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 --> 00:00:30,800 Speaker 1: Welcome to Hollywood Land, the Rap Party. What is going on? 6 00:00:30,840 --> 00:00:33,680 Speaker 1: Everybody here? We are in another bonus episode of hollywood Land. 7 00:00:33,800 --> 00:00:36,839 Speaker 1: Welcome once again to the Rap Party. This is the 8 00:00:36,920 --> 00:00:39,360 Speaker 1: show that gets you from one full episode of hollywood 9 00:00:39,400 --> 00:00:41,960 Speaker 1: Land to the next. The place where movie history is 10 00:00:42,000 --> 00:00:44,879 Speaker 1: far from boring. It's full of players and fixers and 11 00:00:44,920 --> 00:00:47,960 Speaker 1: behind the scenestars, and it routinely intersects with the world 12 00:00:47,960 --> 00:00:50,839 Speaker 1: of true crime. My name is Zeth Lundy, writer at 13 00:00:50,840 --> 00:00:54,320 Speaker 1: Double Elvis, showrunner for Hollywood Land. And on this bonus episode, 14 00:00:54,440 --> 00:00:58,000 Speaker 1: we are talking about this week's full episode subject Natalie Wood. 15 00:00:58,600 --> 00:01:01,880 Speaker 1: We are previewing next week's episode on Lana Turner. We're 16 00:01:01,880 --> 00:01:05,120 Speaker 1: talking movie and music recommendations, and of course I'm going 17 00:01:05,200 --> 00:01:08,240 Speaker 1: to check out your voicemails, your text DMS emails. So 18 00:01:08,400 --> 00:01:30,160 Speaker 1: come on, everybody, let's party. In nineteen eighty two, Thomas Negucci, 19 00:01:30,720 --> 00:01:33,800 Speaker 1: who had served as Chief Medical Examiner of Los Angeles 20 00:01:33,840 --> 00:01:38,600 Speaker 1: County for approximately fifteen years, was dismissed from his post. 21 00:01:39,120 --> 00:01:43,280 Speaker 1: He wasn't fired, but instead he was demoted reassigned to 22 00:01:43,360 --> 00:01:46,720 Speaker 1: a research and teaching role at LA County's Department of 23 00:01:46,760 --> 00:01:50,640 Speaker 1: Health Services. This was a huge change for the man 24 00:01:50,720 --> 00:01:53,680 Speaker 1: who had become known to the public as the coroner 25 00:01:53,720 --> 00:01:56,440 Speaker 1: to the stars, a man who, in some cases was 26 00:01:56,600 --> 00:02:00,800 Speaker 1: just as famous as those he performed autopsies onspective here 27 00:02:01,120 --> 00:02:04,040 Speaker 1: in the New York Times alone, Nogucci was written about 28 00:02:04,080 --> 00:02:07,280 Speaker 1: no less than forty times across the sixties, the seventies, 29 00:02:07,280 --> 00:02:10,720 Speaker 1: and the eighties. But to summon Hollywood Thomas Degucci's elevated 30 00:02:10,720 --> 00:02:14,440 Speaker 1: status his celebrity that was a problem. Some even believed 31 00:02:14,440 --> 00:02:17,079 Speaker 1: that he was exploiting the deaths of actors and musicians 32 00:02:17,120 --> 00:02:20,680 Speaker 1: for his own fame, and thus turning private tragedies into 33 00:02:20,680 --> 00:02:25,880 Speaker 1: public spectacles. Perhaps Neguci's most notorious critic was all Blue 34 00:02:25,880 --> 00:02:29,280 Speaker 1: Eyes himself, the chairman of the board, Frank Sinatra. It 35 00:02:29,320 --> 00:02:31,760 Speaker 1: all started with the death of Marilyn Monroe in nineteen 36 00:02:31,840 --> 00:02:36,160 Speaker 1: sixty two, about five years before Negucci became Elia's coroner 37 00:02:36,200 --> 00:02:39,680 Speaker 1: in chief. Now, at the time, Nogucci was a junior 38 00:02:39,720 --> 00:02:42,440 Speaker 1: medical examiner, and he was personally asked by the chief 39 00:02:42,720 --> 00:02:46,399 Speaker 1: to perform this autopsy. The death was ruled a suicide, 40 00:02:46,720 --> 00:02:49,560 Speaker 1: but Nogucci admitted that he made a mistake, that he 41 00:02:49,639 --> 00:02:53,280 Speaker 1: had performed toxicology tests only on her blood and her liver, 42 00:02:53,680 --> 00:02:55,480 Speaker 1: and that he should have looked at all of her 43 00:02:55,480 --> 00:02:58,160 Speaker 1: internal organs, and that when he went back to the 44 00:02:58,160 --> 00:03:01,240 Speaker 1: toxicology lab a few weeks later to test those organs, 45 00:03:01,360 --> 00:03:04,040 Speaker 1: he discovered that they'd already been thrown out. One journalist 46 00:03:04,080 --> 00:03:07,360 Speaker 1: wound up calling this quote one of the weirdest autopsies 47 00:03:07,400 --> 00:03:11,160 Speaker 1: ever confected unquote, while Norman Mahler, writing in his nineteen 48 00:03:11,200 --> 00:03:15,400 Speaker 1: seventy three book Marilyn, A novel Biography, was altogether suspicious 49 00:03:15,440 --> 00:03:20,320 Speaker 1: of Nogucci's true motives. By seemingly doubting his own conclusion, 50 00:03:20,720 --> 00:03:25,120 Speaker 1: Nogucci was knowingly or unknowingly fanning the flames of conspiracy, 51 00:03:25,320 --> 00:03:28,120 Speaker 1: in particular the theory that Marilyn's death was not a 52 00:03:28,240 --> 00:03:32,200 Speaker 1: suicide but somehow had something to do with organized crime, 53 00:03:32,400 --> 00:03:35,600 Speaker 1: with the Kennedys, with the very people that Marilyn's close friend, 54 00:03:35,840 --> 00:03:39,520 Speaker 1: Frank Sinatra just happened to be cozy with. Sinatra did 55 00:03:39,560 --> 00:03:43,320 Speaker 1: not hold back. He called Magucci quote a publicity hound, 56 00:03:43,480 --> 00:03:47,000 Speaker 1: exploiting her death unquote. And then, in nineteen sixty eight, 57 00:03:47,360 --> 00:03:51,640 Speaker 1: when Negucci performed the autopsy on Bobby Kennedy, publicly releasing 58 00:03:51,680 --> 00:03:55,080 Speaker 1: forensic details which suggested that shots were fired at extreme 59 00:03:55,160 --> 00:03:58,560 Speaker 1: close range from behind, once again he managed to stoke 60 00:03:58,640 --> 00:04:02,840 Speaker 1: conspiracy theories. Once again, Frank Sinatra was pissed off. He 61 00:04:02,960 --> 00:04:06,119 Speaker 1: confided in his friends that Negucci was turning murder into 62 00:04:06,160 --> 00:04:09,960 Speaker 1: show business. But Frank Sinatra's ire alone was not enough 63 00:04:09,960 --> 00:04:13,119 Speaker 1: to rattle La County's faith in their chief medical examiner. 64 00:04:13,160 --> 00:04:16,000 Speaker 1: Not yet, at least. As the years went on, it 65 00:04:16,040 --> 00:04:18,240 Speaker 1: seemed that Noguchi was in front of a camera to 66 00:04:18,240 --> 00:04:22,520 Speaker 1: discuss the often shocking deaths of major Hollywood celebrities time 67 00:04:22,680 --> 00:04:26,360 Speaker 1: and time again. In nineteen sixty nine, he performed the 68 00:04:26,360 --> 00:04:29,760 Speaker 1: autopsies on Sharon Tate and some others brutally murdered by 69 00:04:29,760 --> 00:04:33,279 Speaker 1: the Manson family. He released some particularly lurid details to 70 00:04:33,279 --> 00:04:36,880 Speaker 1: the press, including the fact that Leno la Bianca had 71 00:04:36,920 --> 00:04:40,880 Speaker 1: the word war carved into his flesh. In nineteen seventy, 72 00:04:41,080 --> 00:04:44,080 Speaker 1: he performed the autopsy on Janis Joplin and that same year. 73 00:04:44,360 --> 00:04:47,159 Speaker 1: Even though he did not perform the autopsy on Jimmy Hendrix, 74 00:04:47,600 --> 00:04:50,760 Speaker 1: he was the one to publicly comment on it because 75 00:04:50,839 --> 00:04:54,560 Speaker 1: media demand for his take for his perspective had become 76 00:04:54,680 --> 00:04:59,280 Speaker 1: so high. Meanwhile, Frank Sinatra thought that Thomas Nogucci was 77 00:04:59,320 --> 00:05:02,080 Speaker 1: becoming a little too high on himself, that he was 78 00:05:02,200 --> 00:05:06,960 Speaker 1: purposely revealing these lurid details about these celebrities lifestyles, that 79 00:05:07,120 --> 00:05:10,479 Speaker 1: his statements were tantamount to an invasion of privacy, and 80 00:05:10,520 --> 00:05:12,400 Speaker 1: when it came to something like his autopsy for the 81 00:05:12,440 --> 00:05:15,320 Speaker 1: actor William Holden, who died after he slipped and hit 82 00:05:15,360 --> 00:05:20,000 Speaker 1: his head while intoxicated, these lurid details unnecessarily degraded the 83 00:05:20,040 --> 00:05:24,479 Speaker 1: image in the legacy of the deceased. William Holden died 84 00:05:24,520 --> 00:05:27,160 Speaker 1: in nineteen eighty one, the same year that actress Natalie 85 00:05:27,160 --> 00:05:31,000 Speaker 1: Would died at the age of forty three. Nogucci concluded 86 00:05:31,000 --> 00:05:34,360 Speaker 1: that Natalie Wood died from accidental drowning when she somehow 87 00:05:34,400 --> 00:05:36,720 Speaker 1: fell off the yacht she owned with her husband, the 88 00:05:36,760 --> 00:05:40,279 Speaker 1: actor Robert Wagner, and into the Pacific Ocean near Santa 89 00:05:40,320 --> 00:05:44,040 Speaker 1: Catalina Island off the coast of California. But Nogucci also 90 00:05:44,080 --> 00:05:47,560 Speaker 1: publicly released details about bruises found on Natalie Wood's body, 91 00:05:47,880 --> 00:05:49,560 Speaker 1: as well as the fact that she had been drinking, 92 00:05:49,839 --> 00:05:53,400 Speaker 1: which suddenly led to conjecture that perhaps her husband, Robert Wagner, 93 00:05:53,440 --> 00:05:55,840 Speaker 1: and or someone else had been involved with her death, 94 00:05:56,120 --> 00:06:00,279 Speaker 1: and this set off Wagner's good friend Frank Sinatra. In 95 00:06:00,320 --> 00:06:03,839 Speaker 1: a letter to an La County supervisor, Sinatra wrote, and 96 00:06:03,880 --> 00:06:08,400 Speaker 1: I quote, his inappropriate statements have, in my opinion, cast 97 00:06:08,520 --> 00:06:13,000 Speaker 1: unjustified dispersions on the memories of well known individuals, violated 98 00:06:13,040 --> 00:06:17,760 Speaker 1: privacy of aggrieved families, and caused undue sensationalism for no 99 00:06:17,880 --> 00:06:22,240 Speaker 1: purpose other than to put himself in the public limelight unquote. 100 00:06:22,680 --> 00:06:25,400 Speaker 1: Shortly after this letter, Noguchi was accused of mishandling his 101 00:06:25,480 --> 00:06:27,800 Speaker 1: office and was removed from his post by the board 102 00:06:27,800 --> 00:06:31,880 Speaker 1: of supervisors. One supervisor in particular, was critical of Noguchi's 103 00:06:31,880 --> 00:06:35,080 Speaker 1: long standing practice of holding news conferences for celebrity deaths, 104 00:06:35,400 --> 00:06:37,719 Speaker 1: which is where a lot of these speculations and doubts 105 00:06:37,720 --> 00:06:41,240 Speaker 1: and conspiracies took root, and even accused Nogucchi of creating 106 00:06:41,279 --> 00:06:43,919 Speaker 1: a circus for the sole purpose to make headlines in 107 00:06:43,920 --> 00:06:47,320 Speaker 1: the press. Was the board at La County made up 108 00:06:47,320 --> 00:06:49,440 Speaker 1: of people who were in the pocket or at least 109 00:06:49,480 --> 00:06:51,520 Speaker 1: in some kind of debt or favor to power for 110 00:06:51,640 --> 00:06:55,880 Speaker 1: people like Frank Sinatra. Perhaps, but at the time articles 111 00:06:55,880 --> 00:06:59,240 Speaker 1: published in the La Times alleged that Noguchi engaged in 112 00:06:59,279 --> 00:07:02,880 Speaker 1: mismanagement and often abuses, which included the loss of critical 113 00:07:02,920 --> 00:07:05,920 Speaker 1: evidence and even the theft of bodies which had been 114 00:07:06,040 --> 00:07:09,440 Speaker 1: entrusted to his office, and that he had neglected his 115 00:07:09,560 --> 00:07:12,760 Speaker 1: primary job as chief medical Examiner, which paid him close 116 00:07:12,800 --> 00:07:15,200 Speaker 1: to seventy thousand dollars a year at the time, in 117 00:07:15,320 --> 00:07:18,240 Speaker 1: order to pursue a lucrative side hustle as a consultant, 118 00:07:18,640 --> 00:07:21,360 Speaker 1: where he was pulling down an additional forty grand a year. 119 00:07:21,840 --> 00:07:25,560 Speaker 1: One of Nogucchi's final major autopsies was for John Belushi, 120 00:07:25,880 --> 00:07:28,480 Speaker 1: who died from a speedball overdose in nineteen eighty two, 121 00:07:28,960 --> 00:07:32,880 Speaker 1: the year that Noguchi was demoted. Typically, a coroner would 122 00:07:32,880 --> 00:07:36,120 Speaker 1: release only the cause and manner of death, but Noguchi 123 00:07:36,160 --> 00:07:39,720 Speaker 1: released details about needle marks, blood toxicity levels, and the 124 00:07:39,720 --> 00:07:43,640 Speaker 1: physical state of Belushi's body, details that were fuel for 125 00:07:43,680 --> 00:07:47,360 Speaker 1: the tabloid fire, in which caused Belushi's widow and his 126 00:07:47,400 --> 00:07:50,680 Speaker 1: brother Jim to later say that they felt Nogucci had 127 00:07:50,800 --> 00:07:55,560 Speaker 1: humiliated their family and publicly shamed the comedian. Thomas Nogucci 128 00:07:55,640 --> 00:07:58,480 Speaker 1: is now ninety eight years old. This year alone, there 129 00:07:58,520 --> 00:08:01,640 Speaker 1: is a new book about him, LA Coroner Thomas Nogucci 130 00:08:01,680 --> 00:08:05,240 Speaker 1: and Death in Hollywood by an Soon Choi. There was 131 00:08:05,280 --> 00:08:09,040 Speaker 1: a new documentary Coroner to the Stars, and there is 132 00:08:09,080 --> 00:08:12,640 Speaker 1: a new Tony nominated musical Dead Outlaw, in which a 133 00:08:12,640 --> 00:08:17,440 Speaker 1: fictionalized version of Nogucci appears. In his own words, Noguchi 134 00:08:17,520 --> 00:08:20,320 Speaker 1: told The New York Times this year, quote instead of 135 00:08:20,360 --> 00:08:23,280 Speaker 1: saying I have no comment, I just told what I think, 136 00:08:23,720 --> 00:08:27,160 Speaker 1: and I got in trouble sometimes unquote. I'll be right 137 00:08:27,200 --> 00:08:29,440 Speaker 1: back after this quick break with your texts, emails and 138 00:08:29,520 --> 00:08:48,120 Speaker 1: dms and talking about your favorite movies for fall. All right, 139 00:08:48,320 --> 00:08:52,720 Speaker 1: we are back, everybody. Last week I was waxing poetic 140 00:08:52,760 --> 00:08:55,960 Speaker 1: about good movies to watch in the fall, as in 141 00:08:56,000 --> 00:08:59,240 Speaker 1: the season, the season we currently find ourselves in, because 142 00:08:59,679 --> 00:09:02,600 Speaker 1: I do believe that just like some music hits different 143 00:09:02,640 --> 00:09:05,680 Speaker 1: from season to season, some movies do two. So I 144 00:09:05,840 --> 00:09:07,520 Speaker 1: asked all of you to give me some of your 145 00:09:07,559 --> 00:09:11,000 Speaker 1: fall favorites, and this is what you said. We've got 146 00:09:11,040 --> 00:09:14,960 Speaker 1: this text from Kevin in the four one two, Kevin 147 00:09:14,960 --> 00:09:18,000 Speaker 1: writes in hey Zeth, Fall movies, one that is a 148 00:09:18,040 --> 00:09:22,800 Speaker 1: classic is called Indian Summer. Alan Arkin, Diane Lane, Bill Paxton, 149 00:09:22,920 --> 00:09:26,360 Speaker 1: Elizabeth Perkins, Kevin Pollock. Check it out if you've never 150 00:09:26,400 --> 00:09:29,400 Speaker 1: seen it, Kevin from the four one two Kevin, I 151 00:09:29,440 --> 00:09:32,240 Speaker 1: have not seen Indian Summer, but that title rings a bell, 152 00:09:32,320 --> 00:09:35,480 Speaker 1: as does the cast. And damn, that is some cast. 153 00:09:35,559 --> 00:09:39,360 Speaker 1: This is from nineteen ninety three. So Bill Paxson is 154 00:09:39,640 --> 00:09:43,240 Speaker 1: just about to hit his stride. Diane Lane too. And 155 00:09:43,480 --> 00:09:45,880 Speaker 1: I see that this pick is literally a fall movie, 156 00:09:45,920 --> 00:09:48,040 Speaker 1: and that it's it's set at the end of the summer, 157 00:09:48,080 --> 00:09:50,079 Speaker 1: at the beginning of the fall. So this is a great, 158 00:09:50,240 --> 00:09:53,200 Speaker 1: great pick here, Kevin. I will I will check that 159 00:09:53,400 --> 00:09:56,000 Speaker 1: out at some point. Thank you so much for writing in. 160 00:09:56,440 --> 00:09:59,000 Speaker 1: Got another text here from Mark in the seven three 161 00:09:59,000 --> 00:10:01,480 Speaker 1: to two. Here it's Mark from the seven three to two. 162 00:10:01,880 --> 00:10:04,760 Speaker 1: Three Fall movies for me, The Trouble with Harry, a 163 00:10:04,840 --> 00:10:08,040 Speaker 1: Hitchcock black comedy that takes place in Vermont with a 164 00:10:08,120 --> 00:10:11,640 Speaker 1: very young Jerry Mathers, and two for Spooky Season that 165 00:10:11,679 --> 00:10:14,920 Speaker 1: may be somewhat forgotten, but good fall vibes, flat liners 166 00:10:15,400 --> 00:10:19,640 Speaker 1: and stir of Echoes, Mark super fun list here the 167 00:10:19,679 --> 00:10:23,719 Speaker 1: Trouble with Harry underrated and underseen Hitchcock movie. Also, I 168 00:10:23,760 --> 00:10:27,280 Speaker 1: believe Shirley McLain's debut performance in that one. I've got 169 00:10:27,320 --> 00:10:30,680 Speaker 1: this Hitchcock Blu ray box set. It's like, I think, 170 00:10:30,720 --> 00:10:33,240 Speaker 1: like fifteen of his movies and some of the episodes 171 00:10:33,280 --> 00:10:36,520 Speaker 1: for the TV show and Trouble with Harry is in there. 172 00:10:37,040 --> 00:10:40,839 Speaker 1: Definitely an outlier in his filmography, although you can argue 173 00:10:40,840 --> 00:10:44,680 Speaker 1: that once Hitchcot like started in his classic run of 174 00:10:44,720 --> 00:10:47,520 Speaker 1: movies that in a way they're all outliers. No. I mean, 175 00:10:47,559 --> 00:10:50,280 Speaker 1: he never made the same movie twice. This is the 176 00:10:50,280 --> 00:10:53,480 Speaker 1: guy who made north By Northwest and then followed it 177 00:10:53,559 --> 00:10:56,280 Speaker 1: up the next year with Psycho. You know, but he 178 00:10:56,320 --> 00:10:59,319 Speaker 1: never did make a black comedy like this one, although 179 00:10:59,360 --> 00:11:01,199 Speaker 1: all of his films have a great sense of humor. 180 00:11:01,400 --> 00:11:04,080 Speaker 1: Flat Liners of course is that's like gen X canon. 181 00:11:04,960 --> 00:11:08,960 Speaker 1: It's like, I remember when that came out in nineteen ninety. 182 00:11:09,559 --> 00:11:12,439 Speaker 1: The cast was, you know at the time, Kee for Sutherland, 183 00:11:12,960 --> 00:11:17,520 Speaker 1: Julia Roberts, Kevin Bacon, a young Oliver Platt, directed by 184 00:11:17,920 --> 00:11:21,880 Speaker 1: Joel Schumacher. So they're med students, right who performed these 185 00:11:21,920 --> 00:11:25,120 Speaker 1: experiments where they have near death experiences and then they're 186 00:11:25,120 --> 00:11:28,280 Speaker 1: like brought back to life, like with they flatline and 187 00:11:28,320 --> 00:11:31,120 Speaker 1: they experienced death and they come back to life. The 188 00:11:31,160 --> 00:11:33,559 Speaker 1: first and only time I saw this, it must have 189 00:11:33,600 --> 00:11:35,480 Speaker 1: been when it had just come out on home video, 190 00:11:35,600 --> 00:11:38,240 Speaker 1: or maybe it was playing on cable, but I went 191 00:11:38,280 --> 00:11:41,760 Speaker 1: over to my friend John's house. You know, thank God 192 00:11:41,800 --> 00:11:45,160 Speaker 1: for friends like John and others in my life and 193 00:11:45,160 --> 00:11:47,320 Speaker 1: in your life where you can see things that maybe 194 00:11:47,320 --> 00:11:49,440 Speaker 1: you wouldn't see it at home. Because this sounds so 195 00:11:49,520 --> 00:11:52,240 Speaker 1: stupid to say now, was just just Flatliners. It's not 196 00:11:52,440 --> 00:11:56,720 Speaker 1: like I'm not talking about like something extremely forbidden here. 197 00:11:56,720 --> 00:11:59,400 Speaker 1: But you know, Flatliners was rated are and I came 198 00:11:59,440 --> 00:12:01,800 Speaker 1: from a very strict household and we watched movies all 199 00:12:01,840 --> 00:12:04,120 Speaker 1: the time. But my folks were you know, they gate 200 00:12:04,200 --> 00:12:07,880 Speaker 1: kept certain things that they didn't think that me and 201 00:12:07,880 --> 00:12:10,079 Speaker 1: my brother were ready for yet or whatever. It doesn't matter. 202 00:12:10,400 --> 00:12:13,000 Speaker 1: My point here is that I remember very vividly going 203 00:12:13,040 --> 00:12:15,560 Speaker 1: to my friend John's house and watching this like it 204 00:12:15,600 --> 00:12:19,200 Speaker 1: was some forbidden thing that I, you know, probably never 205 00:12:19,240 --> 00:12:21,360 Speaker 1: told my parents that I watch. And again, I know 206 00:12:21,400 --> 00:12:24,440 Speaker 1: this sounds so lame. If you've seen flat Liners and 207 00:12:24,480 --> 00:12:27,760 Speaker 1: You're like, dude, you've got to get out more. But 208 00:12:27,800 --> 00:12:29,920 Speaker 1: I did get out more eventually. Don't worry. I'm fine now. 209 00:12:30,160 --> 00:12:33,120 Speaker 1: But anyway, its super formative memory for me. Here flat liners, God, 210 00:12:33,160 --> 00:12:35,559 Speaker 1: I have not seen that since like the early nineties. Mark, 211 00:12:35,600 --> 00:12:37,640 Speaker 1: I got to check that out again. Thanks for jogging 212 00:12:37,640 --> 00:12:41,160 Speaker 1: my memory. There another subject here. We were talking last week, 213 00:12:41,240 --> 00:12:45,280 Speaker 1: I'd mentioned Bruce Springsteen's song Human Touch, and I got 214 00:12:45,280 --> 00:12:48,320 Speaker 1: a text from Matt in the three one seven who 215 00:12:48,400 --> 00:12:51,520 Speaker 1: says thanks for the love of the song Human Touch. 216 00:12:52,160 --> 00:12:54,320 Speaker 1: Those two Bruce albums came out near the end of 217 00:12:54,360 --> 00:12:56,679 Speaker 1: my junior year of college and less than a month 218 00:12:57,000 --> 00:12:59,800 Speaker 1: before my mother died of cancer. Those albums kept me 219 00:12:59,800 --> 00:13:03,000 Speaker 1: come during my darkest days. I saw Bruce live on 220 00:13:03,040 --> 00:13:05,559 Speaker 1: that tour. I hope time has been better for Human 221 00:13:05,559 --> 00:13:08,240 Speaker 1: Touch and Lucky Town because they sure helped me. A 222 00:13:08,240 --> 00:13:11,640 Speaker 1: great example of how our relationship with art is a marathon, 223 00:13:11,960 --> 00:13:14,120 Speaker 1: not a sprint. Take care of Matt from the three 224 00:13:14,160 --> 00:13:20,720 Speaker 1: one seven ps rip to Prunella Scale's aka Sybil Faulty. Matt, 225 00:13:20,760 --> 00:13:22,680 Speaker 1: first of all, Sibil Faulty, let's put a pin in 226 00:13:22,679 --> 00:13:25,520 Speaker 1: that for a minute. I really really appreciate this message. Matt, 227 00:13:25,559 --> 00:13:28,640 Speaker 1: and yes, you are so right. Our relationship with art 228 00:13:28,800 --> 00:13:31,040 Speaker 1: is a marathon, not a sprint. That's a lovely way 229 00:13:31,080 --> 00:13:33,920 Speaker 1: to put it. I'm sorry for your loss. I too 230 00:13:34,040 --> 00:13:37,080 Speaker 1: lost my mom to cancer a while back, and honestly, 231 00:13:37,320 --> 00:13:40,720 Speaker 1: music was one of my strongest connections with her and 232 00:13:41,000 --> 00:13:44,280 Speaker 1: remains one of my strongest connections with her. The music 233 00:13:44,320 --> 00:13:46,000 Speaker 1: that she played in the house when I was growing up, 234 00:13:46,040 --> 00:13:48,760 Speaker 1: the music she played in her retail store she owned 235 00:13:48,840 --> 00:13:51,080 Speaker 1: when I was a kid, music that I wasn't personally 236 00:13:51,120 --> 00:13:54,240 Speaker 1: into at the time, but it is now extremely near 237 00:13:54,240 --> 00:13:56,040 Speaker 1: and dear to my heart because it was her music, 238 00:13:56,080 --> 00:13:58,360 Speaker 1: and it's like having her in the room with me, 239 00:13:58,440 --> 00:14:01,679 Speaker 1: it really is. And it's funny. It's all upbeat party 240 00:14:01,760 --> 00:14:04,760 Speaker 1: music from the eighties. It's like the B fifty two's 241 00:14:04,880 --> 00:14:08,520 Speaker 1: Finian Cannibals, Kid Kreole and the Coconuts, general Public stuff 242 00:14:08,559 --> 00:14:11,760 Speaker 1: like that. But perhaps even stronger is a record that 243 00:14:11,800 --> 00:14:14,440 Speaker 1: I don't think she was into. Ella Fitzgerald sings the 244 00:14:14,440 --> 00:14:17,520 Speaker 1: Colport Psalm Book. So when my mom was having treatment 245 00:14:17,720 --> 00:14:21,200 Speaker 1: shortly before she passed away, she came down to Boston, 246 00:14:21,240 --> 00:14:22,960 Speaker 1: where I was living at the time, for an appointment 247 00:14:23,000 --> 00:14:25,000 Speaker 1: at one of the hospitals down there, and I remember 248 00:14:25,040 --> 00:14:27,600 Speaker 1: it was early spring, like the first day of spring 249 00:14:27,920 --> 00:14:30,720 Speaker 1: where you can actually open your windows in your apartment 250 00:14:30,800 --> 00:14:34,800 Speaker 1: and let the warm spring breeze come in. The sun 251 00:14:34,880 --> 00:14:38,800 Speaker 1: was out. It was just this incredible day, beautiful day, 252 00:14:39,200 --> 00:14:42,440 Speaker 1: and I put that Ella record on, and every time 253 00:14:42,480 --> 00:14:44,720 Speaker 1: I hear it now i listen to it, I have 254 00:14:44,840 --> 00:14:48,520 Speaker 1: this really, really vivid visual of my mom sitting in 255 00:14:48,560 --> 00:14:50,800 Speaker 1: the living room in my apartment on the second floor 256 00:14:51,040 --> 00:14:54,480 Speaker 1: in Jamaica plane Boston, the sun and the breeze coming in, 257 00:14:54,720 --> 00:14:57,520 Speaker 1: kind of the whole world just sort of stopping, and 258 00:14:58,640 --> 00:15:02,240 Speaker 1: it was a very hard time, but it was also 259 00:15:02,800 --> 00:15:05,680 Speaker 1: this beautiful moment that's just sort of like frozen in time. 260 00:15:05,800 --> 00:15:08,840 Speaker 1: And every time I put that record on, I'm immediately 261 00:15:08,880 --> 00:15:11,160 Speaker 1: brought back to it in the best possible way. The 262 00:15:11,200 --> 00:15:13,760 Speaker 1: next time I remember a day in a moment just 263 00:15:13,880 --> 00:15:16,880 Speaker 1: like that was like two years later, when my daughter 264 00:15:16,960 --> 00:15:20,680 Speaker 1: was born, who's named after my mom, and one of 265 00:15:20,720 --> 00:15:26,200 Speaker 1: my mom's favorite shows, Matt was Faulty Towers. So we're 266 00:15:26,200 --> 00:15:28,840 Speaker 1: tying this all together here. I think I've seen all 267 00:15:28,880 --> 00:15:31,000 Speaker 1: of those episodes like a billion times. You remember when 268 00:15:31,000 --> 00:15:33,520 Speaker 1: they would run marathons of those on PBS back on 269 00:15:33,520 --> 00:15:35,000 Speaker 1: the day. It would be like a I don't know 270 00:15:35,000 --> 00:15:36,600 Speaker 1: if it was a fundraiser thing, but they would like 271 00:15:36,640 --> 00:15:38,880 Speaker 1: Friday nights or Saturday whatever. They would just run them 272 00:15:38,920 --> 00:15:41,880 Speaker 1: all back to back. Whenever that happened, we were there 273 00:15:42,320 --> 00:15:45,880 Speaker 1: watching it her phone, acting pretty all scales when she's 274 00:15:45,920 --> 00:15:48,520 Speaker 1: on the phone. Oh, I know, it's so so funny, 275 00:15:48,560 --> 00:15:51,040 Speaker 1: so good. And John Cleise just at the top of 276 00:15:51,080 --> 00:15:53,600 Speaker 1: his game. I know Monty Python is great and all, 277 00:15:53,640 --> 00:15:55,800 Speaker 1: but I was a late convert to Monty Python. For me, 278 00:15:56,920 --> 00:16:01,360 Speaker 1: my John Cleese crack was faulty tower. So Matt, thanks 279 00:16:01,360 --> 00:16:04,160 Speaker 1: again for your message. I really appreciate it and rip 280 00:16:04,400 --> 00:16:09,280 Speaker 1: to the great Prunella Scales. Over on Patreon, where some 281 00:16:09,320 --> 00:16:12,320 Speaker 1: of our All Access members hang out and talk, there's 282 00:16:12,360 --> 00:16:15,960 Speaker 1: some discussion going on about the new Springsteen movie Delivering 283 00:16:15,960 --> 00:16:18,880 Speaker 1: Me from Nowhere. This is the movie, of course, you've 284 00:16:18,880 --> 00:16:21,000 Speaker 1: heard about this. It's based on the Warren Zanes book. 285 00:16:21,400 --> 00:16:23,800 Speaker 1: Stars Jeremy Allen White. He's the guy from that great 286 00:16:23,800 --> 00:16:27,800 Speaker 1: show Shameless and also that other show The Bear. I'm kidding. 287 00:16:27,800 --> 00:16:30,480 Speaker 1: I love the Bear, Love the Bear, but Shameless rules too, 288 00:16:30,600 --> 00:16:33,160 Speaker 1: and his character in that show has one of the 289 00:16:33,200 --> 00:16:38,080 Speaker 1: greatest names of all TV history, Lip Gallagher. Anyways, I digress, 290 00:16:38,120 --> 00:16:39,960 Speaker 1: so I'm Patreon. Emily said she saw on the New 291 00:16:39,960 --> 00:16:42,480 Speaker 1: Springsteen movie last night, really enjoyed it. I wanted to 292 00:16:42,520 --> 00:16:44,800 Speaker 1: know if anybody else has seen it. Taylor chimed In 293 00:16:44,920 --> 00:16:46,640 Speaker 1: said she's seen it too and she loved it, which 294 00:16:46,680 --> 00:16:49,000 Speaker 1: is great news. I'm really glad you guys are digging 295 00:16:49,040 --> 00:16:50,720 Speaker 1: it because I've been on the fence about whether or 296 00:16:50,760 --> 00:16:52,600 Speaker 1: not I go see this in the theater or I 297 00:16:52,640 --> 00:16:55,200 Speaker 1: wait till it comes out streaming on something. I'm worried 298 00:16:55,200 --> 00:16:56,480 Speaker 1: about it in the way that I was worried about 299 00:16:56,560 --> 00:17:02,480 Speaker 1: a complete unknown. But that movie floored me, completely exceeded 300 00:17:02,680 --> 00:17:06,639 Speaker 1: my expectations, and I now think I've seen it multiple 301 00:17:06,640 --> 00:17:08,480 Speaker 1: times now. I think it's probably one of my favorite 302 00:17:08,920 --> 00:17:12,080 Speaker 1: music biopicks of all time. My hesitation at first is 303 00:17:12,119 --> 00:17:14,280 Speaker 1: a little bit of that. It's me not knowing if 304 00:17:14,359 --> 00:17:16,720 Speaker 1: Jeremie Allen White as amazing as he is. I just 305 00:17:16,720 --> 00:17:18,959 Speaker 1: don't know that he says Springs scene to me. He 306 00:17:19,000 --> 00:17:23,280 Speaker 1: does have that internalized way of being of acting, which 307 00:17:23,640 --> 00:17:26,080 Speaker 1: I'm sure really lends itself to this role. Since this 308 00:17:26,160 --> 00:17:29,400 Speaker 1: film is about Bruce making Nebraska during this time when 309 00:17:29,400 --> 00:17:31,639 Speaker 1: he was about to transition into one of the icons 310 00:17:31,640 --> 00:17:34,840 Speaker 1: of the decade, this time of great creative turmoil and 311 00:17:34,960 --> 00:17:37,439 Speaker 1: doubt and faith and all that. So I've just been 312 00:17:37,440 --> 00:17:39,600 Speaker 1: trying to wrap my head around all that. But I'm 313 00:17:39,600 --> 00:17:41,800 Speaker 1: really glad that some of you discos have seen it 314 00:17:41,840 --> 00:17:43,959 Speaker 1: and loved it, and I'm going to try to get 315 00:17:43,960 --> 00:17:47,359 Speaker 1: to the theater to see that and report back. What 316 00:17:47,480 --> 00:17:50,600 Speaker 1: about duresc You have you seen Delivered Me from Nowhere? 317 00:17:50,960 --> 00:17:53,520 Speaker 1: If so, what did you think? Is it a great 318 00:17:53,600 --> 00:17:57,280 Speaker 1: music biopic? Speaking in which what's your favorite music biopick? 319 00:17:57,359 --> 00:17:59,879 Speaker 1: So many questions, I know, text me or call me 320 00:18:00,080 --> 00:18:03,200 Speaker 1: six one seven nine oh six six six three eight. 321 00:18:03,560 --> 00:18:07,040 Speaker 1: You can also email me at Disgraced lampod at gmail 322 00:18:07,160 --> 00:18:10,399 Speaker 1: dot com and let me know. Go ahead and do that, 323 00:18:10,720 --> 00:18:13,000 Speaker 1: because while you're doing it, we're gonna let some ads play, 324 00:18:13,040 --> 00:18:14,960 Speaker 1: and then when we come back in a minute, I'm 325 00:18:14,960 --> 00:18:17,240 Speaker 1: gonna hit you up with some recommendations for your eyes 326 00:18:17,359 --> 00:18:47,320 Speaker 1: and your ears. Don't nobody go nowhere, ohlady, everybody, Welcome 327 00:18:47,320 --> 00:18:49,600 Speaker 1: back to the rap parties. Zeth Lundy here with you 328 00:18:49,680 --> 00:18:52,800 Speaker 1: once again, talking about what I've been watching, listening to 329 00:18:53,200 --> 00:18:57,560 Speaker 1: reading all that Jay as First up, I watched a 330 00:18:57,560 --> 00:19:01,400 Speaker 1: couple of seasonally appropriate movies this weekend. But even more 331 00:19:01,440 --> 00:19:04,760 Speaker 1: importantly than the season, these are some of the huge 332 00:19:04,840 --> 00:19:07,680 Speaker 1: blind spots in my viewing history that I'm finally correcting 333 00:19:07,720 --> 00:19:10,240 Speaker 1: after all these years. Why are they blind spots? Why 334 00:19:10,240 --> 00:19:12,719 Speaker 1: have I not seen them? I don't know. Man, shit happens. 335 00:19:12,720 --> 00:19:14,719 Speaker 1: Sometimes it takes a minute or a year or a 336 00:19:14,760 --> 00:19:18,160 Speaker 1: decade for me to come around. But like Johnny Cash says, 337 00:19:18,160 --> 00:19:22,400 Speaker 1: the man comes around. And first I watched Evil Dead Too, 338 00:19:23,040 --> 00:19:25,960 Speaker 1: the Sam Raimi horror film from nineteen eighty seven. I 339 00:19:26,040 --> 00:19:29,000 Speaker 1: watched this with my son, who I mentioned on here before. 340 00:19:29,119 --> 00:19:32,160 Speaker 1: He's fourteen going on thirty four. He's been an old 341 00:19:32,200 --> 00:19:34,919 Speaker 1: soul ever since he was little. When it comes to 342 00:19:35,000 --> 00:19:37,840 Speaker 1: scary shit. He's just always been into horror stuff. And 343 00:19:37,880 --> 00:19:39,959 Speaker 1: he's always trying to get me to watch these crazy 344 00:19:39,960 --> 00:19:43,399 Speaker 1: ass movies with like murderous clowns waiting down in the basement, 345 00:19:43,440 --> 00:19:46,119 Speaker 1: and I'm like, hell no, brother, We're not watching that. 346 00:19:46,440 --> 00:19:48,920 Speaker 1: So we have to compromise often and kind of meet 347 00:19:48,960 --> 00:19:51,040 Speaker 1: in the middle. And this is one of those. We've 348 00:19:51,080 --> 00:19:54,320 Speaker 1: both seen. The third Evil Dub movie already, Army of Darkness, 349 00:19:54,680 --> 00:19:57,320 Speaker 1: which is more of a comedy than a horror movie. 350 00:19:57,320 --> 00:20:00,400 Speaker 1: It's not even a horror movie. But it's a great movie, funny, 351 00:20:00,520 --> 00:20:03,000 Speaker 1: one of the most quotable movies of all time. And 352 00:20:03,280 --> 00:20:05,640 Speaker 1: of course I know about the legend of Evil Dead 353 00:20:05,680 --> 00:20:09,000 Speaker 1: in terms of its importance in American independent cinema in 354 00:20:09,000 --> 00:20:11,520 Speaker 1: the nineteen eighties. You know, Sam Raimi, of course, was 355 00:20:11,560 --> 00:20:14,399 Speaker 1: an early collaborator with the Coen Brothers, and you can 356 00:20:14,440 --> 00:20:17,760 Speaker 1: see they stole his shaky cam move in their first 357 00:20:17,760 --> 00:20:21,480 Speaker 1: two films, Blood Simple and Raising Arizona. But I also 358 00:20:21,560 --> 00:20:25,200 Speaker 1: I feel like Evil Dead two borrows that looney tune 359 00:20:25,359 --> 00:20:29,400 Speaker 1: sensibility liberally from Raising Arizona. I mean, it's kind of 360 00:20:29,440 --> 00:20:32,800 Speaker 1: like the horror film equivalent of Raising Arizona, don't you think, 361 00:20:32,880 --> 00:20:36,800 Speaker 1: Like in terms of energy, the comedic sensibilities, and the 362 00:20:36,840 --> 00:20:40,560 Speaker 1: whole turning weakness into strength or necessity being the mother 363 00:20:40,600 --> 00:20:44,840 Speaker 1: of invention thing that makes movies like these so great, 364 00:20:45,000 --> 00:20:48,320 Speaker 1: so rewatchable. I mean, Evil Dead two is probably one 365 00:20:48,359 --> 00:20:51,399 Speaker 1: of the most inventive films I have ever seen. And 366 00:20:51,720 --> 00:20:56,000 Speaker 1: I'm not just blowing smoke. It's visually it's so exciting, 367 00:20:56,080 --> 00:20:59,159 Speaker 1: and I don't just mean the buckets of red blood 368 00:20:59,200 --> 00:21:03,520 Speaker 1: and black blood, green blood, and blue blood that's splattered everywhere. 369 00:21:04,080 --> 00:21:06,760 Speaker 1: There's this one scene in particular I'm thinking of where 370 00:21:07,440 --> 00:21:10,800 Speaker 1: there's like a mounted like deer a moosehead on the 371 00:21:10,840 --> 00:21:13,440 Speaker 1: wall that starts to laugh at Bruce Campbell, and then 372 00:21:14,040 --> 00:21:16,520 Speaker 1: other things in the room start to laugh at him too, 373 00:21:16,640 --> 00:21:19,520 Speaker 1: and soon enough the whole room is like laughing at him, 374 00:21:19,960 --> 00:21:22,919 Speaker 1: and doors are flapping open and closed, and it's just 375 00:21:22,960 --> 00:21:25,040 Speaker 1: one of those moments where like how do they do this? 376 00:21:25,200 --> 00:21:26,919 Speaker 1: You know, like I know how they would do it today, 377 00:21:27,119 --> 00:21:29,720 Speaker 1: they would just use a computer, but how do they 378 00:21:29,800 --> 00:21:32,960 Speaker 1: do this? And how do they make it? It's so analog, 379 00:21:33,600 --> 00:21:35,760 Speaker 1: but it just looks so cool. It's like listening to 380 00:21:35,800 --> 00:21:39,600 Speaker 1: something recorded on a cassette tape, you know, back in 381 00:21:39,640 --> 00:21:42,680 Speaker 1: the eighties versus something recorded on garage band yesterday. It's 382 00:21:42,760 --> 00:21:46,200 Speaker 1: just there's just something different to it and more lived 383 00:21:46,240 --> 00:21:49,639 Speaker 1: in feeling to it. But anyways, this movie is like 384 00:21:49,680 --> 00:21:53,119 Speaker 1: simultaneously a satire of a genre as well as a 385 00:21:53,119 --> 00:21:55,720 Speaker 1: great representation of that genre. And then Bruce Campell, who 386 00:21:55,720 --> 00:21:58,719 Speaker 1: I mentioned before in National Treasure, he's like a wiley 387 00:21:58,840 --> 00:22:02,240 Speaker 1: coyote in the whole thing. You know, you could say 388 00:22:02,280 --> 00:22:04,240 Speaker 1: this about a lot of things, and I do often, 389 00:22:04,280 --> 00:22:07,040 Speaker 1: but I think it's demonstrably true here that they don't 390 00:22:07,080 --> 00:22:10,320 Speaker 1: make them like this anymore. Is it even possible to 391 00:22:10,359 --> 00:22:12,600 Speaker 1: make a movie like this anymore? You know? And so 392 00:22:12,640 --> 00:22:15,199 Speaker 1: obsessed with questions like what would you do if your 393 00:22:15,240 --> 00:22:17,399 Speaker 1: own hand was possessed by an evil spirit and was 394 00:22:17,480 --> 00:22:21,159 Speaker 1: trying to kill you? Evil Dead too, you check this out. 395 00:22:21,200 --> 00:22:24,800 Speaker 1: And if you're squeamish on horror movies or on gore 396 00:22:24,880 --> 00:22:28,600 Speaker 1: or whatever, the humor in this movie offsets it and 397 00:22:29,000 --> 00:22:31,520 Speaker 1: makes it okay, okay, And by the way, to circle back, 398 00:22:31,560 --> 00:22:34,200 Speaker 1: my son loved this one. The other blind spot I 399 00:22:34,200 --> 00:22:37,080 Speaker 1: corrected over the weekend is the movie They Live from 400 00:22:37,160 --> 00:22:40,000 Speaker 1: nineteen eighty eight, just one year after Evil Dead two, 401 00:22:40,160 --> 00:22:43,080 Speaker 1: directed by John Carpenter. I am slowly getting up to 402 00:22:43,080 --> 00:22:46,359 Speaker 1: speed with John Carpenter movies. I'll admit this is a 403 00:22:46,359 --> 00:22:49,280 Speaker 1: director that I snoblishly dismissed a long time ago when 404 00:22:49,280 --> 00:22:51,920 Speaker 1: I still had that film school chip on my shoulder. 405 00:22:52,560 --> 00:22:56,280 Speaker 1: But let's see. I I've seen The Thing, Classic Stone Cold, Classic, 406 00:22:56,320 --> 00:22:59,480 Speaker 1: The Thing, Escape from New York, Big Trouble in Little China, 407 00:22:59,720 --> 00:23:03,560 Speaker 1: Star Man, and now They Live. So okay, here's the 408 00:23:03,560 --> 00:23:05,280 Speaker 1: deal with. They live in a nutshell if you don't 409 00:23:05,280 --> 00:23:08,560 Speaker 1: know about it. It stars Roddy Piper. That's rowdy Roddy 410 00:23:08,600 --> 00:23:10,639 Speaker 1: Piper to you if you didn't grow up in the 411 00:23:10,680 --> 00:23:14,080 Speaker 1: eighties and remember him as a wrestling icon in that era. 412 00:23:14,560 --> 00:23:16,640 Speaker 1: This is one of his very first lead movie roles. 413 00:23:16,680 --> 00:23:18,879 Speaker 1: He started to act around this time. He plays this 414 00:23:19,000 --> 00:23:22,040 Speaker 1: drifter who rolls into a town looking for work and 415 00:23:22,080 --> 00:23:25,439 Speaker 1: he winds up working this construction gig alongside these other guys, 416 00:23:25,440 --> 00:23:30,520 Speaker 1: including the great Keith David. But what Roddy's character soon discovers, 417 00:23:31,040 --> 00:23:34,560 Speaker 1: hang with me. Here are these sunglasses that when you 418 00:23:34,640 --> 00:23:37,960 Speaker 1: wear them, they reveal what's actually going on in the world. 419 00:23:38,080 --> 00:23:40,560 Speaker 1: And what that is is that the ruling class, I guess, 420 00:23:41,200 --> 00:23:43,600 Speaker 1: has turned us all into these like zombie consumers just 421 00:23:43,640 --> 00:23:45,639 Speaker 1: doing their bidding and we don't even know it. Okay, 422 00:23:45,880 --> 00:23:48,320 Speaker 1: the advertisements that are up in the city or you know, 423 00:23:48,359 --> 00:23:51,800 Speaker 1: in magazines or TV shows or whatever, they actually you 424 00:23:51,840 --> 00:23:54,560 Speaker 1: put the glasses on and the color of the screen 425 00:23:54,600 --> 00:23:56,800 Speaker 1: goes to black and white and it reveals just these 426 00:23:56,920 --> 00:23:59,760 Speaker 1: large words in black and white just to just say, oh, 427 00:23:59,800 --> 00:24:04,800 Speaker 1: be or consume or don't question authority. And then even wilder. 428 00:24:05,080 --> 00:24:08,200 Speaker 1: These glasses reveal that the denizens of the ruling class 429 00:24:08,320 --> 00:24:12,440 Speaker 1: are actually aliens who are controlling us. All, okay, are 430 00:24:12,440 --> 00:24:16,760 Speaker 1: you still with me? Roddy puts these glasses on, and 431 00:24:16,800 --> 00:24:18,880 Speaker 1: these people in power, he'll be like, all right, you're cool, 432 00:24:18,920 --> 00:24:21,359 Speaker 1: you're cool. Oh this person over here in the suit, 433 00:24:22,320 --> 00:24:23,920 Speaker 1: who's like, why are you looking at me? Like that? 434 00:24:24,320 --> 00:24:27,359 Speaker 1: Is all of a sudden, his face is like this 435 00:24:27,520 --> 00:24:32,560 Speaker 1: pre Mars attacks, skeletal, bloody, kind of like alien face. Right, 436 00:24:33,000 --> 00:24:36,399 Speaker 1: And then as soon as Roddy has this revelation, the 437 00:24:36,400 --> 00:24:40,480 Speaker 1: movie turns into a vigilante fantasy essentially, you know, Roddy 438 00:24:40,520 --> 00:24:43,920 Speaker 1: and his pal Keith David taking on this wild conspiracy 439 00:24:44,000 --> 00:24:46,760 Speaker 1: with a bunch of firearms, and there's some really amazing 440 00:24:47,200 --> 00:24:50,320 Speaker 1: you know, shooting the machine gun while you're just you know, 441 00:24:50,359 --> 00:24:55,440 Speaker 1: pivoting from left to right and that old school, old school, 442 00:24:55,840 --> 00:24:59,240 Speaker 1: over the top cheeseball eighties action shit. This of course 443 00:24:59,280 --> 00:25:02,639 Speaker 1: happens after Roddy and Keith David have one of the 444 00:25:02,680 --> 00:25:06,439 Speaker 1: most ridiculously epic fights in an alleyway. Seriously, it's like 445 00:25:07,080 --> 00:25:10,880 Speaker 1: this incredibly choreographed six minute fight between the two of them, 446 00:25:10,920 --> 00:25:14,159 Speaker 1: all because Keith David's character won't put on the sunglasses 447 00:25:14,160 --> 00:25:16,080 Speaker 1: and see what Roddy see, and Roddy just wants them 448 00:25:16,119 --> 00:25:19,359 Speaker 1: to put the sunglasses on. Does this movie work, Well, 449 00:25:20,320 --> 00:25:22,639 Speaker 1: It's got a killer premise, and then I think ultimately 450 00:25:22,720 --> 00:25:25,600 Speaker 1: it does and doesn't deliver on that premise. I loved 451 00:25:25,640 --> 00:25:27,760 Speaker 1: the ending. The ending was dark as fuck, and it 452 00:25:27,840 --> 00:25:30,800 Speaker 1: was also wicked funny, which I guess it is. This 453 00:25:30,920 --> 00:25:33,760 Speaker 1: movie in a nutshell, but you know, you can enjoy 454 00:25:33,760 --> 00:25:35,520 Speaker 1: this as just a fun action movie that's got some 455 00:25:35,600 --> 00:25:39,080 Speaker 1: big ideas. It straddles the line which I think Carpenter 456 00:25:39,280 --> 00:25:41,800 Speaker 1: always traddles for me, which is between a cheesy B 457 00:25:41,960 --> 00:25:44,800 Speaker 1: movie and a capital G great film. This is not 458 00:25:44,920 --> 00:25:47,800 Speaker 1: Capital G. In my opinion, It's not the thing, but 459 00:25:47,960 --> 00:25:50,359 Speaker 1: I'd still definitely recommend it if you haven't seen it. 460 00:25:50,400 --> 00:25:54,960 Speaker 1: I mean, listen, Roddy Piper. Capitalism is some vast alien conspiracy, 461 00:25:55,200 --> 00:25:57,320 Speaker 1: a six minute alley fight. I mean, why are you 462 00:25:57,440 --> 00:26:01,919 Speaker 1: not watching this? Okay? They directed by John Carpenter. Okay, 463 00:26:01,960 --> 00:26:04,719 Speaker 1: and then finally, real quick, just the other night I 464 00:26:04,800 --> 00:26:07,760 Speaker 1: watched A House of Dynamite. This is the brand new 465 00:26:07,800 --> 00:26:10,679 Speaker 1: movie by director Catherine Bigelow. This is her first movie. 466 00:26:10,720 --> 00:26:14,480 Speaker 1: In eight years since the film Detroit. This new film 467 00:26:14,600 --> 00:26:17,440 Speaker 1: is more in line with some of the political military 468 00:26:17,440 --> 00:26:19,720 Speaker 1: thrillers that she's a action movie thriller She's made in 469 00:26:19,720 --> 00:26:22,520 Speaker 1: the past, like Zero Dark thirty and The hurt Locker. 470 00:26:23,040 --> 00:26:25,040 Speaker 1: Back in the day, she made films like Point Break 471 00:26:25,200 --> 00:26:29,159 Speaker 1: and the very underrated Strange Days with Ray Fines, movies 472 00:26:29,160 --> 00:26:32,320 Speaker 1: that in my mind felt much more unique and stylized. 473 00:26:32,720 --> 00:26:34,480 Speaker 1: So on the one hand, when I heard about a 474 00:26:34,480 --> 00:26:36,680 Speaker 1: House of Dynamite, which is about a nuclear missile that 475 00:26:36,720 --> 00:26:39,320 Speaker 1: has been launched by an unknown country and is headed 476 00:26:39,320 --> 00:26:43,520 Speaker 1: to the US, and it's essentially about the government's response 477 00:26:43,560 --> 00:26:45,400 Speaker 1: to this, at first I was like, now, I've seen 478 00:26:45,440 --> 00:26:47,359 Speaker 1: this kind of thing from Bigelow before. But then I 479 00:26:47,359 --> 00:26:48,920 Speaker 1: heard a lot of great buzz coming out of the 480 00:26:48,960 --> 00:26:51,520 Speaker 1: festival circuit earlier this year, so I got really excited. 481 00:26:52,040 --> 00:26:55,440 Speaker 1: And it premiered on Netflix over the weekend. Watched it, 482 00:26:55,520 --> 00:26:58,240 Speaker 1: and I got to say, just real quick, bottom line, 483 00:26:58,280 --> 00:27:02,560 Speaker 1: I was pretty disappointed, as is incredible Rebecca Ferguson is 484 00:27:02,600 --> 00:27:06,439 Speaker 1: in this, Tracy Letts, Idris Elba, Jared Harris, and for 485 00:27:06,480 --> 00:27:09,840 Speaker 1: a while it did have me captivated with its relentless momentum, 486 00:27:10,240 --> 00:27:12,240 Speaker 1: but the way in which the film is structured, which 487 00:27:12,560 --> 00:27:17,200 Speaker 1: is three sections that basically repeat what's happening via three 488 00:27:17,240 --> 00:27:19,879 Speaker 1: different points of view, for me, it just lost that 489 00:27:19,960 --> 00:27:23,320 Speaker 1: momentum overtime, and honestly, I felt like I was watching 490 00:27:23,440 --> 00:27:25,919 Speaker 1: just a really good episode of twenty four. You know, 491 00:27:26,040 --> 00:27:28,920 Speaker 1: this is a Netflix movie, I believe, a film financed 492 00:27:28,960 --> 00:27:30,760 Speaker 1: by Netflix from the jump, so it's not something that 493 00:27:30,840 --> 00:27:33,120 Speaker 1: was like made and then picked up by Netflix later. 494 00:27:33,640 --> 00:27:36,240 Speaker 1: So it's got that Netflix sheen to it, which is 495 00:27:36,920 --> 00:27:39,760 Speaker 1: to me, is like this elevated television, but not quite 496 00:27:39,920 --> 00:27:43,240 Speaker 1: HBO elevated television. Look, do you know what I'm talking about? 497 00:27:43,359 --> 00:27:45,960 Speaker 1: And that's probably adding to the whole me reading it 498 00:27:46,000 --> 00:27:49,200 Speaker 1: as a twenty four episode thing, you know, So ultimately 499 00:27:49,359 --> 00:27:50,919 Speaker 1: I don't know. This one didn't work for me, and 500 00:27:50,920 --> 00:27:52,679 Speaker 1: don't even get me started on the ending either. But 501 00:27:52,720 --> 00:27:55,199 Speaker 1: that's what I've been watching. What I've been listening to. 502 00:27:55,600 --> 00:27:58,000 Speaker 1: I've been listening to a lot of Doctor John. We've 503 00:27:58,000 --> 00:28:02,240 Speaker 1: got a Doctor John episode to Disgraceland coming out next month, 504 00:28:02,680 --> 00:28:05,600 Speaker 1: and I wrote the mini episode for that. We've got 505 00:28:05,600 --> 00:28:09,080 Speaker 1: these new mini episodes for Disgraceland that we released every 506 00:28:09,080 --> 00:28:13,040 Speaker 1: week alongside the full episodes for our All Access members, 507 00:28:13,600 --> 00:28:15,919 Speaker 1: and you know what to do. If you're not a 508 00:28:15,960 --> 00:28:18,280 Speaker 1: member of All Access, just go to Disgrace lamdpod dot 509 00:28:18,320 --> 00:28:21,200 Speaker 1: com to sign up. So I dove into the Good 510 00:28:21,200 --> 00:28:23,320 Speaker 1: Doctor's catalog to kind of get in the headspace for 511 00:28:23,400 --> 00:28:25,640 Speaker 1: the story I was telling. And a lot of these 512 00:28:25,640 --> 00:28:28,360 Speaker 1: early albums. I know his big albums, like his debut 513 00:28:28,440 --> 00:28:31,959 Speaker 1: Greegree and you know, of course I know Desitatively bon 514 00:28:32,080 --> 00:28:35,720 Speaker 1: Aru and Right Place for On Time all that shit, 515 00:28:36,119 --> 00:28:38,480 Speaker 1: but I didn't know his second and his third albums, 516 00:28:38,480 --> 00:28:43,000 Speaker 1: Babylon and Remedies. These are both incredible, but Babylon in particular, 517 00:28:43,080 --> 00:28:47,200 Speaker 1: it's like it's like Big Stars Third or Captain Beefhart's 518 00:28:47,200 --> 00:28:51,760 Speaker 1: Trout Mass Replica or Van Morrison's astral Weeks, The Who's 519 00:28:51,800 --> 00:28:54,880 Speaker 1: The Who's sell Out. It doesn't sound like any of these, 520 00:28:54,920 --> 00:28:58,080 Speaker 1: but it's a wholly unique piece of work, like these 521 00:28:58,120 --> 00:29:01,760 Speaker 1: records are that sort of exist on its exists on 522 00:29:01,800 --> 00:29:05,160 Speaker 1: its own wavelength, unlike anything else that's out there. It's 523 00:29:05,200 --> 00:29:07,840 Speaker 1: super dark. It was made in nineteen sixty eight, when 524 00:29:08,160 --> 00:29:11,200 Speaker 1: Martin Luther King and Bobby Kennedy were both assassinated, Vietnam 525 00:29:11,280 --> 00:29:14,200 Speaker 1: was heating up, and I think The Good Doctor was 526 00:29:14,320 --> 00:29:18,720 Speaker 1: in pretty bad headspace, but it sounds simultaneously like it's 527 00:29:18,760 --> 00:29:20,680 Speaker 1: from the past and it's from the future. I think 528 00:29:20,840 --> 00:29:23,200 Speaker 1: they use a lot of weird instruments made by Harry 529 00:29:23,240 --> 00:29:25,600 Speaker 1: Parson here as well. It's a trip, dude, and you 530 00:29:25,600 --> 00:29:30,000 Speaker 1: can stream a funky mono version of it on Apple 531 00:29:30,080 --> 00:29:33,280 Speaker 1: Music and probably Spotify two, which sounds really dope. I 532 00:29:33,400 --> 00:29:35,720 Speaker 1: kind of compared it to the stereo version, and for 533 00:29:35,880 --> 00:29:39,960 Speaker 1: my money, that mono was superior. So check that out. 534 00:29:40,000 --> 00:29:44,959 Speaker 1: That's the record Babylon by Doctor John. And finally, I 535 00:29:45,000 --> 00:29:47,680 Speaker 1: finished reading Nick Tosh's book on Dean Martin, which I 536 00:29:47,760 --> 00:29:51,120 Speaker 1: really liked, and I've started reading the novel Utopia Avenue 537 00:29:51,160 --> 00:29:54,480 Speaker 1: by David Mitchell. If you don't know David Mitchell, he's 538 00:29:54,640 --> 00:29:57,280 Speaker 1: most famously known for this book Cloud out Lists, which 539 00:29:57,320 --> 00:30:01,800 Speaker 1: is incredible, very demanding read. Yes, I would phrase it 540 00:30:01,840 --> 00:30:04,360 Speaker 1: that way. It's impossible to describe in a few minutes. 541 00:30:04,400 --> 00:30:07,240 Speaker 1: But it's a book unlike any other. And if you've 542 00:30:07,280 --> 00:30:10,120 Speaker 1: never read a cloud Atless and you're up for the 543 00:30:10,200 --> 00:30:14,440 Speaker 1: challenge of a challenging but super rewarding read, check that out. 544 00:30:14,480 --> 00:30:16,240 Speaker 1: He wrote the Cloud Outless. He also wrote another great 545 00:30:16,240 --> 00:30:19,640 Speaker 1: book called The One Thousand Autumns of Jacob Desuit. I 546 00:30:19,640 --> 00:30:22,040 Speaker 1: think that's how you pronounced that last name. And he 547 00:30:22,080 --> 00:30:24,080 Speaker 1: wrote this great book. It's like a novella. It's a 548 00:30:24,080 --> 00:30:28,800 Speaker 1: short novel called slade House, which hey, actually quick pivot here. 549 00:30:28,920 --> 00:30:31,520 Speaker 1: If you're looking for something that these final few days 550 00:30:31,520 --> 00:30:33,960 Speaker 1: here spooky season, you want a little scary shit in 551 00:30:33,960 --> 00:30:37,040 Speaker 1: your life on the page, check out slade House. It's 552 00:30:37,040 --> 00:30:39,800 Speaker 1: all about these experiences that all these different people have 553 00:30:39,840 --> 00:30:41,800 Speaker 1: at this house over the course of like four decades. 554 00:30:42,040 --> 00:30:45,400 Speaker 1: It's really creepy and freaked me out when I read it. 555 00:30:45,720 --> 00:30:48,840 Speaker 1: Wicked great read slave House. Anyways. Utopia Avenue. This is 556 00:30:48,880 --> 00:30:51,640 Speaker 1: a book about a fictional band that's forming in late 557 00:30:51,720 --> 00:30:55,960 Speaker 1: nineteen sixties London and they exist a month like actual 558 00:30:56,080 --> 00:30:58,400 Speaker 1: you know, there's references to like Pink Floyd, you know, 559 00:30:58,440 --> 00:31:01,600 Speaker 1: the Pentangle and other bands that actually existed at that time. 560 00:31:01,960 --> 00:31:03,760 Speaker 1: So far, so good. I'm only like fifty pages in, 561 00:31:03,840 --> 00:31:06,000 Speaker 1: so stay tuned on that. But I will say I 562 00:31:06,000 --> 00:31:08,440 Speaker 1: do recommend the work of David Mitchell. If you're not 563 00:31:08,600 --> 00:31:11,840 Speaker 1: hip to him, let me know what you've been watching, 564 00:31:12,200 --> 00:31:15,000 Speaker 1: what you've been listening to, what you've been reading. Give 565 00:31:15,040 --> 00:31:17,240 Speaker 1: me your recommendations. I want to know six one seven 566 00:31:17,320 --> 00:31:20,880 Speaker 1: nine oh six six six three eight, and don't touch 567 00:31:20,920 --> 00:31:23,280 Speaker 1: that proverbial dial because I'm going to be right back 568 00:31:23,560 --> 00:31:39,720 Speaker 1: right after this. Oh right, y'all. Here we are nearing 569 00:31:39,760 --> 00:31:43,080 Speaker 1: the end of another edition of The Rap Party. It's 570 00:31:43,080 --> 00:31:46,080 Speaker 1: a beautiful sunny day here in my part of the world. 571 00:31:46,160 --> 00:31:49,160 Speaker 1: I really hope you've got some great weather to enjoy 572 00:31:49,400 --> 00:31:53,640 Speaker 1: wherever you are. And thanks once again to everyone for listening. 573 00:31:53,680 --> 00:31:56,040 Speaker 1: I also want to thank everyone who is an All 574 00:31:56,080 --> 00:31:59,479 Speaker 1: Access member. And speaking of which, perhaps you've heard the 575 00:31:59,520 --> 00:32:03,560 Speaker 1: news which was just announced today, but we are expanding 576 00:32:03,600 --> 00:32:08,040 Speaker 1: the offerings over in Disgraceland all Access. We've got some 577 00:32:08,240 --> 00:32:13,280 Speaker 1: new tears and Patreon, both for the all Access curious 578 00:32:13,320 --> 00:32:16,080 Speaker 1: and also for the all Access obsessive. One of our 579 00:32:16,160 --> 00:32:21,120 Speaker 1: new offerings is a monthly video podcast co hosted by 580 00:32:21,200 --> 00:32:25,200 Speaker 1: Yours Truly and Jake Brennan called Gimme Danger. This is 581 00:32:25,240 --> 00:32:31,040 Speaker 1: a monthly variety show, part conversation, part chaos, part cultural autopsy. 582 00:32:31,520 --> 00:32:35,600 Speaker 1: We talk crime and creation, serial killers and the songs 583 00:32:35,600 --> 00:32:38,480 Speaker 1: they inspired, art and the artists who went too far, 584 00:32:39,040 --> 00:32:42,080 Speaker 1: the most dangerous years in music history, and we also 585 00:32:42,200 --> 00:32:46,160 Speaker 1: bring you the discos on screen in games to win 586 00:32:46,240 --> 00:32:50,040 Speaker 1: prizes and sometimes to get into trouble. If that sounds 587 00:32:50,080 --> 00:32:52,560 Speaker 1: like something you be into, and if you're not already 588 00:32:52,560 --> 00:32:55,400 Speaker 1: into it, one two you know what to do. Go 589 00:32:55,440 --> 00:32:59,760 Speaker 1: to disgracelamdpod dot com to sign up. Okay, and as 590 00:32:59,800 --> 00:33:04,520 Speaker 1: we wind down here, remember number one available right now 591 00:33:04,560 --> 00:33:07,720 Speaker 1: in your Hollywood Land. Feed our episode on Natalie Wood. 592 00:33:08,000 --> 00:33:11,560 Speaker 1: Number two coming next week on Monday. Our episode on 593 00:33:11,680 --> 00:33:15,320 Speaker 1: Lana Turner. Number three over in the Disgraced Land. Feed 594 00:33:15,560 --> 00:33:18,880 Speaker 1: our episode on The Exorcist, the book, the film, the 595 00:33:18,880 --> 00:33:22,680 Speaker 1: true story behind them both a story that involves evil spirits, murder, 596 00:33:22,720 --> 00:33:24,960 Speaker 1: and so much more. And if you happen to be 597 00:33:25,000 --> 00:33:28,160 Speaker 1: an All Access member, you also get a bonus episode 598 00:33:28,480 --> 00:33:34,120 Speaker 1: all about why two musical legends were fired from creating 599 00:33:34,160 --> 00:33:37,400 Speaker 1: the soundtrack for The Exorcist. Check that out. And number 600 00:33:37,400 --> 00:33:40,480 Speaker 1: four in honor of this week's episode, me reading you 601 00:33:41,040 --> 00:33:43,400 Speaker 1: the list of the top grossing films from November of 602 00:33:43,520 --> 00:33:46,520 Speaker 1: nineteen eighty one, the month that Natalie Wood died at 603 00:33:46,520 --> 00:33:53,920 Speaker 1: the age of forty three. Number one Halloween two, directed 604 00:33:53,960 --> 00:33:59,720 Speaker 1: by Rick Rosenthal. Number two Time Bandits directed by Terry 605 00:33:59,720 --> 00:34:03,640 Speaker 1: Gilly him the number three D Cooper The Pursuit dB 606 00:34:03,800 --> 00:34:08,920 Speaker 1: Cooper Rogers, directed by Roger Spottiswood directed, Ragtown, Number four directed, 607 00:34:09,120 --> 00:34:14,800 Speaker 1: Ragtown five directed by Milosh Foreman. Number five Absence of Malice, 608 00:34:14,960 --> 00:34:19,759 Speaker 1: Halloween directed by Sydney Pollackton director Number one. Halloween two 609 00:34:20,600 --> 00:34:27,279 Speaker 1: directed those five sends. I have come here to chew 610 00:34:27,360 --> 00:34:29,879 Speaker 1: bubble gum and kick ass. Cut it.