1 00:00:19,360 --> 00:00:22,599 Speaker 1: What's the good word, all you beautiful people of Hollywood Land. 2 00:00:22,600 --> 00:00:25,640 Speaker 1: My name is Zeth Lundy, writer, showrunner, and good doctor 3 00:00:25,720 --> 00:00:28,800 Speaker 1: here at Double Elvis and welcome to another installment of 4 00:00:28,800 --> 00:00:31,080 Speaker 1: a little thing we like to call the Screening Room. 5 00:00:31,360 --> 00:00:33,760 Speaker 1: This is our weekly episode of the pod in which 6 00:00:33,800 --> 00:00:35,600 Speaker 1: I take you on a deep dive into one movie 7 00:00:35,600 --> 00:00:39,960 Speaker 1: that connects with our subject this week. Hollywood Land, of course, 8 00:00:40,080 --> 00:00:43,720 Speaker 1: you know, is the podcast that explores the lives of 9 00:00:43,720 --> 00:00:48,280 Speaker 1: our most celebrated actors, actresses, directors through the true crimes 10 00:00:48,320 --> 00:00:51,160 Speaker 1: that have impacted them. This week, we've been talking about 11 00:00:51,159 --> 00:00:53,600 Speaker 1: Dennis Hopper. In today's episode, I want to talk about 12 00:00:53,640 --> 00:00:55,880 Speaker 1: a movie called Out of the Blue. This came out 13 00:00:55,920 --> 00:00:59,840 Speaker 1: in nineteen eighty directed by our guy, Dennis Hopper, starring 14 00:01:00,400 --> 00:01:04,360 Speaker 1: along with Linda Mantz, Sharon Ferrell, and Don Gordon. But 15 00:01:04,480 --> 00:01:06,600 Speaker 1: first I need to set the scene here for you, 16 00:01:07,480 --> 00:01:10,560 Speaker 1: so you know exactly what led this film to come 17 00:01:10,600 --> 00:01:14,160 Speaker 1: into existence in the first place. Okay, so picture this. 18 00:01:15,160 --> 00:01:18,959 Speaker 1: Dennis Hopper was out on the skids. There was a 19 00:01:19,000 --> 00:01:22,319 Speaker 1: time when Dennis Hopper represented the promise of a new dawn, 20 00:01:22,520 --> 00:01:25,840 Speaker 1: a new day in Hollywood. When Dennis Hopper and his 21 00:01:25,920 --> 00:01:29,320 Speaker 1: gang of unruly hippies were going to tear ass into 22 00:01:29,360 --> 00:01:32,280 Speaker 1: town on their harleys and leave the old guard choking 23 00:01:32,400 --> 00:01:36,080 Speaker 1: on their fumes. But that was then. That was nineteen 24 00:01:36,160 --> 00:01:40,320 Speaker 1: sixty nine, and this was now. This was the nineteen seventies, 25 00:01:40,720 --> 00:01:44,520 Speaker 1: and Dennis Hopper had blown it. Call it pig headedness, 26 00:01:44,520 --> 00:01:48,360 Speaker 1: Call it excessive ambition. Call it a steady diet of rum, beer, 27 00:01:48,440 --> 00:01:51,880 Speaker 1: cocaine and LSD, with the occasional loaded gun thrown in 28 00:01:51,920 --> 00:01:54,440 Speaker 1: there for good measure. But within just a few years 29 00:01:54,480 --> 00:01:57,920 Speaker 1: of making the groundbreaking film Easy Rider, Dennis Hopper had 30 00:01:57,960 --> 00:02:01,400 Speaker 1: gone from the talk of the town to persona nongrada. 31 00:02:01,920 --> 00:02:04,600 Speaker 1: His nineteen seventy one follow up to Easy Rider, the 32 00:02:04,640 --> 00:02:09,480 Speaker 1: ironically titled The Last Movie, was a critical and commercial failure. 33 00:02:10,280 --> 00:02:13,480 Speaker 1: Hopper may have felt high on his own perceived power 34 00:02:13,520 --> 00:02:15,720 Speaker 1: at the time, but no amount of power could save 35 00:02:15,840 --> 00:02:21,600 Speaker 1: him from what came next, Hollywood's cold shoulder. Throughout the seventies, 36 00:02:21,639 --> 00:02:25,120 Speaker 1: Hopper performed in a handful of films, notably productions in 37 00:02:25,160 --> 00:02:29,200 Speaker 1: other countries like Australia in Germany. In seventy eight, he 38 00:02:29,280 --> 00:02:32,320 Speaker 1: got involved in the directorial debut by his buddy Neil Young, 39 00:02:32,800 --> 00:02:35,400 Speaker 1: a movie called Human Highway, which co starred the band 40 00:02:35,400 --> 00:02:39,320 Speaker 1: Devo along with Dean Stockwell and Sally Kirkland, the latter 41 00:02:39,360 --> 00:02:42,760 Speaker 1: whom Dennis Hopper accidentally injured when a knife that Hopper 42 00:02:42,800 --> 00:02:46,440 Speaker 1: was fooling around with severed attendant in her hand. That 43 00:02:46,520 --> 00:02:49,440 Speaker 1: movie Human Highway, the Neil Young movie would not say 44 00:02:49,480 --> 00:02:52,040 Speaker 1: the Latter Day until nineteen eighty two, just briefly in 45 00:02:52,040 --> 00:02:54,120 Speaker 1: a couple of theaters, and it wasn't even released on 46 00:02:54,240 --> 00:02:56,560 Speaker 1: video to the general public until the mid nineties. But 47 00:02:56,760 --> 00:03:01,600 Speaker 1: I digress. In nineteen seventy nine, Francis Coppola threw Hopper 48 00:03:01,639 --> 00:03:04,480 Speaker 1: a bone, cast him as the whacked out photo journalist 49 00:03:04,520 --> 00:03:08,000 Speaker 1: and Apocalypse Now who it's been alleged, drove Marlon Brando 50 00:03:08,120 --> 00:03:11,480 Speaker 1: off the deep end on that set. And then here 51 00:03:11,520 --> 00:03:14,679 Speaker 1: we are in nineteen eighty. Hopper's been doing all these 52 00:03:14,840 --> 00:03:17,200 Speaker 1: kind of random work here, there, and everywhere, wherever you 53 00:03:17,200 --> 00:03:19,480 Speaker 1: can pick up a little bit of work. This producer 54 00:03:19,520 --> 00:03:22,680 Speaker 1: friend offers him a role in a straight to TV 55 00:03:22,840 --> 00:03:26,400 Speaker 1: movie that's being shot in Canada. Straight to TV is 56 00:03:26,440 --> 00:03:29,360 Speaker 1: the last place that any actor wanted to be, especially 57 00:03:29,520 --> 00:03:32,919 Speaker 1: nineteen eighty any movie actor, because this was a time 58 00:03:32,960 --> 00:03:36,280 Speaker 1: when TV was still regarded as this dumbed down, disposable, 59 00:03:36,360 --> 00:03:40,000 Speaker 1: less sophisticated stepchild of cinema. But you know, a job 60 00:03:40,120 --> 00:03:43,360 Speaker 1: was a job, so Dennis Hopper took the gig. The 61 00:03:43,480 --> 00:03:47,520 Speaker 1: movie was called The Case of Cindy Barnes, and in it, 62 00:03:47,840 --> 00:03:51,080 Speaker 1: Hopper would play Don Barnes, a truck driver and father 63 00:03:51,520 --> 00:03:54,680 Speaker 1: of the titular character, who has just done five years 64 00:03:54,720 --> 00:03:57,280 Speaker 1: in prison for driving his truck while drunk and crashing 65 00:03:57,320 --> 00:04:00,360 Speaker 1: it into a school bus full of children. By the 66 00:04:00,360 --> 00:04:03,480 Speaker 1: time Hopper got to Vancouver, production had already begun on 67 00:04:03,520 --> 00:04:06,520 Speaker 1: this film and things were not going well. The movies 68 00:04:06,520 --> 00:04:10,760 Speaker 1: writer and director Leonard Yakir had shot a bunch of footage, 69 00:04:10,760 --> 00:04:13,320 Speaker 1: and the dailies that Dennis Hopper saw when he got 70 00:04:13,360 --> 00:04:16,560 Speaker 1: there were pretty bad. They were so bad, in fact, 71 00:04:16,920 --> 00:04:19,280 Speaker 1: that the producers of the film were ready to pull 72 00:04:19,320 --> 00:04:22,320 Speaker 1: the plug on the whole thing. And they were ready 73 00:04:22,360 --> 00:04:24,280 Speaker 1: to do this before Dennis Hopper had even put in 74 00:04:24,279 --> 00:04:27,520 Speaker 1: a day's work, So that old fight or flight instinct 75 00:04:27,640 --> 00:04:31,120 Speaker 1: kicked in again. Maybe it was pigheadedness or excessive ambition, 76 00:04:31,760 --> 00:04:34,719 Speaker 1: or maybe it was the liquid end or powdered courage talking, 77 00:04:35,360 --> 00:04:38,520 Speaker 1: but Hopper saw this opportunity to take over the movie 78 00:04:38,600 --> 00:04:41,800 Speaker 1: and make it his way, which is exactly what he did. 79 00:04:42,320 --> 00:04:45,960 Speaker 1: Over the course of a weekend. Hopper completely rewrote the script, 80 00:04:46,200 --> 00:04:49,280 Speaker 1: catering it even to Linda Mantz. The eighteen year old 81 00:04:49,320 --> 00:04:53,080 Speaker 1: actress playing his daughter in the film. Cindy aka Cbe 82 00:04:53,800 --> 00:04:56,880 Speaker 1: Linda Mantz in real life was into punk rock, so 83 00:04:57,120 --> 00:04:59,640 Speaker 1: Hopper worked that into the film and into the character. 84 00:05:00,120 --> 00:05:02,680 Speaker 1: In fact, the script and the film that Hopper created 85 00:05:03,160 --> 00:05:05,880 Speaker 1: is steeped in music in rock and roll, which is 86 00:05:05,880 --> 00:05:08,400 Speaker 1: not surprising given that this is the guy who made 87 00:05:08,480 --> 00:05:10,919 Speaker 1: Easy Writer, which featured one of the first rock and 88 00:05:11,000 --> 00:05:14,840 Speaker 1: roll soundtracks for a major motion picture. So there's the 89 00:05:14,880 --> 00:05:18,000 Speaker 1: new title of the film, out of the Blue, that 90 00:05:18,120 --> 00:05:21,839 Speaker 1: comes from Neil Young's song my My, Hey Hey or 91 00:05:21,880 --> 00:05:24,839 Speaker 1: hey hey my my, whichever version you're listening to, which 92 00:05:24,880 --> 00:05:27,320 Speaker 1: the story goes Hopper heard the song playing on the 93 00:05:27,400 --> 00:05:30,440 Speaker 1: radio when he was retooling the script over the weekend, 94 00:05:31,080 --> 00:05:33,400 Speaker 1: and like a light bulb went off. Not only did 95 00:05:33,400 --> 00:05:36,479 Speaker 1: that give him his title, but it also informed some 96 00:05:36,560 --> 00:05:39,680 Speaker 1: of the dialogue and the themes in the movie. There's 97 00:05:39,720 --> 00:05:42,680 Speaker 1: a line that Linda Mann says in the film that goes, 98 00:05:43,120 --> 00:05:44,560 Speaker 1: if you don't shut up and get out of here. 99 00:05:44,600 --> 00:05:46,320 Speaker 1: I'm going to take you out of the Blue and 100 00:05:46,400 --> 00:05:49,880 Speaker 1: into the Black, the direct lift from the Neil song. 101 00:05:50,960 --> 00:05:53,799 Speaker 1: The character of Cebe is into punk rock, like I said. 102 00:05:53,800 --> 00:05:56,400 Speaker 1: She talks about Savicious and Johnny Rotten, but she is 103 00:05:56,480 --> 00:06:00,000 Speaker 1: obsessed with Elvis Presley. She has a shrine to Elvis 104 00:06:00,080 --> 00:06:02,440 Speaker 1: in her bedroom. She listens to his music on her 105 00:06:02,480 --> 00:06:05,839 Speaker 1: handheld cassette player, and her jeene jacket has Elvis big 106 00:06:05,920 --> 00:06:08,880 Speaker 1: letters in the back. Then there's even a scene with 107 00:06:09,000 --> 00:06:11,480 Speaker 1: a real band at a local venue in Vancouver called 108 00:06:11,560 --> 00:06:16,160 Speaker 1: Viking Hall. This Vancouver band called The Pointed Sticks. Now 109 00:06:16,520 --> 00:06:19,560 Speaker 1: The Pointed Sticks may have been forgotten to history, but 110 00:06:19,760 --> 00:06:22,479 Speaker 1: Out of the Blue remains this cult film with a 111 00:06:22,520 --> 00:06:25,599 Speaker 1: strong rock and roll connection, so strong in fact, that 112 00:06:25,720 --> 00:06:28,839 Speaker 1: years later in the year two thousand, on Primal screams 113 00:06:28,920 --> 00:06:33,240 Speaker 1: excellent album Exterminator, which is like this industrial punk masterpiece. 114 00:06:33,839 --> 00:06:35,600 Speaker 1: One of the first things you hear on the very 115 00:06:35,640 --> 00:06:39,200 Speaker 1: first track, track called Kill All Hippies, is dialogue from 116 00:06:39,320 --> 00:06:41,400 Speaker 1: Out of the Blue. It's the voice of Linda Mantz 117 00:06:41,720 --> 00:06:44,839 Speaker 1: as Cebe fucking around with her dad Seebe Radio in 118 00:06:44,839 --> 00:06:48,839 Speaker 1: his busted truck, and she's saying things like subvert normality 119 00:06:49,240 --> 00:06:52,640 Speaker 1: and disco sucks and kill all hippies. Did I have 120 00:06:52,680 --> 00:06:55,200 Speaker 1: any idea that this voice on this opening track was 121 00:06:55,240 --> 00:06:57,440 Speaker 1: from a movie called Out of the Blue when I 122 00:06:57,520 --> 00:07:00,000 Speaker 1: first heard the record back in the year two thousand, 123 00:07:00,880 --> 00:07:03,320 Speaker 1: Perhaps if I read the liner notes, but probably not 124 00:07:03,720 --> 00:07:06,039 Speaker 1: even if I did know. However, I don't know that 125 00:07:06,080 --> 00:07:08,480 Speaker 1: I would have had a way to watch this movie 126 00:07:08,640 --> 00:07:11,280 Speaker 1: in the year two thousand, which is a factor that 127 00:07:11,400 --> 00:07:15,320 Speaker 1: only enhances the film's cult status. It was probably destined 128 00:07:15,320 --> 00:07:18,000 Speaker 1: for cult status from the first day that Dennis Hopper 129 00:07:18,040 --> 00:07:22,400 Speaker 1: took over as director. Sharon Ferrell, who plays Hopper's wife 130 00:07:22,480 --> 00:07:26,440 Speaker 1: Kathy in the film, called Hopper quote our director, our writer, 131 00:07:26,640 --> 00:07:30,600 Speaker 1: and our dealer unquote, because Hopper was not only a radic, 132 00:07:30,680 --> 00:07:32,840 Speaker 1: you know, he not only began each day on set 133 00:07:32,880 --> 00:07:35,440 Speaker 1: with a beer and a joint. He not only disappeared 134 00:07:35,600 --> 00:07:38,160 Speaker 1: and then showed up late, but when he did show up, 135 00:07:38,480 --> 00:07:41,120 Speaker 1: he arrived with lots and lots of cocaine, which he'd 136 00:07:41,120 --> 00:07:44,400 Speaker 1: then sell to the cast and crew. It is a 137 00:07:44,480 --> 00:07:47,560 Speaker 1: miracle that this film ever got finished. It's a miracle 138 00:07:47,920 --> 00:07:50,040 Speaker 1: that it made it to the cann Film Festival that 139 00:07:50,200 --> 00:07:54,440 Speaker 1: May in nineteen eighty, just months after Dennis Hopper went 140 00:07:54,480 --> 00:07:57,200 Speaker 1: to Canada and took over the production. It must have 141 00:07:57,200 --> 00:07:59,560 Speaker 1: been a whirlwind shoot. I mean it feels very much 142 00:07:59,600 --> 00:08:02,040 Speaker 1: like a movie that was made over a weekend. But 143 00:08:02,120 --> 00:08:04,600 Speaker 1: despite getting good marks it can despite talk that Linda 144 00:08:04,600 --> 00:08:07,360 Speaker 1: Mantz was going to get nominated for awards, the Canadian 145 00:08:07,400 --> 00:08:10,520 Speaker 1: producers had a really tough go at landing a distribution deal, 146 00:08:11,000 --> 00:08:13,840 Speaker 1: perhaps because the content of the film is so dark. 147 00:08:13,880 --> 00:08:15,680 Speaker 1: I mean, it is a dark look at a dark, 148 00:08:16,040 --> 00:08:19,680 Speaker 1: fractured family and a tough watch at times, so ultimately 149 00:08:20,080 --> 00:08:22,080 Speaker 1: it didn't even get an American released until a few 150 00:08:22,120 --> 00:08:24,600 Speaker 1: years later in nineteen eighty two, and then the year 151 00:08:24,640 --> 00:08:27,840 Speaker 1: after that, eighty three, Dennis Hopper took the film to 152 00:08:27,920 --> 00:08:31,120 Speaker 1: Rice University in Houston, Texas and screened it for about 153 00:08:31,120 --> 00:08:34,080 Speaker 1: four hundred people, including a film student at the time 154 00:08:34,200 --> 00:08:37,920 Speaker 1: named Richard Linklater, who was about five years away from 155 00:08:37,920 --> 00:08:41,120 Speaker 1: making his own films. Now, this is the night of 156 00:08:41,160 --> 00:08:44,640 Speaker 1: the now infamous Dynamite Death Chair Act, which we featured 157 00:08:44,679 --> 00:08:47,720 Speaker 1: in our fully scripted episode on Dennis Hopper back on 158 00:08:47,880 --> 00:08:50,880 Speaker 1: Monday of this week. This was the first and probably 159 00:08:50,960 --> 00:08:54,040 Speaker 1: last time that a director ever followed up a screening 160 00:08:54,040 --> 00:08:56,280 Speaker 1: of their film by trying to blow themselves up in 161 00:08:56,320 --> 00:09:00,480 Speaker 1: a chair rigged with sticks of dynamite. The movie that 162 00:09:00,520 --> 00:09:03,280 Speaker 1: Dennis Hoppers showed the audience of four hundred people that 163 00:09:03,400 --> 00:09:06,720 Speaker 1: night in nineteen eighty three remains in twenty twenty six 164 00:09:06,840 --> 00:09:10,720 Speaker 1: a scrappy underdog. Even the four K restoration that it 165 00:09:10,800 --> 00:09:14,160 Speaker 1: recently received and was done in part by the help 166 00:09:14,200 --> 00:09:17,880 Speaker 1: of Chloe Sevignier and Natasha Leone had to be done 167 00:09:17,960 --> 00:09:21,479 Speaker 1: via a Kickstarter campaign. That's how off the grid culturally 168 00:09:21,880 --> 00:09:25,920 Speaker 1: this film remains. Out of the Blue is a movie 169 00:09:25,960 --> 00:09:32,079 Speaker 1: about alienation, about subverting normality, about bravado and attitude and betrayal, 170 00:09:32,640 --> 00:09:37,960 Speaker 1: about cbe radios and Jean Jackets, rebels and outlaws. And 171 00:09:38,000 --> 00:10:00,959 Speaker 1: I'm going to get into it right after this. Okay, 172 00:10:00,960 --> 00:10:03,640 Speaker 1: out of the Blue I mentioned this earlier, but it 173 00:10:03,760 --> 00:10:06,040 Speaker 1: is a tough watch at times. It's a heavy film. 174 00:10:06,480 --> 00:10:08,440 Speaker 1: Know this going into it if you haven't seen it before. 175 00:10:08,679 --> 00:10:12,840 Speaker 1: It has a very disturbing climax between the parents' parents 176 00:10:13,080 --> 00:10:15,559 Speaker 1: again played by Dennis Hopper and Sharon Ferrell, and their 177 00:10:15,640 --> 00:10:19,400 Speaker 1: daughter Cebe played by Linda Mantz. Right out of the gate, 178 00:10:19,800 --> 00:10:23,400 Speaker 1: it's rough. The film opens The opening scene has Dennis 179 00:10:23,400 --> 00:10:26,760 Speaker 1: Hopper's character Don driving his big rig with his daughter 180 00:10:26,800 --> 00:10:29,360 Speaker 1: sitting next to him. They're goofing around and then you 181 00:10:29,400 --> 00:10:32,600 Speaker 1: see he's like hauling off a bottle he's drunk, and 182 00:10:32,640 --> 00:10:36,480 Speaker 1: then very quickly he burrols this truck at full speed 183 00:10:36,960 --> 00:10:39,840 Speaker 1: right into a school bus that's packed with kids. When 184 00:10:39,920 --> 00:10:42,480 Speaker 1: this scene is played back later as a flashback, it's 185 00:10:42,520 --> 00:10:46,600 Speaker 1: even more fucked up because you see in solow motion 186 00:10:46,679 --> 00:10:49,040 Speaker 1: from a different angle all these kids being crushed in 187 00:10:49,080 --> 00:10:51,920 Speaker 1: the bus, and it's just awful. So Seebee is this 188 00:10:52,000 --> 00:10:53,960 Speaker 1: teenager growing up with her dad in prison for what 189 00:10:54,000 --> 00:10:56,080 Speaker 1: he's done and her mom at home, who we find 190 00:10:56,080 --> 00:10:59,240 Speaker 1: out she's like a heroin at it. Sebe is a 191 00:10:59,320 --> 00:11:03,880 Speaker 1: drift in a sea of untethered, amoral, drug addicted adults, 192 00:11:04,360 --> 00:11:08,720 Speaker 1: including Don's best friend, the skis Charlie played by Don Gordon, 193 00:11:09,280 --> 00:11:11,640 Speaker 1: who hits on both Cebe and Cebe's mom and a 194 00:11:11,679 --> 00:11:15,120 Speaker 1: bowling alley while Don is still locked up. Seebee obviously 195 00:11:15,200 --> 00:11:18,560 Speaker 1: uses rock and roll as a means of escape, which 196 00:11:18,600 --> 00:11:21,360 Speaker 1: is what rock and roll has always been about, not 197 00:11:21,480 --> 00:11:25,040 Speaker 1: just the music itself, which she's always listening to, but 198 00:11:25,120 --> 00:11:28,720 Speaker 1: the romantic idea of it, and also the notion that 199 00:11:29,080 --> 00:11:32,640 Speaker 1: rock and roll, that she's something she's so helplessly addicted 200 00:11:32,679 --> 00:11:35,560 Speaker 1: to and loves, has let her down in some way. 201 00:11:35,640 --> 00:11:39,040 Speaker 1: She's always going on about how Elvis died, and sid 202 00:11:39,120 --> 00:11:42,200 Speaker 1: Vicious died and Johnny Rotten died, you know, Johnny Rotten 203 00:11:42,240 --> 00:11:45,480 Speaker 1: being the character that John Lynen played in The Sex Pistols, 204 00:11:45,520 --> 00:11:48,360 Speaker 1: not actually John Lyton himself, That all these rock and 205 00:11:48,440 --> 00:11:50,760 Speaker 1: roll icons have gone and died on her and left 206 00:11:50,760 --> 00:11:52,840 Speaker 1: her all alone, which leads her to make jokes like, 207 00:11:53,160 --> 00:11:54,760 Speaker 1: you know, she says, like Elvis died on me, so 208 00:11:54,760 --> 00:11:56,720 Speaker 1: I'm gonna kill myself so I can go visit him. 209 00:11:57,240 --> 00:11:59,320 Speaker 1: But it's the adults in her life, in her world 210 00:11:59,520 --> 00:12:01,920 Speaker 1: that have let her down, that have left her all alone, 211 00:12:02,480 --> 00:12:05,040 Speaker 1: and she finds herself adrift, as I said, trying to 212 00:12:05,080 --> 00:12:07,679 Speaker 1: fit in with this grown up world, but this world 213 00:12:07,760 --> 00:12:10,959 Speaker 1: just wants to use her and exploit her. There's one 214 00:12:11,000 --> 00:12:13,280 Speaker 1: scene in particular where she's walking down a street at night. 215 00:12:13,320 --> 00:12:16,319 Speaker 1: It's a street full of adult weirdos. There are these 216 00:12:16,360 --> 00:12:18,960 Speaker 1: guys who are like kickboxing each other, there are sex 217 00:12:19,000 --> 00:12:22,040 Speaker 1: workers hanging out, there's a cop just standing there doing nothing. 218 00:12:22,679 --> 00:12:25,160 Speaker 1: Sebe gets into a taxi, chats at the taxi driver, 219 00:12:25,559 --> 00:12:27,959 Speaker 1: who quickly agrees with her that disco sucks and punk 220 00:12:28,040 --> 00:12:31,040 Speaker 1: is cool. So she's like making this connection with an adult, 221 00:12:31,240 --> 00:12:33,480 Speaker 1: and the guy offers to go get high with her. 222 00:12:33,520 --> 00:12:35,920 Speaker 1: She says yes. They wind up back with this den 223 00:12:35,960 --> 00:12:38,440 Speaker 1: of squalor or this flop house, where they go into 224 00:12:38,440 --> 00:12:42,240 Speaker 1: a messy room. They smoke a bowl and then Sebee 225 00:12:42,280 --> 00:12:44,120 Speaker 1: just lays down and begins to suck her thumb, and 226 00:12:44,160 --> 00:12:48,000 Speaker 1: you're like, shit, she's just a kid man, right, really 227 00:12:48,080 --> 00:12:50,320 Speaker 1: hits you in moments like this. And then the scene 228 00:12:50,320 --> 00:12:52,280 Speaker 1: gets really dark when this woman who's been in the room, 229 00:12:52,360 --> 00:12:55,000 Speaker 1: she's been like lifting her dress up over in the 230 00:12:55,080 --> 00:12:58,400 Speaker 1: corner or whatever, acting really strange. She comes over and 231 00:12:58,440 --> 00:13:00,280 Speaker 1: it's becomes very obvious all of a sudden that the 232 00:13:00,280 --> 00:13:02,880 Speaker 1: cab driver and this woman are looking to take advantage 233 00:13:02,880 --> 00:13:06,440 Speaker 1: of Cebe. So Cebe smashes a bottle over the guy's 234 00:13:06,679 --> 00:13:10,880 Speaker 1: head and escapes. Now, on the surface, you might think, oh, 235 00:13:10,920 --> 00:13:13,680 Speaker 1: this is like a rebel without a cause. Update. You know, 236 00:13:13,720 --> 00:13:17,320 Speaker 1: Linda Mantz is the James Dean stand in here, But 237 00:13:17,880 --> 00:13:21,480 Speaker 1: this world in this film is a completely different world 238 00:13:21,880 --> 00:13:24,320 Speaker 1: from the Rebel without a Cause film. It's almost like 239 00:13:24,360 --> 00:13:27,640 Speaker 1: the kids from the nineteen fifty five movie grew up 240 00:13:28,120 --> 00:13:33,120 Speaker 1: to become addicts, predators, adults with no moral compass who 241 00:13:33,240 --> 00:13:36,640 Speaker 1: don't even give their children the ability to beat children. 242 00:13:36,720 --> 00:13:39,800 Speaker 1: You know, Cebee is lost in a world of reckless 243 00:13:39,840 --> 00:13:43,960 Speaker 1: adulthood and a sidebar here I need to mention this 244 00:13:44,000 --> 00:13:46,800 Speaker 1: because I mentioned Rebel without a Cause, but Dennis Hopper 245 00:13:46,840 --> 00:13:49,600 Speaker 1: famously is in that movie Rebel without a Cause. He 246 00:13:49,640 --> 00:13:52,240 Speaker 1: was friends with James Dean. I don't think he has 247 00:13:52,240 --> 00:13:54,800 Speaker 1: any lines in the film, but if you go back 248 00:13:54,840 --> 00:13:56,960 Speaker 1: and check it out, he's definitely in that. Okay, So 249 00:13:57,720 --> 00:14:00,559 Speaker 1: in this movie, the Dennis Hopper character Dawn gets out 250 00:14:00,559 --> 00:14:02,640 Speaker 1: of prison after five years. He comes home to his 251 00:14:02,679 --> 00:14:05,520 Speaker 1: party celebrating his release. He doesn't even know half the 252 00:14:05,520 --> 00:14:09,080 Speaker 1: people there, and he's already getting drunk again. This is 253 00:14:09,240 --> 00:14:11,760 Speaker 1: one of the most incredible scenes in the film because 254 00:14:11,760 --> 00:14:14,440 Speaker 1: they're all getting drunk, they're having a good time, and 255 00:14:14,480 --> 00:14:16,679 Speaker 1: then these two guys show up and they're very intimidating 256 00:14:17,080 --> 00:14:20,160 Speaker 1: and they suddenly bring the mood down. They kind of 257 00:14:20,200 --> 00:14:23,560 Speaker 1: take over. They tell down to send Seabee to bed 258 00:14:23,680 --> 00:14:25,920 Speaker 1: because they've got business they need to discuss and at 259 00:14:25,920 --> 00:14:28,840 Speaker 1: first you're like, or at least I was like, oh man, 260 00:14:28,880 --> 00:14:31,520 Speaker 1: this guy like owes money to some people. There's something 261 00:14:31,520 --> 00:14:34,600 Speaker 1: from this past. Here, this reckoning. It's about to happen, 262 00:14:34,880 --> 00:14:37,040 Speaker 1: and there is something from his past. There is a reckoning. 263 00:14:37,400 --> 00:14:40,640 Speaker 1: But what it is that didn't strike me so obviously 264 00:14:40,680 --> 00:14:46,000 Speaker 1: at first is that this adult who's confronting Don, he's 265 00:14:46,040 --> 00:14:47,560 Speaker 1: one of the parents of one of the kids who 266 00:14:47,600 --> 00:14:50,400 Speaker 1: is killed on that school bus that Don crashed into. 267 00:14:50,440 --> 00:14:52,680 Speaker 1: So he's basically here to be like, oh, yeah, you're 268 00:14:52,680 --> 00:14:54,280 Speaker 1: having a good time. You having fun, You're out of 269 00:14:54,320 --> 00:14:57,560 Speaker 1: jail and you're getting loaded and everything. This scene tells 270 00:14:57,600 --> 00:15:01,000 Speaker 1: you everything you need to know about Dennis hi Opper's character, because, 271 00:15:01,040 --> 00:15:04,640 Speaker 1: instead of showing any sign of remorse or regret at 272 00:15:04,640 --> 00:15:08,240 Speaker 1: this confrontation, his response to take a bottle of booze 273 00:15:08,320 --> 00:15:10,480 Speaker 1: and he dumps most of the contents on his own 274 00:15:10,520 --> 00:15:13,640 Speaker 1: head while saying, I'm the asshole. You know, as if 275 00:15:13,640 --> 00:15:17,920 Speaker 1: this self humiliation is in some way a form of contrition. 276 00:15:18,720 --> 00:15:21,480 Speaker 1: But it's not just self humiliation, it's self destruction. Better 277 00:15:21,520 --> 00:15:24,280 Speaker 1: to burn out than to fade away. As Dennis Hopper's 278 00:15:24,280 --> 00:15:26,960 Speaker 1: buddy Neil Young sings in the song that inspired the 279 00:15:27,040 --> 00:15:29,840 Speaker 1: title of the film. So, this grieving father who lost 280 00:15:29,880 --> 00:15:32,720 Speaker 1: a child in the accident, he makes sure that Don 281 00:15:32,840 --> 00:15:35,840 Speaker 1: loses this shitty job he's been able to land at 282 00:15:35,840 --> 00:15:39,560 Speaker 1: a local dump and Don sort of first responds to 283 00:15:39,640 --> 00:15:43,240 Speaker 1: this by destroying the small little building that's on the 284 00:15:43,280 --> 00:15:47,480 Speaker 1: dump site with this huge construction vehicle he operates while drinking. Obviously, 285 00:15:48,400 --> 00:15:51,000 Speaker 1: this destruction is set to a song called Sorry Just 286 00:15:51,040 --> 00:15:54,240 Speaker 1: Won't Do, a song that's written by Tom Lavin but 287 00:15:54,320 --> 00:15:57,640 Speaker 1: performed by this guy Jim Burns, who sounds just like 288 00:15:57,720 --> 00:16:01,040 Speaker 1: Bob Seeger. But it's great this of this song, Sorry 289 00:16:01,200 --> 00:16:04,600 Speaker 1: Just Won't Do, playing during this moment of destruction and 290 00:16:04,640 --> 00:16:08,000 Speaker 1: self destruction. And then things go further downhill when Don 291 00:16:08,920 --> 00:16:11,760 Speaker 1: gets his revenge on this father even more by bludgeoning 292 00:16:12,240 --> 00:16:15,400 Speaker 1: the grieving father to death outside his home. The whole 293 00:16:15,400 --> 00:16:17,720 Speaker 1: thing comes to a climax that involves a betrayal of 294 00:16:17,720 --> 00:16:20,680 Speaker 1: the highest order by the father and the subsequent violent 295 00:16:20,760 --> 00:16:23,640 Speaker 1: revenge by the daughter, and no one makes it out alive. 296 00:16:23,800 --> 00:16:27,360 Speaker 1: It's a shocking but inevitable end. I can see this 297 00:16:27,560 --> 00:16:30,800 Speaker 1: as a as an a twenty four movie today, like 298 00:16:31,440 --> 00:16:34,360 Speaker 1: an a twenty four movie from three or four years ago, 299 00:16:34,440 --> 00:16:37,840 Speaker 1: made by like an ari astrotype once again. I talked 300 00:16:37,840 --> 00:16:39,960 Speaker 1: about this in the wrap party this week. But Dennis 301 00:16:39,960 --> 00:16:44,120 Speaker 1: Hopper kind of this unsung indie filmmaker, you know, this thing. 302 00:16:44,240 --> 00:16:47,720 Speaker 1: This movie is very lean and mean. It's ragged sometimes, 303 00:16:47,720 --> 00:16:50,160 Speaker 1: the sound, the dialogue can be a little janky. It 304 00:16:50,160 --> 00:16:52,040 Speaker 1: feels like it was shot over a weekend by a 305 00:16:52,040 --> 00:16:54,600 Speaker 1: guy who was chasing weed with beer in the morning 306 00:16:54,640 --> 00:16:56,720 Speaker 1: and then getting into the white stuff by the afternoon. 307 00:16:56,800 --> 00:16:59,520 Speaker 1: Because it was made by that guy, you know. But 308 00:16:59,560 --> 00:17:03,680 Speaker 1: there's something about Hopper's desire to make this movie. In 309 00:17:03,720 --> 00:17:06,600 Speaker 1: the moment right he gets to Canada, They're like, we're 310 00:17:06,640 --> 00:17:09,200 Speaker 1: going to shut it down, and he has this impulse, 311 00:17:09,240 --> 00:17:11,439 Speaker 1: this artistic impulse to take it over. I mean, he 312 00:17:11,440 --> 00:17:14,359 Speaker 1: could have turned around and gone back to La but 313 00:17:14,440 --> 00:17:17,960 Speaker 1: he stayed and took this thing and remade it in 314 00:17:18,000 --> 00:17:21,479 Speaker 1: his own vision. And as dark as it is and 315 00:17:21,520 --> 00:17:24,800 Speaker 1: as brutal as it can be sometimes, it certainly is 316 00:17:24,960 --> 00:17:28,840 Speaker 1: a singular vision for sure. Now, enough about Dennis Hopper 317 00:17:28,840 --> 00:17:30,240 Speaker 1: for a minute. What I really want to talk about 318 00:17:31,040 --> 00:17:34,320 Speaker 1: is Linda Mantz. Okay, she is incredible in this film. 319 00:17:34,359 --> 00:17:37,440 Speaker 1: She is so raw. She hasn't been molded by Hollywood. 320 00:17:37,480 --> 00:17:39,439 Speaker 1: You know, you feel like what you were seeing is 321 00:17:39,480 --> 00:17:43,800 Speaker 1: actually her. She had made her feature film debut just 322 00:17:43,840 --> 00:17:47,639 Speaker 1: a few years earlier in the incredible film Days of 323 00:17:47,640 --> 00:17:50,760 Speaker 1: Heaven by Terrence Malick. She was fifteen years old when 324 00:17:50,760 --> 00:17:54,040 Speaker 1: they shot that. Another amazing performance. She followed that up 325 00:17:54,040 --> 00:17:55,919 Speaker 1: with a small role in The Wanderers, which is a 326 00:17:55,960 --> 00:17:59,240 Speaker 1: Philip Kaufman adaptation of a Richard Price novel. And then 327 00:17:59,280 --> 00:18:02,040 Speaker 1: she does this, and then after she makes this right, 328 00:18:02,119 --> 00:18:05,200 Speaker 1: she shoots it when she's eighteen. When it hits can, 329 00:18:05,280 --> 00:18:09,080 Speaker 1: she's still eighteen. She turns nineteen later in nineteen eighty, 330 00:18:09,119 --> 00:18:12,000 Speaker 1: and then she just stops acting right, She steps away 331 00:18:12,040 --> 00:18:15,920 Speaker 1: from it all. Later, Linda Mance said about this, She said, quote, 332 00:18:15,960 --> 00:18:18,520 Speaker 1: there was a whole bunch of new young actors out there, 333 00:18:18,880 --> 00:18:20,560 Speaker 1: and I was kind of getting lost in the shuffle. 334 00:18:20,640 --> 00:18:23,399 Speaker 1: So I laid back and had three kids. Now I 335 00:18:23,480 --> 00:18:27,919 Speaker 1: enjoy just staying home and cooking soup unquote. But all 336 00:18:27,960 --> 00:18:30,280 Speaker 1: these years spent away, you know, these new generations of 337 00:18:30,359 --> 00:18:33,440 Speaker 1: filmmakers are coming up, and they're riveted by these two 338 00:18:33,560 --> 00:18:36,359 Speaker 1: great performances. Days of Heaven and Out of the Blue. 339 00:18:36,400 --> 00:18:39,240 Speaker 1: Linda Mantz like, who is this person gave these two 340 00:18:39,320 --> 00:18:42,840 Speaker 1: incredible performances and then just sort of disappeared. Right. So 341 00:18:42,960 --> 00:18:46,680 Speaker 1: later in life she winds up being cast by these 342 00:18:46,760 --> 00:18:50,080 Speaker 1: younger filmmakers in two films, both in the same year, 343 00:18:50,119 --> 00:18:53,240 Speaker 1: in nineteen ninety seven, when she's like thirty six. So 344 00:18:53,400 --> 00:18:55,359 Speaker 1: this is like, you know, a little less than twenty 345 00:18:55,400 --> 00:18:58,680 Speaker 1: years later. First she's cast by Harmony Krinn in his 346 00:18:58,720 --> 00:19:02,360 Speaker 1: film Gummo, and then by David Fincher, who put her 347 00:19:02,400 --> 00:19:05,080 Speaker 1: in a small role in his movie The Game. She 348 00:19:05,119 --> 00:19:08,399 Speaker 1: had been living in such seclusion with her family before 349 00:19:08,400 --> 00:19:10,719 Speaker 1: coming back to perform that. I think it was Harmony 350 00:19:10,760 --> 00:19:12,359 Speaker 1: Karinn that said that she had to go to a 351 00:19:12,400 --> 00:19:16,040 Speaker 1: Texico station near her house just to call him back. Right. 352 00:19:16,640 --> 00:19:20,040 Speaker 1: Wild career. Watching her in this movie, well, first of all, 353 00:19:20,080 --> 00:19:23,879 Speaker 1: she's just cool. She's this rebel with the Canadian tuxedo, 354 00:19:23,960 --> 00:19:26,560 Speaker 1: you know, the jean jacket and the matching blue jeans, smoking, 355 00:19:26,640 --> 00:19:28,800 Speaker 1: not giving a fuck, and you know that's one hundred 356 00:19:28,840 --> 00:19:30,920 Speaker 1: percent of her. I think it was Terrence Malick who 357 00:19:31,000 --> 00:19:33,840 Speaker 1: talked about how she would take the script and read it, 358 00:19:33,880 --> 00:19:35,960 Speaker 1: but then the lines she would say were like her 359 00:19:36,000 --> 00:19:38,840 Speaker 1: own lines, like the script went through her filter and 360 00:19:38,920 --> 00:19:41,320 Speaker 1: came out in a way that only she could say them. 361 00:19:41,320 --> 00:19:43,399 Speaker 1: And if you have seen these movies, if you know 362 00:19:43,480 --> 00:19:45,720 Speaker 1: her voice, there's a way in which Linda Mann speaks 363 00:19:45,760 --> 00:19:48,280 Speaker 1: that she has one of those voices that as soon 364 00:19:48,320 --> 00:19:50,560 Speaker 1: as you hear it, you know who you're listening to. 365 00:19:50,840 --> 00:19:54,439 Speaker 1: But she's also so sad. She's obviously wounded, you know, 366 00:19:54,480 --> 00:19:57,200 Speaker 1: wounded by the bullshit of her parents and the adults 367 00:19:57,240 --> 00:19:59,959 Speaker 1: around her, and so she's put up this tough exteer 368 00:20:00,240 --> 00:20:02,080 Speaker 1: to seem like everything is cool, but you know it's not. 369 00:20:02,840 --> 00:20:05,920 Speaker 1: I think she's the main reason to recommend this movie 370 00:20:06,040 --> 00:20:07,760 Speaker 1: is as tough of a watch as it can be. 371 00:20:08,320 --> 00:20:11,280 Speaker 1: When you think about child actors and the great performances 372 00:20:11,320 --> 00:20:14,400 Speaker 1: over the years. You know Christian Bale in Empower the Son, 373 00:20:14,560 --> 00:20:18,920 Speaker 1: Jodi Foster and taxi driver Tatum O'Neil, and Paper Moon Haley, 374 00:20:19,000 --> 00:20:21,960 Speaker 1: Joel Osmon in the sixth sense? Where is Linda Mantz 375 00:20:22,040 --> 00:20:25,240 Speaker 1: in that conversation? Let's put her in the conversation. She 376 00:20:25,359 --> 00:20:27,640 Speaker 1: delivered two of the most underrated performances of all time, 377 00:20:27,680 --> 00:20:31,520 Speaker 1: and she did them both before she turned twenty. Sadly, 378 00:20:31,640 --> 00:20:34,240 Speaker 1: she passed away a few years back in twenty twenty 379 00:20:34,560 --> 00:20:37,119 Speaker 1: at the age of fifty eight complications of pneumonia and 380 00:20:37,200 --> 00:20:41,520 Speaker 1: lung cancer. But the work she did is eternal, as 381 00:20:41,560 --> 00:20:44,879 Speaker 1: are the echoes of Linda's voice in rock and roll. 382 00:20:45,480 --> 00:20:47,800 Speaker 1: Not just the sample of her voice from out of 383 00:20:47,800 --> 00:20:50,720 Speaker 1: the Blue in that primal scream track Kill All Hippies, 384 00:20:51,359 --> 00:20:54,680 Speaker 1: but the duo Rattat on their excellent LP four from 385 00:20:54,720 --> 00:20:58,640 Speaker 1: twenty ten. Ratatat the guys were so taken by Linda's 386 00:20:58,640 --> 00:21:01,560 Speaker 1: performance in Days of Heaven that they tracked her down 387 00:21:01,600 --> 00:21:04,360 Speaker 1: at her home, met up with her, talked with her, 388 00:21:04,800 --> 00:21:07,800 Speaker 1: recorded their conversation, and then you can hear clips of 389 00:21:07,840 --> 00:21:11,280 Speaker 1: that conversation, clips of Linda Mans's unique, no bullshit voice 390 00:21:11,760 --> 00:21:14,439 Speaker 1: all over that album LP four. Check that out if 391 00:21:14,480 --> 00:21:17,200 Speaker 1: you haven't. And speaking of albums, I want to switch 392 00:21:17,240 --> 00:21:20,240 Speaker 1: gears here and talk about making a mixtape inspired by 393 00:21:20,320 --> 00:21:34,879 Speaker 1: Out of the Blue, which we'll do right after this. Okay, people, 394 00:21:34,920 --> 00:21:38,240 Speaker 1: let's make a mixtape inspired by the nineteen eighty film 395 00:21:38,359 --> 00:21:40,080 Speaker 1: Out of the Blue. This is the part of the 396 00:21:40,119 --> 00:21:44,840 Speaker 1: show where I make one of those hypothetical, metaphorical potential mixtapes, 397 00:21:44,960 --> 00:21:48,840 Speaker 1: old school mixtapes. None of this playlist shit, what is 398 00:21:48,880 --> 00:21:52,639 Speaker 1: this playlist shit? As Jesus Cantana would say, I'm talking 399 00:21:53,200 --> 00:21:56,040 Speaker 1: old school Maxell tape forty five minutes aside. Pop it 400 00:21:56,080 --> 00:21:59,080 Speaker 1: in the deck, queue it up, and get to work. Okay. Now, 401 00:21:59,119 --> 00:22:01,080 Speaker 1: this is a tough movie to do this for because 402 00:22:01,520 --> 00:22:05,000 Speaker 1: music is so central to the film. You've got the 403 00:22:05,080 --> 00:22:08,560 Speaker 1: Neilion song that plays during the credits, my My hey Hey, 404 00:22:08,640 --> 00:22:11,840 Speaker 1: out of the Blue. You also got Neil's thrashers in there. 405 00:22:12,280 --> 00:22:14,879 Speaker 1: There's that Jim Burns version of Sorry, just won't do 406 00:22:15,000 --> 00:22:17,760 Speaker 1: that I was talking about. There's a handful of Elvis 407 00:22:17,760 --> 00:22:21,879 Speaker 1: songs like Heartbreak, Hotel, and Teddy Bear. All that said, 408 00:22:22,000 --> 00:22:23,680 Speaker 1: and I'm not being lazy here, but I think you've 409 00:22:23,720 --> 00:22:26,280 Speaker 1: got to include that first Neil song, the song that 410 00:22:26,320 --> 00:22:29,359 Speaker 1: gave the film it's title and its themes, My my 411 00:22:29,600 --> 00:22:32,800 Speaker 1: hey hey out of the Blue song rules so hard, 412 00:22:32,880 --> 00:22:35,040 Speaker 1: and it's got a sister song, right. How many songs 413 00:22:35,040 --> 00:22:37,920 Speaker 1: have a sister song? So here's the deal. This song 414 00:22:38,000 --> 00:22:40,280 Speaker 1: is from a record called Russ Never Sleeps. It's a 415 00:22:40,359 --> 00:22:44,160 Speaker 1: Neil Young and Crazy Horse live album from nineteen seventy nine. 416 00:22:45,200 --> 00:22:48,280 Speaker 1: It opens on side A with this song. It's just 417 00:22:48,400 --> 00:22:52,040 Speaker 1: Neil with his acoustic guitar alone, and then later at 418 00:22:52,080 --> 00:22:54,360 Speaker 1: the end of the record once the band comes in, 419 00:22:55,160 --> 00:22:57,960 Speaker 1: it's it's the last song on side B, only now 420 00:22:58,000 --> 00:23:00,399 Speaker 1: instead of being called my my, Hey Hey out of 421 00:23:00,440 --> 00:23:03,359 Speaker 1: the Blue, it's hey Hey, my Mi into the Black, 422 00:23:03,720 --> 00:23:06,440 Speaker 1: and it's the electric version of the song with Crazy Horse, 423 00:23:06,960 --> 00:23:10,320 Speaker 1: and Neil's guitar sounds like it's melting, like that tone 424 00:23:10,320 --> 00:23:13,760 Speaker 1: that only he can get right. Neither of these versions 425 00:23:14,400 --> 00:23:18,720 Speaker 1: are included, by the way, on Decade, the three disc 426 00:23:19,320 --> 00:23:23,520 Speaker 1: must own compilation of Neil Young stuff from Buffalo Springfield 427 00:23:23,560 --> 00:23:25,879 Speaker 1: to Crosby Steels, Nash and Young and his solo stuff, 428 00:23:26,400 --> 00:23:28,520 Speaker 1: because that came out a few years prior. But this 429 00:23:28,640 --> 00:23:30,840 Speaker 1: is just a public service announcement that if you don't 430 00:23:30,880 --> 00:23:34,680 Speaker 1: have the three disc compilation Decade in your collection, that 431 00:23:34,720 --> 00:23:38,160 Speaker 1: as they must have. I got a copy of Russ 432 00:23:38,200 --> 00:23:41,639 Speaker 1: Never Sleeps on vinyl a while back, used from one 433 00:23:41,680 --> 00:23:44,080 Speaker 1: of the local stores, and I got it back home 434 00:23:45,200 --> 00:23:47,879 Speaker 1: and it's a bummer. It's like it's punched off center, 435 00:23:48,200 --> 00:23:49,800 Speaker 1: so you know, they punched the hole in the middle 436 00:23:49,840 --> 00:23:51,919 Speaker 1: of the record, so you put it on the platter 437 00:23:52,000 --> 00:23:54,480 Speaker 1: to play it, the hole is punched off center, so 438 00:23:54,520 --> 00:23:57,919 Speaker 1: when it spins on the turntable, the needle is basically 439 00:23:57,920 --> 00:24:01,479 Speaker 1: being dragged from you know, towards the middle and towards 440 00:24:01,480 --> 00:24:04,440 Speaker 1: the edge as it goes around, so it just it warbles. 441 00:24:04,480 --> 00:24:07,119 Speaker 1: The thing warbles. I never returned. It probably should have. 442 00:24:07,240 --> 00:24:09,679 Speaker 1: I didn't, So this is just to say, I need 443 00:24:09,720 --> 00:24:11,159 Speaker 1: to make a mental note. I got to get a 444 00:24:11,520 --> 00:24:15,000 Speaker 1: different copy of Rust Never Sleeps. Okay. Great song number 445 00:24:15,080 --> 00:24:18,240 Speaker 1: two here in our mixtape is gonna be a song 446 00:24:18,280 --> 00:24:22,240 Speaker 1: by The Replacements called Hold My Life. This is from 447 00:24:22,320 --> 00:24:26,719 Speaker 1: their nineteen eighty five album Tim, their first major label 448 00:24:27,119 --> 00:24:31,040 Speaker 1: album on Sire Records. Paul Westerberg kind of underrated, like 449 00:24:31,160 --> 00:24:35,040 Speaker 1: Linda Mantz. This is my favorite Replacements album. I love 450 00:24:35,080 --> 00:24:38,800 Speaker 1: the scrappy or early stuff, you know, the attitude, the humor, 451 00:24:39,080 --> 00:24:41,680 Speaker 1: but the humor still here in Paul's songs. The humor 452 00:24:41,760 --> 00:24:43,840 Speaker 1: kind of goes away a little bit later. I think 453 00:24:43,880 --> 00:24:47,359 Speaker 1: once they hit like Don't Tell a Soul all shook 454 00:24:47,440 --> 00:24:50,520 Speaker 1: down around then the humor's kind of gone, but the 455 00:24:50,600 --> 00:24:54,680 Speaker 1: humor is still here. And I've always loved the bullseye 456 00:24:54,720 --> 00:24:57,480 Speaker 1: that Paul Westerberg is able to hit with songs that 457 00:24:57,600 --> 00:25:00,280 Speaker 1: can both be on the one hand, sound, it's so 458 00:25:00,359 --> 00:25:03,160 Speaker 1: funny and tossed off. But on the other hand, they're 459 00:25:03,280 --> 00:25:07,320 Speaker 1: dead serious and perfectly crafted, like this one that has 460 00:25:07,400 --> 00:25:11,080 Speaker 1: the refrain hold my life until I'm ready to use it, 461 00:25:11,400 --> 00:25:14,880 Speaker 1: hold my life because I just might lose it. I've 462 00:25:14,920 --> 00:25:17,120 Speaker 1: always seen this song as like a Hey, I'm gonna 463 00:25:17,160 --> 00:25:19,240 Speaker 1: park my life over here for a minute while I 464 00:25:19,320 --> 00:25:21,080 Speaker 1: go do some dumb shit. Can you keep an eye 465 00:25:21,080 --> 00:25:23,919 Speaker 1: on it? So nothing happens to it very much a 466 00:25:23,920 --> 00:25:26,720 Speaker 1: young dude's song, and I can see this as being 467 00:25:26,800 --> 00:25:29,520 Speaker 1: something of an anthem for the CB character here as well. 468 00:25:29,560 --> 00:25:31,399 Speaker 1: So that's why I'm going to pick this one. Hold 469 00:25:31,400 --> 00:25:34,119 Speaker 1: my Life by the Replacements. Okay, the next track on 470 00:25:34,280 --> 00:25:37,400 Speaker 1: my mixtape here is a song called Citizens Band by 471 00:25:37,480 --> 00:25:41,040 Speaker 1: Super Furry Animals. This is a hidden track from their 472 00:25:41,119 --> 00:25:44,359 Speaker 1: nineteen ninety nine album Gorilla. It was hidden at the 473 00:25:44,400 --> 00:25:47,359 Speaker 1: beginning of the CD all right, So back in the 474 00:25:47,440 --> 00:25:50,160 Speaker 1: day you had CDs and there were hidden tracks, right 475 00:25:50,280 --> 00:25:53,520 Speaker 1: Sometimes so like the last track would play and you 476 00:25:53,560 --> 00:25:55,000 Speaker 1: would think it was over, and then you looked at 477 00:25:55,000 --> 00:25:56,800 Speaker 1: the counter on your CD player and you saw that 478 00:25:56,840 --> 00:25:58,760 Speaker 1: it was still counting with all the dead air, and 479 00:25:58,760 --> 00:26:02,920 Speaker 1: you're like, what's going on here? And then you know one, two, three, four, five, 480 00:26:02,920 --> 00:26:05,280 Speaker 1: minutes down the line, all of a sudden, some hidden 481 00:26:05,280 --> 00:26:09,000 Speaker 1: track would just explode and play famously. Is it never 482 00:26:09,040 --> 00:26:12,680 Speaker 1: Mind that has one of these Nirvana's never Mind? Maybe 483 00:26:12,720 --> 00:26:15,800 Speaker 1: it's in utero. I think it's never Mind. Anyways, this 484 00:26:15,880 --> 00:26:17,760 Speaker 1: is the first time I ever encountered the hidden track 485 00:26:17,840 --> 00:26:20,240 Speaker 1: at the beginning of the CD, and it took me 486 00:26:20,400 --> 00:26:23,399 Speaker 1: years after I first bought this, before I discovered that 487 00:26:23,440 --> 00:26:25,600 Speaker 1: it was there. I'd probably write about it online somewhere. 488 00:26:25,920 --> 00:26:27,920 Speaker 1: But so what you had to do was you had 489 00:26:27,920 --> 00:26:30,880 Speaker 1: to hold down the rewind button right when the first 490 00:26:30,920 --> 00:26:33,880 Speaker 1: track started to play, hold it down and rewind back 491 00:26:33,920 --> 00:26:36,840 Speaker 1: to zero, and then suddenly the track will be rewinding 492 00:26:36,920 --> 00:26:39,880 Speaker 1: into like negative time space. It was going like backwards, 493 00:26:39,920 --> 00:26:44,880 Speaker 1: like negative numbers, revealing this like four minutes back, revealing 494 00:26:44,920 --> 00:26:48,960 Speaker 1: this killer, killer track. Citizen's Ban has one of the 495 00:26:49,000 --> 00:26:52,639 Speaker 1: furry's greatest choruses in a catalog of great choruses, and 496 00:26:52,720 --> 00:26:55,280 Speaker 1: it's always been one of my favorite songs of theirs, 497 00:26:55,400 --> 00:26:58,159 Speaker 1: And so funny that it was this hidden song that 498 00:26:58,200 --> 00:27:00,960 Speaker 1: you had to discover. I think I've shouted them out 499 00:27:00,960 --> 00:27:05,680 Speaker 1: here before, but Superferry Animals, you know, I don't know 500 00:27:05,680 --> 00:27:07,560 Speaker 1: I technically if you would put them in the britpop 501 00:27:07,680 --> 00:27:09,800 Speaker 1: movement if they came slightly after. I guess it was 502 00:27:09,800 --> 00:27:13,440 Speaker 1: still around the same time. Their debut was like ninety five, 503 00:27:13,720 --> 00:27:15,880 Speaker 1: so I guess that still fits. Like you know, Blur 504 00:27:15,920 --> 00:27:18,760 Speaker 1: and Oasis said started a couple of years before that, 505 00:27:18,880 --> 00:27:22,240 Speaker 1: but they were on Creation Records as well, and they 506 00:27:22,320 --> 00:27:25,359 Speaker 1: later jumped to a major label. I think Epic for 507 00:27:26,040 --> 00:27:29,040 Speaker 1: Rings around the World, which some critics deride it as 508 00:27:29,080 --> 00:27:31,800 Speaker 1: basically a summation of all their innovative records they made 509 00:27:31,880 --> 00:27:34,320 Speaker 1: up to that point. But that was my entry to them, 510 00:27:34,400 --> 00:27:37,040 Speaker 1: and it probably remains my favorite record of theirs, though 511 00:27:37,040 --> 00:27:40,240 Speaker 1: Gorilla and Radiator are up there, and their Welsh language 512 00:27:40,240 --> 00:27:44,040 Speaker 1: album Maine is still the only Welsh language record I 513 00:27:44,080 --> 00:27:48,680 Speaker 1: listened to like a hundred times. The Superferry Animals don't 514 00:27:48,680 --> 00:27:50,760 Speaker 1: get enough love, They any more love and this song 515 00:27:50,920 --> 00:27:53,040 Speaker 1: is a killer And I thought about it because it's 516 00:27:53,040 --> 00:27:56,320 Speaker 1: a Cebe Radio song, and that's Linda Manson's character's nickname 517 00:27:56,400 --> 00:27:58,960 Speaker 1: Cebe and she's always on the Cebe Radio talking shit 518 00:27:59,040 --> 00:28:02,800 Speaker 1: and all that. All right, Okay, next track here, this 519 00:28:02,880 --> 00:28:05,280 Speaker 1: is a good one. Next track is Hey nineteen by 520 00:28:05,359 --> 00:28:08,440 Speaker 1: Steely Dan. Okay, this is for the skeezy dudes hanging 521 00:28:08,480 --> 00:28:10,720 Speaker 1: out at the bar in the Bowling Alley in the 522 00:28:10,720 --> 00:28:13,560 Speaker 1: film checking out the teenage girls like skeezy dudes are 523 00:28:13,680 --> 00:28:17,879 Speaker 1: wont to do this. Steely Dan Jam peaked at number 524 00:28:17,880 --> 00:28:21,120 Speaker 1: ten on the Billboard Hot one hundred in nineteen eighty one, 525 00:28:21,240 --> 00:28:24,119 Speaker 1: just shortly after this movie debut. It can, and of 526 00:28:24,160 --> 00:28:26,840 Speaker 1: course this song is notoriously sung from the point of 527 00:28:26,880 --> 00:28:29,760 Speaker 1: view of some older dude trying to seduce this nineteen 528 00:28:29,840 --> 00:28:32,280 Speaker 1: year old girl. You know, a girl who's young enough 529 00:28:32,280 --> 00:28:35,119 Speaker 1: not to know that that's Retha Franklin on the radio. 530 00:28:35,600 --> 00:28:38,200 Speaker 1: I think I mentioned this on a random live thing 531 00:28:38,240 --> 00:28:41,320 Speaker 1: we did on Patreon maybe with people months back. But 532 00:28:41,360 --> 00:28:45,560 Speaker 1: there's a killer book about Steely Dan just FYI called 533 00:28:45,680 --> 00:28:50,640 Speaker 1: Quantum Criminals, Ramblers, Wild Gamblers and Other Soul Survivors from 534 00:28:50,680 --> 00:28:54,080 Speaker 1: the Songs of Steely Dan. It's written by Alex Papadamus 535 00:28:54,320 --> 00:28:56,920 Speaker 1: with illustrations by Joel LeMay. It is awesome. It's an 536 00:28:57,000 --> 00:29:00,000 Speaker 1: awesome book. It's not a biography, it's not like music history, 537 00:29:00,600 --> 00:29:04,120 Speaker 1: but it is. It sneaks that stuff in there, but 538 00:29:04,160 --> 00:29:08,000 Speaker 1: it does it through these character studies of the characters 539 00:29:08,040 --> 00:29:10,720 Speaker 1: and all their songs. It's fascinating. It's such a cool read, 540 00:29:10,880 --> 00:29:14,040 Speaker 1: and the illustrations are really fun too, So check that 541 00:29:14,120 --> 00:29:17,120 Speaker 1: out if you haven't heard about that, Quantum Criminals. All right, 542 00:29:17,200 --> 00:29:19,240 Speaker 1: next track on my mixtape here is going to be 543 00:29:19,240 --> 00:29:23,240 Speaker 1: a song called Madman Blues by John Lee Hooker. I 544 00:29:23,320 --> 00:29:28,160 Speaker 1: have this great song on a compilation from nineteen seventy 545 00:29:28,280 --> 00:29:31,600 Speaker 1: something seventy three, I think, on Chess Records. The title 546 00:29:31,640 --> 00:29:34,120 Speaker 1: of the compilation I believe is mad Man Blues as well. 547 00:29:34,520 --> 00:29:36,360 Speaker 1: Though the compilation came out in the seventies, the song 548 00:29:36,440 --> 00:29:40,440 Speaker 1: is obviously much earlier, like early sixties. Probably this is 549 00:29:40,480 --> 00:29:43,920 Speaker 1: that stripped down strip bear John Lee Hooker just hamming 550 00:29:43,960 --> 00:29:47,280 Speaker 1: his guitar, stomping his foot on the floor for a rhythm. 551 00:29:47,680 --> 00:29:50,520 Speaker 1: There's nothing more locked in, nothing more menacing than John 552 00:29:50,600 --> 00:29:52,920 Speaker 1: Lee Hooker doing his thing on his own. And I 553 00:29:52,920 --> 00:29:55,200 Speaker 1: don't think John Lee Hooker gets the credit he deserves, 554 00:29:55,240 --> 00:29:58,720 Speaker 1: you know, any I think, more than any mid century musician, 555 00:29:58,760 --> 00:30:03,400 Speaker 1: blues artist, John Lee Hooker, one could argue, created the 556 00:30:03,400 --> 00:30:05,400 Speaker 1: blueprint for what we think about when we think about 557 00:30:05,440 --> 00:30:08,520 Speaker 1: rock and roll. Everyone from the Stones to Zasy Top 558 00:30:08,560 --> 00:30:10,320 Speaker 1: to even Queens of the Stone Age, it all comes 559 00:30:10,320 --> 00:30:13,880 Speaker 1: from John Lee Hooker. Anyway, this is the song I 560 00:30:13,960 --> 00:30:16,680 Speaker 1: think is inspired by Dennis Hopper's character. Definitely a dude 561 00:30:16,880 --> 00:30:20,120 Speaker 1: who's got the madman blues. Okay, next track on our 562 00:30:20,160 --> 00:30:24,520 Speaker 1: mixtape here is a song called Little Child Running Wild 563 00:30:24,960 --> 00:30:27,800 Speaker 1: by Curtis Mayfield. This is the opening track to his 564 00:30:27,880 --> 00:30:32,400 Speaker 1: nineteen seventy two soundtrack album for the film Superfly. It's 565 00:30:32,400 --> 00:30:36,280 Speaker 1: got fuzz guitar, it's got strings, horns, it's got a 566 00:30:36,360 --> 00:30:38,680 Speaker 1: dude banging on some congas or something in the background. 567 00:30:39,160 --> 00:30:41,400 Speaker 1: And this one again makes me think of the CB character. 568 00:30:41,520 --> 00:30:46,479 Speaker 1: There's lines in here that go like broken home, father, gone, mama, tired, 569 00:30:47,080 --> 00:30:48,760 Speaker 1: so he's all alone, you know. It just makes me 570 00:30:48,840 --> 00:30:51,960 Speaker 1: think of Cebe and her fucked up life and Curtis 571 00:30:52,040 --> 00:30:55,240 Speaker 1: Mayfield man, you know, on this amazing run. At this time, 572 00:30:55,960 --> 00:30:58,840 Speaker 1: he did the self titled solo record Curtis in I 573 00:30:58,880 --> 00:31:02,040 Speaker 1: guess it's not self titled, just called Curtis in nineteen 574 00:31:02,120 --> 00:31:04,720 Speaker 1: seventy and then the live album Curtis Live and Roots, 575 00:31:04,760 --> 00:31:08,440 Speaker 1: both in nineteen seventy one, and then Superfly in seventy two. 576 00:31:08,720 --> 00:31:11,240 Speaker 1: Other great underrated records in this decade as well, but 577 00:31:11,320 --> 00:31:15,320 Speaker 1: those those three or four right there man like they're 578 00:31:15,320 --> 00:31:18,560 Speaker 1: the best. Curtis has this psychedelic angle that other soul 579 00:31:18,640 --> 00:31:22,080 Speaker 1: singers from this era did not have. Marvin didn't have this, 580 00:31:22,120 --> 00:31:24,160 Speaker 1: Stevie didn't have this. It's like if Stevie wanted to 581 00:31:24,640 --> 00:31:28,240 Speaker 1: shred like Jimmy instead of play keyboards. Right, so good. 582 00:31:28,280 --> 00:31:31,560 Speaker 1: So this one is a little child runnin Wild by 583 00:31:31,720 --> 00:31:34,800 Speaker 1: Curtis Mayfield. Now it's your turn. What do you think? 584 00:31:35,160 --> 00:31:39,240 Speaker 1: What songs am I missing for our hypothetical theoretical mixtape. 585 00:31:39,280 --> 00:31:41,880 Speaker 1: Give me some songs about going out of the ballue 586 00:31:41,960 --> 00:31:45,719 Speaker 1: and into the black, about rebel rebels being lost at 587 00:31:45,720 --> 00:31:49,600 Speaker 1: a sea of delinquent adults. Songs about Seebee radios and 588 00:31:49,640 --> 00:31:52,560 Speaker 1: Jean jackets and schemes and pool halls. Call or text 589 00:31:52,640 --> 00:31:55,720 Speaker 1: me six one seven nine oh six six six three eight. 590 00:31:56,120 --> 00:31:59,880 Speaker 1: You can email me at Disgrace lampod at gmail dot com, 591 00:32:00,080 --> 00:32:02,240 Speaker 1: hit me up on the socials at dis Grace lamp pod, 592 00:32:02,640 --> 00:32:05,600 Speaker 1: or if you're a member of Patreon all Access, jump 593 00:32:05,600 --> 00:32:08,160 Speaker 1: in the chat and let me know there. While you're 594 00:32:08,160 --> 00:32:10,080 Speaker 1: doing that, I got to take one more quick break, 595 00:32:10,080 --> 00:32:24,360 Speaker 1: but I'll be right back in a flash. All right, guys, 596 00:32:24,360 --> 00:32:27,080 Speaker 1: thanks so much for hanging out here in the screening room. 597 00:32:27,120 --> 00:32:30,480 Speaker 1: I'm curious if you've seen Out of the Blue, and 598 00:32:30,520 --> 00:32:32,960 Speaker 1: if so, what do you make of it? Hit me 599 00:32:33,080 --> 00:32:35,360 Speaker 1: up and let me know. I'm really curious to get 600 00:32:35,400 --> 00:32:38,720 Speaker 1: other people's takes on this film. Do you think it's 601 00:32:39,840 --> 00:32:45,440 Speaker 1: this hidden, underappreciated cult masterpiece. Do you feel like it's 602 00:32:45,960 --> 00:32:49,840 Speaker 1: a shoe string budget, sloppily made piece of trash like 603 00:32:50,000 --> 00:32:53,560 Speaker 1: let me know. Okay, always curious for other people's takes 604 00:32:53,560 --> 00:32:56,320 Speaker 1: on this stuff. A couple of housekeeping items here before 605 00:32:56,480 --> 00:33:00,200 Speaker 1: I split. Next week, coming to you on Monday here 606 00:33:00,240 --> 00:33:02,920 Speaker 1: in the feed, we have our fully scripted sound design 607 00:33:02,960 --> 00:33:06,960 Speaker 1: episode all about Alfred Hitchcock. Then on Wednesday, of course, 608 00:33:07,000 --> 00:33:10,360 Speaker 1: we've got the rap party again. And also on Wednesday, 609 00:33:10,800 --> 00:33:15,160 Speaker 1: relevant to our movie interest here over on our Patreon 610 00:33:15,240 --> 00:33:18,280 Speaker 1: that's Disgraceland All Access on Patreon. Coming on Wednesday, we've 611 00:33:18,320 --> 00:33:21,239 Speaker 1: got a brand new episode of our video podcast. This 612 00:33:21,320 --> 00:33:24,160 Speaker 1: film should be played loud, and this new episode is 613 00:33:24,200 --> 00:33:28,920 Speaker 1: all about The Big Lebowski, specifically the music of The 614 00:33:28,920 --> 00:33:33,000 Speaker 1: Big Lebowski. This show is a lot of fun. It's 615 00:33:33,080 --> 00:33:35,840 Speaker 1: me and Jake, it's world's colliding, it's music, it's movies, 616 00:33:36,880 --> 00:33:40,040 Speaker 1: and it happens only over on Patreon. It's the only 617 00:33:40,040 --> 00:33:42,200 Speaker 1: place you can get it. So if you're not hanging 618 00:33:42,240 --> 00:33:44,680 Speaker 1: out with us over there yet, go to disgrace lampod 619 00:33:44,800 --> 00:33:48,040 Speaker 1: dot com to get in on the action. Today, all right, 620 00:33:48,320 --> 00:33:51,120 Speaker 1: and then Friday next week we're gonna do another episode 621 00:33:51,120 --> 00:33:53,480 Speaker 1: of the Screening Room here all about the film Vertigo 622 00:33:53,840 --> 00:33:56,760 Speaker 1: from nineteen fifty eight, the Hitchcock film with hitch regular 623 00:33:57,160 --> 00:34:01,360 Speaker 1: James Stewart co starring Kim Novak and Barbara Belgetti's all right, 624 00:34:02,200 --> 00:34:05,240 Speaker 1: Vertigo one of the greatest movies ever made about obsession. 625 00:34:05,400 --> 00:34:07,440 Speaker 1: So for next week's question of the Week, I want 626 00:34:07,440 --> 00:34:10,319 Speaker 1: to know what movie are you obsessed with? You've seen 627 00:34:10,320 --> 00:34:12,600 Speaker 1: it a million times, you'll watch it a million more 628 00:34:12,640 --> 00:34:15,000 Speaker 1: and not be bored of it. Ever, what is that movie? 629 00:34:15,040 --> 00:34:18,520 Speaker 1: And why? Hit me up six one seven nine oh 630 00:34:18,560 --> 00:34:22,399 Speaker 1: six six six three eight and let me know. Until then, 631 00:34:22,440 --> 00:34:25,120 Speaker 1: I'm going to leave you with this. Here's what America 632 00:34:25,160 --> 00:34:28,879 Speaker 1: was watching at the movies in nineteen eighty, the year 633 00:34:28,960 --> 00:34:31,120 Speaker 1: that Out of the Blue made its debut at the 634 00:34:31,120 --> 00:34:38,360 Speaker 1: can Film Festival. Number one Star Wars Episode five, The 635 00:34:38,400 --> 00:34:43,680 Speaker 1: Empire Strikes Back, directed by Irvin Kirshner, Number two nine 636 00:34:43,760 --> 00:34:46,759 Speaker 1: to five, directed by Colin Higgins. Any which way you 637 00:34:46,800 --> 00:34:50,760 Speaker 1: can Number three Stir Crazy Evan directed by Sydney at Quatia. 638 00:34:50,840 --> 00:34:53,520 Speaker 1: Umber six, Cybate Benjamin, number four You're directed by Kramer 639 00:34:53,600 --> 00:34:57,480 Speaker 1: versus Craner. Howard's directed by Robert Spenton. Hole Miners Daughter 640 00:34:57,600 --> 00:35:00,799 Speaker 1: Number five, Any which way you Can out They were 641 00:35:00,880 --> 00:35:03,160 Speaker 1: directed by Buddy Van Borne. The band is June. The 642 00:35:03,160 --> 00:35:07,240 Speaker 1: band is number six. Youret Private Benjamin directed by Howls 643 00:35:07,280 --> 00:35:12,719 Speaker 1: in a few hours saying quit talking and start mixing.