1
00:00:01,000 --> 00:00:03,880
Speaker 1: Dear listeners of Hollywood Land, does it feel like you're

2
00:00:03,880 --> 00:00:07,120
Speaker 1: stuck in limbo, standing under a flickering street light at

3
00:00:07,160 --> 00:00:09,880
Speaker 1: the corner of Hollywood and True Crime, waiting for the

4
00:00:09,920 --> 00:00:11,640
Speaker 1: next episode of hollywood Land to drop.

5
00:00:12,680 --> 00:00:16,079
Speaker 2: I got you. Welcome to Hollywood Land, the Rap Party.

6
00:00:28,080 --> 00:00:32,000
Speaker 1: Welcome everybody to another bonus episode of Hollywood Land.

7
00:00:32,120 --> 00:00:34,600
Speaker 2: You know what time it is. It is time for

8
00:00:34,840 --> 00:00:35,680
Speaker 2: the Rap Party.

9
00:00:35,960 --> 00:00:37,800
Speaker 1: This is the show that gets you from one full

10
00:00:37,840 --> 00:00:40,800
Speaker 1: episode of hollywood Land to the next. The place where

11
00:00:40,800 --> 00:00:43,479
Speaker 1: we dig deeper into the stories that we tell, Stories

12
00:00:43,520 --> 00:00:47,120
Speaker 1: where movie history finds itself in the shadow of true crime,

13
00:00:47,320 --> 00:00:50,240
Speaker 1: Stories that go deeper into the truth, hiding behind the myth,

14
00:00:50,479 --> 00:00:53,400
Speaker 1: the kinds of stories hiding in plain sight. Right there

15
00:00:53,440 --> 00:00:56,200
Speaker 1: on the cutting room floor, my name is Zeth Lundy,

16
00:00:56,400 --> 00:00:59,360
Speaker 1: writer at Double Elvis, showrunner for Hollywood Land. And on

17
00:00:59,440 --> 00:01:02,880
Speaker 1: this bonus we are talking about this week's full episode

18
00:01:02,880 --> 00:01:06,520
Speaker 1: subject Joan Crawford. We are previewing next week's episode on

19
00:01:06,600 --> 00:01:11,280
Speaker 1: Harrison Ford. We're talking movie and music recommendations, and we're

20
00:01:11,319 --> 00:01:14,679
Speaker 1: gonna check out your voicemails, your text DMS emails. So

21
00:01:14,800 --> 00:01:31,479
Speaker 1: come on, everybody, let's party this week in Hollywood land

22
00:01:31,560 --> 00:01:34,880
Speaker 1: We've got for you, in my opinion, one of our

23
00:01:35,040 --> 00:01:40,080
Speaker 1: dark Horse episodes. This is an episode that you never expect,

24
00:01:40,200 --> 00:01:42,600
Speaker 1: or at least I never expected to go as hard

25
00:01:42,600 --> 00:01:45,759
Speaker 1: as it does. Of course, I already mentioned up top

26
00:01:45,920 --> 00:01:49,480
Speaker 1: that this week's subject is Joan Crawford. And perhaps you

27
00:01:49,560 --> 00:01:53,760
Speaker 1: know Joan Crawford by name or by reputation. Perhaps you've

28
00:01:53,920 --> 00:01:56,840
Speaker 1: seen some of her movies. She was an icon of

29
00:01:56,920 --> 00:01:59,600
Speaker 1: classic Hollywood. She began her career all the way back

30
00:01:59,600 --> 00:02:03,040
Speaker 1: of the night teen twenties and remained active and working

31
00:02:03,080 --> 00:02:06,720
Speaker 1: for five decades, all the way to her last film,

32
00:02:06,760 --> 00:02:10,000
Speaker 1: which was in the year nineteen seventy. Perhaps you also

33
00:02:10,040 --> 00:02:13,160
Speaker 1: know about whatever happened to Baby Jane. Perhaps you know

34
00:02:13,200 --> 00:02:16,880
Speaker 1: about all that drama with her contemporary turned bitter rival

35
00:02:16,960 --> 00:02:21,280
Speaker 1: Betty Davis, or about the notorious memoir written by her

36
00:02:21,320 --> 00:02:26,919
Speaker 1: adopted daughter, Mommy Dearist, which painted Joan as an abusive alcoholic,

37
00:02:27,000 --> 00:02:30,840
Speaker 1: and which was later made into a movie starring Fate Dunaway.

38
00:02:31,000 --> 00:02:34,119
Speaker 1: But but, but, but before you go yeah, yeah, yeah, yeah, okay,

39
00:02:34,120 --> 00:02:38,120
Speaker 1: this all rings a bell. And you know some decades

40
00:02:38,200 --> 00:02:41,760
Speaker 1: old beef between two old school actresses, This whole unhinged

41
00:02:41,840 --> 00:02:45,400
Speaker 1: tyrant Mom thing. Yeah, like that, this doesn't really hold

42
00:02:45,400 --> 00:02:47,679
Speaker 1: my interest at all. I hear you, okay, I hear

43
00:02:47,720 --> 00:02:49,519
Speaker 1: you on that. I feel you. I feel the same

44
00:02:49,520 --> 00:02:53,280
Speaker 1: way you want something more compelling than that, something deeper

45
00:02:53,400 --> 00:02:56,640
Speaker 1: or more unexpected than what typically comes to mind or

46
00:02:56,720 --> 00:03:00,240
Speaker 1: is brought up in common conversation. You know, some one

47
00:03:00,240 --> 00:03:03,760
Speaker 1: mentions Joan Crawford and it's like, oh, right, mommy dearis wow,

48
00:03:03,840 --> 00:03:05,280
Speaker 1: do you believe what her daughter wrote?

49
00:03:05,320 --> 00:03:07,760
Speaker 2: Right? Okay? This is where our story comes in. This

50
00:03:07,800 --> 00:03:09,200
Speaker 2: is where we come in. Hollywood Land.

51
00:03:09,639 --> 00:03:14,800
Speaker 1: Our Joan Crawford story has got this blackmail subplot over

52
00:03:14,840 --> 00:03:17,720
Speaker 1: an old stag film that could make or break a career.

53
00:03:17,800 --> 00:03:21,760
Speaker 1: It's got US presidents and vice presidents, past president and

54
00:03:21,840 --> 00:03:24,840
Speaker 1: future all hanging out and doing what what were they

55
00:03:24,880 --> 00:03:28,200
Speaker 1: doing on the eve of the assassination of JFK. It's

56
00:03:28,240 --> 00:03:31,800
Speaker 1: got Joan going toe to toe with the director of

57
00:03:31,840 --> 00:03:37,680
Speaker 1: the CIA, rubbing elbows with Texas Oil magnets, secret operatives

58
00:03:37,680 --> 00:03:41,880
Speaker 1: of the American government, the mafia, al Capone, the Genevese family,

59
00:03:42,160 --> 00:03:46,160
Speaker 1: and the only reporter who ever interviewed Jack Ruby, whose

60
00:03:46,200 --> 00:03:49,760
Speaker 1: connection to Joan Crawford, well shit, Her connection to all

61
00:03:49,840 --> 00:03:54,880
Speaker 1: of this is nothing short of mind blowing. Like I said,

62
00:03:55,600 --> 00:03:57,040
Speaker 1: this is a dark Horse episode.

63
00:03:57,120 --> 00:03:58,560
Speaker 2: Check it out. Come for the.

64
00:03:58,560 --> 00:04:04,200
Speaker 1: Bitchy leading rivalry bullshit, and stay for the JFK assassination

65
00:04:04,400 --> 00:04:09,119
Speaker 1: conspiracy theories. Okay, I know you're probably like, oh shit,

66
00:04:09,200 --> 00:04:12,520
Speaker 1: this went from something I thought I knew about to

67
00:04:12,560 --> 00:04:15,440
Speaker 1: something that sounds completely fucking crazy. And yes it does

68
00:04:15,480 --> 00:04:19,359
Speaker 1: sound crazy, but trust me, buy the ticket, take the ride.

69
00:04:19,480 --> 00:04:21,680
Speaker 1: And you know, by the way, this ticket doesn't cost

70
00:04:21,720 --> 00:04:25,080
Speaker 1: any money. So here, take a free ticket, go listen

71
00:04:25,120 --> 00:04:27,400
Speaker 1: to the episode. Let us tell what you think. Speaking

72
00:04:27,440 --> 00:04:30,760
Speaker 1: of dark horses, I've got to quickly shout out a

73
00:04:30,839 --> 00:04:34,760
Speaker 1: dark horse in Joan Crawford's extensive filmography. I've talked at

74
00:04:34,839 --> 00:04:37,560
Speaker 1: length here in the past about my love of westerns,

75
00:04:38,160 --> 00:04:40,159
Speaker 1: and one of my favorite westerns of all time is

76
00:04:40,160 --> 00:04:42,800
Speaker 1: this film called Johnny Guitar, which came out in nineteen

77
00:04:42,880 --> 00:04:46,240
Speaker 1: fifty four. The stars Joan Crawford along with one of

78
00:04:46,279 --> 00:04:49,760
Speaker 1: my favorites, Sterling Hayden, who plays the title character. And

79
00:04:49,920 --> 00:04:52,880
Speaker 1: what makes this stand out in the Western genre is

80
00:04:52,920 --> 00:04:56,160
Speaker 1: how it flips a lot of the typical Western tropes

81
00:04:56,320 --> 00:05:00,000
Speaker 1: on their head. For the time in nineteen fifty four,

82
00:05:00,320 --> 00:05:02,919
Speaker 1: you know, Honestly, it flipped a lot of just Hollywood

83
00:05:02,960 --> 00:05:05,200
Speaker 1: tropes on their head in general, the most obvious being

84
00:05:05,240 --> 00:05:09,320
Speaker 1: that female characters and Westerns have always typical beens. You know,

85
00:05:09,400 --> 00:05:13,120
Speaker 1: somewhere in the margins, you know, a wife, a prostitute.

86
00:05:13,120 --> 00:05:16,600
Speaker 1: But here Joan is front and center. She's a businesswoman,

87
00:05:16,640 --> 00:05:19,920
Speaker 1: she's an entrepreneur, she owns a saloon, she wears pants,

88
00:05:20,040 --> 00:05:22,919
Speaker 1: she carries a gun. The film might be called Johnny Guitar,

89
00:05:23,000 --> 00:05:26,800
Speaker 1: but this is Jones film, and it also stands out

90
00:05:26,800 --> 00:05:29,200
Speaker 1: from the Western pact just because of the way it looks.

91
00:05:29,200 --> 00:05:31,920
Speaker 1: It was shot in this process at the time called

92
00:05:32,000 --> 00:05:34,880
Speaker 1: true color, which I believe was a process that was

93
00:05:34,920 --> 00:05:38,280
Speaker 1: owned by the studio Republic Pictures or its parent company

94
00:05:38,360 --> 00:05:41,800
Speaker 1: or whatever. But the colors are just incredibly bold, and

95
00:05:42,360 --> 00:05:45,279
Speaker 1: whether you see it, you know Jones. She's got this

96
00:05:45,360 --> 00:05:48,080
Speaker 1: bright yellow shirt and red handkerchief around her neck that

97
00:05:48,120 --> 00:05:49,560
Speaker 1: she wears her part of the movie. It's a lot

98
00:05:49,600 --> 00:05:53,440
Speaker 1: of the posters. It's the same outfit, just it just

99
00:05:53,560 --> 00:05:56,159
Speaker 1: explodes off the screen this color. There's one shot in

100
00:05:56,200 --> 00:05:59,440
Speaker 1: particular two I think she's having maybe one of the

101
00:05:59,520 --> 00:06:04,160
Speaker 1: arguments or an argument seeing with Sterling Hayden but she's

102
00:06:04,160 --> 00:06:06,440
Speaker 1: shot and like half of her faces in shadows, but

103
00:06:07,080 --> 00:06:08,920
Speaker 1: the parts of her face that are not in shadows,

104
00:06:08,960 --> 00:06:12,120
Speaker 1: her eyes are so blue and her lipstick is so red.

105
00:06:12,480 --> 00:06:14,800
Speaker 2: It's just really striking, striking imagery.

106
00:06:15,480 --> 00:06:17,120
Speaker 1: I know that Jake and I will get into some

107
00:06:17,120 --> 00:06:19,800
Speaker 1: recommendations here later in the show, and hopefully I'm not

108
00:06:19,880 --> 00:06:23,400
Speaker 1: burning one of my Joan Crawford recommendations here, but I

109
00:06:23,480 --> 00:06:25,400
Speaker 1: just wanted to take a moment and call out this movie.

110
00:06:25,680 --> 00:06:29,000
Speaker 1: If you haven't seen this, if you dig westerns, if

111
00:06:29,000 --> 00:06:32,080
Speaker 1: you dig movies from mid century Hollywood, if you like

112
00:06:32,160 --> 00:06:35,800
Speaker 1: things that sort of play against type and play against expectations,

113
00:06:36,279 --> 00:06:37,920
Speaker 1: you've got to check this out. It's my favorite Joon

114
00:06:37,960 --> 00:06:42,160
Speaker 1: Crawford performance, one of my favorite Sterling Hayden performances, and

115
00:06:42,279 --> 00:06:44,520
Speaker 1: oh yeah it was. It was directed by Nicholas Ray,

116
00:06:44,839 --> 00:06:48,320
Speaker 1: who famously directed Rebel Without a Cause, and it's said

117
00:06:48,320 --> 00:06:51,760
Speaker 1: that he infused the movie with this subtext about McCarthyism

118
00:06:52,279 --> 00:06:54,480
Speaker 1: and the general sense of paranoia at the time in

119
00:06:54,520 --> 00:06:57,880
Speaker 1: the film industry in Hollywood. There's one of many subtexts

120
00:06:57,880 --> 00:07:01,240
Speaker 1: that you can look for, Honestly, right, Johnny guitar and

121
00:07:01,320 --> 00:07:04,400
Speaker 1: check it out. Okay, changing gears for a minute, jumping

122
00:07:04,400 --> 00:07:09,279
Speaker 1: from Joan Crawford and Sterling Hayden and bright bold, true

123
00:07:09,320 --> 00:07:13,560
Speaker 1: color colors to the now to the present tense. This

124
00:07:13,600 --> 00:07:16,000
Speaker 1: is something I've just got to share with you. This

125
00:07:16,080 --> 00:07:18,960
Speaker 1: is so funny. Maybe it's just it's strange. So this

126
00:07:19,040 --> 00:07:20,520
Speaker 1: report just came out the other day in the Wall

127
00:07:20,520 --> 00:07:24,720
Speaker 1: Street Journal that the US Department of Agriculture has been

128
00:07:24,840 --> 00:07:30,920
Speaker 1: using audio from the twenty nineteen movie Marriage Story, the

129
00:07:31,440 --> 00:07:35,720
Speaker 1: Noah Bomback film starring Scarlett Johansson and Adam Driver as

130
00:07:35,760 --> 00:07:40,400
Speaker 1: a couple who's divorcing to scare off wolves that have

131
00:07:40,560 --> 00:07:43,920
Speaker 1: been well, you know, a wolf's gonna wolf man, A

132
00:07:43,920 --> 00:07:47,040
Speaker 1: wolf's gonna let nature take over and go after some cattle. Right,

133
00:07:47,840 --> 00:07:52,920
Speaker 1: But the US Department of Agriculture is using these drones

134
00:07:53,200 --> 00:07:57,040
Speaker 1: in Oregon, I believe to stop wolves from attacking cattle

135
00:07:57,960 --> 00:08:01,240
Speaker 1: by first they locate them with these normal cameras, and

136
00:08:01,280 --> 00:08:03,880
Speaker 1: then they shine a spotlight on them and they blast

137
00:08:04,440 --> 00:08:10,240
Speaker 1: ear splitting audio of fireworks, audio of gunshots, audio of

138
00:08:10,400 --> 00:08:16,320
Speaker 1: ACDC songs, and finally audio from that one wicked, intense

139
00:08:16,320 --> 00:08:21,400
Speaker 1: scene in Marriage Story where Scarlett Johansson and Adam Driver

140
00:08:21,560 --> 00:08:24,920
Speaker 1: are yelling at each other? This is is this not incredible?

141
00:08:24,920 --> 00:08:26,320
Speaker 1: I don't know if this is the first time that

142
00:08:26,400 --> 00:08:29,440
Speaker 1: a movie has been used as you know, ammunition, so

143
00:08:29,520 --> 00:08:33,720
Speaker 1: to speak, as a predatory deterrent. And what I want

144
00:08:33,760 --> 00:08:36,079
Speaker 1: to know is why this movie in particular, I mean,

145
00:08:36,120 --> 00:08:38,199
Speaker 1: out of all the movies in the history of cinema,

146
00:08:38,200 --> 00:08:40,360
Speaker 1: in the last one hundred years or so of cinema,

147
00:08:40,480 --> 00:08:45,400
Speaker 1: of sound of talkies, why is Marriage Story the pick? Like,

148
00:08:45,760 --> 00:08:48,559
Speaker 1: I get it, that scene is loud and disruptive and

149
00:08:50,400 --> 00:08:52,679
Speaker 1: hard to watch, which is partly the point here in

150
00:08:52,720 --> 00:08:55,440
Speaker 1: the government's mission. But I'm just curious who in the

151
00:08:55,440 --> 00:08:58,600
Speaker 1: federal government was like, oh, hey, you guys remember that

152
00:08:58,640 --> 00:09:01,199
Speaker 1: movie Marriage Story, that fight scene, Like, let's use that

153
00:09:01,679 --> 00:09:06,680
Speaker 1: alongside ACDC and sounds of gunshots and fireworks. Someone from

154
00:09:06,720 --> 00:09:09,760
Speaker 1: the Department of Agriculture told The Wall Street Journal in

155
00:09:09,800 --> 00:09:12,960
Speaker 1: this article, quote, I need the wolves to respond and

156
00:09:13,040 --> 00:09:18,520
Speaker 1: know that, hey, humans are bad. Unquote humans are bad. Okay,

157
00:09:18,600 --> 00:09:22,520
Speaker 1: So there ac DC also an interesting choice. Are they

158
00:09:22,559 --> 00:09:26,280
Speaker 1: playing big gun you think Hell's bells. If you live

159
00:09:26,280 --> 00:09:29,560
Speaker 1: out in Oregon and you're listening and you hear that scene,

160
00:09:29,600 --> 00:09:34,360
Speaker 1: if suddenly you hear Scarlett Johansson and Adam Driver arguing

161
00:09:34,880 --> 00:09:39,760
Speaker 1: from somewhere far up in the sky. Hang around and

162
00:09:39,840 --> 00:09:42,520
Speaker 1: let me know which acdc's song they're using to scare

163
00:09:42,559 --> 00:09:43,280
Speaker 1: off the wolves.

164
00:09:43,320 --> 00:09:44,840
Speaker 2: And get back to me.

165
00:09:44,880 --> 00:09:46,719
Speaker 1: Okay, I told you guys last week that I was

166
00:09:46,760 --> 00:09:51,360
Speaker 1: struggling a bit with my first Murcami novel, And yeah,

167
00:09:51,400 --> 00:09:55,040
Speaker 1: I haven't made much progress since that last missive. And honestly,

168
00:09:55,080 --> 00:09:58,480
Speaker 1: between all the reading that I do to research for

169
00:09:58,559 --> 00:10:02,040
Speaker 1: this gig, and and that stack of other books to

170
00:10:02,160 --> 00:10:04,880
Speaker 1: be read on my table, the stack on my desk,

171
00:10:04,920 --> 00:10:06,480
Speaker 1: and the stack on my autumn and do you guys

172
00:10:06,520 --> 00:10:08,480
Speaker 1: have this like do you have a stack of books?

173
00:10:08,480 --> 00:10:12,200
Speaker 1: Maybe it's a singular stack, or it's multiple stacks like

174
00:10:12,240 --> 00:10:14,160
Speaker 1: my wife and I have scattered around the house, like

175
00:10:14,240 --> 00:10:17,199
Speaker 1: stacks of books to be read, stacks of books that

176
00:10:17,240 --> 00:10:20,439
Speaker 1: were just read, stacks of books like this uror COMI

177
00:10:20,480 --> 00:10:22,400
Speaker 1: novel that's destined to be in the stack of books

178
00:10:22,400 --> 00:10:25,120
Speaker 1: that were unfinished. Do you have something like this scattered

179
00:10:25,120 --> 00:10:27,839
Speaker 1: around your house that just like taunts you all the time,

180
00:10:28,280 --> 00:10:31,120
Speaker 1: especially when you're reading something like I'm reading right now

181
00:10:31,160 --> 00:10:32,880
Speaker 1: and it just isn't clicking with you when you start

182
00:10:32,880 --> 00:10:35,840
Speaker 1: to go, man, those books on deck over there on

183
00:10:35,880 --> 00:10:38,839
Speaker 1: the table. They're they're looking better and better every day.

184
00:10:40,559 --> 00:10:44,439
Speaker 1: I've got this Nick Toshi's book on Dean Martin, it's

185
00:10:44,440 --> 00:10:48,040
Speaker 1: called Dino, that's been sitting waiting for me for a while,

186
00:10:48,120 --> 00:10:51,560
Speaker 1: as well as the other thriller novel one word title

187
00:10:51,679 --> 00:10:54,079
Speaker 1: I can't remember. It was recommended me to buy Somebody.

188
00:10:54,280 --> 00:10:56,360
Speaker 1: But anyways, they're in this stack, they're looking at me,

189
00:10:56,360 --> 00:10:59,000
Speaker 1: they're taunting me. And every day that goes by that

190
00:10:59,040 --> 00:11:01,559
Speaker 1: I don't read more or comedy. I think I'm getting

191
00:11:01,559 --> 00:11:04,040
Speaker 1: closer to cracking one of those open So stay tuned

192
00:11:04,120 --> 00:11:07,800
Speaker 1: for that. Okay, next week, get ready, We've got our

193
00:11:07,840 --> 00:11:12,600
Speaker 1: episode on Harrison Ford coming your way, which got me thinking, like,

194
00:11:13,280 --> 00:11:15,000
Speaker 1: you know those lists you make with your friends of

195
00:11:15,040 --> 00:11:18,880
Speaker 1: like the ideal band, like the one you would you know,

196
00:11:19,000 --> 00:11:20,839
Speaker 1: who would you have on bass guitar, Who would you

197
00:11:20,880 --> 00:11:22,680
Speaker 1: have on drums? Who would you have a singing lead?

198
00:11:22,720 --> 00:11:25,240
Speaker 1: You know, if you could pick musicians from any era

199
00:11:25,480 --> 00:11:28,040
Speaker 1: or genre of music and make this platonic ideal of

200
00:11:28,040 --> 00:11:30,040
Speaker 1: a rock band, you know, stick with me here, I'm

201
00:11:30,040 --> 00:11:31,280
Speaker 1: going somewhere with us.

202
00:11:31,480 --> 00:11:33,640
Speaker 2: I think I think that Harrison.

203
00:11:33,240 --> 00:11:34,959
Speaker 1: Ford is like that kind of actor for me, that

204
00:11:35,080 --> 00:11:37,880
Speaker 1: kind of artists, Like I'm not casting a band made

205
00:11:38,040 --> 00:11:39,760
Speaker 1: out of actress here, But if I was going to

206
00:11:39,840 --> 00:11:41,440
Speaker 1: make a movie and I wanted to choose a small

207
00:11:41,480 --> 00:11:43,679
Speaker 1: selection of actress from any era to be in it,

208
00:11:44,160 --> 00:11:47,880
Speaker 1: Harrison Ford would definitely be on my short list. I mean,

209
00:11:48,840 --> 00:11:50,400
Speaker 1: the guy can do it. I mean who he can

210
00:11:50,440 --> 00:11:53,760
Speaker 1: do everything? Who else has been Indiana Jones while also

211
00:11:53,880 --> 00:11:56,000
Speaker 1: being Han Solo at the same time, while also being

212
00:11:56,080 --> 00:11:59,720
Speaker 1: Rick Deckard Richard Kimball, the President of the United States, Like,

213
00:11:59,720 --> 00:12:03,120
Speaker 1: forget about it. You know, Harrison's my guy? Who's Who's

214
00:12:03,160 --> 00:12:04,960
Speaker 1: your guy? Who's your gal? Who do you have on

215
00:12:04,960 --> 00:12:08,440
Speaker 1: your short list? Who are you casting in your theoretical movie?

216
00:12:08,760 --> 00:12:10,720
Speaker 1: Is it Harrison Ford? Is it someone else? Let me

217
00:12:10,800 --> 00:12:14,439
Speaker 1: know six one seven nine six six six three eight,

218
00:12:14,600 --> 00:12:17,800
Speaker 1: text me or call me. Send your emails to Disgrace

219
00:12:17,920 --> 00:12:21,240
Speaker 1: lampod at gmail dot com, or you can swing over

220
00:12:21,280 --> 00:12:25,640
Speaker 1: to Instagram, Facebook or x and hit us up there, DMS, comments, whatever,

221
00:12:26,160 --> 00:12:28,480
Speaker 1: find us and give us your thoughts and maybe we'll

222
00:12:28,480 --> 00:12:32,120
Speaker 1: read your stuff here on the after party. Okay, I

223
00:12:32,120 --> 00:12:34,320
Speaker 1: need to take a quick break, and when I get back,

224
00:12:34,360 --> 00:12:37,800
Speaker 1: I'll be joined by none other than Jake Brennan, the

225
00:12:37,840 --> 00:12:41,120
Speaker 1: host of hollywood Land, and we will respond to your messages,

226
00:12:41,480 --> 00:12:44,200
Speaker 1: your questions and give you our recommendations.

227
00:12:44,280 --> 00:12:45,560
Speaker 2: So don't go anywhere.

228
00:12:59,640 --> 00:13:02,720
Speaker 1: All you beautiful people out there, welcome back to the

229
00:13:02,720 --> 00:13:06,160
Speaker 1: Wrap party. This is your weekly bonus episode of hollywood Land.

230
00:13:06,200 --> 00:13:08,719
Speaker 1: And if you enjoy these shows but you still got

231
00:13:08,760 --> 00:13:11,080
Speaker 1: ads to contend with, there's an easy way to fix

232
00:13:11,120 --> 00:13:13,000
Speaker 1: all of that. Remember, all you got to do is

233
00:13:13,040 --> 00:13:17,200
Speaker 1: go to disgracelamdpod dot com slash membership and for just

234
00:13:17,200 --> 00:13:19,320
Speaker 1: five bucks a month, you can become a member of

235
00:13:19,400 --> 00:13:23,160
Speaker 1: Disgraceland All Access, which gives you ad free listening for

236
00:13:23,280 --> 00:13:27,040
Speaker 1: all of our hollywood Land episodes plus Disgraceland episodes, lots

237
00:13:27,080 --> 00:13:30,040
Speaker 1: of other bonus benefits with Disgraceland as well more new

238
00:13:30,080 --> 00:13:32,640
Speaker 1: monthly content. And if you listen on Apple Podcasts, you

239
00:13:32,640 --> 00:13:35,439
Speaker 1: can sign up right there on the Apple podcast app,

240
00:13:35,760 --> 00:13:37,480
Speaker 1: or if you use Patreon, you can find us there,

241
00:13:37,600 --> 00:13:40,720
Speaker 1: or like I said, just go to disgracelamdpod dot com

242
00:13:40,760 --> 00:13:45,760
Speaker 1: slash membership for all the details. Speaking of details, this

243
00:13:45,880 --> 00:13:47,960
Speaker 1: guy has got all the details, the nitty gritty, the

244
00:13:48,000 --> 00:13:50,800
Speaker 1: down low. Of course, I'm talking about Jake Brennan.

245
00:13:50,960 --> 00:13:53,480
Speaker 3: What is up, dude, I'm just sitting here going through

246
00:13:53,480 --> 00:13:56,679
Speaker 3: my back issues of Details magazine from the nineties.

247
00:13:56,760 --> 00:13:58,160
Speaker 2: I can almost the Details joke.

248
00:13:58,920 --> 00:14:02,000
Speaker 3: It's like I got my band alert and wait no,

249
00:14:02,080 --> 00:14:04,440
Speaker 3: that was sassy, right, sacute band alert.

250
00:14:04,600 --> 00:14:08,240
Speaker 2: Details is where this is fucking true.

251
00:14:08,320 --> 00:14:10,280
Speaker 1: I shit you not. This is where I learned how

252
00:14:10,280 --> 00:14:13,880
Speaker 1: to shave the right way when I was at high school. Dude,

253
00:14:13,880 --> 00:14:17,480
Speaker 1: you go down, you go down the on the top

254
00:14:17,520 --> 00:14:19,080
Speaker 1: half of your face, and then you go for the

255
00:14:19,160 --> 00:14:21,680
Speaker 1: neck up on the bottom half of your face. That's

256
00:14:21,680 --> 00:14:23,160
Speaker 1: how I learned because I was cutting the shit out

257
00:14:23,200 --> 00:14:24,400
Speaker 1: of my face. I'm like, what the fuck am I

258
00:14:24,440 --> 00:14:27,880
Speaker 1: doing wrong here? My dad did not teach me well enough, apparently,

259
00:14:28,280 --> 00:14:29,720
Speaker 1: and then Details set me straight.

260
00:14:30,000 --> 00:14:31,520
Speaker 3: Yeah, I was gonna say, I don't know if that's

261
00:14:31,560 --> 00:14:35,000
Speaker 3: a testament to your sort of like your ingenuity, your

262
00:14:35,000 --> 00:14:37,960
Speaker 3: desire to research, or if it's an indictment of your

263
00:14:38,000 --> 00:14:39,480
Speaker 3: your dad's fatherhood.

264
00:14:40,760 --> 00:14:42,360
Speaker 1: Come on, I actually think it has a lot to

265
00:14:42,400 --> 00:14:46,440
Speaker 1: do with my embarrassment over something I was doing wrong,

266
00:14:46,480 --> 00:14:48,400
Speaker 1: and I did not want to tell somebody that I was.

267
00:14:48,520 --> 00:14:50,560
Speaker 1: I didn't want anyone to know that I was injuring

268
00:14:50,560 --> 00:14:53,240
Speaker 1: myself that I was doing it wrong. So I needed

269
00:14:53,240 --> 00:14:54,880
Speaker 1: to figure it out on my own, which is a

270
00:14:54,920 --> 00:14:57,600
Speaker 1: trade I've carried with me my entire life, and it

271
00:14:57,680 --> 00:14:58,240
Speaker 1: is what it is.

272
00:14:58,440 --> 00:15:01,360
Speaker 3: Well, thanks to you and Detail Magazine all the way

273
00:15:01,400 --> 00:15:03,880
Speaker 3: here in twenty twenty five, I'm now learning for the

274
00:15:03,880 --> 00:15:06,600
Speaker 3: first time that I'm shaving incorrectly because my neck I

275
00:15:06,680 --> 00:15:08,040
Speaker 3: go down, I don't go up.

276
00:15:08,440 --> 00:15:11,240
Speaker 1: So you can go down after you go up first,

277
00:15:11,320 --> 00:15:12,920
Speaker 1: and then if you want it closer, then you can

278
00:15:12,960 --> 00:15:15,000
Speaker 1: go down. But I guess the risk is if you

279
00:15:15,080 --> 00:15:18,080
Speaker 1: go against the you're going against the grain. Technically, I

280
00:15:18,080 --> 00:15:20,320
Speaker 1: think if you go down on your neck and up

281
00:15:20,320 --> 00:15:21,920
Speaker 1: on your face, you're going against the grain, and so

282
00:15:22,040 --> 00:15:24,720
Speaker 1: therefore you increase the risk of I don't know whatever.

283
00:15:25,040 --> 00:15:25,800
Speaker 2: That stuck with me.

284
00:15:26,040 --> 00:15:29,600
Speaker 3: You know, details, literally give me the details on shaving,

285
00:15:29,800 --> 00:15:30,840
Speaker 3: Details Magazine.

286
00:15:31,040 --> 00:15:32,560
Speaker 2: Let's go. So what's going on?

287
00:15:32,560 --> 00:15:35,280
Speaker 1: How are you doing anything new in your world besides

288
00:15:35,720 --> 00:15:36,720
Speaker 1: Details back issues.

289
00:15:36,840 --> 00:15:39,840
Speaker 3: I fix my espresso machine and I gotta say, damn,

290
00:15:39,920 --> 00:15:43,040
Speaker 3: this shit tastes good. It's so good, just like the

291
00:15:43,600 --> 00:15:48,160
Speaker 3: little slightest recalibration and the taste up through the roof

292
00:15:48,320 --> 00:15:51,920
Speaker 3: just incredible. So I'm rocking today. I was just I

293
00:15:51,960 --> 00:15:53,680
Speaker 3: was just listening to some well, I don't want to

294
00:15:53,840 --> 00:15:55,840
Speaker 3: burn what I've got for recommendations.

295
00:15:55,880 --> 00:15:59,120
Speaker 1: But espresso has never been appealing to me because I

296
00:15:59,440 --> 00:16:01,800
Speaker 1: like to enjoy. Part of the coffee experience for me

297
00:16:01,880 --> 00:16:04,800
Speaker 1: is the length of time that it takes to drink

298
00:16:04,840 --> 00:16:08,000
Speaker 1: the coffee right, and espresso, I look at it, I'm like,

299
00:16:08,080 --> 00:16:10,040
Speaker 1: that's gonna be over in like thirty seconds, and that's

300
00:16:10,040 --> 00:16:10,520
Speaker 1: no fun.

301
00:16:10,760 --> 00:16:14,160
Speaker 3: Here's what I'm learning about me. I'm a caffeine fan,

302
00:16:14,480 --> 00:16:18,840
Speaker 3: not just a coffee fan, because I go nowadays, first

303
00:16:18,840 --> 00:16:24,920
Speaker 3: thing tea, second thing Americano, third espresso. I reverse the

304
00:16:24,920 --> 00:16:27,960
Speaker 3: intensity throughout the morning, and then it's like, by the

305
00:16:28,040 --> 00:16:29,320
Speaker 3: time I sit down front of the mic with you,

306
00:16:29,360 --> 00:16:32,920
Speaker 3: I'm fucking a rocket ship looking to fucking blast off.

307
00:16:34,280 --> 00:16:36,440
Speaker 1: Let's fucking go to Let's get this out. Let's get

308
00:16:36,440 --> 00:16:41,720
Speaker 1: into some text and some dms from our audience. Okay,

309
00:16:41,760 --> 00:16:45,720
Speaker 1: here's our highly caffeinated look at this week in Hollywood Land.

310
00:16:45,840 --> 00:16:49,600
Speaker 1: We got a text from Kevin and the four one two. Now, Jake,

311
00:16:49,600 --> 00:16:51,360
Speaker 1: I gotta give you a little bit backstory here because

312
00:16:51,680 --> 00:16:53,640
Speaker 1: you probably didn't listen to the entire episode last week,

313
00:16:53,640 --> 00:16:56,600
Speaker 1: which is fine. But The New York Times published a

314
00:16:56,680 --> 00:16:59,720
Speaker 1: list of the top one hundred movies of the twenty

315
00:16:59,760 --> 00:17:03,040
Speaker 1: first centuries so far. And it's been lots of discourse

316
00:17:03,080 --> 00:17:05,800
Speaker 1: on this in podcasts and online spaces. So I kind

317
00:17:05,840 --> 00:17:08,400
Speaker 1: of jumped in the ring. Gave my top ten movies

318
00:17:08,800 --> 00:17:10,800
Speaker 1: of the twenty first century so far, and I asked

319
00:17:10,880 --> 00:17:13,840
Speaker 1: listeners for their top ten movies. So Kevin in the

320
00:17:13,880 --> 00:17:17,600
Speaker 1: four one two says top ten movies of the twenty

321
00:17:17,600 --> 00:17:21,360
Speaker 1: first century, in no particular order. The first one's out

322
00:17:21,400 --> 00:17:22,800
Speaker 1: of the Furnace. I had to look this up.

323
00:17:22,840 --> 00:17:25,840
Speaker 2: This is a Christian Bale, Woody Harrelson, PC Affleck movie. Okay,

324
00:17:25,840 --> 00:17:26,600
Speaker 2: I've seen it.

325
00:17:26,600 --> 00:17:27,080
Speaker 3: It's great.

326
00:17:28,000 --> 00:17:30,200
Speaker 1: Out of the Furnace, Once upon a Time in Hollywood

327
00:17:31,560 --> 00:17:35,159
Speaker 1: Step Brothers, which I once read an interview with Watkin Phoenix.

328
00:17:35,160 --> 00:17:36,639
Speaker 1: He said that's his favorite movie of all time. And

329
00:17:36,680 --> 00:17:46,920
Speaker 1: I fucking love that, The Departed, three hundred, The Hangover,

330
00:17:48,160 --> 00:17:54,400
Speaker 1: Blackhawk Down, Remember the Titans, Lawless, and Mystic River. That's

331
00:17:54,480 --> 00:17:55,600
Speaker 1: Kevin in the four one two.

332
00:17:56,200 --> 00:17:59,600
Speaker 3: I love this list, Kevin, because I love these movies

333
00:17:59,600 --> 00:18:03,080
Speaker 3: as much is I hate some of these movies. I

334
00:18:03,119 --> 00:18:05,760
Speaker 3: totally get some of the choices and some just scratching

335
00:18:05,800 --> 00:18:08,640
Speaker 3: my head. But that's what a good list should do. Yeah,

336
00:18:08,760 --> 00:18:11,080
Speaker 3: this is an incredibly hard list to come up with

337
00:18:11,560 --> 00:18:14,680
Speaker 3: totally from the twenty first.

338
00:18:14,400 --> 00:18:17,560
Speaker 1: Because you can approach it from Okay, these are the

339
00:18:17,600 --> 00:18:20,679
Speaker 1: ten most like important or impactful movies, or you can

340
00:18:20,720 --> 00:18:24,320
Speaker 1: approach it from these are my personal ten favorites, which

341
00:18:24,359 --> 00:18:27,040
Speaker 1: is sort of what I did in mine. It's it's

342
00:18:27,040 --> 00:18:27,680
Speaker 1: crazy hard.

343
00:18:28,600 --> 00:18:30,600
Speaker 3: Zodiac came out in the two thousands.

344
00:18:30,680 --> 00:18:31,040
Speaker 2: It did.

345
00:18:31,440 --> 00:18:36,760
Speaker 3: Yeah, wow, this is difficult, man, this is hard. I think,

346
00:18:36,880 --> 00:18:41,240
Speaker 3: without without thinking too much about it, in my top

347
00:18:41,960 --> 00:18:46,560
Speaker 3: my top ten, there'd be some crossover with Kevin, but

348
00:18:46,680 --> 00:18:49,320
Speaker 3: I think once upon a time in Hollywood, did he

349
00:18:49,400 --> 00:18:50,439
Speaker 3: mention that or you mentioned that?

350
00:18:50,520 --> 00:18:52,960
Speaker 2: Yeah he did, Yeah, he mentioned that right. Yeah.

351
00:18:53,080 --> 00:18:55,880
Speaker 3: The Irishman for Sure, which is a movie that I

352
00:18:55,920 --> 00:18:58,159
Speaker 3: love more and more and more. I didn't love. I

353
00:18:58,160 --> 00:18:59,920
Speaker 3: loved it when it came out, just but I didn't

354
00:19:00,080 --> 00:19:01,119
Speaker 3: love love it now it's.

355
00:19:01,119 --> 00:19:02,880
Speaker 1: I need to rewatch that because I've only really seen

356
00:19:02,920 --> 00:19:05,359
Speaker 1: that once and or one and a half times, and

357
00:19:05,400 --> 00:19:07,560
Speaker 1: I had the same reaction to you where I didn't

358
00:19:07,600 --> 00:19:08,359
Speaker 1: love it at first.

359
00:19:08,640 --> 00:19:12,239
Speaker 3: It's incredible, man, this is hard to do, hard to do.

360
00:19:12,359 --> 00:19:15,440
Speaker 3: I admire Kevin's. Kevin's lists so pretty damn good.

361
00:19:16,040 --> 00:19:17,119
Speaker 2: Awesome, Thank you, Kevin.

362
00:19:17,440 --> 00:19:19,800
Speaker 1: Maybe Jake noodle on that a little bit maybe next week,

363
00:19:19,840 --> 00:19:21,280
Speaker 1: or you can come with your your top ten.

364
00:19:21,400 --> 00:19:23,280
Speaker 3: Okay, all right, yeah for sure, I like that.

365
00:19:23,359 --> 00:19:26,480
Speaker 1: Okay, let's see another text from Matt in the three

366
00:19:26,640 --> 00:19:29,119
Speaker 1: one seven. Now, a chunk of this text is about

367
00:19:29,280 --> 00:19:33,040
Speaker 1: just some Disgraceland High school soundtrack stuff. So I'm gonna

368
00:19:33,280 --> 00:19:35,480
Speaker 1: not burn that and let you save that for disgrace Land.

369
00:19:36,040 --> 00:19:38,720
Speaker 1: But I just wanted to mention this. At the end

370
00:19:38,760 --> 00:19:41,680
Speaker 1: of his message, he says, anyway, loved the podcast and

371
00:19:41,720 --> 00:19:45,159
Speaker 1: your recommendations. Btw, it was Vin Diesel who starred and

372
00:19:45,200 --> 00:19:49,000
Speaker 1: Find Me Guilty, not Walter Mathou. Find Me Guilty is

373
00:19:49,000 --> 00:19:52,560
Speaker 1: still Diesel's best performance. I was talking about who was

374
00:19:52,560 --> 00:19:56,200
Speaker 1: I talking about the director Sidney Loumett, and I mentioned

375
00:19:56,480 --> 00:19:58,440
Speaker 1: his second and last movie, Find Me Guilty. I don't

376
00:19:58,440 --> 00:20:01,479
Speaker 1: know why I thought Walter Mathow was in that.

377
00:20:01,720 --> 00:20:04,040
Speaker 3: I don't remember Walter Matho coming up though.

378
00:20:04,240 --> 00:20:05,480
Speaker 2: No I said his name.

379
00:20:05,920 --> 00:20:07,600
Speaker 1: Now, I think I took a I think I took

380
00:20:07,640 --> 00:20:11,240
Speaker 1: a quick glance at the poster for the movie and

381
00:20:11,280 --> 00:20:12,440
Speaker 1: I was like, oh, that's Walter.

382
00:20:12,280 --> 00:20:16,200
Speaker 3: Math how do you You might be the first person

383
00:20:16,240 --> 00:20:19,560
Speaker 3: in the history of the world to confuse Walter Mathow

384
00:20:19,600 --> 00:20:20,280
Speaker 3: with Vin Diesel.

385
00:20:20,600 --> 00:20:22,840
Speaker 1: In my defense, it looks like Vin Diesel does have

386
00:20:22,920 --> 00:20:25,080
Speaker 1: some hair in this movie, like they gave him some hair.

387
00:20:25,400 --> 00:20:32,000
Speaker 3: Still, dude, Walter Mathow, did that guy ever look young?

388
00:20:32,240 --> 00:20:36,920
Speaker 3: Like ever out of the womb? He had a flask

389
00:20:37,040 --> 00:20:39,280
Speaker 3: and like half a cigar hanging out of his mouth.

390
00:20:41,560 --> 00:20:43,520
Speaker 2: Have you have any of you ever done that before?

391
00:20:43,520 --> 00:20:47,120
Speaker 3: I have you mistaken Walter math Nd Yeah, get back

392
00:20:47,119 --> 00:20:48,720
Speaker 3: to a six one seven nine of six sixty six

393
00:20:48,800 --> 00:20:52,560
Speaker 3: three eight if you too have experienced late in life

394
00:20:52,600 --> 00:20:56,000
Speaker 3: confusion over Walter Mathow and Vin Diesel, Yes, something.

395
00:20:55,840 --> 00:20:59,400
Speaker 1: May be eligible to some compensation. All right, So thank

396
00:20:59,440 --> 00:21:01,320
Speaker 1: you Matt for corrected me there, and I apologize to

397
00:21:01,400 --> 00:21:03,440
Speaker 1: Vin Diesel that I confuse him with Walter Mathot or

398
00:21:03,520 --> 00:21:06,840
Speaker 1: vice versa. Over on Instagram, we got a message from

399
00:21:07,320 --> 00:21:11,960
Speaker 1: Colonel Chagoose who said, great wreck for the film. Meantime,

400
00:21:12,040 --> 00:21:14,520
Speaker 1: just watch it on Criterion. Have you ever seen films

401
00:21:14,560 --> 00:21:18,040
Speaker 1: by Alan Clark scum or made in Britain also starring

402
00:21:18,080 --> 00:21:20,560
Speaker 1: Tim Roth. Also, I got a kick about you talking

403
00:21:20,600 --> 00:21:23,440
Speaker 1: about mel Tourmey's games people Play. I wrote and directed

404
00:21:23,480 --> 00:21:26,000
Speaker 1: a feature film in the two thousands, and used that

405
00:21:26,080 --> 00:21:29,120
Speaker 1: song in the opening scene title credits, Loving the podcast.

406
00:21:29,400 --> 00:21:31,919
Speaker 3: Okay, hold on, who is this?

407
00:21:32,000 --> 00:21:32,400
Speaker 2: Colonel?

408
00:21:32,640 --> 00:21:33,080
Speaker 3: Who is he?

409
00:21:33,400 --> 00:21:36,000
Speaker 2: Colonel chag Goose, sh dash Goose.

410
00:21:36,080 --> 00:21:38,760
Speaker 3: Colonel Chagoose? First of all, I'd like to know what

411
00:21:38,840 --> 00:21:41,280
Speaker 3: war you fought in? And then second of all, I'd

412
00:21:41,280 --> 00:21:45,399
Speaker 3: like to know what feature length film you directed? And

413
00:21:45,400 --> 00:21:46,960
Speaker 3: what do you say the early two thousands?

414
00:21:47,240 --> 00:21:50,160
Speaker 2: In the two thousands, Yeah, the features games people play.

415
00:21:50,080 --> 00:21:51,919
Speaker 3: And you got money to be thrown around for some

416
00:21:51,960 --> 00:21:54,919
Speaker 3: mel tourmee action in the music licensing. We should probably

417
00:21:54,960 --> 00:21:57,280
Speaker 3: have heard of this film. Yeah, And I like what

418
00:21:57,280 --> 00:22:00,439
Speaker 3: he casually doesn't. He doesn't mention it. We have the

419
00:22:00,480 --> 00:22:02,199
Speaker 3: reaction we're doing right now. If you said the name

420
00:22:02,240 --> 00:22:03,680
Speaker 3: of the movie and we never heard of it, we'd

421
00:22:03,720 --> 00:22:06,560
Speaker 3: be like, oh, who cares? But now we're like, who

422
00:22:06,600 --> 00:22:08,080
Speaker 3: the fuck is Colonel Chagoose?

423
00:22:08,359 --> 00:22:09,280
Speaker 2: Captain Shaboom?

424
00:22:09,800 --> 00:22:14,000
Speaker 3: Hold on, Colonel show, How do you suppose chag Goose.

425
00:22:14,080 --> 00:22:16,040
Speaker 2: Is sh dash Goose?

426
00:22:18,800 --> 00:22:24,720
Speaker 3: Let me see no, no oh. The search term Colonel

427
00:22:24,760 --> 00:22:29,800
Speaker 3: Chagoose likely refers to Colonel Goose Van Schick, a notable

428
00:22:29,800 --> 00:22:35,080
Speaker 3: Continental Army officer during the American Revolutionary War. So, Colonel Chagoose,

429
00:22:35,600 --> 00:22:38,360
Speaker 3: let us know what you're doing to stay young and

430
00:22:38,400 --> 00:22:43,000
Speaker 3: for your what your longevity regimen is here, Because start

431
00:22:43,080 --> 00:22:46,720
Speaker 3: out as an American revolutionary or a Continental Army officer

432
00:22:46,760 --> 00:22:48,879
Speaker 3: and you end up directing feature length films in the

433
00:22:48,880 --> 00:22:51,240
Speaker 3: two thousands. You got to be doing something, right, Colonel.

434
00:22:51,000 --> 00:22:54,600
Speaker 2: Chagoose hanging out on the gram. Yeah, colonel on the Gram.

435
00:22:54,680 --> 00:22:56,600
Speaker 3: Better get back to us.

436
00:22:56,520 --> 00:22:56,880
Speaker 2: All right.

437
00:22:56,960 --> 00:22:59,760
Speaker 1: Yeah, I'm curious about that movie title too, So right's

438
00:22:59,800 --> 00:23:02,640
Speaker 1: back and let us know. Also on Instagram, we got

439
00:23:02,640 --> 00:23:05,920
Speaker 1: this message from ad and the nine seven to three,

440
00:23:06,400 --> 00:23:08,960
Speaker 1: who wrote and this is a very perceptive thing. I

441
00:23:09,000 --> 00:23:10,760
Speaker 1: had not thought about this. Don't forget for Robert Downe

442
00:23:10,800 --> 00:23:13,960
Speaker 1: Junior Roles how he played twice a very convincing Sherlock Holmes.

443
00:23:13,960 --> 00:23:17,080
Speaker 1: He is the only actor who correctly plays Sherlock Holmes

444
00:23:17,119 --> 00:23:23,160
Speaker 1: as an on edge recovering addict, which Sherlock also was. Yes, yeah,

445
00:23:23,440 --> 00:23:25,360
Speaker 1: I thought that was pretty insightful. I had not thought

446
00:23:25,359 --> 00:23:27,800
Speaker 1: about that before. Yeah, that's a good movie. That's a

447
00:23:27,840 --> 00:23:28,959
Speaker 1: good that's like the first one.

448
00:23:29,000 --> 00:23:29,920
Speaker 2: I like that one a lot. Yeah.

449
00:23:29,960 --> 00:23:32,520
Speaker 1: Yeah, everybody else out there, please get out us call

450
00:23:32,640 --> 00:23:35,040
Speaker 1: us text us sixty one seven nine oh six sixty

451
00:23:35,080 --> 00:23:37,920
Speaker 1: six three eight. You can email us at Disgrace lampod

452
00:23:38,040 --> 00:23:41,679
Speaker 1: at gmail dot com. Of course we're on Instagram, Facebook

453
00:23:41,960 --> 00:23:45,760
Speaker 1: x at Disgrace lamb Pod as well. Send us your recommendations,

454
00:23:45,920 --> 00:23:48,280
Speaker 1: give us all you got. Jake and I have got

455
00:23:48,280 --> 00:23:50,680
Speaker 1: some recommendations for you, which you're going to get into

456
00:23:51,119 --> 00:24:10,040
Speaker 1: right after this break. Hang tight, Welcome back everybody to

457
00:24:10,119 --> 00:24:12,879
Speaker 1: the wrap parties. Zeth Lundy here with Jake Brennan coming

458
00:24:12,880 --> 00:24:14,840
Speaker 1: at you with the part of the show we call

459
00:24:15,000 --> 00:24:17,440
Speaker 1: for your consideration. This is where Jake and I give

460
00:24:17,520 --> 00:24:20,800
Speaker 1: you music and movie recommendations. But the twist is that

461
00:24:20,840 --> 00:24:24,080
Speaker 1: they are inspired by the subject from our full episode

462
00:24:24,400 --> 00:24:27,520
Speaker 1: of Hollywood Land that week. So with all that said, Jake,

463
00:24:27,840 --> 00:24:31,080
Speaker 1: what music res inspired by Joan Crawford do you have

464
00:24:31,160 --> 00:24:31,720
Speaker 1: for us today?

465
00:24:32,200 --> 00:24:32,440
Speaker 2: Woo?

466
00:24:33,440 --> 00:24:37,080
Speaker 3: This one is testing the limits of my U what's

467
00:24:37,920 --> 00:24:41,360
Speaker 3: the hot Hopskip and jump referential treatment that we give

468
00:24:41,440 --> 00:24:45,560
Speaker 3: these things? Okay, Joan, First of all, I'm sure there's

469
00:24:45,560 --> 00:24:48,919
Speaker 3: some some recording that Joan Crawford has done in the

470
00:24:48,960 --> 00:24:51,080
Speaker 3: past that maybe is famous, maybe it is not, but

471
00:24:51,119 --> 00:24:52,840
Speaker 3: it's got to be something. But I don't care about

472
00:24:52,880 --> 00:24:55,359
Speaker 3: that because I want this to actually be shit that

473
00:24:55,359 --> 00:25:01,200
Speaker 3: I'm into. So Joan thinking music, I immediately thinking, Joan Bias, Zeth,

474
00:25:01,240 --> 00:25:03,119
Speaker 3: do you like Joe Biaz's music?

475
00:25:03,920 --> 00:25:04,560
Speaker 2: I do not?

476
00:25:04,920 --> 00:25:06,680
Speaker 3: Have you ever listened to Do you ever put a

477
00:25:06,760 --> 00:25:09,640
Speaker 3: Joe Bias record on just to listen to it?

478
00:25:09,880 --> 00:25:11,520
Speaker 1: A friend of mine in college used to put on

479
00:25:11,640 --> 00:25:13,600
Speaker 1: Diamonds and Russ all the time, and it was like

480
00:25:13,760 --> 00:25:17,440
Speaker 1: fingernails on a chalkboard. Exactly, Sorry, Joan Biaz, I'm sorry,

481
00:25:17,480 --> 00:25:18,680
Speaker 1: exactly now.

482
00:25:18,920 --> 00:25:21,280
Speaker 3: Just before we just I don't want to be super

483
00:25:21,280 --> 00:25:25,040
Speaker 3: super negative here, I will say when I watched the

484
00:25:25,119 --> 00:25:29,560
Speaker 3: Dylan bio pick, the recent Dylan Bio pick a complete unknown, Yeah,

485
00:25:30,320 --> 00:25:34,720
Speaker 3: the actress who portrays Joan Bias does so in a

486
00:25:34,760 --> 00:25:38,960
Speaker 3: way that actually made me understand what the fascination with

487
00:25:39,080 --> 00:25:41,800
Speaker 3: Joan Biaz was because I never got it. But I

488
00:25:42,080 --> 00:25:44,440
Speaker 3: after leaving that, I'm not saying I now am into

489
00:25:44,520 --> 00:25:46,280
Speaker 3: Joe Bias, but I was like, Okay, I get why

490
00:25:46,320 --> 00:25:48,800
Speaker 3: people were why she was such a big deal, but

491
00:25:48,880 --> 00:25:53,119
Speaker 3: I'm not a fan. However, Joan, Joan Biaz, what do

492
00:25:53,160 --> 00:25:57,119
Speaker 3: I do with that? Diamonds and rust? Right? Can't stand

493
00:25:57,119 --> 00:26:00,360
Speaker 3: the Joe Bias version of her song Diamonds and Us.

494
00:26:00,640 --> 00:26:04,960
Speaker 3: But the Judas Priest version of that song is the shit, okay,

495
00:26:06,119 --> 00:26:10,240
Speaker 3: And it's directly responsible for a scene in my book

496
00:26:10,280 --> 00:26:13,760
Speaker 3: Memphis seventy seven that may or may not. That scene

497
00:26:13,800 --> 00:26:15,520
Speaker 3: may or may not make it into the final the

498
00:26:15,560 --> 00:26:19,000
Speaker 3: final edit we shall see. But okay. So this song

499
00:26:19,200 --> 00:26:21,239
Speaker 3: Diamonds and Russ the cover by Judas Priest first of all,

500
00:26:21,320 --> 00:26:23,239
Speaker 3: Jews Priests cover Joone Bias What the fuck? Yes, they

501
00:26:23,280 --> 00:26:28,159
Speaker 3: did nineteen seventy seven's album Sin after Sin. You know,

502
00:26:28,520 --> 00:26:30,480
Speaker 3: as soon as I start to come into the Joe

503
00:26:30,480 --> 00:26:33,320
Speaker 3: BIA's camp a little bit here, like I get pushed out.

504
00:26:33,400 --> 00:26:35,560
Speaker 3: This is her quote about it, about the Jewis Priest

505
00:26:35,560 --> 00:26:38,720
Speaker 3: song and the cover of her song. She says, I

506
00:26:38,800 --> 00:26:41,359
Speaker 3: love that. I was so stunned when I first heard it.

507
00:26:41,440 --> 00:26:43,920
Speaker 3: I thought it was wonderful. It's very rare for people

508
00:26:43,960 --> 00:26:46,159
Speaker 3: to cover my songs. I think there are a couple

509
00:26:46,160 --> 00:26:49,000
Speaker 3: of reasons. One is their personal They don't have a

510
00:26:49,080 --> 00:26:52,080
Speaker 3: universal quality to them, and I think maybe it's because

511
00:26:52,600 --> 00:27:01,320
Speaker 3: I've already sung them, and who wants to compete with that?

512
00:27:01,320 --> 00:27:05,360
Speaker 4: That is spoken like a person who has had their

513
00:27:05,680 --> 00:27:09,880
Speaker 4: ass kissed their entire life over how great they are

514
00:27:09,920 --> 00:27:15,359
Speaker 4: and just fucking Bob Dylan's Muse and uh okay, so yeah,

515
00:27:15,920 --> 00:27:18,480
Speaker 4: just Diamonds and Russ the Jewish Priest version. Go check

516
00:27:18,520 --> 00:27:22,120
Speaker 4: that out, Okay, so Joan kraw Kraw, I thought Crawfish,

517
00:27:22,320 --> 00:27:24,520
Speaker 4: all right, Then I thought of the great Louisiana rock

518
00:27:24,520 --> 00:27:25,920
Speaker 4: and roll artist c c Adcock.

519
00:27:25,920 --> 00:27:27,080
Speaker 3: You ever hear of cec Idcock.

520
00:27:28,200 --> 00:27:29,840
Speaker 2: I feel like I've seen the name before in my life,

521
00:27:29,880 --> 00:27:30,520
Speaker 2: but I don't know.

522
00:27:30,880 --> 00:27:33,080
Speaker 3: Incredible, this is one of those dudes put up this

523
00:27:33,160 --> 00:27:36,800
Speaker 3: record in nineteen ninety four, self titled on Island Records,

524
00:27:37,080 --> 00:27:40,000
Speaker 3: produced I believe by Denny Cordell who did the early

525
00:27:40,119 --> 00:27:43,840
Speaker 3: Petty Stuff and Leon Russell. That record I had that

526
00:27:43,880 --> 00:27:46,600
Speaker 3: record when it came out is amazing. I still have

527
00:27:46,640 --> 00:27:48,560
Speaker 3: it on CD somewhere. You can't get it. It's not

528
00:27:48,640 --> 00:27:51,960
Speaker 3: on Spotify. It's phenomenal. Later in my career as a musician,

529
00:27:52,000 --> 00:27:55,320
Speaker 3: I ended up touring in Europe with Ccidcock and about

530
00:27:55,320 --> 00:27:57,440
Speaker 3: ten years later in two thousand and four, and he

531
00:27:57,640 --> 00:28:01,160
Speaker 3: was one of the most American characters of I ever met.

532
00:28:01,200 --> 00:28:03,840
Speaker 3: We kind of became friends a little bit, but he's

533
00:28:04,040 --> 00:28:07,119
Speaker 3: he's a he's a recluse, he's he's off the grid.

534
00:28:07,359 --> 00:28:09,640
Speaker 3: I don't know what the dude's doing, but for those

535
00:28:09,640 --> 00:28:11,520
Speaker 3: who are interested. In two thousand and four, he put

536
00:28:11,520 --> 00:28:13,800
Speaker 3: out a record on YEP Rock, which is the label

537
00:28:13,800 --> 00:28:15,680
Speaker 3: I was signed to, and the record is called Lafayette

538
00:28:15,680 --> 00:28:18,520
Speaker 3: Marquis and it is amazing. It is incredible. Not as

539
00:28:18,520 --> 00:28:21,439
Speaker 3: good as this debut album, but it is incredible. So

540
00:28:21,520 --> 00:28:24,760
Speaker 3: check out cciad Cock Lafayette Marquis. The only time I've

541
00:28:24,760 --> 00:28:28,760
Speaker 3: ever eaten crawfish was with Cecii coock in in Lafayette,

542
00:28:28,760 --> 00:28:32,639
Speaker 3: actually Lafayette, Louisiana. The funnest day of my life might

543
00:28:32,680 --> 00:28:35,439
Speaker 3: have been with him in Louisiana, one of them, pre marriage,

544
00:28:35,480 --> 00:28:39,200
Speaker 3: pre kids. Yeah yeah, no, no for real. But it

545
00:28:39,280 --> 00:28:42,160
Speaker 3: was like I wouldn't have fun doing that now is

546
00:28:42,200 --> 00:28:45,160
Speaker 3: also my point, given the amount of alcohol that was involved.

547
00:28:45,160 --> 00:28:46,840
Speaker 3: But it was just it was just the blast in

548
00:28:46,840 --> 00:28:49,640
Speaker 3: Louisiana they do. I don't know if it's a Southern thing,

549
00:28:49,840 --> 00:28:52,000
Speaker 3: but it was explained to me that like the big

550
00:28:52,040 --> 00:28:54,920
Speaker 3: party day down there was Sundays because it's so church

551
00:28:54,960 --> 00:28:59,560
Speaker 3: oriented and and everybody parties together. There's no generation gap.

552
00:28:59,840 --> 00:29:03,080
Speaker 3: You go to church and then after church the party

553
00:29:03,120 --> 00:29:07,320
Speaker 3: starts and you party throughout the night and there's zytaco

554
00:29:07,440 --> 00:29:09,920
Speaker 3: music and the whole thing, and it's just and he

555
00:29:09,960 --> 00:29:12,520
Speaker 3: took us to one of these like dance halls and

556
00:29:12,560 --> 00:29:14,840
Speaker 3: where we had it was just unbelievable. I'm pretty sure

557
00:29:14,840 --> 00:29:16,200
Speaker 3: your stuff with my girlfriend at the time that night,

558
00:29:16,240 --> 00:29:17,200
Speaker 3: but I don't blame him for it.

559
00:29:17,280 --> 00:29:17,640
Speaker 2: Anyways.

560
00:29:17,840 --> 00:29:23,520
Speaker 3: The next thing I go from, go for Joan kra Ford, Crawford,

561
00:29:23,640 --> 00:29:26,160
Speaker 3: Ford f r D. Ford versus Ferra. I could have

562
00:29:26,200 --> 00:29:28,120
Speaker 3: gone with Tennessee Ernie Ford. I could have found some

563
00:29:28,200 --> 00:29:31,680
Speaker 3: Ford reference here. But the car, the car the film

564
00:29:31,960 --> 00:29:35,360
Speaker 3: Ford Versus Ferrari, which is a really good movie, right, Okay.

565
00:29:35,440 --> 00:29:41,160
Speaker 3: In that movie there is a version of Poke Salad Annie,

566
00:29:41,320 --> 00:29:44,000
Speaker 3: okay by James Burton, the incredible guitar player who played

567
00:29:44,000 --> 00:29:46,640
Speaker 3: with Elvis Presley and Graham Parsons and is still going strong.

568
00:29:47,400 --> 00:29:48,960
Speaker 2: That's not the right version of that song.

569
00:29:49,000 --> 00:29:51,840
Speaker 3: However, in Ford Versus Ferrari, they should have used the

570
00:29:51,920 --> 00:29:54,560
Speaker 3: Tony Joe White version, the original version from nineteen sixty

571
00:29:54,640 --> 00:29:57,400
Speaker 3: nine of Poke Salad Annie, which is incredible. And if

572
00:29:57,400 --> 00:29:59,320
Speaker 3: people have not heard that song, if maybe they've heard

573
00:29:59,320 --> 00:30:02,440
Speaker 3: the Elvis version or the version from Ford versus Ferrari.

574
00:30:02,720 --> 00:30:06,440
Speaker 3: The original version is where it is at. It is

575
00:30:06,520 --> 00:30:11,600
Speaker 3: the swampiest, dirtiest, low down sounding thing. It'll make you

576
00:30:11,680 --> 00:30:14,320
Speaker 3: want to move to the South and just never use

577
00:30:14,400 --> 00:30:17,720
Speaker 3: suntan lotionan again, sunblock, I mean, you know, just real

578
00:30:17,800 --> 00:30:18,360
Speaker 3: rednecks shit.

579
00:30:18,400 --> 00:30:22,240
Speaker 1: It's fantastic. Sweet so Polke Salad, Annie C. C Adcock

580
00:30:22,800 --> 00:30:25,680
Speaker 1: and Judas Priest doing joem Bias.

581
00:30:25,760 --> 00:30:26,400
Speaker 2: I love that list.

582
00:30:26,400 --> 00:30:28,800
Speaker 1: I got to tell you real quick. One of your

583
00:30:28,840 --> 00:30:32,400
Speaker 1: recommendations last week was this Junior Parker album and I

584
00:30:32,600 --> 00:30:34,720
Speaker 1: went and searched it up this week and I listened

585
00:30:34,720 --> 00:30:38,040
Speaker 1: to it, and it's incredible, as you stated, but I

586
00:30:38,160 --> 00:30:42,480
Speaker 1: was laughing. His Taxman cover is incredible. But he has

587
00:30:42,520 --> 00:30:45,880
Speaker 1: these hilarious asides like throughout it where he's like for

588
00:30:46,240 --> 00:30:48,000
Speaker 1: those about to die and he's like, oh my god,

589
00:30:48,040 --> 00:30:51,000
Speaker 1: this is awful, Like he throws it. It's like, oh

590
00:30:51,080 --> 00:30:52,480
Speaker 1: my god, this is awful. What I'm about to do

591
00:30:52,520 --> 00:30:52,800
Speaker 1: to you?

592
00:30:52,920 --> 00:30:56,200
Speaker 3: Like a character?

593
00:30:56,480 --> 00:30:57,240
Speaker 2: Never make a record.

594
00:30:57,400 --> 00:30:59,040
Speaker 3: Never make a record like that today or maybe they

595
00:30:59,080 --> 00:31:01,160
Speaker 3: would probably be a hip hop record actually with yeah,

596
00:31:01,160 --> 00:31:01,720
Speaker 3: probably the rest.

597
00:31:02,000 --> 00:31:03,480
Speaker 2: It's a very cool record. So thanks for that.

598
00:31:03,800 --> 00:31:06,240
Speaker 1: You got it, Okay, I'm moving on. I got my

599
00:31:06,240 --> 00:31:09,680
Speaker 1: movie recommendations Joan Crawford. So whether or not it's like

600
00:31:09,680 --> 00:31:13,600
Speaker 1: one hundred percent true, Joan Crawford has this overbearing reputation

601
00:31:13,640 --> 00:31:17,560
Speaker 1: as a bad mom, right, so which is her adopted

602
00:31:17,640 --> 00:31:20,800
Speaker 1: daughter wrote this memoir that painted her in this light.

603
00:31:20,880 --> 00:31:22,880
Speaker 1: And then the movie Mommy Dearis, of course is Fate

604
00:31:22,960 --> 00:31:25,840
Speaker 1: down Away sort of drove this home. There's been a

605
00:31:25,880 --> 00:31:27,880
Speaker 1: lot of debate about whether the book is one hundred

606
00:31:27,880 --> 00:31:29,800
Speaker 1: percent true or not, but whatever. So I had just

607
00:31:29,840 --> 00:31:32,960
Speaker 1: had Joan Crawford Bad Mom in my brain, So I

608
00:31:33,000 --> 00:31:35,280
Speaker 1: was going to pick three movies that have bad moms

609
00:31:35,640 --> 00:31:38,040
Speaker 1: at the center of them, okay, or in the movie.

610
00:31:38,600 --> 00:31:42,120
Speaker 1: So the first thing I think of is Kathleen Turner

611
00:31:42,240 --> 00:31:46,440
Speaker 1: in Serial Mom. Yes, the nineteen ninety four John Waters movie,

612
00:31:46,440 --> 00:31:50,440
Speaker 1: which has that scene where she breaks the Faberge egg

613
00:31:50,680 --> 00:31:53,800
Speaker 1: when the pussy Willows are in there, and that Dottie

614
00:31:53,840 --> 00:31:54,640
Speaker 1: is like, what.

615
00:31:54,560 --> 00:31:55,160
Speaker 2: Did you to say?

616
00:31:55,200 --> 00:31:58,840
Speaker 1: And that Kathleen Turner looks at her. It's like Pussy Willows, Doddy.

617
00:31:59,000 --> 00:32:01,000
Speaker 2: It's just like the that's one of.

618
00:32:01,000 --> 00:32:03,560
Speaker 1: The best line deliveries. But if you haven't seen seeo Mom.

619
00:32:04,120 --> 00:32:06,680
Speaker 1: Kathleen Turner's a suburban housewife who kills people, just like

620
00:32:06,680 --> 00:32:11,360
Speaker 1: over the slightest things, like she kills with a fire poker,

621
00:32:11,360 --> 00:32:13,719
Speaker 1: a pair of scissors, her car, a leg of lamb.

622
00:32:15,280 --> 00:32:19,360
Speaker 1: And it's John Waters at his like suburban satire, ramped

623
00:32:19,440 --> 00:32:24,440
Speaker 1: up ness, most most suburban satire. Uh. And I just

624
00:32:24,480 --> 00:32:27,719
Speaker 1: love Kathleen Turner. She's always had great comedic chops, but

625
00:32:27,800 --> 00:32:29,440
Speaker 1: she just like really goes for it and plays this

626
00:32:29,560 --> 00:32:30,760
Speaker 1: role like so straight.

627
00:32:30,720 --> 00:32:33,400
Speaker 2: While all this campy shit's happening around or whatever. It's

628
00:32:33,440 --> 00:32:33,880
Speaker 2: so great.

629
00:32:34,160 --> 00:32:36,080
Speaker 3: I feel like she's super underrated. That might be my

630
00:32:36,120 --> 00:32:37,240
Speaker 3: favorite John Waters movie.

631
00:32:37,280 --> 00:32:38,360
Speaker 2: I think I might be my favorite. Two.

632
00:32:38,440 --> 00:32:41,080
Speaker 3: Yeah, it's so damn good and she's just incredible.

633
00:32:41,280 --> 00:32:46,640
Speaker 1: Number two The Goonies. Anna Ramsey as the evil mom

634
00:32:46,720 --> 00:32:49,040
Speaker 1: of the Now. I'm forgetting her name, but she's she's

635
00:32:49,080 --> 00:32:51,120
Speaker 1: the head of the crime family there.

636
00:32:51,000 --> 00:32:53,560
Speaker 3: And she's from from Pee Wee's Playhouse right.

637
00:32:53,560 --> 00:32:56,320
Speaker 2: Large, she's not large, Marge, No, she's not. No, she's

638
00:32:56,400 --> 00:32:58,960
Speaker 2: not No.

639
00:32:59,120 --> 00:33:00,720
Speaker 1: She was in Throw Mama for the Train around the

640
00:33:00,760 --> 00:33:05,120
Speaker 1: same time. Yeah as Yeah, the Goonies of course seminal

641
00:33:05,160 --> 00:33:07,280
Speaker 1: texts for me growing up, growing up gen X. I

642
00:33:07,320 --> 00:33:09,240
Speaker 1: was like eight when this movie came out, so I

643
00:33:09,240 --> 00:33:11,040
Speaker 1: probably saw it when I was eight or nine, and

644
00:33:11,240 --> 00:33:12,720
Speaker 1: this is one of those I don't know about you,

645
00:33:12,760 --> 00:33:14,240
Speaker 1: This is one of those movies that I just lived

646
00:33:14,240 --> 00:33:16,560
Speaker 1: in as a kid, Like you rode your bikes around

647
00:33:16,600 --> 00:33:18,760
Speaker 1: with your friends in the woods. You look for treasure maps, yeah,

648
00:33:18,760 --> 00:33:21,160
Speaker 1: for hidden treasure. You look for secret passages under the

649
00:33:21,160 --> 00:33:24,000
Speaker 1: floor boards, for bodies in the freezer. And if you

650
00:33:24,000 --> 00:33:26,520
Speaker 1: ever encountered someone who looked or sounded like Anne Ramsey

651
00:33:26,560 --> 00:33:28,320
Speaker 1: looks and sounds like in this movie, you got the

652
00:33:28,360 --> 00:33:31,240
Speaker 1: fuck out of there fronto right exactly.

653
00:33:31,760 --> 00:33:34,840
Speaker 3: Yeah, definitive bad mom. And alisonn was large marsh. My

654
00:33:34,880 --> 00:33:36,120
Speaker 3: apologies to Alisnn.

655
00:33:36,280 --> 00:33:38,320
Speaker 2: No worries, no worries, okay.

656
00:33:38,320 --> 00:33:39,680
Speaker 1: And then third, I got to mention one of my

657
00:33:39,720 --> 00:33:42,440
Speaker 1: wife's favorite movies of all time, this comedy from nineteen

658
00:33:42,480 --> 00:33:45,640
Speaker 1: ninety nine called Detroit Rock City, about a group of

659
00:33:45,720 --> 00:33:49,400
Speaker 1: high school friends, including Edward Furlong, who had been in

660
00:33:49,560 --> 00:33:53,000
Speaker 1: Terminator two like ten years earlier or whatever that was.

661
00:33:53,760 --> 00:33:55,280
Speaker 1: These kids in Cleveland, they're trying to get to a

662
00:33:55,320 --> 00:33:58,840
Speaker 1: kiss concert in Detroit in the late seventies, and it

663
00:33:58,880 --> 00:34:01,640
Speaker 1: has this incredible beform. It's by Lynn Shane, who you

664
00:34:01,720 --> 00:34:04,200
Speaker 1: might remember is the extremely tanned woman with the little dog,

665
00:34:04,320 --> 00:34:07,120
Speaker 1: and there's something about Mary. She plays one of the

666
00:34:07,120 --> 00:34:10,879
Speaker 1: boys super religious moms, and actually early on the movie

667
00:34:10,920 --> 00:34:12,840
Speaker 1: she like burns their kiss tickets, like she goes to

668
00:34:12,880 --> 00:34:16,319
Speaker 1: this like anti kiss rally at one point, but she

669
00:34:16,440 --> 00:34:19,160
Speaker 1: like burns their tickets. And there's like she's the thing

670
00:34:19,400 --> 00:34:21,960
Speaker 1: they're trying to get to Detroit, and she keeps on

671
00:34:22,040 --> 00:34:24,000
Speaker 1: popping up as this like roadblock that they can't go

672
00:34:24,040 --> 00:34:24,560
Speaker 1: to the concert.

673
00:34:24,680 --> 00:34:25,000
Speaker 2: Whatever.

674
00:34:25,360 --> 00:34:28,759
Speaker 1: So anyways, that's my Detroit Rock City, the Goonies and

675
00:34:29,040 --> 00:34:29,680
Speaker 1: Cereal Mom.

676
00:34:30,120 --> 00:34:32,560
Speaker 3: I need to watch Detroit Rock City again. It's been

677
00:34:32,600 --> 00:34:34,440
Speaker 3: so I think I saw it once like when it

678
00:34:34,480 --> 00:34:36,200
Speaker 3: came right around when it came out. I didn't see

679
00:34:36,200 --> 00:34:38,080
Speaker 3: it in theaters, but I'm not remember any of this.

680
00:34:38,320 --> 00:34:40,560
Speaker 1: It's got an amazing soundtrack too, and I wonder like

681
00:34:40,640 --> 00:34:45,439
Speaker 1: they haven't they haven't like re reissued it on Blu

682
00:34:45,560 --> 00:34:47,319
Speaker 1: ray or anything for a very long time, and it's

683
00:34:47,800 --> 00:34:49,799
Speaker 1: I don't think it's ever streamed anywhere. You have to

684
00:34:49,840 --> 00:34:52,360
Speaker 1: like rent it somewhere. I wonder if it's a music

685
00:34:52,440 --> 00:34:55,600
Speaker 1: copyright thing, because there's like so many songs on that

686
00:34:55,640 --> 00:34:58,080
Speaker 1: soundtrack from the seventies that I don't know if that's

687
00:34:58,080 --> 00:34:58,680
Speaker 1: what's preventing.

688
00:34:59,040 --> 00:35:02,040
Speaker 3: Let me ask you something, SA, do you have a

689
00:35:02,080 --> 00:35:02,840
Speaker 3: Blu ray player?

690
00:35:03,600 --> 00:35:05,879
Speaker 2: Yeah? I have a PlayStation, so you can play.

691
00:35:06,040 --> 00:35:08,400
Speaker 3: You can play. You So you have Blu rays? Do

692
00:35:08,400 --> 00:35:09,240
Speaker 3: you buy them? Still?

693
00:35:09,480 --> 00:35:10,720
Speaker 2: Yeah? Wow?

694
00:35:11,440 --> 00:35:12,120
Speaker 3: Love that for you.

695
00:35:12,800 --> 00:35:13,120
Speaker 2: Love that.

696
00:35:13,400 --> 00:35:16,120
Speaker 1: It looks better than if you if you stream. If

697
00:35:16,120 --> 00:35:18,960
Speaker 1: you stream a movie on Criterion Channel and then you

698
00:35:19,000 --> 00:35:23,440
Speaker 1: play the Criterion four K, the difference is enough for

699
00:35:23,480 --> 00:35:25,640
Speaker 1: me that I would prefer to watch the Blu ray.

700
00:35:25,760 --> 00:35:27,600
Speaker 2: So it's just I got to get into that.

701
00:35:28,480 --> 00:35:30,080
Speaker 1: All right, dude, Listen, I've taken up a lot of

702
00:35:30,080 --> 00:35:33,719
Speaker 1: your time, and uh, I know you got places to go, people.

703
00:35:33,440 --> 00:35:33,800
Speaker 2: To talk to.

704
00:35:34,080 --> 00:35:35,080
Speaker 3: All Right, dude, good work.

705
00:35:35,080 --> 00:35:37,440
Speaker 1: Thanks right man, I'll talk to you soon. Everybody else

706
00:35:37,640 --> 00:35:39,759
Speaker 1: hanging tight. I will be right back with some final

707
00:35:39,800 --> 00:36:02,960
Speaker 1: thoughts right after this. What's happening everybody, Thanks again one

708
00:36:02,960 --> 00:36:05,280
Speaker 1: more time for getting to the end of the line

709
00:36:05,360 --> 00:36:07,799
Speaker 1: of a brand new rap party with me. If you're

710
00:36:07,840 --> 00:36:11,480
Speaker 1: still here, if you're still listening, if if the POD's

711
00:36:11,520 --> 00:36:15,160
Speaker 1: still playing in your ears, thank you so much for

712
00:36:15,440 --> 00:36:18,839
Speaker 1: being a part of this with us. We've got lots

713
00:36:18,880 --> 00:36:21,440
Speaker 1: of great stuff coming your way, lots of great episodes.

714
00:36:21,520 --> 00:36:22,879
Speaker 1: Just looking into my crystal ball.

715
00:36:22,960 --> 00:36:23,280
Speaker 2: Here.

716
00:36:23,840 --> 00:36:27,240
Speaker 1: We've got episodes for you on Charlie Chaplin, Carrie Fisher,

717
00:36:27,360 --> 00:36:30,960
Speaker 1: Jarrenny Depp, Paul Newman. That's just to name a few

718
00:36:31,120 --> 00:36:34,600
Speaker 1: coming down the pike. So let's keep meeting like this

719
00:36:34,760 --> 00:36:38,480
Speaker 1: every Wednesday, to decompress, to talk about that week's story,

720
00:36:39,080 --> 00:36:41,239
Speaker 1: to talk about the books we're not reading, to talk

721
00:36:41,280 --> 00:36:49,080
Speaker 1: about the strange movie scenes they are delivering. To bloodthirsty

722
00:36:49,160 --> 00:36:51,759
Speaker 1: wolves in the plains of Oregon. Okay, you know what

723
00:36:51,800 --> 00:36:54,480
Speaker 1: to do six one seven nine oh six six six

724
00:36:54,640 --> 00:36:57,200
Speaker 1: three eight, and until we meet again next week, I

725
00:36:57,239 --> 00:37:00,560
Speaker 1: have four important things for you to know. Number one,

726
00:37:00,640 --> 00:37:04,120
Speaker 1: available right now in your Hollywood Land feed. Our episode

727
00:37:04,160 --> 00:37:08,160
Speaker 1: on Joan Crawford. Number two coming next week on Monday,

728
00:37:08,400 --> 00:37:12,440
Speaker 1: our episode on Harrison Ford. Number three. Do you listen

729
00:37:12,560 --> 00:37:15,799
Speaker 1: to Disgraceland, Jake's other award winning show made four and

730
00:37:15,840 --> 00:37:18,959
Speaker 1: about rock and roll animals, The og Music and True

731
00:37:18,960 --> 00:37:23,200
Speaker 1: Crime Pod, with episodes on Bob Marley, Bob Dylan, Bob Johnson,

732
00:37:23,360 --> 00:37:25,239
Speaker 1: that's Robert Johnson, but I wanted to keep going with

733
00:37:25,280 --> 00:37:28,160
Speaker 1: the Bob's there and hundreds more. If you're not, you're

734
00:37:28,200 --> 00:37:31,160
Speaker 1: missing out, Just go search up Disgraceland. Wherever you get

735
00:37:31,200 --> 00:37:35,239
Speaker 1: podcasts and now Number four in honor of this week's episode,

736
00:37:35,560 --> 00:37:39,240
Speaker 1: me reading you the list of the other Best Actress

737
00:37:39,280 --> 00:37:42,680
Speaker 1: nominees for the year nineteen forty six, the year that

738
00:37:42,800 --> 00:37:46,080
Speaker 1: Joan Crawford won an Academy Award for her role in

739
00:37:46,160 --> 00:37:51,759
Speaker 1: Mildred Pierce. Number one, Ingrid Bergmann and the Bells of

740
00:37:51,840 --> 00:37:59,240
Speaker 1: Saint Mary's, directed by Leo McCarey. Number two Greer Garson

741
00:37:59,280 --> 00:38:03,080
Speaker 1: in the Valley of Decision directly directed directed by Williams.

742
00:38:03,239 --> 00:38:07,760
Speaker 1: Take Guard, Ingrid berg Number three in The Phils, Jennifer

743
00:38:07,800 --> 00:38:12,040
Speaker 1: Jones and Love Writers, Leave Her directed by William de

744
00:38:12,160 --> 00:38:16,920
Speaker 1: terre Sall Career Orers. Number four All Jeane Tierney in

745
00:38:16,960 --> 00:38:19,800
Speaker 1: the Belt and Leave Her to Heaven take direct directed

746
00:38:19,800 --> 00:38:27,160
Speaker 1: by John and the sta Quit Talking and start mixing.

747
00:38:27,400 --> 00:38:27,680
Speaker 3: Could