Speaker 1: stellar movies. But that would be like picking five British 248 00:13:48,480 --> 00:13:52,600 Speaker 1: Invasion era singles as my favorite Rolling Stone songs. You know, 249 00:13:52,920 --> 00:13:56,160 Speaker 1: that would be like Heart of Stone, play with Fire 250 00:13:57,080 --> 00:13:59,160 Speaker 1: Painted Black, you know what I mean. Now, it wouldn't 251 00:13:59,200 --> 00:14:02,960 Speaker 1: be wrong. All those songs rule, but it wouldn't properly 252 00:14:03,040 --> 00:14:06,800 Speaker 1: communicate the depth of their creative well so to speak, 253 00:14:06,840 --> 00:14:11,040 Speaker 1: you know, like where's the slave from Tattoo you? Or 254 00:14:11,080 --> 00:14:14,560 Speaker 1: where's you know, rocks Off from Exile? Right? I think 255 00:14:14,600 --> 00:14:17,840 Speaker 1: part of what makes the Stones incredible, what makes Scarsese incredible, 256 00:14:18,640 --> 00:14:22,160 Speaker 1: is this the depth of the creative well, so Scarsese 257 00:14:22,320 --> 00:14:25,280 Speaker 1: in particular, he can make a comedy movie or a 258 00:14:25,320 --> 00:14:27,960 Speaker 1: mob movie, or he can do an exploration of Christianity 259 00:14:28,000 --> 00:14:32,680 Speaker 1: or whatever, and it's always unmistakably him. And by operating 260 00:14:32,680 --> 00:14:35,200 Speaker 1: in these different modes, it gives you a different perspective 261 00:14:35,280 --> 00:14:38,880 Speaker 1: on his psyche and his art. Right, So for me, 262 00:14:39,000 --> 00:14:41,240 Speaker 1: when I'm making this list, I'm thinking of that. I'm 263 00:14:41,280 --> 00:14:44,760 Speaker 1: thinking of a well rounded diet. Okay, but look, Raging 264 00:14:44,800 --> 00:14:49,520 Speaker 1: Bull is a masterpiece. De Niro has maybe never been better. Okay. 265 00:14:50,160 --> 00:14:52,480 Speaker 1: I've loved that movie since the first time I saw 266 00:14:52,480 --> 00:14:56,920 Speaker 1: it back in high school. It was a very formative 267 00:14:57,560 --> 00:15:01,920 Speaker 1: movie watching experience for me. The camera work, the cinematography, 268 00:15:02,080 --> 00:15:08,160 Speaker 1: the performances, the boxing sequences, the music, everything. And I 269 00:15:08,160 --> 00:15:12,840 Speaker 1: remember the time. Actually, if you've heard our Martin Scorsese episode, 270 00:15:12,960 --> 00:15:14,840 Speaker 1: not the one about Taxi Driver, but the one about 271 00:15:14,920 --> 00:15:18,760 Speaker 1: the Graceline episode about the band and the last Waltz 272 00:15:18,760 --> 00:15:21,240 Speaker 1: and all that stuff, Raging Bull came out of this 273 00:15:21,360 --> 00:15:24,640 Speaker 1: time when Scorsese was having this big crisis in his life. 274 00:15:24,680 --> 00:15:27,120 Speaker 1: He was doing a lot of drugs, he was having 275 00:15:27,120 --> 00:15:29,520 Speaker 1: a lot of health issues. And I remember back in 276 00:15:29,520 --> 00:15:32,760 Speaker 1: the day in high school when I was absorbing all 277 00:15:32,800 --> 00:15:34,280 Speaker 1: these movies for the first time and reading a lot 278 00:15:34,320 --> 00:15:37,280 Speaker 1: about Scorsese and his peers from when I was reading 279 00:15:37,280 --> 00:15:40,280 Speaker 1: at the time, he thought he was going to die slash, 280 00:15:40,320 --> 00:15:43,040 Speaker 1: he was considering quitting directing and becoming a priest, and 281 00:15:43,080 --> 00:15:47,240 Speaker 1: all these things sort of led into the incredible statement, 282 00:15:47,320 --> 00:15:51,000 Speaker 1: creative statement that is Raging Bull. Anyways, I give you 283 00:15:51,040 --> 00:15:54,160 Speaker 1: all this backstory just to say I fucking love Raging Bull, Okay. 284 00:15:54,800 --> 00:15:58,160 Speaker 1: And I'm not saying that After Hours, by being on 285 00:15:58,200 --> 00:16:00,200 Speaker 1: my list in Raging Bull is not on the I'm 286 00:16:00,200 --> 00:16:02,880 Speaker 1: not saying that After Hours is better than Raging Ball. 287 00:16:02,880 --> 00:16:04,480 Speaker 1: I'm just saying that from my list, I only wanted 288 00:16:04,480 --> 00:16:09,760 Speaker 1: to include one example of toxic masculinity, and so for me, 289 00:16:09,800 --> 00:16:12,680 Speaker 1: that was taxi driver. Okay. I do, however, to get 290 00:16:12,680 --> 00:16:15,080 Speaker 1: back to the subject that I tease at the top 291 00:16:15,080 --> 00:16:18,400 Speaker 1: of this, I do think After Hours is objectively better 292 00:16:18,440 --> 00:16:22,520 Speaker 1: than the Departed. And before you come at me here, 293 00:16:23,200 --> 00:16:26,080 Speaker 1: I'm going to give you one reason why, and it's 294 00:16:26,160 --> 00:16:29,440 Speaker 1: two words. And this is gonna a bunch of people 295 00:16:29,440 --> 00:16:31,640 Speaker 1: are gonna be upset by this. But it's Jack Nicholson. Okay. 296 00:16:32,400 --> 00:16:35,400 Speaker 1: I love Jack Nicholson. One of the greatest American actors, 297 00:16:35,440 --> 00:16:39,480 Speaker 1: one of the greatest actress period. I've always loved Jack Nicholson. 298 00:16:40,000 --> 00:16:44,320 Speaker 1: He's Chinatown, the last detail one flew over, the Cucko's nest, 299 00:16:44,400 --> 00:16:48,320 Speaker 1: the shining the passenger, five years. I mean, the guy 300 00:16:48,440 --> 00:16:53,080 Speaker 1: is just he's a legend, right However, this Jack performance 301 00:16:53,160 --> 00:16:55,840 Speaker 1: would not be in my top ten Jack performances. I 302 00:16:55,840 --> 00:16:59,600 Speaker 1: think there's some real cheeseball cornball shit in here. And 303 00:16:59,840 --> 00:17:02,880 Speaker 1: I love that The Departed is funny. That's one thing 304 00:17:02,920 --> 00:17:05,320 Speaker 1: I love about After Hours is that, you know, Martin 305 00:17:05,320 --> 00:17:07,760 Speaker 1: Scorsese is very funny, especially when he when you see 306 00:17:07,840 --> 00:17:10,600 Speaker 1: him interviewed, He's very funny. He laughs a lot, and 307 00:17:10,680 --> 00:17:13,040 Speaker 1: there's humor and in all of his movies. Are in 308 00:17:13,080 --> 00:17:15,280 Speaker 1: a lot of his movies, especially a lot of his 309 00:17:15,280 --> 00:17:17,479 Speaker 1: his his crime movies, there's a lot of humor in them. 310 00:17:17,520 --> 00:17:20,159 Speaker 1: And I love that The Departed has so much humor. 311 00:17:21,200 --> 00:17:25,600 Speaker 1: But Jack Nicholson just isn't right for me in this role. 312 00:17:25,680 --> 00:17:27,639 Speaker 1: And I think he just he dials it up. He 313 00:17:27,680 --> 00:17:30,399 Speaker 1: goes a little too over the line smoky, and I 314 00:17:31,240 --> 00:17:33,479 Speaker 1: just can't there's times in the movie where I just 315 00:17:33,560 --> 00:17:35,760 Speaker 1: it just takes me out of the whole thing. His performance, 316 00:17:35,800 --> 00:17:38,040 Speaker 1: that thing with the rat, that's the gnawing and the 317 00:17:38,119 --> 00:17:40,720 Speaker 1: rat and I just you know, and the bloody stump 318 00:17:40,720 --> 00:17:43,480 Speaker 1: with the hand. It's just it's just it's a little 319 00:17:43,480 --> 00:17:45,000 Speaker 1: too over the edge for me. It just doesn't fit 320 00:17:45,040 --> 00:17:46,439 Speaker 1: with the tone of the movie. As I see it. 321 00:17:46,920 --> 00:17:49,879 Speaker 1: That's my opinion obviously, although I did just say before 322 00:17:49,920 --> 00:17:53,200 Speaker 1: I said it's my opinion that it's an objective, just statement, 323 00:17:55,320 --> 00:17:57,679 Speaker 1: So maybe I'm just trying to be provocative. But this 324 00:17:57,760 --> 00:17:59,320 Speaker 1: is what I this is what I believe. And then 325 00:17:59,359 --> 00:18:01,159 Speaker 1: when you look at it movie like After Hours, I 326 00:18:01,200 --> 00:18:04,760 Speaker 1: think every single performance in that movie, whether it's Griffin done, 327 00:18:04,800 --> 00:18:09,000 Speaker 1: Rosanna Arquette, Linda Fiorentino, Terry gar I don't think anyone 328 00:18:09,080 --> 00:18:11,960 Speaker 1: is miscast. I don't think I think everybody is note 329 00:18:12,000 --> 00:18:15,479 Speaker 1: perfect in that. So when I talk about this over that, 330 00:18:15,600 --> 00:18:17,560 Speaker 1: that's one of the things I'm considering, Okay, when it 331 00:18:17,600 --> 00:18:19,680 Speaker 1: comes to this, thinking about Wilf of Wall Street, I 332 00:18:19,720 --> 00:18:21,520 Speaker 1: think this is a perfect synthesis of all the things 333 00:18:21,560 --> 00:18:25,320 Speaker 1: Scarsese does well. It's got true crime, it's got the 334 00:18:25,920 --> 00:18:29,320 Speaker 1: theme of the corruption of a man's soul, which I 335 00:18:29,480 --> 00:18:32,320 Speaker 1: know that Scorsese has talked about this, but you can 336 00:18:32,359 --> 00:18:37,639 Speaker 1: honestly look at most of his movies about forces trying 337 00:18:37,680 --> 00:18:41,800 Speaker 1: to corrupt the soul of a man. It's cut in 338 00:18:41,840 --> 00:18:45,240 Speaker 1: this hyper realistic style to an always evolving soundtrack of 339 00:18:45,400 --> 00:18:49,320 Speaker 1: needle drops. It's comedic, I mean, the whole Leonardo DiCaprio 340 00:18:49,400 --> 00:18:52,720 Speaker 1: on Coelude scene is probably the funniest scene in any 341 00:18:52,720 --> 00:18:55,720 Speaker 1: Scarsese movie. So I think it's sort of in a 342 00:18:55,760 --> 00:18:59,840 Speaker 1: way the platonic ideal, maybe all of sort of Scorsese 343 00:19:00,080 --> 00:19:02,359 Speaker 1: firing on all cylinders and bringing all these things together 344 00:19:02,440 --> 00:19:04,840 Speaker 1: in one movie. But I don't know. You let me 345 00:19:04,880 --> 00:19:07,080 Speaker 1: know what you think. Am I completely off my fucking 346 00:19:07,160 --> 00:19:10,080 Speaker 1: nut here, as Jimmy Stewart would say back on the day, 347 00:19:10,720 --> 00:19:13,680 Speaker 1: Or am I onto something? Give me your top five 348 00:19:13,840 --> 00:19:17,480 Speaker 1: Martin Scorsese movies and tell me why they're your favorites. Okay, 349 00:19:17,520 --> 00:19:19,199 Speaker 1: you know how to do this once again? It is 350 00:19:19,440 --> 00:19:23,120 Speaker 1: six one seven nine oh six six six three eight 351 00:19:23,280 --> 00:19:26,360 Speaker 1: to get at me now. Speaking about lists and about favorites, 352 00:19:26,400 --> 00:19:27,879 Speaker 1: I asked you about a week or two ago about 353 00:19:27,920 --> 00:19:30,800 Speaker 1: movie sequels that are better than the original. We keep 354 00:19:30,840 --> 00:19:34,400 Speaker 1: getting responses from you, guys, So let's do this voicemail 355 00:19:34,440 --> 00:19:36,440 Speaker 1: here and then maybe we'll put this topic to bed 356 00:19:36,480 --> 00:19:38,440 Speaker 1: for the moment. Matt, can you play the voicemail from 357 00:19:38,440 --> 00:19:39,480 Speaker 1: the nine to one three? 358 00:19:40,359 --> 00:19:44,080 Speaker 2: Hey, guys, Sarah from Atlanta here, love this Grace Land, 359 00:19:44,280 --> 00:19:48,399 Speaker 2: love Hollywood Land, and I love movie sequels. So I 360 00:19:48,400 --> 00:19:51,359 Speaker 2: think there are some obvious answers. Here, The Empire Strikes 361 00:19:51,359 --> 00:19:54,520 Speaker 2: Back is better than Star Wars. Toy Story two is 362 00:19:54,560 --> 00:19:57,479 Speaker 2: better than Toy Story, but we all know it in 363 00:19:57,520 --> 00:19:59,399 Speaker 2: our hearts. So the best sequel of all time is 364 00:19:59,480 --> 00:20:02,200 Speaker 2: and yes it is, Mama Mia. Here we go again. 365 00:20:02,840 --> 00:20:06,560 Speaker 2: I don't make the rules. It's just the best. Also 366 00:20:06,600 --> 00:20:10,240 Speaker 2: Paddington Too. It makes you cry every time. Love that movie, 367 00:20:10,359 --> 00:20:14,040 Speaker 2: all right, Thanks guys, rock and ROLLA Sarah. 368 00:20:13,640 --> 00:20:17,439 Speaker 1: You have uncovered a blind spot for me, which is 369 00:20:18,119 --> 00:20:21,119 Speaker 1: the mam and Mia movies. For those of you that 370 00:20:21,200 --> 00:20:24,040 Speaker 1: don't know. Mama Mia is the first one is an 371 00:20:24,080 --> 00:20:28,879 Speaker 1: adaptation of a popular jukebox musical which features entirely I 372 00:20:28,920 --> 00:20:31,560 Speaker 1: believe the music of Abba. I got to give. By 373 00:20:31,600 --> 00:20:34,359 Speaker 1: the way, shout out to Double Elvis's Matt Boden for 374 00:20:34,400 --> 00:20:37,520 Speaker 1: getting me into Abba years ago, for helping me see 375 00:20:38,119 --> 00:20:40,600 Speaker 1: that they weren't just some cheesy dance shit, which is 376 00:20:40,680 --> 00:20:42,760 Speaker 1: sort of what I always assumed they were, that they 377 00:20:42,800 --> 00:20:47,920 Speaker 1: in fact contain multitudes. And I also remember it wasn't 378 00:20:47,960 --> 00:20:52,480 Speaker 1: just Matt Boden. Also Elvis Costella. I remember him talking 379 00:20:52,480 --> 00:20:55,280 Speaker 1: about when he was writing the Great Armed Forces album 380 00:20:55,640 --> 00:20:57,840 Speaker 1: that he and the Attractions were driving around on tour 381 00:20:57,880 --> 00:21:01,240 Speaker 1: and they were listening NonStop to David Bowie's and Abba. 382 00:21:02,160 --> 00:21:03,760 Speaker 1: And when you listen to arm Forces you can really 383 00:21:03,760 --> 00:21:07,439 Speaker 1: hear that Steve Naives operatic piano and Oliver's Army and 384 00:21:07,440 --> 00:21:09,639 Speaker 1: so forth. But I really got into an Abba for 385 00:21:09,640 --> 00:21:11,520 Speaker 1: a while, and there was this band that was in 386 00:21:11,560 --> 00:21:15,000 Speaker 1: Briefly we were like a two piece garage rock combo 387 00:21:15,200 --> 00:21:17,840 Speaker 1: guitar and drums. We did this punk rock version of 388 00:21:18,160 --> 00:21:21,520 Speaker 1: ABBA's sos, which was ridiculously fun to play. So, Sarah, 389 00:21:21,560 --> 00:21:23,240 Speaker 1: I'm right there with you with the Abba love. I 390 00:21:24,119 --> 00:21:27,520 Speaker 1: have not seen these, So now you're saying the second 391 00:21:27,560 --> 00:21:30,359 Speaker 1: one is better than the first one, But let me know. 392 00:21:30,400 --> 00:21:32,520 Speaker 1: Should I watch the first one to sort of orient 393 00:21:32,600 --> 00:21:34,280 Speaker 1: myself in this world? Or can I go right to 394 00:21:34,320 --> 00:21:37,080 Speaker 1: the second one, because you know, yes, Empire Strikes Back 395 00:21:37,160 --> 00:21:38,719 Speaker 1: is better than Star Wars, but you kind of need 396 00:21:38,760 --> 00:21:40,760 Speaker 1: Star Wars and know what's going on with Empire, So 397 00:21:41,000 --> 00:21:44,320 Speaker 1: hit me back and let me know. Last week we 398 00:21:44,320 --> 00:21:48,720 Speaker 1: were talking about Devo, this new documentary on Devo on Netflix, 399 00:21:48,800 --> 00:21:52,800 Speaker 1: and we got this email from Jason. Jason writes, I 400 00:21:52,800 --> 00:21:55,439 Speaker 1: grew up with Divo blowing my mind. I was a 401 00:21:55,480 --> 00:21:58,120 Speaker 1: mad magazine and Zappa, Kid and Divo was the most 402 00:21:58,160 --> 00:22:01,600 Speaker 1: revolutionary mind fuck for me sixteen when the first LP 403 00:22:01,760 --> 00:22:04,040 Speaker 1: came out. I still love Duty Now and Oh No, 404 00:22:04,320 --> 00:22:07,119 Speaker 1: which we're not that loved anyhow. As interesting as the 405 00:22:07,160 --> 00:22:10,760 Speaker 1: documentary was, I wanted more. It felt too conventional. I 406 00:22:10,800 --> 00:22:13,280 Speaker 1: wanted more process and more about the music and art 407 00:22:13,520 --> 00:22:16,760 Speaker 1: and less about the record company problems. Anyhow, it's still 408 00:22:16,800 --> 00:22:19,520 Speaker 1: great seeing it in the great archival of their super 409 00:22:19,520 --> 00:22:22,000 Speaker 1: early gigs. I guess since I've already heard a lot 410 00:22:22,000 --> 00:22:25,480 Speaker 1: of Gerald and Mark talking on interviews and podcasts discussing 411 00:22:25,520 --> 00:22:28,480 Speaker 1: the art and political aspects that are done on the film, 412 00:22:28,680 --> 00:22:31,040 Speaker 1: I wanted more depth. But the fact that it's on 413 00:22:31,040 --> 00:22:33,639 Speaker 1: Netflix is great. I guess the filmmaking is just flat 414 00:22:33,920 --> 00:22:36,560 Speaker 1: compared to the avant garde treatment they deserve. I do 415 00:22:36,640 --> 00:22:38,960 Speaker 1: feel that as a teenager that I knew exactly how 416 00:22:39,000 --> 00:22:41,720 Speaker 1: subversive they were because I found out about them before 417 00:22:41,760 --> 00:22:44,879 Speaker 1: Whip it. Jason, thank you so much for the email, 418 00:22:44,960 --> 00:22:48,040 Speaker 1: and Dude, I hear you. This is a common criticism 419 00:22:48,119 --> 00:22:50,520 Speaker 1: levied upon docs made about your favorite band, and I 420 00:22:50,560 --> 00:22:52,760 Speaker 1: don't mean you, Jason, I mean anyone insert your favorite 421 00:22:52,760 --> 00:22:57,200 Speaker 1: band here. Perhaps Jason is because I haven't been as 422 00:22:57,240 --> 00:22:59,879 Speaker 1: fully entrenched in the world of Demai maybe as you 423 00:23:00,119 --> 00:23:02,480 Speaker 1: have that. I didn't have that reaction, but I completely 424 00:23:02,600 --> 00:23:05,119 Speaker 1: understand it. I had the same reaction to seeing the 425 00:23:05,160 --> 00:23:09,119 Speaker 1: new led Zeppelin documentary. I really dug the old footage. 426 00:23:09,560 --> 00:23:13,439 Speaker 1: The performances were great. Learning that Jimmy Page cut all 427 00:23:13,440 --> 00:23:16,640 Speaker 1: those songs on a telecaster and not Ailst. Paul is amazing. 428 00:23:17,359 --> 00:23:19,480 Speaker 1: But I felt there was a substance there that was 429 00:23:19,520 --> 00:23:22,159 Speaker 1: really missing from it, that it just merely scratched the 430 00:23:22,200 --> 00:23:24,520 Speaker 1: surface when it came to what was really going on. 431 00:23:24,920 --> 00:23:26,879 Speaker 1: It was just too safe. And I'm sure that's probably 432 00:23:26,880 --> 00:23:30,280 Speaker 1: because the band was intimately involved with the production of 433 00:23:30,320 --> 00:23:32,320 Speaker 1: the film, just like the Beatles and the anthology and stuff, 434 00:23:32,320 --> 00:23:34,679 Speaker 1: so there were things that they just flat out refused 435 00:23:34,680 --> 00:23:36,920 Speaker 1: to talk about. But yeah, Jason, I hear you, man, 436 00:23:36,960 --> 00:23:39,080 Speaker 1: and I totally hear you with that. With documentaries and 437 00:23:39,119 --> 00:23:41,440 Speaker 1: maybe if there was like a series that had been done, 438 00:23:41,480 --> 00:23:44,520 Speaker 1: like a multi part three or four part series on Debo, 439 00:23:44,560 --> 00:23:46,919 Speaker 1: they could have gotten more into all the art and 440 00:23:46,960 --> 00:23:48,840 Speaker 1: political stuff. Although I feel like they did a pretty 441 00:23:49,320 --> 00:23:51,040 Speaker 1: good job. But here I go again saying this and 442 00:23:51,440 --> 00:23:53,639 Speaker 1: you're saying they didn't. But I thought they did a 443 00:23:53,680 --> 00:23:55,600 Speaker 1: pretty decent job of kind of getting into the politics 444 00:23:55,600 --> 00:23:58,160 Speaker 1: a little bit. But I see your point there. Thanks 445 00:23:58,200 --> 00:24:01,560 Speaker 1: again for the message so much. Over on Facebook, we 446 00:24:01,600 --> 00:24:05,040 Speaker 1: got a message here from Abby, and Abby writes in Jake, 447 00:24:05,480 --> 00:24:07,760 Speaker 1: I'm introducing one of my friends to your podcasts. I 448 00:24:07,800 --> 00:24:10,359 Speaker 1: want him to listen to the whole Manson murder episodes. 449 00:24:10,400 --> 00:24:13,280 Speaker 1: But I'm confused which one should he listen to and 450 00:24:13,280 --> 00:24:15,399 Speaker 1: in what order because I remember some of them were 451 00:24:15,400 --> 00:24:19,440 Speaker 1: about cass Elliott. Well let me know please and thanks okay, Abby. 452 00:24:19,960 --> 00:24:22,240 Speaker 1: Jake may address this in the after party over into 453 00:24:22,280 --> 00:24:25,280 Speaker 1: the Disgraceland feed as well, but where we do have 454 00:24:25,320 --> 00:24:27,439 Speaker 1: some Hollywood Land episodes that are part of this, I 455 00:24:27,480 --> 00:24:29,560 Speaker 1: wanted to respond to you here in case you're listening, 456 00:24:29,600 --> 00:24:31,720 Speaker 1: and in case anyone else is wondering who is listening 457 00:24:31,720 --> 00:24:34,040 Speaker 1: to this now? So we've got a lot of episodes 458 00:24:34,040 --> 00:24:37,840 Speaker 1: that revolve around the Manson murders. I think the first 459 00:24:37,880 --> 00:24:41,640 Speaker 1: Manson episodes we ever released were the two Beach Boys 460 00:24:41,720 --> 00:24:45,240 Speaker 1: episodes of disgracelam Beach Boys Part one Beach Boys Part two, 461 00:24:45,720 --> 00:24:48,919 Speaker 1: which we just so happened to re release just the 462 00:24:49,000 --> 00:24:51,520 Speaker 1: last few days this past Sunday and Monday in the 463 00:24:51,560 --> 00:24:56,159 Speaker 1: Disgraceland feed as sort of a order of amuse bouosh 464 00:24:56,280 --> 00:24:59,600 Speaker 1: if you will, for the new episode on Brian Wilson. 465 00:25:00,000 --> 00:25:01,960 Speaker 1: So you can actually still find those two episodes at 466 00:25:01,960 --> 00:25:03,760 Speaker 1: the top of the disgrace Land feed. That's where you 467 00:25:03,800 --> 00:25:07,520 Speaker 1: should start. Then after those Beach Boys episodes, and why 468 00:25:07,560 --> 00:25:09,600 Speaker 1: the Beach Boys you ask, well, because there's a whole 469 00:25:09,600 --> 00:25:13,280 Speaker 1: thing with Dennis Wilson and Charlie Manson and yeah, so 470 00:25:13,400 --> 00:25:17,359 Speaker 1: Beach Boys, and then after that there's the standalone Charles 471 00:25:17,400 --> 00:25:20,840 Speaker 1: Manson episode of Disgraceland. I would do that next. Then 472 00:25:20,920 --> 00:25:24,639 Speaker 1: I would do the two Mama Cass Elliott episodes, and 473 00:25:24,680 --> 00:25:27,840 Speaker 1: then after that I would do the two Sharon Tate 474 00:25:27,920 --> 00:25:32,400 Speaker 1: episodes of Hollywood Land, which, if you're not aware, Jake 475 00:25:32,440 --> 00:25:36,080 Speaker 1: and I wrote those concurrently. Well, Jake wrote the two 476 00:25:36,080 --> 00:25:39,680 Speaker 1: Mama Cast episodes for Disgraceland, and then I use those 477 00:25:39,800 --> 00:25:43,000 Speaker 1: to write two Sharon Tate episodes for Hollywood Land. So 478 00:25:43,840 --> 00:25:46,520 Speaker 1: it's like the episodes are not the same, but it's 479 00:25:46,560 --> 00:25:51,400 Speaker 1: almost like the Rachaman effect of you're getting two versions 480 00:25:51,400 --> 00:25:54,000 Speaker 1: of the same story from different angles, and so there's 481 00:25:54,080 --> 00:25:57,479 Speaker 1: moments in which these episodes overlap and there'll be at 482 00:25:57,480 --> 00:25:59,879 Speaker 1: the same scene, but that they'll sort of diverge in 483 00:26:00,160 --> 00:26:02,520 Speaker 1: or divert into their own thing. Yeah, that's the order. 484 00:26:02,680 --> 00:26:05,760 Speaker 1: Two Beach Boys episodes, then the Charles Manson, the two 485 00:26:05,840 --> 00:26:08,960 Speaker 1: Mama cass Elliott, and then the two Sharon Tate. Manson 486 00:26:09,000 --> 00:26:11,320 Speaker 1: does show up in some other episodes as well. I'm 487 00:26:11,359 --> 00:26:15,679 Speaker 1: thinking specifically here at Hollywood Lands Steve McQueen and Phil Hartman. 488 00:26:15,760 --> 00:26:18,920 Speaker 1: Believe it or not, but for the Core Manson Murders 489 00:26:18,920 --> 00:26:21,920 Speaker 1: storytelling arc, those seven that I mentioned are what you're 490 00:26:21,920 --> 00:26:24,320 Speaker 1: looking for. Okay, one more thing I got to mention 491 00:26:24,400 --> 00:26:26,000 Speaker 1: here real quick to some of you out there. We 492 00:26:26,040 --> 00:26:29,479 Speaker 1: got multiple text messages from listeners in the eight one 493 00:26:29,520 --> 00:26:32,399 Speaker 1: to eight and the seven one five alerting us to 494 00:26:32,440 --> 00:26:36,960 Speaker 1: the fact that we perhaps confused Dennis Franz and Dennis Farino. 495 00:26:37,040 --> 00:26:39,639 Speaker 1: We were talking about Dennis Farina and then we were 496 00:26:39,680 --> 00:26:43,040 Speaker 1: talking about NYPD Blue, and apparently we were saying that 497 00:26:43,080 --> 00:26:46,120 Speaker 1: Dennis Farina was in NYPD Blue and not Dennis Franz, 498 00:26:46,400 --> 00:26:50,040 Speaker 1: who wasn't NYPD Blue. I do remember talking about them both, 499 00:26:50,080 --> 00:26:52,639 Speaker 1: I don't remember conflating them, but if we did so, 500 00:26:53,000 --> 00:26:56,920 Speaker 1: it was absent mindedly. They're both Chicago guys. It happens, 501 00:26:57,200 --> 00:26:59,840 Speaker 1: But I just wanted to say real quick thanks to 502 00:26:59,840 --> 00:27:01,960 Speaker 1: the eight one eight and the seven one five for 503 00:27:02,119 --> 00:27:04,840 Speaker 1: keeping us honest, and you can all do the same 504 00:27:05,119 --> 00:27:08,440 Speaker 1: by reaching out via text or phone six one seven 505 00:27:08,640 --> 00:27:11,399 Speaker 1: nine oh six six six three eight. You can hit 506 00:27:11,520 --> 00:27:15,280 Speaker 1: us up at Disgrace lampod at gmail dot com. You 507 00:27:15,320 --> 00:27:19,040 Speaker 1: can go on social media Instagram, Facebook, x at Disgrace 508 00:27:19,119 --> 00:27:22,399 Speaker 1: lamb pod and get to us there. Okay, give me 509 00:27:22,400 --> 00:27:24,560 Speaker 1: a second to catch my breath, take a drink of water. 510 00:27:24,640 --> 00:27:26,359 Speaker 1: I'll be right back to talk to you about what 511 00:27:26,440 --> 00:27:29,960 Speaker 1: I've been watching, reading, and listening to. So don't touch 512 00:27:30,200 --> 00:27:31,000 Speaker 1: that dial. 513 00:27:35,040 --> 00:27:35,320 Speaker 2: Spot. 514 00:27:44,240 --> 00:27:47,960 Speaker 1: Ohky doky, everybody. Welcome back to the wrap party. Zeth 515 00:27:48,000 --> 00:27:51,199 Speaker 1: LUNDI here flying solo with just the caffeine in my 516 00:27:51,320 --> 00:27:54,600 Speaker 1: system to keep me company. And since we're switching things 517 00:27:54,680 --> 00:27:57,199 Speaker 1: up and doing things a little differently, I wanted to 518 00:27:57,359 --> 00:28:00,119 Speaker 1: do the same here in the D block and take 519 00:28:00,200 --> 00:28:02,359 Speaker 1: some time to talk with you all about what I've 520 00:28:02,359 --> 00:28:06,160 Speaker 1: been watching, reading, and listening to as of late, maybe 521 00:28:06,280 --> 00:28:08,359 Speaker 1: see if any of you have checked out any of 522 00:28:08,400 --> 00:28:10,680 Speaker 1: these things and what your take is on all of this. 523 00:28:11,560 --> 00:28:13,280 Speaker 1: First of all, I want to talk about what I'm 524 00:28:13,440 --> 00:28:17,840 Speaker 1: stoked to watch this month. Okay, The Criterion Channel just 525 00:28:18,000 --> 00:28:22,160 Speaker 1: launched for September a huge collection of Robert Altman films. 526 00:28:22,720 --> 00:28:25,399 Speaker 1: I'm guessing in conjunction with what would have been his 527 00:28:25,440 --> 00:28:30,720 Speaker 1: one hundredth birthday this year. This lineup is stacked. These 528 00:28:30,720 --> 00:28:33,000 Speaker 1: are the Altman films that are now available to stream 529 00:28:33,040 --> 00:28:37,480 Speaker 1: on the Criterion Channel. Okay, ready, Nashville, Brewster, McLeod, Three Women, 530 00:28:37,680 --> 00:28:43,360 Speaker 1: mcab and Missus, Miller, Countdown, Mash The Longa Bye, California Split, Buffalo, 531 00:28:43,440 --> 00:28:46,440 Speaker 1: Bill and the Indians, The Player, Full for Love, Vincent 532 00:28:46,480 --> 00:28:50,080 Speaker 1: and Theo Secret, Honor Quintet, A Prayerfect Couple, Popeye, A 533 00:28:50,120 --> 00:28:52,560 Speaker 1: Prairie Home Companion, Doctor t and The Woman That Cold 534 00:28:52,640 --> 00:28:54,320 Speaker 1: Day in the Park, Come Back to the Five and Dime, 535 00:28:54,360 --> 00:28:58,200 Speaker 1: Jimmy Dean, Jimmy Dean, Preda Porte, The Company, Gosford Park, 536 00:28:58,320 --> 00:29:03,320 Speaker 1: and the Tanner eighty eight series. This is just incredible 537 00:29:03,360 --> 00:29:07,480 Speaker 1: news for film lovers. Altman can be a bit of 538 00:29:07,480 --> 00:29:11,840 Speaker 1: an acquired taste. He was obviously a titan in the seventies. 539 00:29:13,520 --> 00:29:16,920 Speaker 1: Many of these movies that I've listed are in anyone's 540 00:29:16,920 --> 00:29:19,640 Speaker 1: book Stone Cold Classics. But again, he can be an 541 00:29:19,640 --> 00:29:23,440 Speaker 1: acquired taste, but man, it's totally worth it. If you're 542 00:29:23,480 --> 00:29:25,520 Speaker 1: a film lover and you've never seen some of these 543 00:29:25,520 --> 00:29:30,960 Speaker 1: movies Nashville, Mash alonga Bay, California, Split, McKay, and Missus Miller, 544 00:29:31,080 --> 00:29:34,880 Speaker 1: just to name a few, definitely definitely get into these. Okay, 545 00:29:34,920 --> 00:29:38,160 Speaker 1: I've got my own list of what I definitely want 546 00:29:38,160 --> 00:29:41,000 Speaker 1: to hit while these are available, I might go back 547 00:29:41,040 --> 00:29:42,520 Speaker 1: and maybe I'll go I think I'm gonna do a 548 00:29:42,600 --> 00:29:45,840 Speaker 1: curated number of these chronologically and just sort of see 549 00:29:45,880 --> 00:29:49,480 Speaker 1: how Altman's style evolved or you know, changed throughout the 550 00:29:49,560 --> 00:29:52,640 Speaker 1: nineteen seventies. That could be interesting. I'm thinking that I'm 551 00:29:52,680 --> 00:29:55,000 Speaker 1: going to do that, So I'll report back. And if 552 00:29:55,040 --> 00:29:58,120 Speaker 1: any of you have watched any Altman late lately or 553 00:29:58,320 --> 00:30:02,000 Speaker 1: gonna watch some Altman on this otherwise, just please keep 554 00:30:02,000 --> 00:30:03,360 Speaker 1: in touch, let me know, let me know what you're 555 00:30:03,360 --> 00:30:05,840 Speaker 1: digging and what you're not digging, and let's talk about 556 00:30:05,840 --> 00:30:08,360 Speaker 1: it all right. Also, I finally got around to watching 557 00:30:08,440 --> 00:30:12,440 Speaker 1: Mickey seventeen recently. This is Bon June Hoes follow up 558 00:30:12,480 --> 00:30:15,440 Speaker 1: to his Oscar winning Parasite. This of course, finds him 559 00:30:15,480 --> 00:30:18,280 Speaker 1: back in his sci fi style. It's set twenty five 560 00:30:18,360 --> 00:30:21,400 Speaker 1: years in the future. Robert Pattinson is this guy Mickey, 561 00:30:21,440 --> 00:30:23,880 Speaker 1: who is trying to escape the clutches of a loan shark, 562 00:30:24,320 --> 00:30:26,640 Speaker 1: and to do so, he signs up to become what's 563 00:30:26,640 --> 00:30:29,960 Speaker 1: called an expendable for a space crew that is colonizing 564 00:30:30,000 --> 00:30:32,880 Speaker 1: another planet. And what this means is that he has 565 00:30:33,040 --> 00:30:37,440 Speaker 1: used for really dangerous jobs and tests like things that 566 00:30:37,600 --> 00:30:41,600 Speaker 1: always and predictably result in his death. But each Chaibi dies, 567 00:30:41,760 --> 00:30:44,000 Speaker 1: he is cloned again, and then he's ready to do 568 00:30:44,040 --> 00:30:46,760 Speaker 1: a new job. Hence the title Mickey seventeen because a 569 00:30:46,840 --> 00:30:49,960 Speaker 1: large part of the film follows the seventeenth version of 570 00:30:49,960 --> 00:30:54,040 Speaker 1: the seventeenth clone of Mickey. It's funny. Robert Pattinson said 571 00:30:54,040 --> 00:30:57,520 Speaker 1: that his primary inspiration for this performance was Steve Bushmi 572 00:30:57,520 --> 00:31:00,000 Speaker 1: and Fargo, and so with that in mind, he's a right, 573 00:31:00,640 --> 00:31:04,560 Speaker 1: he's really funny, and he's actually really grounding in what 574 00:31:04,640 --> 00:31:08,640 Speaker 1: is this sort of Bonker's sci fi satire with a 575 00:31:08,640 --> 00:31:10,680 Speaker 1: lot of performance it is that are really over the top. 576 00:31:10,840 --> 00:31:15,160 Speaker 1: Mark Ruffalo in particular and Tony Colepp Despite how over 577 00:31:15,200 --> 00:31:17,240 Speaker 1: the top some of those things could get. I really 578 00:31:17,280 --> 00:31:19,440 Speaker 1: really liked the first half of this film. I love 579 00:31:19,480 --> 00:31:23,120 Speaker 1: the setup this escape from danger. Then that puts you 580 00:31:23,160 --> 00:31:26,520 Speaker 1: in perpetual danger, but that's not really actual danger, only 581 00:31:26,560 --> 00:31:29,520 Speaker 1: for real danger to come back again when a clone 582 00:31:29,520 --> 00:31:32,800 Speaker 1: of your clone threatens to replace you. It sounds confusing, 583 00:31:32,800 --> 00:31:36,040 Speaker 1: but it was really really fun to watch this unfold. 584 00:31:36,720 --> 00:31:39,479 Speaker 1: But then, unfortunately for my taste, the second half changed 585 00:31:39,520 --> 00:31:42,120 Speaker 1: course drastically and the film became about something else that 586 00:31:42,160 --> 00:31:45,360 Speaker 1: I had no interest in, and frankly, they had to 587 00:31:45,440 --> 00:31:49,280 Speaker 1: use way too much CGI for where the movie went, 588 00:31:49,360 --> 00:31:52,440 Speaker 1: and so although momentum from the first half built up 589 00:31:52,480 --> 00:31:55,400 Speaker 1: for me in particular, petered out. Let me know if 590 00:31:55,440 --> 00:31:57,240 Speaker 1: you've seen this in what you think. And by the way, 591 00:31:57,320 --> 00:31:59,920 Speaker 1: I am active over on letterboxed if any of you 592 00:32:00,000 --> 00:32:03,880 Speaker 1: were on there, you can find me at Zeth, not Seth. 593 00:32:04,480 --> 00:32:07,200 Speaker 1: That's at ze t h n O t s E 594 00:32:07,400 --> 00:32:10,720 Speaker 1: t H, which yes, addresses my lifelong gripe of being 595 00:32:10,760 --> 00:32:14,640 Speaker 1: called the wrong name. Okay, what am I reading? I 596 00:32:14,680 --> 00:32:18,400 Speaker 1: started reading Nick Tashi's Dino, his biography of Dean Martin, 597 00:32:18,440 --> 00:32:20,560 Speaker 1: and I'm already super into it because there's so much 598 00:32:20,640 --> 00:32:24,320 Speaker 1: history on the origins of American organized crime and how 599 00:32:24,360 --> 00:32:27,720 Speaker 1: things coalesce for the criminal underworld, which truly came into 600 00:32:27,760 --> 00:32:31,280 Speaker 1: power during Prohibition. Super fascinating to me. Just as much 601 00:32:31,280 --> 00:32:33,200 Speaker 1: as the story of Dean Martin is sort of the 602 00:32:33,240 --> 00:32:36,600 Speaker 1: story of the American underworld, you have criminal underworld. I'm 603 00:32:36,640 --> 00:32:39,080 Speaker 1: also skimming through a bunch of books on the band 604 00:32:39,120 --> 00:32:41,520 Speaker 1: Phish that I borrow from my buddy Asa, who is 605 00:32:41,560 --> 00:32:43,640 Speaker 1: my go to guy when it comes to all things grateful, 606 00:32:43,680 --> 00:32:46,000 Speaker 1: dead and Fish. He's got like a veritable library of 607 00:32:46,040 --> 00:32:50,840 Speaker 1: this stuff. So I'm researching upcoming disgrace in an episode 608 00:32:50,840 --> 00:32:52,800 Speaker 1: that I'm going to write on Phish. Actually I'm supposed 609 00:32:52,800 --> 00:32:55,000 Speaker 1: to be writing it this week. Sh don't tell anybody 610 00:32:55,240 --> 00:32:58,200 Speaker 1: I'm bond, So Asa gave me the stack of books 611 00:32:58,240 --> 00:33:01,200 Speaker 1: to check out. I've got my own personal history with 612 00:33:01,360 --> 00:33:04,280 Speaker 1: this band, going back to the early nineties, and of 613 00:33:04,320 --> 00:33:07,400 Speaker 1: course I'm from Maine, so it's a bit of a stereotype, 614 00:33:07,440 --> 00:33:10,200 Speaker 1: but it's true. They were my first concert that I 615 00:33:10,280 --> 00:33:13,320 Speaker 1: went to on my own without my parents, out of town, 616 00:33:13,920 --> 00:33:16,080 Speaker 1: riding down in a friend's car, crashing in a tent 617 00:33:16,120 --> 00:33:19,080 Speaker 1: on a stranger's long that whole thing. But now for 618 00:33:19,120 --> 00:33:22,400 Speaker 1: our purposes, I'm working on this really wild true crime 619 00:33:22,480 --> 00:33:25,280 Speaker 1: angle here for the Fish story. For this episode, So 620 00:33:25,760 --> 00:33:27,920 Speaker 1: I think you really dig it. What am I listening 621 00:33:27,920 --> 00:33:32,200 Speaker 1: to right now actually something I've been telling everybody about recently. 622 00:33:32,640 --> 00:33:34,760 Speaker 1: I kept it sort of. This is ridiculous to say, 623 00:33:34,800 --> 00:33:37,600 Speaker 1: because many many people listen to this, but I sort 624 00:33:37,600 --> 00:33:39,800 Speaker 1: of kept it as my own personal secret thing for 625 00:33:39,800 --> 00:33:41,600 Speaker 1: a while because I just I love it so much. 626 00:33:41,600 --> 00:33:43,840 Speaker 1: But I'm telling everybody about it now. My favorite thing 627 00:33:43,840 --> 00:33:47,000 Speaker 1: to listen to right now. There's a nonprofit radio station 628 00:33:47,080 --> 00:33:49,680 Speaker 1: out of Seattle called k EXP. They've been around for 629 00:33:49,720 --> 00:33:53,400 Speaker 1: a long time. Their afternoon show which takes place Monday 630 00:33:53,400 --> 00:33:56,840 Speaker 1: through Friday one to four pm West Coast time, but 631 00:33:56,920 --> 00:33:59,440 Speaker 1: it's actually four to seven pm my time, East Coast time, 632 00:33:59,480 --> 00:34:01,760 Speaker 1: So it's right I'm making dinner and I crank the 633 00:34:01,760 --> 00:34:04,760 Speaker 1: shit out of this in the kitchen every weekday. The 634 00:34:04,800 --> 00:34:09,560 Speaker 1: afternoon show hosted by Larry Mizel Junior. He plays everything 635 00:34:09,600 --> 00:34:13,280 Speaker 1: man is always so interesting and so funky. He plays 636 00:34:13,360 --> 00:34:18,759 Speaker 1: hip hop, jazz, afrobeat, punk, shoegaze, post rock, noise, rock, disco, whatever, 637 00:34:19,400 --> 00:34:22,359 Speaker 1: and he often bridges these connections to or like he'll 638 00:34:22,360 --> 00:34:24,279 Speaker 1: play like a song from the seventies or something, and 639 00:34:24,320 --> 00:34:26,880 Speaker 1: then he'll play a bunch of hip hop songs that 640 00:34:27,000 --> 00:34:31,080 Speaker 1: sampled that song. But his taste is impeccable, his style 641 00:34:31,200 --> 00:34:34,920 Speaker 1: is aspirational, and this is my favorite thing to listen to. 642 00:34:35,239 --> 00:34:38,000 Speaker 1: I honestly look forward to it every single day. And 643 00:34:38,080 --> 00:34:39,719 Speaker 1: also I got a note that as a child of 644 00:34:39,760 --> 00:34:42,120 Speaker 1: the radio, who listened to the radio in the nineteen eighties, 645 00:34:42,480 --> 00:34:46,040 Speaker 1: who recorded songs off the radio, who then became someone 646 00:34:46,040 --> 00:34:50,920 Speaker 1: who obsessively made mixtapes and then obsessively made burned mix 647 00:34:51,000 --> 00:34:55,160 Speaker 1: CDs and then obsessively made playlists on streaming services, It's 648 00:34:55,239 --> 00:34:58,240 Speaker 1: like this cycle has I've come back to the beginning 649 00:34:58,280 --> 00:35:01,360 Speaker 1: here on this cycle where I'm back to the radio, 650 00:35:01,480 --> 00:35:04,640 Speaker 1: and I'm just really enjoying just giving myself over to 651 00:35:05,120 --> 00:35:07,719 Speaker 1: someone else, so letting someone else curate what's going into 652 00:35:07,719 --> 00:35:10,640 Speaker 1: my ears and just being along for the ride. I'm 653 00:35:10,640 --> 00:35:13,279 Speaker 1: just in. It's unexpected. Sometimes you hear things and you go, 654 00:35:13,360 --> 00:35:15,680 Speaker 1: oh fuck, I love the song. Other Times you're like, 655 00:35:15,680 --> 00:35:17,680 Speaker 1: what the hell is this? I've never heard this before? 656 00:35:17,800 --> 00:35:21,200 Speaker 1: This is incredible. And then there's the connections sometimes where 657 00:35:21,239 --> 00:35:23,800 Speaker 1: you sort of note connections between from one song and 658 00:35:23,840 --> 00:35:26,000 Speaker 1: the next. It's just the best man. So again, k 659 00:35:26,160 --> 00:35:29,600 Speaker 1: e XP The Afternoon Show with Larry Maizel Junior. It's 660 00:35:29,640 --> 00:35:32,320 Speaker 1: one to four pm West Coast time Monday through Friday. 661 00:35:32,440 --> 00:35:36,600 Speaker 1: You can stream online their station. Check it out. You 662 00:35:36,640 --> 00:35:39,640 Speaker 1: won't be disappointed, and then let me know what you're 663 00:35:39,680 --> 00:35:42,319 Speaker 1: listening to. If you've got a radio station or an 664 00:35:42,320 --> 00:35:45,319 Speaker 1: online stream that you're crazy about, tell me about it. 665 00:35:45,400 --> 00:35:49,680 Speaker 1: Six one seven nine oh six six six three eight oh, 666 00:35:49,760 --> 00:35:52,960 Speaker 1: Keith dokey. This is the point of the show where 667 00:35:53,520 --> 00:35:56,560 Speaker 1: we are almost at the end of the line, but 668 00:35:56,600 --> 00:35:58,120 Speaker 1: we're not quite there yet. We got a little bit 669 00:35:58,120 --> 00:36:00,239 Speaker 1: more track in front of us. We're gonna list listen 670 00:36:00,280 --> 00:36:04,080 Speaker 1: to Tom Petty and George Harrison and Roy Orbison and 671 00:36:04,160 --> 00:36:08,080 Speaker 1: Bob Dylan and yes, jeff Lynn serenade us a little 672 00:36:08,080 --> 00:36:10,440 Speaker 1: bit longer until we hit the end of the line, 673 00:36:10,640 --> 00:36:13,720 Speaker 1: and we'll be right back right after this, so don't 674 00:36:13,960 --> 00:36:30,440 Speaker 1: go anywhere, Yo yo, yo yo. Welcome back once more 675 00:36:30,520 --> 00:36:33,239 Speaker 1: to the wrap party, and thank you to everyone for 676 00:36:33,320 --> 00:36:36,160 Speaker 1: hanging with me here solo as we make it to 677 00:36:36,200 --> 00:36:38,880 Speaker 1: the end of this week's show. I think we managed 678 00:36:38,880 --> 00:36:41,120 Speaker 1: to hold down the fort pretty well without Jake. I 679 00:36:41,160 --> 00:36:44,000 Speaker 1: do miss Jake. I hope you're feeling better and I 680 00:36:44,080 --> 00:36:47,239 Speaker 1: will see you over in the after party. And to 681 00:36:47,280 --> 00:36:49,720 Speaker 1: that point, as I said, Jake and I will continue 682 00:36:49,719 --> 00:36:51,759 Speaker 1: to do the recommendations thing along with all the other 683 00:36:51,800 --> 00:36:54,480 Speaker 1: stuff we've been doing over in the after party. So 684 00:36:54,760 --> 00:36:56,919 Speaker 1: check that out. If you don't already, you can find 685 00:36:56,920 --> 00:36:59,000 Speaker 1: that in the disgraced Land feed. And if you want 686 00:36:59,080 --> 00:37:03,040 Speaker 1: more of this, more community, more content, and less ads, 687 00:37:03,520 --> 00:37:06,480 Speaker 1: make sure you check out disgraceland All access. If you 688 00:37:06,480 --> 00:37:09,759 Speaker 1: have not already, you can do that at disgracelamdpod dot 689 00:37:09,800 --> 00:37:12,880 Speaker 1: com slash membership, and I can tell you that we 690 00:37:12,920 --> 00:37:15,680 Speaker 1: are working on lots of really new and exciting features 691 00:37:15,680 --> 00:37:18,080 Speaker 1: over there right now. So now's a really great time 692 00:37:18,160 --> 00:37:20,960 Speaker 1: to join and acquaint yourself with the whole sitch over 693 00:37:21,000 --> 00:37:23,480 Speaker 1: there right And if you're already a member, thank you, 694 00:37:23,880 --> 00:37:26,560 Speaker 1: thank you, thank you. We appreciate you. If you're a 695 00:37:26,600 --> 00:37:28,799 Speaker 1: member on Patreon, I love seeing all you in the 696 00:37:28,840 --> 00:37:31,319 Speaker 1: chat over there. There's always a lot going on in 697 00:37:31,320 --> 00:37:33,480 Speaker 1: the Patreon chat, so check that out if you have not. 698 00:37:33,760 --> 00:37:36,759 Speaker 1: Okay to all of you listening for very important things 699 00:37:36,760 --> 00:37:39,320 Speaker 1: for you to know until we all meet again next week. 700 00:37:39,680 --> 00:37:42,560 Speaker 1: Number one available right now in your Hollywood Land feed. 701 00:37:42,680 --> 00:37:46,919 Speaker 1: Our episode on Charlie Chaplin Number two coming next week 702 00:37:46,960 --> 00:37:51,200 Speaker 1: on Monday, our episode on Carrie Fisher Number three. Do 703 00:37:51,239 --> 00:37:54,319 Speaker 1: you listen to Disgraceland, Jake's other award winning show made 704 00:37:54,360 --> 00:37:57,160 Speaker 1: four and about rock and roll animals, The og Music 705 00:37:57,200 --> 00:38:01,000 Speaker 1: and True Crime Pod with episodes on Brian Wilson, Pantera 706 00:38:01,080 --> 00:38:05,040 Speaker 1: in Excess, Chet Baker, Selena, The Misfits, and hundreds more. 707 00:38:05,480 --> 00:38:07,719 Speaker 1: If you're not you're missing out. Just go search up 708 00:38:07,719 --> 00:38:11,720 Speaker 1: to Graceland wherever you get podcasts and Now, in honor 709 00:38:11,760 --> 00:38:14,360 Speaker 1: of this week's episode, me reading You, the list of 710 00:38:14,400 --> 00:38:18,000 Speaker 1: the top grossing films from nineteen fifty two, the year 711 00:38:18,040 --> 00:38:22,560 Speaker 1: that Charlie Chaplin released Limelight, his last movie made in America. 712 00:38:24,320 --> 00:38:29,280 Speaker 1: Number one The Greatest Show on Earth, directed by Cecil B. Demill. 713 00:38:30,160 --> 00:38:36,640 Speaker 1: Number two Quo Vettis directed by Mervin Leroy. Number three 714 00:38:37,360 --> 00:38:41,879 Speaker 1: Ivan Holman, John directed by Pecus Richard d Queen, Number four, 715 00:38:41,960 --> 00:38:45,120 Speaker 1: Number five The Snow's s Kilimanjo. Number seven directed by 716 00:38:45,680 --> 00:38:50,680 Speaker 1: Henry King, directed by Number five. Sailor Beware eight directed 717 00:38:50,680 --> 00:38:55,440 Speaker 1: by how Friend. Number six to the African Queen Jess 718 00:38:55,760 --> 00:39:02,239 Speaker 1: directed John Houston. Number seven finished, Oh Will Allow Me 719 00:39:02,360 --> 00:39:02,920 Speaker 1: to Retort