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Speaker 1: Dear listeners of Hollywoodland, does it feel like you're stuck

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Speaker 1: in limbo, standing under a flickering streetlight at the corner

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Speaker 1: of Hollywood and true crime, waiting for the next episode

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Speaker 1: of Hollywoodland to drop?

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Speaker 2: I got you.

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Speaker 1: Welcome to Hollywoodland, the rap party. Hey everybody, it's Seth Lundy, writer, showrunner,

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Speaker 1: good doctor here at Double Elvis. And today in the

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Speaker 1: Hollywoodland Rap Party, we are talking about You Can See Everything.

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Speaker 1: We're talking movies and albums that broke the mold and

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Speaker 1: rewrote the rules. We're talking about Jane Mansfield, Anton LaVey,

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Speaker 1: and the countdown to Halloween. Plus, Jake Brennan of Disgraceland

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Speaker 1: is here with some dirty recs, and I've got your calls, texts,

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Speaker 1: and emails. So come on, everybody, let's party. What's up, Wednesday, everybody? Actually,

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Speaker 1: it is Monday as I record this week's episode of

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Speaker 1: The Rap Party, and I'm still thinking about the documentary

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Speaker 1: You Can See Everything, which I saw on Saturday over

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Speaker 1: the weekend. Still thinking about this film, still talking about

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Speaker 1: this film with my wife, who saw this with me.

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Speaker 1: This is the A24 documentary co-directed by Nathan Fielder and

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Speaker 1: Lance Oppenheim. which uses unprecedented access to the private life

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Speaker 1: of Elizabeth Holmes, the disgraced CEO of Theranos, and her

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Speaker 1: family in the final weeks before she begins her seven-year

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Speaker 1: prison sentence for defrauding investors in her company. If you've

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Speaker 1: been living under a rock for the last decade, Theranos

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Speaker 1: was this health tech company that claimed it had invented

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Speaker 1: a compact automated device which could run hundreds of complex

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Speaker 1: medical tests with just a few drops of blood. These claims,

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Speaker 1: of course, proved too good to be true, and Elizabeth Holmes,

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Speaker 1: along with the company's co-founder, were found guilty of fraud

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Speaker 1: and sentenced to jail. The buzz on this movie has

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Speaker 1: been intense. The buzz has been that it is unlike

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Speaker 1: any other documentary you've ever seen before, that it is

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Speaker 1: rewriting the rules for a documentary, that it may even

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Speaker 1: become the first documentary in movie history to be nominated

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Speaker 1: not for Best Documentary, at the Academy Awards, but for

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Speaker 1: Best Picture. And so, of course, when you've got buzz

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Speaker 1: like that, the inevitable backlash swoops in to counter, and

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Speaker 1: we've already seen some reactions to this film that are

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Speaker 1: looking to knock it down a peg. You know, it's

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Speaker 1: not revolutionary. You know, the documentary filmmakers in the past

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Speaker 1: have regularly inserted themselves into their work and found ways

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Speaker 1: to break the form and all that shit. But let

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Speaker 1: me tell you, these naysayers are wrong. This film is

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Speaker 1: a new kind of cinematic language, I promise you. If

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Speaker 1: you've seen Nathan Fielder's shows before, Nathan For You, The Rehearsal,

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Speaker 1: The Curse, then you already know the Fielder schtick, the style,

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Speaker 1: his deadpan monotone, the unbroken glance from the side of

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Speaker 1: the frame. That's all in here, and Fielder is in

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Speaker 1: this movie. But Nathan Fielder has never made anything that

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Speaker 1: feels the way this film feels. It is a documentary

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Speaker 1: in that it is documenting the life of a public figure,

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Speaker 1: but it plays like a psychological thriller. It's scored like

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Speaker 1: a psychological thriller. I have never seen a documentary that

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Speaker 1: feels the way this one feels. Sure, Harlan County, USA

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Speaker 1: has its moments when your blood pressure spikes, you know?

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Speaker 1: So does Grizzly Man. And Fahrenheit 9-11 has the transgressive

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Speaker 1: element and all that. But this is something else entirely.

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Speaker 1: For me... This film was less about is Elizabeth Holmes

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Speaker 1: telling the truth or is she lying, right? She maintains

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Speaker 1: her innocence throughout this entire movie. But this is more

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Speaker 1: about bigger ideas of deception and manipulation and also how

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Speaker 1: these ideas are molded into a story and how that

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Speaker 1: story is told. At least to me, that was my

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Speaker 1: big takeaway from this film. This story, the story about

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Speaker 1: Elizabeth Holmes preparing to do time and then what unfolds

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Speaker 1: after she checks into prison, is told in a way

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Speaker 1: that I don't think you could sit down and map

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Speaker 1: it out ahead of time. From what I've read, Fielder

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Speaker 1: and his co-director, Lance Oppenheim, who, by the way, has

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Speaker 1: got a couple of documentaries under his belt, Some Kind

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Speaker 1: of Heaven, Sperm World. He just made his first fiction film,

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Speaker 1: Primetime for A24, starring Robert Pattinson as the to-catch-a-predator guy.

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Speaker 1: But these two guys, they had no game plan going

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Speaker 1: into this film. The opportunity was there to document Elizabeth

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Speaker 1: Holmes in her final weeks before going to prison. She

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Speaker 1: had made it known that she was interested in doing

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Speaker 1: this so that she could tell her side of the story.

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Speaker 1: And these two guys, Fielder and Oppenheim, they essentially had

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Speaker 1: a kill clause in their contract with A24, that if

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Speaker 1: they got in there and they started shooting and there

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Speaker 1: was no story no new story to tell, because this

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Speaker 1: thing has been told through an Alex Gibney documentary already

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Speaker 1: in the Hulu series, The Dropout, for which Amanda Seyfried

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Speaker 1: won a number of awards, including a Golden Globe for

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Speaker 1: her portrayal of Elizabeth Holmes. So we know this story.

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Speaker 1: But what's so striking about this film, you can see everything,

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Speaker 1: is that its structure and its pacing and its ideas

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Speaker 1: and its questions, it all comes out of this process,

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Speaker 1: this like, let's just see what happens process. Of course,

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Speaker 1: this is how many documentaries are made, I understand. And

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Speaker 1: I don't mean the cottage industry true crime documentary machine

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Speaker 1: on Netflix or the Ken Burns historical documentaries. I mean,

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Speaker 1: boots on the ground, unrestricted access, cameras are just rolling,

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Speaker 1: not sure what's going to happen next kind of a thing.

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Speaker 1: I just find it fascinating that by having no plan,

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Speaker 1: Fielder and Oppenheim came back with something so revelatory. Like,

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Speaker 1: this is such a revelatory film on so many levels.

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Speaker 1: And The revelations, by the way, do not start and

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Speaker 1: stop with Elizabeth Holmes. But this is revelatory filmmaking and

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Speaker 1: it's a revolutionary sort of coloring outside the prescribed lines

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Speaker 1: way of thinking when it comes to a documentary. And,

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Speaker 1: you know, it's kind of ironic or actually I'm sure

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Speaker 1: it's deliberate. That's a better way of putting it. It's

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Speaker 1: not like it was a mistake, but it's interesting to

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Speaker 1: say the least that there is discussion of a magic

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Speaker 1: trick in one scene in this film because this entire

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Speaker 1: film feels like one big magic trick to me. This

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Speaker 1: is all to say, go see this movie. We are

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Speaker 1: living in a moment, a great moment for film right now.

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Speaker 1: And I'm not sure we're even appreciating it as much

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Speaker 1: as we should be. Sure, there's plenty of regurgitated IP

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Speaker 1: bullshit out there, probably more than ever before in film history.

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Speaker 1: You know, You can go see a new Masters of

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Speaker 1: the Universe movie. You can go watch a new Matchbox

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Speaker 1: toy cars movie. But there's also Obsession, and there's Backrooms,

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Speaker 1: and The Odyssey, and now this. And it's wild. I

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Speaker 1: was reading that this past weekend, you know, this past

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Speaker 1: weekend was the second week at theaters for You Can

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Speaker 1: See Everything. But in the second week, it expanded into

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Speaker 1: more theaters. And as it did so, ticket sales were

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Speaker 1: up something like 25%, which is.

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Speaker 1: Incredible. But it also makes sense because, you know, more

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Speaker 1: theaters and more word of mouth. But the prediction now

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Speaker 1: is that this documentary is on track to become one

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Speaker 1: of the most successful non-music documentaries of all time. Guys,

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Speaker 1: this is a three-hour documentary. People are packing movie theaters

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Speaker 1: in 2026 to watch a three-hour documentary. My theater here

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Speaker 1: in small-town Maine on a Saturday afternoon was half full,

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Speaker 1: which I will tell you is a huge deal because

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Speaker 1: in small town Maine, people do not typically pack a

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Speaker 1: movie theater to watch a three-hour documentary. I was talking

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Speaker 1: with Brett, who works here with us at Double Elvis.

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Speaker 1: Brett lives in New York City. He said screenings were

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Speaker 1: sold out all weekend there. And that's another thing. I've

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Speaker 1: never experienced a documentary screening with an audience quite like this.

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Speaker 1: People were laughing. people were audibly gasping. There was such

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Speaker 1: an infectious feeling in that dark room of having this

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Speaker 1: shared experience with other people, an experience which I'll admit,

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Speaker 1: you know, I don't always love, despite that being the

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Speaker 1: old school selling point on going to the movies. You know,

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Speaker 1: you experience this film in a darkened room with a

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Speaker 1: bunch of strangers. Like, a lot of time, those strangers suck.

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Speaker 1: You know, they're on their phones, they're fucking coughing and

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Speaker 1: talking or whatever. But the communal aspect of seeing this

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Speaker 1: movie with other people, and especially, like, there were moments

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Speaker 1: where people were laughing where I don't know if I

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Speaker 1: would have laughed if these other people weren't laughing and,

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Speaker 1: you know, vice versa. It was a huge part of

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Speaker 1: experiencing this movie for me. So, fuck the haters. We're

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Speaker 1: in a moment right now with movies, and films like

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Speaker 1: this are a big reason why. Check this one out.

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Speaker 1: Do not read anything about it. Don't let anyone spoil

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Speaker 1: it for you. And, you know, the spoilers are really

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Speaker 1: as much about how this movie is made, the formalism,

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Speaker 1: the structure. how they play with convention as much as

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Speaker 1: it is the story that they're telling. I'm not quite

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Speaker 1: sure how to relate this to Jane Mansfield, our featured subject,

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Speaker 1: this week in Hollywoodland, but I couldn't not talk about

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Speaker 1: You Can See Everything up top here at the show.

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Speaker 1: I mean, let's see, Jane Mansfield was the first American

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Speaker 1: actress to appear nude in a If you missed our

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Speaker 1: Jane Mansfield episode, a fully scripted sound design episode on

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Speaker 1: Jane Mansfield, it's right there in your feed, right behind

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Speaker 1: this one. Perhaps you'll be surprised to listen to this

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Speaker 1: and know that it's actually a great episode for this

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Speaker 1: time of year as Halloween gets closer and closer because

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Speaker 1: Jane Mansfield was close with Anton LaVey, the founder of

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Speaker 1: the Church of Satan. So you're going to learn some

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Speaker 1: stuff you never knew about one of the greatest blonde

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Speaker 1: bombshells of Hollywood's golden era. You're also going to learn

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Speaker 1: the truth about her death, which has long been rumored

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Speaker 1: that she was decapitated in a car accident. It's grisly

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Speaker 1: and it's gruesome, I admit, but it's out there. It's

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Speaker 1: not our rumor. We're just, you know, reporting on it here.

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Speaker 1: And then coming up later this week on Friday, on

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Speaker 1: the eve of All Hallows' Eve, October 30th, I've got

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Speaker 1: a new episode of The Screening Room. And this week

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Speaker 1: I'm doing a deep dive into the 2018 Ari Aster film, Hereditary.

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Speaker 1: one of my favorite horror films of all time, and

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Speaker 1: a movie that has some spiritual and thematic links to

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Speaker 1: our Jane Mansfield episode, so you don't want to miss that.

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Speaker 1: You also don't want to miss a conversation right here

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Speaker 1: later in this episode between me and my guy Jake

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Speaker 1: Brennan of Disgraceland. Since I've got You Can See Everything

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Speaker 1: on the brain, I wanted to chat with Jake about

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Speaker 1: movies and albums that broke the mold, you know, that

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Speaker 1: rewrote the rules of Hopefully, we've got some undersung Dark

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Speaker 1: Horse recommendations for you guys, so stick around for that.

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Speaker 1: Before we get to that, however, I need to hear

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Speaker 1: from all y'all. What's on your mind? We want to know.

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Speaker 1: Give us the deets. I'm going to get into your voicemails,

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Speaker 1: your texts, your emails, and more right after this. What's up, guys? Dr.

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Speaker 1: Lundy hanging with you here in the Rat Party, 617-906-6638.

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Speaker 1: That's how you get in touch. I just wanted to

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Speaker 1: say thank you to everyone for listening week to week here,

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Speaker 1: and also thank you to everyone who voted for our

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Speaker 1: sister show, Disgraceland, in the Signal Awards. I recorded last

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Speaker 1: week's episode of the Rat Party right before winners were announced,

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Speaker 1: so I didn't get a chance to mention it last week,

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Speaker 1: but I'm proud to say that Disgraced Land won three

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Speaker 1: Signal Awards. We won gold for best music pod. We

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Speaker 1: won the silver for best writing for our Patti Smith episode.

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Speaker 1: And then we also took home a listener's choice award

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Speaker 1: for best music podcast. This is huge, guys, especially because

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Speaker 1: the gold and the silver awards are given by industry judges.

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Speaker 1: And then the listener's choice, of course, is voted on

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Speaker 1: and determined by all of you, the fans. So to

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Speaker 1: be recognized by both the judges and by the fans

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Speaker 1: is pretty fucking cool. Again, thank you everyone for voting,

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Speaker 1: for listening, for caring. You know, we don't do it

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Speaker 1: for the awards. We really don't. I really don't really,

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Speaker 1: you know, I'm not gonna say I don't care about

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Speaker 1: awards because I don't want to diminish what you guys

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Speaker 1: have done by voting and for showing your love and

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Speaker 1: appreciation here. And I'm not gonna lie, the recognition is nice.

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Speaker 1: It's a nice bonus. And it's a little bit more

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Speaker 1: validation for what we do here. So, you know, thank you.

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Speaker 1: Really appreciate it. I say that not only to those

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Speaker 1: who have been here from the start, but to those

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Speaker 1: who are just tuning in for the first time. See

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Speaker 1: you guys. I hear you guys. I appreciate you guys.

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Speaker 1: And for those who are new here, we've got this

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Speaker 1: hotline that's open 24-7, 365. You can call. You can text.

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Speaker 1: You can let us know what's on your mind. And

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Speaker 1: we respond to your messages here in this part of

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Speaker 1: the wrap party. Again, that's 617-906-6638. And I'm going to

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Speaker 1: respond to your messages here in just a second. But first,

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Speaker 1: something else I wanted to mention, guys, is today is Wednesday,

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Speaker 1: the last Wednesday of the month, which means it's time

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Speaker 1: for a brand new episode of our video podcast, This

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Speaker 1: Film Should Be Played Loud, which is available exclusively on Patreon.

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Speaker 1: That's We have a brand new episode that's, depending on

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Speaker 1: when you hear this episode, it's either out already or

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Speaker 1: it will be out very soon on Wednesday. A brand

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Speaker 1: new episode on the Edgar Wright film, Shaun of the Dead.

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Speaker 1: That's our Halloween episode for you guys this year. And

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Speaker 1: if you don't know this video podcast, this film should

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Speaker 1: be played loud. My co-host, Jake, Jake Brennan of Disgraceland

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Speaker 1: and I, we break down the incredible music from our

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Speaker 1: favorite films. So we're talking needle drops, soundtracks, scores, the

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Speaker 1: whole shablam. Talking about Shaun of the Dead means talking

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Speaker 1: about the specials, Ghost Town. We're talking about Queen, Don't

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Speaker 1: Stop Me Now. Talking about Morrissey and the Smiths, Panic

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Speaker 1: in the Streets of London. We're talking about getting drunk

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Speaker 1: and singing Melly Mel along with a lone wandering zombie outside.

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Speaker 1: So get in here and hang with us in Disgraceland

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Speaker 1: All Access. Check out our video podcast. This film should

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Speaker 1: be played loud. We've got a bunch of episodes in

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Speaker 1: the vault there. episodes on Goodfellas, The Big Lebowski, The

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Speaker 1: Royal Tenenbaums, Dazed and Confused, High Fidelity, Trainspotting. The list

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Speaker 1: goes on and on and on. I think we are

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Speaker 1: doing the last waltz next month for Thanksgiving, the Scorsese

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Speaker 1: concert film about the band on Thanksgiving back in the 70s.

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Speaker 1: But Jake had this idea of doing two episodes for

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Speaker 1: next month, which sounds fucking crazy, Jake, but whatever, as

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Speaker 1: a way to say thanks to you guys. And I'm

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Speaker 1: If we did that, we are curious what other Thanksgiving

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Speaker 1: film will be covered that has a great soundtrack. Planes, Trains,

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Speaker 1: and Automobiles? That's really the only one that comes to mind,

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Speaker 1: which could be fun because we have not done a

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Speaker 1: John Hughes film yet. But what else? Maybe you guys know.

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Speaker 1: Give us a holler and let us know. 617-906-6638, just

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Speaker 1: like this caller from the 903. I am calling about

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Speaker 1: the Carrie series, mostly.

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Speaker 3: If there's anything that I want to watch for this

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Speaker 3: spooky season or Halloween season, or however you want to.

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Speaker 1: Say it, I'd have to say it's that.

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Speaker 3: And that alone is more than enough. Because honestly, after

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Speaker 3: growing up and being mocked as a morbidly obese kid

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Speaker 3: when I was in high school, I pretty much see

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Speaker 3: that as why I am so glad I'm not in.

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Speaker 3: High school right now. I can only imagine how bad

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Speaker 3: it would be. And that is pretty much the way

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Speaker 3: that the series depicted that.

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Speaker 1: It was spot on.

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Speaker 3: And like, I couldn't be more happy. I'm not in,

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Speaker 3: you know, wasn't in high school and social media days.

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Speaker 3: Love you guys.

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Speaker 2: Bye.

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Speaker 1: Hey man.

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Speaker 3: Yeah.

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Speaker 1: Carrie loved it. Finished that series last week. And it was,

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Speaker 1: it was tremendous. I think I talked about it last week,

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Speaker 1: kind of more at length, but it's definitely worth watching.

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Speaker 1: I think Mike Flanagan is, understand Stephen King as well as,

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Speaker 1: if not better than anybody out there right now. Sorry

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Speaker 1: to hear about your shitty high school experience. High school sucks, man.

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Speaker 1: High schoolers can suck. I've got two in high school.

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Speaker 1: I've got one in middle school right now. And, you know,

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Speaker 1: I see the challenges day to day. I see the

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Speaker 1: old school challenges that we had back in the 90s.

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Speaker 1: I see the new school challenges with phones and social media.

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Speaker 1: You know, on the one hand, like, my son has

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Speaker 1: a band. a rock band, and they've got their own

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Speaker 1: social media accounts, and they create these really creative, awesome

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Speaker 1: reels and videos they post to their pages. And it's

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Speaker 1: such a really cool, creative outlet for them that I

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Speaker 1: think back to when I was in high school in bands,

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Speaker 1: and I was like, man, that would've been cool to

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Speaker 1: have that ability to do that and to create these

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Speaker 1: videos and to instantly put them out there for the

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Speaker 1: world to see. And so that's like the positive spin

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Speaker 1: on it. But it comes with so much negative stuff

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Speaker 1: as well that we're all navigating this in real time

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Speaker 1: for the first time. But anyways, back to the Carrie

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Speaker 1: of it all. Carrie was really, really great. I highly

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Speaker 1: recommend that if people have not seen it. And I

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Speaker 1: did go on the record saying I'm not a huge

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Speaker 1: fan of the original Carrie film, the De Palma film.

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Speaker 1: I find it very slow and just not very compelling.

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Speaker 1: But that's just me. 903, thanks as always for calling in.

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Speaker 2: 617-906-6638.

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Speaker 1: You can call or you can text like Scott in

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Speaker 1: the 623 who wrote in, Zeth, I'm getting closer to

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Speaker 1: being caught up. I'm listening to the October 14th episode

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Speaker 1: where you played my voicemail and mentioned the movie Stuntman.

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Speaker 1: I have seen that movie, though it's been a long time.

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Speaker 1: Another movie of probably a little more on the cheesy

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Speaker 1: side was Hooper with Burt Reynolds, which my dad also

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Speaker 1: worked on. which was loosely based on Hal Needham's life. Rockarola. Scott.

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Speaker 1: Scott is our listener whose dad was a stuntman, and

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Speaker 1: we got some good stuntman stories from him back in

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Speaker 1: the day. Hooper with Burt Reynolds. I don't know that I've...

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Speaker 1: You know, my Burt Reynolds knowledge is pretty close to zero,

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Speaker 1: you know? I've seen Smoky and the Bandit. I've seen Deliverance.

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Speaker 1: And of course, I've seen Boogie Nights. But like, you know,

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Speaker 1: Burt Reynolds is a stud back in the 70s. I

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Speaker 1: don't have a lot of knowledge in the tank there.

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Speaker 1: That's a blind spot for me. Legendary mustache. I know that.

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Speaker 1: Loves to sprawl out on a fur rug in the buff.

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Speaker 1: I know that as well. But yeah, Thanks, as always,

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Speaker 1: 623 for the behind-the-scenes stories here of Stumpman, back in

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Speaker 1: the Stumpman days. 617-906-6638. You can also email us, disgracelandpod

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Speaker 1: at gmail.com, just like Heather did. Heather's subject line here

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Speaker 1: is Halloween movies.

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Speaker 2: Hey, Dr.

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Speaker 1: Zeth, on the topic of favorite Halloween movies, number one,

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Speaker 1: It's tradition in my house, for whatever reason, I don't know,

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Speaker 1: to carve pumpkins and watch Ghost Story from 1981. It's

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Speaker 1: not a particularly great adaptation of the Peter Straub novel,

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Speaker 1: but a fantastic cast. Fred Astaire, Melvin Douglas, Douglas Fairbanks Jr.,

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Speaker 1: John Houseman, Patricia Neal, and a young Alice Krieg. Two,

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Speaker 1: the only movie that has ever gotten under my skin

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Speaker 1: and truly scared me is Oculus from 2013. Since everyone

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Speaker 1: is all about Mike Flanagan right now, and rightly so,

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Speaker 1: this early effort from him is worth a rewatch. I

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Speaker 1: don't know if it's the shifting of reality or the

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Speaker 1: pure maliciousness of the mirror, but this movie is a

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Speaker 1: gut punch to me every time I watch it. In Oculus,

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Speaker 1: Flanagan is already starting to assemble his regular cast, including

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Speaker 1: Katie Sackhoff, Kate Siegel, and James Lafferty. And the mirror

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Speaker 1: at the center of the movie, the laser glass, has

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Speaker 1: a cameo in almost all of his other projects. Happy Halloween,

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Speaker 1: Heather from the 206. You know, Heather, I appreciate you

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Speaker 1: writing in and saying this because this serves as a

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Speaker 1: reminder to me. I've never seen Oculus. I've seen everything

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Speaker 1: that Flanagan has done starting from whether it's Dr. Sleep

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Speaker 1: or Haunting of Hill House, wherever it is around there.

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Speaker 1: But I know about Oculus. I've read about it. I've

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Speaker 1: heard about it. People have told me about it. And

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Speaker 1: it keeps on slipping off my radar. So thank you

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Speaker 1: for reminding me of that. I got to check that

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Speaker 1: out at some point. It was funny. I was doing

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Speaker 1: a ghost story last week for the screening room. And

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Speaker 1: when I was like searching up some, doing some research online,

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Speaker 1: I kept on getting returns for ghost story, this movie

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Speaker 1: from 1981, which I don't know anything about. And I

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Speaker 1: didn't realize that Fred Astaire was still alive and performing

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Speaker 1: in films in 1981. Wild. Hey, Heather, thank you. Happy

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Speaker 1: Halloween to you as well. Disgracelandpod at gmail.com. That's the address.

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Speaker 1: That's the addy. Allie wrote in, subject line, comfort watch

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Speaker 1: and score. Sorry a bit late, but the original Chevy

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Speaker 1: Chase Fletch for both comfort watch and score. Harold Faltermeyer's

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Speaker 1: score is so good throughout. I completely agree. This is

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Speaker 1: one of those like, it's like a Pavlov's dog thing.

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Speaker 1: Like I hear this. The theme, the synthesizer theme. I'm

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Speaker 1: just like, I'm back in 1985. it was like this,

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Speaker 1: maybe it was like a four-headed dog, three-headed dog, four-headed dog.

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Speaker 1: It was Chevy Chase. It was John Candy. It was

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Speaker 1: Eddie Murphy. It was Robin Williams. That was sort of

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Speaker 1: like the guiding, like comedic lights for me in the 80s.

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Speaker 1: And Chevy Chase, there's so much, there's so much, I

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Speaker 1: know that there's always stories about Chevy Chase being a

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Speaker 1: total asshole and I don't doubt it, but The assholeness

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Speaker 1: that comes through in his performances, it's very much this

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Speaker 1: like jaded Gen X kind of vibe, even though he's

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Speaker 1: not Gen X, right? That became sort of a lot

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Speaker 1: of our personality back in the day. And I just,

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Speaker 1: Fletch is, I could watch this movie anytime, any day.

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Speaker 1: I think I'm with you here on it being a

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Speaker 1: comfort watch. And Harold Faltermeyer, by the way, did he

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Speaker 1: not do the Beverly Hills Cop theme as well? I

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Speaker 1: think this guy's got multiple badass 80s synth themes under

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Speaker 1: his belt, which is pretty dope. Thanks, Allie, for writing in.

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Speaker 1: Disgracelandpod at gmail.com. I got a couple of emails here

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Speaker 1: that I meant to get to from last week that

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Speaker 1: I didn't get to. One here is from Jason. Subject line,

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Speaker 1: Mulholland Drive song and horror. And it says, Zeth, Jason

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Speaker 1: and the 845. To me, the song Los Angeles by

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Speaker 1: X is related to the film and is classic X movie.

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Speaker 1: When I lived in Venice Beach in the late 80s,

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Speaker 1: I only had a couple of tapes and two of

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Speaker 1: them were by X under the big black sun in

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Speaker 1: Los Angeles. Plus, I'm Your Man by Leonard Cohen and

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Speaker 1: Tom Petty's greatest hits. My entire LA experience is burned

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Speaker 1: in a memory with these. Best horror, Hellraiser 2, Hellbound.

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Speaker 1: The very sick S & M mind of Clive Barker. Thanks, Jason,

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Speaker 1: as always for the messages.

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Speaker 2: I love.

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Speaker 1: Los Angeles, the song by X. And I think to

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Speaker 1: tie this together, the subject line is Mulholland Drive. I

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Speaker 1: covered Mulholland Drive in the screening room a few weeks back,

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Speaker 1: and we were talking about mixtape songs that can go

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Speaker 1: on a mixtape inspired by that film. And Jason is

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Speaker 1: shouting out X by Los Angeles. Totally, it's classic X.

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Speaker 1: I love Under the Big Black Sun as well. Jason,

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Speaker 1: I got to see X on their 40th anniversary tour.

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Speaker 1: It was 2017. They played a club in Portland, Maine

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Speaker 1: that no longer exists called Port City Music Hall. It

420
00:25:20,880 --> 00:25:26,350
Speaker 1: was like a mid-level club, very small, not super tiny,

421
00:25:26,590 --> 00:25:30,030
Speaker 1: but like, you know, X is coming to Portland, Maine

422
00:25:30,170 --> 00:25:33,230
Speaker 1: in 2017 size, okay? This is one of the great

423
00:25:33,290 --> 00:25:36,150
Speaker 1: tragedies of COVID, of all these clubs shut down across

424
00:25:36,170 --> 00:25:40,080
Speaker 1: the country, especially in markets like Portland, Maine, where you know,

425
00:25:40,100 --> 00:25:45,609
Speaker 1: the margins are razor thin. So when there was no

426
00:25:45,710 --> 00:25:48,070
Speaker 1: action happening, they had to close down. Anyways, I had

427
00:25:48,090 --> 00:25:50,429
Speaker 1: a great memory of how I went. I took my dad, actually.

428
00:25:50,750 --> 00:25:53,210
Speaker 1: My dad was living in Portland at the time. And

429
00:25:53,300 --> 00:25:56,480
Speaker 1: I drove down and they were fucking incredible. So anyways,

430
00:25:56,520 --> 00:25:58,859
Speaker 1: just wanted to tell you that. I have not watched

431
00:25:58,900 --> 00:26:03,879
Speaker 1: any Clive Barker, Hellraiser type movies. If you listen to

432
00:26:04,000 --> 00:26:06,389
Speaker 1: the screening room this week on Friday, when I talk

433
00:26:06,410 --> 00:26:09,570
Speaker 1: about Hereditary, I get into the reason why certain types

434
00:26:09,609 --> 00:26:12,210
Speaker 1: of horror movies are just like, I can't go there.

435
00:26:12,830 --> 00:26:15,090
Speaker 1: Sometime I'll go there, but I haven't been able to

436
00:26:15,109 --> 00:26:18,869
Speaker 1: get there yet. But I will, okay? Thanks again, Jason,

437
00:26:19,030 --> 00:26:23,760
Speaker 1: for the email. Hey, real quick, over on Patreon, Bestest

438
00:26:23,780 --> 00:26:27,240
Speaker 1: Graceland All Access on Patreon, which if you are not

439
00:26:27,280 --> 00:26:29,600
Speaker 1: yet a member and you're curious, you're like, hmm, this

440
00:26:29,660 --> 00:26:33,010
Speaker 1: film should be played loud, a movie podcast. where the

441
00:26:33,030 --> 00:26:39,869
Speaker 1: worlds of Disgraceland and Hollywoodland come crashing together. Tell me more. Disgracelandpod.com, okay?

442
00:26:39,970 --> 00:26:42,570
Speaker 1: Right there on the homepage, there's some info and there's

443
00:26:42,650 --> 00:26:44,889
Speaker 1: a link to take you over to Patreon and get

444
00:26:44,930 --> 00:26:48,850
Speaker 1: signed up. Anyways, over on Patreon, in the chat, Alan

445
00:26:49,520 --> 00:26:53,439
Speaker 1: gave some recommendations for Halloween viewing, okay? Here they are.

446
00:26:53,600 --> 00:26:59,540
Speaker 1: Alan said, the haunting, the original. Alan says, audition, in

447
00:26:59,580 --> 00:27:04,429
Speaker 1: which the male gaze gets its comeuppance. Alan also recommends Scarecrows,

448
00:27:04,609 --> 00:27:08,109
Speaker 1: which he says is an excellent late 80s flick. Descent,

449
00:27:08,670 --> 00:27:13,209
Speaker 1: if you're claustrophobic, stay away. Disney's animated Legend of Sleepy

450
00:27:13,290 --> 00:27:19,369
Speaker 1: Hollow is Halloween. And the WNUF Halloween special, I'm in

451
00:27:19,410 --> 00:27:21,850
Speaker 1: the sequel. Well, that's very cool, Alan. I don't know

452
00:27:21,869 --> 00:27:25,449
Speaker 1: what the WNUF Halloween special is, but now I am intrigued.

453
00:27:26,490 --> 00:27:29,690
Speaker 1: We were just talking about Disney's Legend of Sleepy Hollow.

454
00:27:30,160 --> 00:27:33,490
Speaker 1: Last night here in the Lundy household, we actually watched

455
00:27:34,290 --> 00:27:37,590
Speaker 1: Tim Burton's Sleepy Hollow last night. We hadn't watched that

456
00:27:37,609 --> 00:27:42,490
Speaker 1: in a couple years. And I fucking love Tim Burton's

457
00:27:42,510 --> 00:27:46,890
Speaker 1: Sleepy Hollow. It might be the last truly great Tim

458
00:27:46,910 --> 00:27:49,460
Speaker 1: Burton film. I remember when it first came out and

459
00:27:49,480 --> 00:27:51,560
Speaker 1: I was kind of like, meh, that was all right.

460
00:27:52,060 --> 00:27:54,119
Speaker 1: But the more I've watched it over the years and

461
00:27:54,140 --> 00:27:58,160
Speaker 1: the more time has passed, it's just great. It's just

462
00:27:58,200 --> 00:28:02,340
Speaker 1: a yarn movie. And Christopher Walken is just fucking hamming

463
00:28:02,380 --> 00:28:06,919
Speaker 1: it up as the headless horseman. And Johnny Depp's in

464
00:28:06,960 --> 00:28:12,150
Speaker 1: his lane as this scared shitless Ichabod Crane. And it's goth,

465
00:28:12,630 --> 00:28:18,429
Speaker 1: and it's foggy, and it's bloody. There's a disgusting tree

466
00:28:18,490 --> 00:28:20,960
Speaker 1: that opens up at the roots, and the horse comes

467
00:28:21,000 --> 00:28:25,439
Speaker 1: jumping out. And it's a great time. Anyways, Alan, I've

468
00:28:25,500 --> 00:28:28,189
Speaker 1: digressed from your list here. But I kind of want

469
00:28:28,210 --> 00:28:31,270
Speaker 1: to watch The Legend of Sleepy Hollow, the Disney animated

470
00:28:31,330 --> 00:28:34,340
Speaker 1: one again now too. Thank you, Alan, for the list.

471
00:28:34,390 --> 00:28:39,580
Speaker 1: If you guys want more recommendations from your fellow discos,

472
00:28:40,140 --> 00:28:43,080
Speaker 1: fellow listeners of Hollywoodland, Disgraceland, just go over to Disgraceland

473
00:28:43,100 --> 00:28:45,960
Speaker 1: All Access on Patreon. Listen, I'm going to take a

474
00:28:45,980 --> 00:28:49,530
Speaker 1: quick break. I got to drink some water here and

475
00:28:50,230 --> 00:28:53,110
Speaker 1: stand up and stretch. And after I do that, I'm

476
00:28:53,130 --> 00:28:55,910
Speaker 1: going to be joined when we return by Jake Brennan.

477
00:28:55,930 --> 00:28:59,070
Speaker 1: We got some recommendations for you guys about movies and

478
00:28:59,270 --> 00:29:03,200
Speaker 1: albums that broke the mold, that sort of reset the table,

479
00:29:03,680 --> 00:29:06,780
Speaker 1: that did things that we thought were not possible before, okay?

480
00:29:06,940 --> 00:29:22,500
Speaker 1: We're going to get into that right after this. All right, everybody,

481
00:29:22,520 --> 00:29:24,660
Speaker 1: welcome back into the wrap party. We're here in the

482
00:29:24,700 --> 00:29:29,960
Speaker 1: section of the show where I'm joined by Disgraceland's Jake Brennan. Jake,

483
00:29:30,000 --> 00:29:30,980
Speaker 1: how was your weekend?

484
00:29:31,890 --> 00:29:33,750
Speaker 2: It was a really great weekend. I bought a big

485
00:29:33,790 --> 00:29:35,150
Speaker 2: green egg. You know what those are?

486
00:29:35,290 --> 00:29:36,470
Speaker 1: Oh, I do know what those are. Yeah.

487
00:29:36,750 --> 00:29:39,970
Speaker 2: Yeah, I got very motivated last week and I'm excited.

488
00:29:40,240 --> 00:29:41,640
Speaker 1: Yeah. What are you cooking in that big green egg?

489
00:29:41,900 --> 00:29:43,200
Speaker 2: I'm going to start slow. I'm going to roast the

490
00:29:43,240 --> 00:29:46,240
Speaker 2: chicken first and get to figure out the flame situation,

491
00:29:46,280 --> 00:29:48,060
Speaker 2: how to control it. And then I'll move on to some,

492
00:29:48,260 --> 00:29:50,140
Speaker 2: some smoking of the meats as they say.

493
00:29:50,360 --> 00:29:51,160
Speaker 1: Wow.

494
00:29:51,380 --> 00:29:52,920
Speaker 2: I had a different smoker. I threw it out. It

495
00:29:52,960 --> 00:29:55,360
Speaker 2: was too hard to control the smoke. So I'm going

496
00:29:55,400 --> 00:29:57,120
Speaker 2: for something a little more, a little more manageable.

497
00:29:57,550 --> 00:30:00,510
Speaker 1: I haven't gotten into the smoking thing. I'm a strictly

498
00:30:00,570 --> 00:30:04,270
Speaker 1: charcoal grill guy. So we go old school charcoals. But

499
00:30:05,130 --> 00:30:07,620
Speaker 1: at some point, I will enter my smoking phase.

500
00:30:08,080 --> 00:30:11,000
Speaker 2: So old school charcoal is more old school than wood?

501
00:30:11,280 --> 00:30:12,700
Speaker 2: I don't know.

502
00:30:13,340 --> 00:30:16,740
Speaker 1: Who the fuck is cooking? Who the fuck is grilling

503
00:30:16,800 --> 00:30:17,260
Speaker 1: on wood?

504
00:30:17,920 --> 00:30:21,010
Speaker 2: I am. But you're smoking. It's different, though. Yeah, but

505
00:30:21,030 --> 00:30:24,050
Speaker 2: you can grill with wood as well. It's actually.

506
00:30:24,070 --> 00:30:26,990
Speaker 1: All right. Well, I mean, excuse me in the semantics

507
00:30:27,030 --> 00:30:29,330
Speaker 1: here on fucking old school grilling. You know me.

508
00:30:29,370 --> 00:30:31,110
Speaker 2: I have to give you shit. I have to give

509
00:30:31,150 --> 00:30:33,190
Speaker 2: you shit. Other than that, no, I got into some

510
00:30:33,230 --> 00:30:35,610
Speaker 2: Halloween stuff. I'm watching this American Horror Story. I mentioned

511
00:30:35,630 --> 00:30:41,800
Speaker 2: that to you before. Oh, yeah. It's gone sideways. It's

512
00:30:41,860 --> 00:30:44,380
Speaker 2: beyond anything I bargained for, but I'm going to see

513
00:30:44,440 --> 00:30:47,580
Speaker 2: it through. And as I talked about in After Party,

514
00:30:47,600 --> 00:30:50,140
Speaker 2: and we'll talk about when we do our exclusive hit there,

515
00:30:50,780 --> 00:30:54,850
Speaker 2: I got into The Shining again, which I should do

516
00:30:54,950 --> 00:30:57,510
Speaker 2: every Halloween, and I don't. I forgot how fucking great

517
00:30:57,550 --> 00:30:57,740
Speaker 2: it is.

518
00:30:57,750 --> 00:30:58,710
Speaker 3: Oh, man, it's awesome.

519
00:30:59,170 --> 00:31:00,730
Speaker 2: I think it says something about Stephen King that he

520
00:31:00,750 --> 00:31:03,570
Speaker 2: didn't like that movie. I know. I know. But other

521
00:31:03,590 --> 00:31:04,880
Speaker 2: than that, it was really good. How was your weekend?

522
00:31:05,360 --> 00:31:06,240
Speaker 2: It was great. It was great.

523
00:31:06,320 --> 00:31:09,820
Speaker 1: And what we're talking about here today jumps off of

524
00:31:10,040 --> 00:31:13,740
Speaker 1: my weekend. I saw You Can See Everything this past weekend,

525
00:31:14,000 --> 00:31:16,110
Speaker 1: and I already talked about it at length here earlier

526
00:31:16,120 --> 00:31:16,530
Speaker 1: in the show.

527
00:31:16,550 --> 00:31:16,830
Speaker 2: Mm-hmm.

528
00:31:17,450 --> 00:31:19,230
Speaker 1: I almost texted you about it on Saturday after I

529
00:31:19,270 --> 00:31:22,090
Speaker 1: saw it because I thought about you because as a

530
00:31:22,150 --> 00:31:26,790
Speaker 1: writer and a storyteller, it's just a fascinating story and

531
00:31:26,810 --> 00:31:28,710
Speaker 1: they tell it in a fascinating way.

532
00:31:28,730 --> 00:31:30,550
Speaker 2: It's in a different way.

533
00:31:31,030 --> 00:31:34,100
Speaker 1: In a different way than you're expecting. So anyways, I

534
00:31:34,120 --> 00:31:36,630
Speaker 1: can't wait for you to see it because it's next

535
00:31:36,690 --> 00:31:42,240
Speaker 1: level storytelling and next level structure and it's great.

536
00:31:42,570 --> 00:31:43,969
Speaker 2: You got to find a theater to see it in.

537
00:31:44,170 --> 00:31:46,010
Speaker 2: My wife and I are thinking of playing hooky to

538
00:31:46,030 --> 00:31:47,400
Speaker 2: go figure it out when we can go see it.

539
00:31:47,410 --> 00:31:49,730
Speaker 2: But cool. You've been cracking the whip here. We've got

540
00:31:49,750 --> 00:31:53,730
Speaker 2: this whole new Monday schedule and it's just like, I

541
00:31:53,770 --> 00:31:54,110
Speaker 2: love this.

542
00:31:54,270 --> 00:31:56,600
Speaker 1: All right.

543
00:31:56,620 --> 00:31:58,200
Speaker 2: So tee up the question here for the Rex.

544
00:31:58,620 --> 00:32:00,760
Speaker 1: So the question for the Rex is, you know, watching

545
00:32:00,780 --> 00:32:03,240
Speaker 1: this movie, I'm thinking about this movie feels like it's

546
00:32:03,300 --> 00:32:05,520
Speaker 1: breaking a mold. It's breaking the mold of the documentary.

547
00:32:05,560 --> 00:32:08,060
Speaker 1: It feels like it's rewriting the rules of what a

548
00:32:08,100 --> 00:32:12,620
Speaker 1: documentary can be. So what, On that tip, I was thinking,

549
00:32:12,680 --> 00:32:16,480
Speaker 1: what are some album recommendations, some movie recommendations that we

550
00:32:16,500 --> 00:32:19,160
Speaker 1: can bring from our POV that we feel like did

551
00:32:19,180 --> 00:32:20,719
Speaker 1: a similar thing?

552
00:32:21,240 --> 00:32:23,640
Speaker 2: Yes. And whenever I come with recs, I'm trying to

553
00:32:23,660 --> 00:32:27,080
Speaker 2: come with things that aren't going to be immediately thought

554
00:32:27,120 --> 00:32:30,050
Speaker 2: of once you pose the question. And the way this

555
00:32:30,190 --> 00:32:33,810
Speaker 2: framing makes that extra hard, because if you're rewriting the rules,

556
00:32:33,970 --> 00:32:37,250
Speaker 2: chances are everybody knows about the album that rewrote the rules.

557
00:32:37,810 --> 00:32:40,670
Speaker 2: At least our audience does because they're such huge music heads.

558
00:32:40,690 --> 00:32:42,630
Speaker 1: I had the same thing with movies too. There's a

559
00:32:42,750 --> 00:32:44,030
Speaker 1: number of obvious picks for sure.

560
00:32:44,090 --> 00:32:47,560
Speaker 2: Right, right. So I tried to not be obvious. And

561
00:32:47,800 --> 00:32:50,020
Speaker 2: these are kind of conversation starters as much as they

562
00:32:50,060 --> 00:32:55,580
Speaker 2: are recommendations. The first one is 1968's Sweetheart of the

563
00:32:55,640 --> 00:33:00,240
Speaker 2: Rodeo by The Byrds, which isn't really a Byrds album.

564
00:33:00,310 --> 00:33:02,350
Speaker 2: I mean, it's got three Byrds on it, but it

565
00:33:02,410 --> 00:33:06,110
Speaker 2: also has Graham Parsons and it's really a Graham Parsons album.

566
00:33:07,040 --> 00:33:09,180
Speaker 2: And it's when he joined the band and this album

567
00:33:09,240 --> 00:33:13,380
Speaker 2: is credited as the album that, that sort of invented

568
00:33:13,680 --> 00:33:17,970
Speaker 2: what came to be known as alt country. Okay. So alternative.

569
00:33:18,530 --> 00:33:18,910
Speaker 1: Yeah.

570
00:33:18,990 --> 00:33:22,469
Speaker 2: And there's the alternative and there's, there's, there's an argument

571
00:33:22,510 --> 00:33:25,090
Speaker 2: to be made that the Eagles don't really even get

572
00:33:25,190 --> 00:33:27,490
Speaker 2: going if this album doesn't happen.

573
00:33:27,520 --> 00:33:27,620
Speaker 1: Right.

574
00:33:29,720 --> 00:33:33,900
Speaker 2: And so I guess what I'm doing is I'm recommending

575
00:33:33,940 --> 00:33:38,100
Speaker 2: this album because it's great. Yeah. Because if you're Graham

576
00:33:38,160 --> 00:33:41,500
Speaker 2: Parsons curious, and maybe you've heard some Graham Parsons before,

577
00:33:41,520 --> 00:33:43,840
Speaker 2: but you haven't heard this Byrds album, you must hear

578
00:33:43,900 --> 00:33:47,020
Speaker 2: this Byrds album. But I'm also trying to start this

579
00:33:47,090 --> 00:33:51,450
Speaker 2: conversation of like, I'm kind of calling bullshit on the

580
00:33:51,490 --> 00:33:54,490
Speaker 2: way this album has been categorized. You know what I'm saying? Like,

581
00:33:55,010 --> 00:33:56,850
Speaker 2: do you really think the Eagles would have gone on

582
00:33:56,870 --> 00:33:59,950
Speaker 2: to become the Eagles if this album... You know what

583
00:33:59,990 --> 00:34:00,970
Speaker 2: I mean?

584
00:34:01,050 --> 00:34:01,570
Speaker 1: I don't believe that.

585
00:34:01,810 --> 00:34:03,290
Speaker 2: Okay, so... Because they were already.

586
00:34:04,550 --> 00:34:06,250
Speaker 1: They were already set in motion at this point, weren't they?

587
00:34:06,270 --> 00:34:07,930
Speaker 2: They were already starting to cook, but they're on the

588
00:34:07,990 --> 00:34:12,049
Speaker 2: vapors of what this album does, which is melds rock

589
00:34:12,070 --> 00:34:15,340
Speaker 2: and roll with country music, which really hadn't been, people

590
00:34:15,440 --> 00:34:17,960
Speaker 2: say hadn't really been done before. However, this album came

591
00:34:17,980 --> 00:34:21,000
Speaker 2: out in August of 1968. Do you know what album

592
00:34:21,020 --> 00:34:24,000
Speaker 2: came out in July of 1968?

593
00:34:24,140 --> 00:34:26,680
Speaker 1: Uh, Bob Dylan's John Wesley Harding. No.

594
00:34:26,940 --> 00:34:27,620
Speaker 2: Well, yeah.

595
00:34:27,840 --> 00:34:28,060
Speaker 1: Yeah.

596
00:34:28,100 --> 00:34:28,400
Speaker 2: Probably.

597
00:34:28,420 --> 00:34:28,740
Speaker 1: Maybe.

598
00:34:28,820 --> 00:34:30,439
Speaker 2: I don't know if it was that month, but that's

599
00:34:30,500 --> 00:34:33,390
Speaker 2: another great example. But music from big, big pink.

600
00:34:33,489 --> 00:34:34,310
Speaker 1: Oh, big pink. Yeah.

601
00:34:34,610 --> 00:34:38,189
Speaker 2: Is July 68. Yeah. And now I get it. Like

602
00:34:38,250 --> 00:34:41,950
Speaker 2: big pink is kind of like, um, it's more all

603
00:34:42,010 --> 00:34:48,239
Speaker 2: encompassing than the focus of this birds album, but it's

604
00:34:48,360 --> 00:34:51,120
Speaker 2: still very country. Right. Right.

605
00:34:51,719 --> 00:34:54,230
Speaker 1: Yeah, and I would hazard a guess that Big Pink

606
00:34:54,870 --> 00:34:58,090
Speaker 1: had more of an influence on bands that came after

607
00:34:58,150 --> 00:34:59,469
Speaker 1: it than Sweetheart of the Rodeo did.

608
00:34:59,850 --> 00:35:02,170
Speaker 2: And every band that ever went on to do anything

609
00:35:02,230 --> 00:35:05,969
Speaker 2: remotely connected between country and rock and roll or alt

610
00:35:06,030 --> 00:35:08,049
Speaker 2: country or whatever you call it is a fan of

611
00:35:08,130 --> 00:35:11,380
Speaker 2: Big Pink. Yeah. And was influenced by it. Yeah. You know,

612
00:35:11,390 --> 00:35:13,940
Speaker 2: I mean, this is a wildly influential album. I didn't

613
00:35:13,960 --> 00:35:15,260
Speaker 2: want to come in here and be like, oh, music

614
00:35:15,300 --> 00:35:19,879
Speaker 2: for Big Pink. But it did kind of do this thing.

615
00:35:19,920 --> 00:35:23,920
Speaker 2: But I think the more a more wreck worthy out

616
00:35:24,160 --> 00:35:26,950
Speaker 2: entryway into this is sweetheart of the rodeo because it

617
00:35:27,010 --> 00:35:30,250
Speaker 2: happens a month afterward. And it does kind of have

618
00:35:30,290 --> 00:35:34,670
Speaker 2: carry the mantle of, of it invented all whatever the

619
00:35:34,730 --> 00:35:37,819
Speaker 2: fuck country, you know what I mean? Like, which is,

620
00:35:38,160 --> 00:35:41,239
Speaker 2: is kind of ridiculous. It's not even the best. I

621
00:35:41,320 --> 00:35:46,320
Speaker 2: actually like, I like the flying burrito flying burrito brothers album,

622
00:35:46,480 --> 00:35:48,420
Speaker 2: gilded palace of sin that comes.

623
00:35:48,780 --> 00:35:49,160
Speaker 1: I do too.

624
00:35:49,420 --> 00:35:49,660
Speaker 2: Yeah.

625
00:35:49,840 --> 00:35:52,629
Speaker 1: And you know why? Because poor Graham Parsons, man. Like,

626
00:35:52,890 --> 00:35:55,470
Speaker 1: Graham Parsons was trying to take the birds in this direction.

627
00:35:55,830 --> 00:35:57,549
Speaker 1: And you know the story about how Roger McGuinn, like,

628
00:35:57,590 --> 00:36:02,350
Speaker 1: re-recorded a lot of Graham Parsons' vocal takes. Because Graham

629
00:36:02,370 --> 00:36:05,390
Speaker 1: Parsons was trying to do this shit, like, legit. Like,

630
00:36:05,450 --> 00:36:07,180
Speaker 1: I'm going to sing this, like, a country song, and

631
00:36:07,200 --> 00:36:09,880
Speaker 1: Roger McGuinn wanted to sing it like Mick Jagger making

632
00:36:09,940 --> 00:36:12,480
Speaker 1: fun of the country song. You know what I mean? Yeah.

633
00:36:12,900 --> 00:36:16,759
Speaker 1: And so why was I making this point? And so

634
00:36:16,780 --> 00:36:19,529
Speaker 1: I think that's why– oh, poor Graham Parsons. And then

635
00:36:19,550 --> 00:36:21,549
Speaker 1: Graham Parsons tries to go on and become a Rolling Stone.

636
00:36:21,570 --> 00:36:23,210
Speaker 1: And they're like, fuck you, Graham. It's just like the

637
00:36:23,230 --> 00:36:24,350
Speaker 1: guy can't get a break.

638
00:36:24,690 --> 00:36:27,830
Speaker 2: Right. And I actually think, having just spent a week,

639
00:36:28,390 --> 00:36:30,200
Speaker 2: I'm in the midst of all this Stones research because

640
00:36:30,239 --> 00:36:33,840
Speaker 2: I just did the Marianne Faithfull episode. But I really

641
00:36:33,980 --> 00:36:37,900
Speaker 2: got taken into the whole Brian Jones story again in

642
00:36:38,420 --> 00:36:41,239
Speaker 2: researching Marianne Faithfull. And I didn't do anything on the

643
00:36:41,300 --> 00:36:44,140
Speaker 2: death of Brian Jones other than how it affected his story.

644
00:36:44,160 --> 00:36:47,029
Speaker 2: But what I mean is the conspiracy around how he

645
00:36:47,090 --> 00:36:50,509
Speaker 2: was killed. or how he died, depending on your point

646
00:36:50,550 --> 00:36:50,790
Speaker 2: of view.

647
00:36:50,810 --> 00:36:51,930
Speaker 1: Winnie the Pooh killed him, I think, right?

648
00:36:51,950 --> 00:37:00,640
Speaker 2: Yeah, yeah. But in reading Marianne Faithfull's autobiography, it's really

649
00:37:00,719 --> 00:37:05,700
Speaker 2: clear how just way into country music they were before

650
00:37:05,780 --> 00:37:06,480
Speaker 2: Graham Parsons.

651
00:37:06,820 --> 00:37:07,000
Speaker 1: Yeah.

652
00:37:07,640 --> 00:37:12,920
Speaker 2: And she talks about, I think it's like even before

653
00:37:13,020 --> 00:37:16,819
Speaker 2: she's with Mick, she moves to this countryside for like,

654
00:37:17,000 --> 00:37:19,500
Speaker 2: to the countryside for like two months or whatever, or

655
00:37:19,520 --> 00:37:21,700
Speaker 2: maybe mix away or something. I don't exactly know, but

656
00:37:21,719 --> 00:37:24,680
Speaker 2: it's pre-Grand Parsons. That's the point. And she brings two

657
00:37:24,739 --> 00:37:27,279
Speaker 2: records with her. One is a Robert Johnson album and

658
00:37:27,300 --> 00:37:30,140
Speaker 2: the other is a Hank Snow album or Hank Williams.

659
00:37:30,180 --> 00:37:31,660
Speaker 2: I can't remember what it is, but it was just,

660
00:37:32,100 --> 00:37:33,360
Speaker 2: and it's just like, that's it.

661
00:37:33,660 --> 00:37:33,859
Speaker 1: Yeah.

662
00:37:33,980 --> 00:37:37,140
Speaker 2: Like that's all she listened to that summer, you know?

663
00:37:37,300 --> 00:37:39,589
Speaker 2: And Grand Parsons, the point is Grand Parsons, I feel

664
00:37:39,610 --> 00:37:46,890
Speaker 2: like it's wrongly, uh, credited for turning the stones onto

665
00:37:46,969 --> 00:37:50,730
Speaker 2: country music. And I think that is a broad mis miscategorization.

666
00:37:51,090 --> 00:37:53,190
Speaker 2: I think he influenced Keith Richards when it came to

667
00:37:53,230 --> 00:37:55,700
Speaker 2: country music in a lot of ways. Yeah. Yeah. But

668
00:37:55,739 --> 00:37:58,860
Speaker 2: not just broadly like, Hey Keith, this is Merle Haggard.

669
00:37:58,900 --> 00:38:00,660
Speaker 2: You know what I mean? Like, I just don't believe that.

670
00:38:01,060 --> 00:38:01,620
Speaker 1: No, totally.

671
00:38:01,640 --> 00:38:01,879
Speaker 3: I agree.

672
00:38:01,920 --> 00:38:03,880
Speaker 2: I mean, maybe, maybe he did, but my point is like,

673
00:38:03,920 --> 00:38:07,660
Speaker 2: Keith was already like in it to some, to some degree. Yeah.

674
00:38:08,070 --> 00:38:09,890
Speaker 2: But then they go after this album, Graham goes after

675
00:38:09,910 --> 00:38:11,350
Speaker 2: this album, and he makes what I think is a

676
00:38:11,370 --> 00:38:15,150
Speaker 2: better album, which is the Flying Burritos, Gilda Palace, which

677
00:38:15,230 --> 00:38:18,750
Speaker 2: is just fucking incredible. And then Graham's, the masterpiece is

678
00:38:18,830 --> 00:38:23,250
Speaker 2: Graham's solo album. Yeah, that to me is the masterstroke.

679
00:38:23,710 --> 00:38:25,710
Speaker 2: But we do need a wreck, and we need it

680
00:38:25,750 --> 00:38:29,860
Speaker 2: to be somewhat obscure. By the way, on Sing It

681
00:38:29,900 --> 00:38:35,279
Speaker 2: Like Mick Jagger, making fun of country music, I just

682
00:38:35,320 --> 00:38:40,370
Speaker 2: had this thought recently that Mick is... Mick, Far Away Eyes,

683
00:38:40,910 --> 00:38:43,200
Speaker 2: he's singing in this voice where he's making fun of

684
00:38:43,239 --> 00:38:50,550
Speaker 2: country music. Right. And then in Wild Horses, he's like, he's,

685
00:38:50,650 --> 00:38:52,450
Speaker 2: and I know Dead Flowers, he's kind of making fun

686
00:38:52,469 --> 00:38:54,770
Speaker 2: of it as well from the same album, but Wild

687
00:38:54,810 --> 00:38:57,850
Speaker 2: Horses is like. It's a ballad. It's not really a

688
00:38:57,890 --> 00:39:01,270
Speaker 2: country song, but it's a country influence song. It feels

689
00:39:01,330 --> 00:39:03,589
Speaker 2: like what Graham was trying to do before Graham was

690
00:39:03,610 --> 00:39:06,670
Speaker 2: trying to do it is my point. Right. Like cosmic

691
00:39:06,790 --> 00:39:07,930
Speaker 2: American music.

692
00:39:08,070 --> 00:39:08,850
Speaker 1: Right. Whatever.

693
00:39:09,070 --> 00:39:10,910
Speaker 2: Cosmic American music? Cosmic American?

694
00:39:10,930 --> 00:39:12,410
Speaker 1: Cosmic American music, yeah.

695
00:39:13,030 --> 00:39:16,940
Speaker 2: Cam. Cam. I love the take that Mick just hated

696
00:39:16,960 --> 00:39:17,279
Speaker 2: the guy.

697
00:39:17,540 --> 00:39:17,719
Speaker 1: I know.

698
00:39:17,739 --> 00:39:18,160
Speaker 2: You know what I mean?

699
00:39:18,180 --> 00:39:19,819
Speaker 1: I know. I can see that, too, because, I mean,

700
00:39:19,940 --> 00:39:23,640
Speaker 1: Graham was handsome and had that sex appeal, and Mick

701
00:39:23,660 --> 00:39:26,319
Speaker 1: probably didn't want him stepping on his fucking toes, right?

702
00:39:26,860 --> 00:39:28,420
Speaker 2: Well, he didn't want, you know, he was in love

703
00:39:28,440 --> 00:39:31,890
Speaker 2: with Keith and he didn't want Keith to attention did

704
00:39:31,930 --> 00:39:34,330
Speaker 2: you that's the whole Marianne faithful episode though Mick's love

705
00:39:34,370 --> 00:39:36,490
Speaker 2: of Keith Oh, that's a little teaser. You ever see that,

706
00:39:36,570 --> 00:39:38,910
Speaker 2: that Graham Parsons video where he's clearly just, I think

707
00:39:38,950 --> 00:39:41,569
Speaker 2: it's a flying burrito brothers video where he's just doing

708
00:39:41,590 --> 00:39:43,569
Speaker 2: Mick Jagger. He's in like a, some sort of like

709
00:39:43,950 --> 00:39:47,290
Speaker 2: merit maritime outfit. It's so bad.

710
00:39:47,610 --> 00:39:49,810
Speaker 1: Yeah. Isn't that a video for, um, a song from

711
00:39:49,830 --> 00:39:51,250
Speaker 1: the second burrito brothers record maybe?

712
00:39:51,570 --> 00:39:52,129
Speaker 2: I think so.

713
00:39:52,310 --> 00:39:53,930
Speaker 1: I think it's so Cody or something like that.

714
00:39:54,050 --> 00:39:56,009
Speaker 2: It's fucking awful. It's embarrassing.

715
00:39:56,110 --> 00:39:56,330
Speaker 1: Yeah.

716
00:39:56,670 --> 00:40:00,710
Speaker 2: It's so bad. Um, rec number two, I don't know.

717
00:40:00,730 --> 00:40:02,509
Speaker 2: This is the most obvious one I'm going to give you. It's,

718
00:40:03,160 --> 00:40:04,960
Speaker 2: And it does have some, it does have a little

719
00:40:05,000 --> 00:40:08,000
Speaker 2: bite to it. It's NWA straight out of Compton.

720
00:40:08,160 --> 00:40:08,960
Speaker 1: Oh yeah.

721
00:40:08,980 --> 00:40:11,410
Speaker 2: Now I don't care what anybody says about ice tea

722
00:40:12,050 --> 00:40:16,650
Speaker 2: or schoolie D or fucking even easy or the so-called

723
00:40:16,670 --> 00:40:18,629
Speaker 2: gangster rap that came before this.

724
00:40:18,730 --> 00:40:21,130
Speaker 1: This easy motherfucking.

725
00:40:20,469 --> 00:40:24,080
Speaker 2: Easy motherfucking, the one you're talking about, the suckers try

726
00:40:24,100 --> 00:40:27,380
Speaker 2: to roll the dice and they just crapped up. I

727
00:40:27,400 --> 00:40:30,770
Speaker 2: can keep going. I won't. Um, I don't know, man.

728
00:40:30,830 --> 00:40:35,510
Speaker 2: I don't care what came before. Nothing was this before.

729
00:40:35,630 --> 00:40:38,650
Speaker 2: Nothing was this after. It hit us in a way

730
00:40:38,690 --> 00:40:41,350
Speaker 2: that nothing had hit us before or after. It was

731
00:40:41,489 --> 00:40:45,719
Speaker 2: such a revelation. And even though at times it's cartoonish,

732
00:40:46,660 --> 00:40:50,740
Speaker 2: it's still way more real than anything that was happening

733
00:40:50,820 --> 00:40:55,759
Speaker 2: before in quote unquote gangsta rap. I hate saying that,

734
00:40:55,860 --> 00:40:58,469
Speaker 2: gangsta rap. And I just felt like I needed an

735
00:40:58,550 --> 00:41:00,670
Speaker 2: obvious one here. I mean, what am I going to say? Sgt. Pepper's,

736
00:41:00,850 --> 00:41:03,940
Speaker 2: you know what I mean? But this is like, I

737
00:41:03,980 --> 00:41:05,600
Speaker 2: don't know, man, if you don't even like hip hop,

738
00:41:05,640 --> 00:41:08,760
Speaker 2: I feel like you should go listen to this album. Seriously.

739
00:41:09,420 --> 00:41:11,879
Speaker 2: All right, look, am I going to come on to

740
00:41:11,920 --> 00:41:15,239
Speaker 2: your fucking show here and talk about Nirvana's Nevermind? No.

741
00:41:15,380 --> 00:41:18,360
Speaker 2: But on the same breath, yes, I am. But I'm

742
00:41:18,380 --> 00:41:19,610
Speaker 2: going to do it in a roundabout way.

743
00:41:19,620 --> 00:41:20,049
Speaker 1: Okay.

744
00:41:21,010 --> 00:41:27,280
Speaker 2: I heard the other day someone say that if... Frank

745
00:41:27,400 --> 00:41:32,930
Speaker 2: Black looked like Kurt Cobain. The Pixies would have had

746
00:41:32,969 --> 00:41:37,569
Speaker 2: the success that Nirvana had. Now, just hold on one second. Yeah. Now,

747
00:41:37,610 --> 00:41:43,360
Speaker 2: just hold on. Frank Black, Charles, I love the guy. Yeah.

748
00:41:43,760 --> 00:41:46,920
Speaker 2: Toured with the guy. I don't want to say I

749
00:41:46,980 --> 00:41:48,899
Speaker 2: know the guy because I don't think anyone really knows

750
00:41:48,940 --> 00:41:54,060
Speaker 2: the guy. Weird dude. Weird dude. He's a weird looking dude.

751
00:41:54,440 --> 00:41:59,200
Speaker 2: Now it's 2026. Shit's changed, right? It was hard to get,

752
00:41:59,750 --> 00:42:02,210
Speaker 2: it was hard to get quote unquote alternative music onto

753
00:42:02,350 --> 00:42:05,730
Speaker 2: MTV just to begin with. Nevermind if you weren't beautiful

754
00:42:05,770 --> 00:42:09,529
Speaker 2: looking like Kurt Cobain. Okay. And Kurt Cobain, despite the

755
00:42:09,570 --> 00:42:12,600
Speaker 2: scrawny looking junkie of it all, he was a beautiful man.

756
00:42:12,739 --> 00:42:15,440
Speaker 2: He truly was. And okay. So what I want to

757
00:42:15,460 --> 00:42:18,939
Speaker 2: talk about here is the Pixies album, Trompe Le Monde

758
00:42:19,040 --> 00:42:23,279
Speaker 2: from 1991 came out. Is that because you like it

759
00:42:23,320 --> 00:42:23,860
Speaker 2: or dislike it?

760
00:42:23,860 --> 00:42:25,160
Speaker 1: Yes, I fucking love this one. I love it too, man.

761
00:42:25,170 --> 00:42:26,469
Speaker 1: It's one of my two favorite Pixies records.

762
00:42:26,550 --> 00:42:28,270
Speaker 2: Yeah, mine too. Mine too. Mine too.

763
00:42:28,290 --> 00:42:31,370
Speaker 1: Bossa Nova is the other one. I have the poster

764
00:42:31,390 --> 00:42:31,950
Speaker 1: for it right here.

765
00:42:32,130 --> 00:42:33,880
Speaker 2: That's interesting because I don't love Bossa Nova. I love

766
00:42:33,890 --> 00:42:38,450
Speaker 2: Bossa Nova. That's the album before Trompamon. Yes. Yeah. Tramplemont

767
00:42:38,489 --> 00:42:41,230
Speaker 2: comes out the day before, if we're to believe Wikipedia,

768
00:42:41,350 --> 00:42:43,509
Speaker 2: I don't understand why it would be the day before Nevermind.

769
00:42:43,730 --> 00:42:46,950
Speaker 2: Like one is September 23rd, 1991. The other is September 24th, 1991.

770
00:42:46,950 --> 00:42:47,950
Speaker 2: I think it's going.

771
00:42:47,830 --> 00:42:49,390
Speaker 1: To be a UK and a US thing. Cause the

772
00:42:49,510 --> 00:42:51,780
Speaker 1: UK used to be released on Mondays and the US

773
00:42:51,800 --> 00:42:52,359
Speaker 1: was Tuesdays.

774
00:42:52,530 --> 00:42:56,760
Speaker 2: So essentially they're released on the same day. Yeah. Right now,

775
00:42:58,000 --> 00:43:02,120
Speaker 2: Nevermind was obviously a cultural phenomenon and Tramplemont is just

776
00:43:02,320 --> 00:43:05,259
Speaker 2: a great fucking record from the, what is it? The

777
00:43:05,320 --> 00:43:07,120
Speaker 2: sleepy West of Massachusetts.

778
00:43:07,360 --> 00:43:09,549
Speaker 1: That's right. Yeah.

779
00:43:09,989 --> 00:43:12,870
Speaker 2: But it is incredible. And I think I could be wrong.

780
00:43:12,890 --> 00:43:14,790
Speaker 2: Cause I don't know Bossa Nova as well. Cause I just,

781
00:43:14,969 --> 00:43:17,290
Speaker 2: I just have never gravitated toward it. Cause I don't,

782
00:43:17,390 --> 00:43:19,890
Speaker 2: I haven't liked what I've heard as much, but I

783
00:43:19,930 --> 00:43:21,930
Speaker 2: don't think it has, you tell me if I'm wrong.

784
00:43:21,950 --> 00:43:26,040
Speaker 2: Does it have the sort of pop bangers that Trump

785
00:43:26,060 --> 00:43:26,600
Speaker 2: Lamont has?

786
00:43:27,100 --> 00:43:29,480
Speaker 1: It does. And it has the same fascination with like

787
00:43:29,640 --> 00:43:33,680
Speaker 1: alien themes that Trump Lamont has that would, Carry over

788
00:43:33,719 --> 00:43:36,150
Speaker 1: in a Frank Black solo career too. I feel like

789
00:43:36,390 --> 00:43:38,629
Speaker 1: these two records peer into the crystal ball at Frank

790
00:43:38,670 --> 00:43:41,210
Speaker 1: Black's solo debut, I think. Okay.

791
00:43:41,410 --> 00:43:43,250
Speaker 2: Okay. So maybe I need to revisit. What I'm trying

792
00:43:43,270 --> 00:43:47,050
Speaker 2: to get at is songs like UMass, songs like Alec Eiffel.

793
00:43:47,340 --> 00:43:47,549
Speaker 1: Oh, yeah.

794
00:43:47,989 --> 00:43:52,280
Speaker 2: Those could have been, Alec Eiffel could have been Smells

795
00:43:52,300 --> 00:43:55,800
Speaker 2: Like Teen Spirit, I think. It is that well written

796
00:43:56,040 --> 00:44:00,000
Speaker 2: and produced. And it is like a fucking shot across

797
00:44:00,040 --> 00:44:03,600
Speaker 2: the bow, a holy shit moment. Oh my fucking God,

798
00:44:03,620 --> 00:44:07,040
Speaker 2: what am I listening to? It rocks so hard and

799
00:44:07,080 --> 00:44:10,560
Speaker 2: it sounds so good. Nevermind that Jesus and Mary Chain

800
00:44:10,580 --> 00:44:12,160
Speaker 2: cover on there as well, which I think was an

801
00:44:12,239 --> 00:44:13,750
Speaker 2: actual single. They made a video for it.

802
00:44:13,960 --> 00:44:14,920
Speaker 1: Yeah, they did, head on.

803
00:44:15,080 --> 00:44:18,610
Speaker 2: Yeah, head on, which is also great. Also, that's how

804
00:44:18,620 --> 00:44:20,350
Speaker 2: I actually heard the Pixies for the first time. I

805
00:44:20,350 --> 00:44:22,450
Speaker 2: was in Newbery Comics in Harvard Square and they had

806
00:44:22,469 --> 00:44:25,750
Speaker 2: a little TV and that video was on, the head on.

807
00:44:25,870 --> 00:44:28,450
Speaker 2: And I was like, what the fuck is this? Yeah.

808
00:44:28,530 --> 00:44:30,810
Speaker 2: And I bought that album. I didn't get into Doolittle.

809
00:44:30,910 --> 00:44:33,219
Speaker 2: I didn't get into Surfa Rosa. I was too young.

810
00:44:33,500 --> 00:44:33,680
Speaker 1: Right.

811
00:44:34,000 --> 00:44:37,980
Speaker 2: But I was going into my senior year when Trompamon

812
00:44:38,000 --> 00:44:42,219
Speaker 2: came out. And that's when Nirvana Nevermind came out as well.

813
00:44:42,540 --> 00:44:48,569
Speaker 2: My point is, looks aside, whatever. I feel like people

814
00:44:48,610 --> 00:44:52,250
Speaker 2: have to understand the context. At that time, the way

815
00:44:52,290 --> 00:44:54,489
Speaker 2: things got played on MTV and the way things got

816
00:44:54,550 --> 00:44:57,790
Speaker 2: supported with major label money was if they picked up

817
00:44:57,830 --> 00:45:00,730
Speaker 2: traction on college radio first. And there were a handful

818
00:45:00,750 --> 00:45:03,870
Speaker 2: of college radio and then an even smaller handful of

819
00:45:04,170 --> 00:45:06,969
Speaker 2: mainstream rock radio stations, I think like two or three,

820
00:45:07,010 --> 00:45:10,489
Speaker 2: like K-Rock, WBCN, and whatever the one in Atlanta was,

821
00:45:10,570 --> 00:45:13,080
Speaker 2: and maybe one or two others. If they played something,

822
00:45:13,300 --> 00:45:15,780
Speaker 2: then the rest of the radio stations in the country

823
00:45:15,800 --> 00:45:18,669
Speaker 2: got behind. behind them but those guys were taking their

824
00:45:18,730 --> 00:45:23,290
Speaker 2: cues from college radio stations right and mtv was taking

825
00:45:23,310 --> 00:45:25,350
Speaker 2: their cues from all of it mtv wasn't just like

826
00:45:25,370 --> 00:45:27,089
Speaker 2: going like i like this shit and i'm gonna play

827
00:45:27,110 --> 00:45:29,209
Speaker 2: it i mean sure earlier yeah but by this time

828
00:45:29,310 --> 00:45:31,910
Speaker 2: no they were looking for ratings and they were going

829
00:45:31,969 --> 00:45:35,890
Speaker 2: by what was hot my point college radio lived at

830
00:45:35,930 --> 00:45:38,730
Speaker 2: the same table as fucking frank black and the pixies

831
00:45:38,790 --> 00:45:43,030
Speaker 2: for a good solid five six seven eight years before

832
00:45:43,110 --> 00:45:48,500
Speaker 2: nevermind comes out they've been playing all these pixies albums.

833
00:45:49,000 --> 00:45:49,280
Speaker 1: Right.

834
00:45:49,540 --> 00:45:53,219
Speaker 2: Right. And then they get a version of that by

835
00:45:53,280 --> 00:45:57,120
Speaker 2: a beautiful looking human being that is finally produced on

836
00:45:57,160 --> 00:46:00,560
Speaker 2: the same level that, that the pixies are produced on. Yeah.

837
00:46:00,600 --> 00:46:03,460
Speaker 2: And the, and that just becomes the thing. So I'm

838
00:46:03,500 --> 00:46:07,720
Speaker 2: not saying that nevermind would have happened without Trump Lamont.

839
00:46:07,780 --> 00:46:09,819
Speaker 2: That's impossible because they're both released on the same day.

840
00:46:10,160 --> 00:46:10,339
Speaker 1: Right.

841
00:46:10,480 --> 00:46:11,860
Speaker 2: But I am saying, I don't think it would have

842
00:46:11,880 --> 00:46:14,419
Speaker 2: happened without the pixies. And I'm also saying Trump Lamont's

843
00:46:14,460 --> 00:46:16,450
Speaker 2: a great fucking record, and I just want to recommend it,

844
00:46:16,450 --> 00:46:17,850
Speaker 2: and I want everyone to listen to that and take

845
00:46:17,890 --> 00:46:19,050
Speaker 2: that away from this conversation.

846
00:46:19,330 --> 00:46:21,910
Speaker 1: I love all those takes, and I think I'm in

847
00:46:21,930 --> 00:46:24,250
Speaker 1: agreement with you. I know I'm in agreement with you

848
00:46:24,270 --> 00:46:27,000
Speaker 1: about Trump Lamont. It's incredible. I think that was sort

849
00:46:27,020 --> 00:46:29,500
Speaker 1: of like the straw that broke the camel's back there

850
00:46:29,520 --> 00:46:33,500
Speaker 1: with Kim Deal and everything, where she was not really

851
00:46:33,540 --> 00:46:36,180
Speaker 1: down with this direction that he was going in. I

852
00:46:36,200 --> 00:46:36,520
Speaker 1: don't know.

853
00:46:36,580 --> 00:46:39,110
Speaker 2: I don't know enough about their history.

854
00:46:39,270 --> 00:46:39,390
Speaker 1: Yeah.

855
00:46:39,670 --> 00:46:41,489
Speaker 2: Even though I know people who are connected to that

856
00:46:41,530 --> 00:46:45,469
Speaker 2: world pretty damn well or were at the time. Um, but,

857
00:46:45,630 --> 00:46:48,819
Speaker 2: but I, I just, you know, you hear people when

858
00:46:48,840 --> 00:46:51,700
Speaker 2: Nevermind came out, I first heard Nevermind. I heard smells

859
00:46:51,719 --> 00:46:54,620
Speaker 2: like teen spirit. I first heard Nirvana on MTV on

860
00:46:54,640 --> 00:46:58,540
Speaker 2: fucking headbangers ball. Wasn't even, uh, 120 minutes. It was like,

861
00:46:58,780 --> 00:47:01,219
Speaker 2: it was like the weekend it premiered on 120 minutes.

862
00:47:01,280 --> 00:47:04,920
Speaker 2: It also played on, on headbangers ball. And all of

863
00:47:04,960 --> 00:47:06,590
Speaker 2: us had the same reaction the next morning. All of

864
00:47:06,620 --> 00:47:08,330
Speaker 2: our friends, we all went out and bought that record.

865
00:47:09,230 --> 00:47:11,319
Speaker 2: or as soon as it was available. But we were

866
00:47:11,360 --> 00:47:14,739
Speaker 2: all talking about it immediately. And then I ran into

867
00:47:14,860 --> 00:47:19,620
Speaker 2: older friends, a couple, like two, who had known of Bleach.

868
00:47:20,140 --> 00:47:22,359
Speaker 2: And I even had one friend who actually saw them

869
00:47:22,380 --> 00:47:28,049
Speaker 2: at Access prior to all this, that legendary show. But

870
00:47:28,210 --> 00:47:32,350
Speaker 2: in doing research for Nirvana, whatever, I've come across people

871
00:47:32,390 --> 00:47:35,109
Speaker 2: and they kind of all go like, oh, there's this

872
00:47:35,170 --> 00:47:37,670
Speaker 2: thing about like, oh, we knew this was coming. We

873
00:47:37,710 --> 00:47:41,070
Speaker 2: knew like something was going to break in our favor

874
00:47:41,190 --> 00:47:47,500
Speaker 2: with sort of alternative music, not necessarily Nirvana, but something.

875
00:47:46,620 --> 00:47:48,299
Speaker 1: Was- Like our time was due or whatever.

876
00:47:48,360 --> 00:47:49,799
Speaker 2: Our time was coming, man.

877
00:47:49,840 --> 00:47:52,600
Speaker 1: It's like a batter who's gone like, you know. 0

878
00:47:52,600 --> 00:47:54,939
Speaker 1: for 6 on the last at-bats and he's ready, right?

879
00:47:54,980 --> 00:47:57,140
Speaker 2: Yeah, yeah. Or a fighter who's, you know, who's been

880
00:47:57,180 --> 00:47:59,259
Speaker 2: just kicking ass and like is going to get the

881
00:47:59,300 --> 00:48:01,580
Speaker 2: title shot. And there had been, my point is there'd

882
00:48:01,620 --> 00:48:05,640
Speaker 2: been all these records, Pixies, Jane's Addiction, Chili Peppers, all

883
00:48:05,700 --> 00:48:07,850
Speaker 2: this stuff. Like it was just, it was the perfect

884
00:48:07,930 --> 00:48:10,670
Speaker 2: moment for Nirvana to step in and do what they did.

885
00:48:10,730 --> 00:48:13,370
Speaker 2: And I don't think it would have happened for them had,

886
00:48:13,670 --> 00:48:15,650
Speaker 2: I mean, the Pixies just put in so much of

887
00:48:15,690 --> 00:48:17,310
Speaker 2: that early work with those albums.

888
00:48:17,390 --> 00:48:19,830
Speaker 1: Agreed. And Kurt's on the record talking about how much

889
00:48:19,870 --> 00:48:22,339
Speaker 1: the Pixies influenced his songwriting and as well.

890
00:48:22,820 --> 00:48:25,259
Speaker 2: Yeah. I mean, shit, nevermind. It's named after a fucking replacements.

891
00:48:25,480 --> 00:48:26,180
Speaker 1: Yeah, exactly.

892
00:48:26,260 --> 00:48:28,020
Speaker 2: Song. You know what I mean? Like it's, it's, we

893
00:48:28,040 --> 00:48:29,860
Speaker 2: didn't even mention them, but they're part of that as well.

894
00:48:29,980 --> 00:48:30,140
Speaker 1: Yeah.

895
00:48:30,580 --> 00:48:32,530
Speaker 2: Um, but you know, Pixies is a better comp because

896
00:48:32,550 --> 00:48:35,150
Speaker 2: of the whole loud, quiet, loud thing.

897
00:48:35,190 --> 00:48:35,810
Speaker 1: Yeah. Yeah.

898
00:48:36,650 --> 00:48:38,730
Speaker 2: Um, anyways, uh, what do you got?

899
00:48:39,610 --> 00:48:41,750
Speaker 1: All right, man, I got, I got movies and, uh,

900
00:48:42,010 --> 00:48:43,890
Speaker 1: like you, I could have gone with obvious picks. I

901
00:48:43,910 --> 00:48:45,629
Speaker 1: could have talked about Pulp Fiction and how that kind

902
00:48:45,670 --> 00:48:49,260
Speaker 1: of rewrote like the, the linear storytelling and, and major

903
00:48:49,600 --> 00:48:52,570
Speaker 1: Hollywood movies. Um, I could have talked about Eraserhead, could

904
00:48:52,590 --> 00:48:55,250
Speaker 1: have talked about Citizen Kane. These are my three picks.

905
00:48:55,410 --> 00:48:59,520
Speaker 1: The first is the 1974 John Cassavetes film, A Woman

906
00:48:59,680 --> 00:49:00,540
Speaker 1: Under the Influence.

907
00:49:00,860 --> 00:49:01,180
Speaker 2: Oh, wow.

908
00:49:01,960 --> 00:49:05,620
Speaker 1: Because it's all about Jenna Rollins in this. And I'm

909
00:49:05,640 --> 00:49:08,660
Speaker 1: going to, my hot take here, Mean Streets comes out

910
00:49:08,700 --> 00:49:11,739
Speaker 1: in 73, A Woman Under the Influence is 74. The

911
00:49:11,780 --> 00:49:14,430
Speaker 1: reason I think this movie kind of broke the mold

912
00:49:14,630 --> 00:49:19,569
Speaker 1: is that at times it feels like a documentary, right?

913
00:49:19,730 --> 00:49:22,130
Speaker 1: But you're watching an actor act, and Peter Falk is

914
00:49:22,310 --> 00:49:24,989
Speaker 1: incredible in this as well, but Jenna Rollins, who's the

915
00:49:25,030 --> 00:49:28,930
Speaker 1: lead character, and she portrays a housewife who's like, you know,

916
00:49:29,110 --> 00:49:33,879
Speaker 1: she's undergoing a mental crisis throughout the entire film. And

917
00:49:34,239 --> 00:49:37,060
Speaker 1: it feels like a documentary, but also, you know, De

918
00:49:37,100 --> 00:49:40,839
Speaker 1: Niro gets all this credit, and rightly so, for sort

919
00:49:40,860 --> 00:49:45,690
Speaker 1: of introducing sort of the next wave of acting post,

920
00:49:45,870 --> 00:49:50,390
Speaker 1: you know, Marlon Brando changed, Marlon Brando, James Dean, all

921
00:49:50,410 --> 00:49:56,370
Speaker 1: the method actor school people changed Hollywood in the classic period,

922
00:49:57,010 --> 00:49:59,570
Speaker 1: the golden era. And then De Niro gets the credit

923
00:49:59,590 --> 00:50:02,900
Speaker 1: for sort of introducing this new film, this new language

924
00:50:02,920 --> 00:50:05,339
Speaker 1: to film. But I think Jenna Rollins kind of gets

925
00:50:05,360 --> 00:50:07,899
Speaker 1: the shaft on this because I feel like she's part,

926
00:50:08,340 --> 00:50:10,560
Speaker 1: she should be part of this conversation for sort of

927
00:50:10,660 --> 00:50:13,960
Speaker 1: changing how we looked at what an actor can do

928
00:50:14,020 --> 00:50:15,319
Speaker 1: and how they communicated.

929
00:50:15,560 --> 00:50:15,759
Speaker 3: Right.

930
00:50:16,640 --> 00:50:20,340
Speaker 1: Her performance is like, you feel like you're watching a

931
00:50:20,500 --> 00:50:22,160
Speaker 1: real person, like unravel on screen.

932
00:50:22,510 --> 00:50:22,760
Speaker 2: Wow.

933
00:50:23,230 --> 00:50:23,510
Speaker 3: Wow.

934
00:50:23,730 --> 00:50:26,469
Speaker 2: I've never seen this movie. I started it and it

935
00:50:26,770 --> 00:50:28,370
Speaker 2: gets to the thing where it was so, yeah, it

936
00:50:28,410 --> 00:50:30,310
Speaker 2: was so, I could tell. I was like, I can't

937
00:50:30,350 --> 00:50:32,830
Speaker 2: really give this all my attention right now. It's one

938
00:50:32,850 --> 00:50:35,010
Speaker 2: of those things. I pause. It's still on criterion.

939
00:50:35,130 --> 00:50:35,770
Speaker 1: Yeah, probably.

940
00:50:35,790 --> 00:50:37,390
Speaker 2: Yeah. If we're ever fucking getting, if I can ever

941
00:50:37,430 --> 00:50:37,879
Speaker 2: get it again.

942
00:50:37,890 --> 00:50:38,009
Speaker 3: Yeah.

943
00:50:39,140 --> 00:50:41,570
Speaker 2: I saw someone, Thomas Jane on Instagram, got a check

944
00:50:41,590 --> 00:50:44,189
Speaker 2: from Criterion for like, he got his money back that month.

945
00:50:45,710 --> 00:50:48,250
Speaker 1: I've heard of some people, I saw some Reddit threads

946
00:50:48,270 --> 00:50:51,569
Speaker 1: where people who were getting like a one month credit

947
00:50:51,590 --> 00:50:54,230
Speaker 1: to their account or whatever, if you complain. I don't know.

948
00:50:54,330 --> 00:50:56,170
Speaker 2: I'm- I need to fucking keep my money, man. Like,

949
00:50:56,190 --> 00:50:57,029
Speaker 2: give me the damn app.

950
00:50:57,070 --> 00:51:00,150
Speaker 1: Just, yeah, I know. How difficult is it? Like, put

951
00:51:00,190 --> 00:51:02,130
Speaker 1: someone on that. Be like, hey, I know this is

952
00:51:02,170 --> 00:51:04,690
Speaker 1: what you do usually on Mondays, but today you're gonna

953
00:51:04,710 --> 00:51:07,569
Speaker 1: make sure this fucking app gets finalized. Like, that's how

954
00:51:07,610 --> 00:51:08,589
Speaker 1: it works around here, man.

955
00:51:09,950 --> 00:51:11,410
Speaker 2: Yes, exactly, yes.

956
00:51:11,450 --> 00:51:13,089
Speaker 1: All right, a woman under the influence. All right, my

957
00:51:13,110 --> 00:51:17,080
Speaker 1: next pick is a 2002 Spike Jonze film called Adaptation,

958
00:51:17,600 --> 00:51:20,860
Speaker 1: which is written by Charlie Kaufman. And the reason I'm

959
00:51:20,880 --> 00:51:24,510
Speaker 1: picking this is because I don't think I'd ever seen

960
00:51:24,530 --> 00:51:28,110
Speaker 1: a movie in which the script eats its own tail

961
00:51:28,160 --> 00:51:30,609
Speaker 1: the way that it does in this film. Charlie Kaufman

962
00:51:30,660 --> 00:51:36,400
Speaker 1: had been hired to adapt a book by Susan Orlean

963
00:51:36,480 --> 00:51:39,200
Speaker 1: called The Orchid Thief. I think she had written a

964
00:51:39,219 --> 00:51:42,440
Speaker 1: long piece for The New Yorker about these people that

965
00:51:42,780 --> 00:51:45,779
Speaker 1: find these rare wild orchids. And she turned it into

966
00:51:45,800 --> 00:51:48,740
Speaker 1: a nonfiction book. And Charlie Kaufman the screenwriter was going

967
00:51:48,760 --> 00:51:50,899
Speaker 1: to adapt this into a movie and he ran into

968
00:51:50,940 --> 00:51:53,040
Speaker 1: writer's block. He realized after a while that he couldn't

969
00:51:53,100 --> 00:51:56,319
Speaker 1: adapt this book and he couldn't write. And so he

970
00:51:57,060 --> 00:52:00,520
Speaker 1: turned that experience into this script, which the lead character

971
00:52:00,640 --> 00:52:03,939
Speaker 1: is named Charlie Kaufman. He's trying to adapt the Orchid

972
00:52:03,980 --> 00:52:06,920
Speaker 1: Thief book, but he has a twin brother, both of

973
00:52:06,980 --> 00:52:09,040
Speaker 1: whom are played by Nicolas Cage, by the way. He

974
00:52:09,060 --> 00:52:11,719
Speaker 1: has a twin brother who is a total idiot and

975
00:52:11,900 --> 00:52:13,520
Speaker 1: is like, I want to be a screenwriter too. And

976
00:52:13,560 --> 00:52:15,370
Speaker 1: he goes and he takes like a, He goes and

977
00:52:15,410 --> 00:52:19,270
Speaker 1: sees Brian Cox as this like pompous screenwriter. You pay

978
00:52:19,290 --> 00:52:20,830
Speaker 1: all this money for this course and he teaches you

979
00:52:20,850 --> 00:52:23,589
Speaker 1: how to be a screenwriter. And the dumb brother who

980
00:52:23,890 --> 00:52:26,969
Speaker 1: wants to be a screenwriter gets his pitch bought by

981
00:52:26,989 --> 00:52:29,890
Speaker 1: a studio and he's going to make this. Meanwhile, Charlie's

982
00:52:29,930 --> 00:52:31,820
Speaker 1: struggling trying to figure out how he's going to write

983
00:52:31,930 --> 00:52:34,540
Speaker 1: The Orchid Thief. And the film, I don't know if

984
00:52:34,560 --> 00:52:38,240
Speaker 1: you've seen this movie before, but the movie devolves. Charlie

985
00:52:38,280 --> 00:52:41,839
Speaker 1: Kaufman becomes involved in the kind of movie that he

986
00:52:41,900 --> 00:52:45,880
Speaker 1: never wanted to write this like, action thriller thing for

987
00:52:45,920 --> 00:52:48,950
Speaker 1: a big studio that involves Susan Orlean and involves this

988
00:52:49,030 --> 00:52:50,969
Speaker 1: orchid thief or like trying to kill him. It's like,

989
00:52:52,290 --> 00:52:56,509
Speaker 1: it's this incredible, uh, way for a writer to be like,

990
00:52:56,590 --> 00:52:59,230
Speaker 1: how do I get around this, this writing problem that

991
00:52:59,250 --> 00:53:01,529
Speaker 1: I'm happening? Oh, I'm going to create an entirely new

992
00:53:01,650 --> 00:53:03,750
Speaker 1: idea that incorporates this problem into it.

993
00:53:03,810 --> 00:53:03,969
Speaker 2: Right.

994
00:53:04,300 --> 00:53:05,780
Speaker 1: I just don't know that there's ever been a movie

995
00:53:05,800 --> 00:53:08,870
Speaker 1: like that ever in history that, that approached it's script

996
00:53:08,910 --> 00:53:09,210
Speaker 1: that way.

997
00:53:09,230 --> 00:53:11,140
Speaker 2: You know what I mean? That becomes the adaptation that

998
00:53:11,180 --> 00:53:13,219
Speaker 2: he's actually struggling with.

999
00:53:13,239 --> 00:53:17,020
Speaker 1: It's brilliant. It's brilliant. And it's brilliantly made by, by

1000
00:53:17,040 --> 00:53:21,140
Speaker 1: Spike Jones and Meryl Streep plays Susan Orlean. Incredible film

1001
00:53:21,200 --> 00:53:24,460
Speaker 1: adaptation and, and props to Nicolas Cage. This was like

1002
00:53:25,300 --> 00:53:27,589
Speaker 1: right after he won the, the Academy Award for Leaving

1003
00:53:27,610 --> 00:53:30,149
Speaker 1: Las Vegas. And he had become like, you know, the,

1004
00:53:30,450 --> 00:53:34,130
Speaker 1: the big new action star with The Rock and Con

1005
00:53:34,190 --> 00:53:36,250
Speaker 1: Air and all these stupid big movies and, And he

1006
00:53:36,290 --> 00:53:38,790
Speaker 1: goes back and does this, and he allows himself to look,

1007
00:53:38,830 --> 00:53:41,170
Speaker 1: he looks hideous in this movie. But both the twins,

1008
00:53:41,210 --> 00:53:44,649
Speaker 1: they have this curly hair that's very spotty, and they're

1009
00:53:44,670 --> 00:53:46,509
Speaker 1: just sort of loathsome people in a way. And I

1010
00:53:46,550 --> 00:53:52,070
Speaker 1: think Charlie Kaufman probably loathed himself at this moment.

1011
00:53:52,390 --> 00:53:56,489
Speaker 2: God, man, the trials and tribulations of screenwriters. I can't imagine.

1012
00:53:58,140 --> 00:54:00,340
Speaker 2: This is a message for the kids out there, if

1013
00:54:00,760 --> 00:54:03,230
Speaker 2: they ever hear this. I can't imagine wanting to be

1014
00:54:03,270 --> 00:54:06,109
Speaker 2: a screenwriter, like as the thing you want to do.

1015
00:54:06,469 --> 00:54:10,750
Speaker 2: You know what I mean? Like, because it's so, we've

1016
00:54:10,790 --> 00:54:14,509
Speaker 2: talked about it before, it's unforgiving. And you're really like

1017
00:54:14,550 --> 00:54:17,750
Speaker 2: the first to get the ax, like directors just rewrite you.

1018
00:54:17,830 --> 00:54:21,940
Speaker 2: Like it's a constant theme in Hollywood. I feel like

1019
00:54:21,960 --> 00:54:26,040
Speaker 2: there's still some, there's a romanticized piece of this where

1020
00:54:26,060 --> 00:54:28,180
Speaker 2: people think it's like being a novelist or a poet.

1021
00:54:28,780 --> 00:54:33,160
Speaker 2: It's really not. Yeah. it's, it's like craft services and

1022
00:54:33,219 --> 00:54:37,060
Speaker 2: it sucks. It absolutely sucks. But I feel like cause it's,

1023
00:54:37,100 --> 00:54:39,160
Speaker 2: there's such a wide gap between the page and what

1024
00:54:39,219 --> 00:54:40,399
Speaker 2: ends up on the screen.

1025
00:54:40,920 --> 00:54:43,640
Speaker 1: And I feel like there's few and far, it's few

1026
00:54:43,680 --> 00:54:46,500
Speaker 1: and far between the number of people who actually are

1027
00:54:46,560 --> 00:54:49,779
Speaker 1: able to, to be churning out steady works that are

1028
00:54:50,140 --> 00:54:52,180
Speaker 1: made all the time. Like you look at, we watched

1029
00:54:52,280 --> 00:54:54,879
Speaker 1: Sleepy Hollow last night and I was like looking at the,

1030
00:54:55,020 --> 00:54:56,319
Speaker 1: like who wrote this? I was like, Oh, the guy

1031
00:54:56,360 --> 00:54:58,180
Speaker 1: who wrote seven wrote this. And I'm looking at the guy's,

1032
00:54:59,270 --> 00:55:01,509
Speaker 1: and it's like, dude's written like four movies in the

1033
00:55:01,530 --> 00:55:03,710
Speaker 1: last like 20 years or whatever. Like I wonder how

1034
00:55:03,750 --> 00:55:06,569
Speaker 1: many screenplays he wrote that didn't get produced, you know?

1035
00:55:06,860 --> 00:55:07,360
Speaker 2: Oh my God.

1036
00:55:07,860 --> 00:55:08,899
Speaker 1: Yeah. All right, third pick.

1037
00:55:09,340 --> 00:55:09,799
Speaker 2: Third pick.

1038
00:55:10,460 --> 00:55:15,739
Speaker 1: Richard Linklater's 2014 film, Boyhood, which stars Ethan Hawke and

1039
00:55:15,800 --> 00:55:19,399
Speaker 1: Patricia Arquette as parents of a boy. They shot this

1040
00:55:20,020 --> 00:55:21,410
Speaker 1: over the course of 11 years.

1041
00:55:21,680 --> 00:55:22,610
Speaker 2: This is psychotic.

1042
00:55:22,790 --> 00:55:25,750
Speaker 1: So that the boy could grow up and the parents,

1043
00:55:25,770 --> 00:55:29,020
Speaker 1: so everybody could like actually grow and tell this story

1044
00:55:29,120 --> 00:55:31,799
Speaker 1: over a decade, which is fucking psychotic. Yeah. And like

1045
00:55:31,820 --> 00:55:34,040
Speaker 1: this broke kind of like every rule. And they started

1046
00:55:34,100 --> 00:55:36,800
Speaker 1: shooting this movie, by the way, with barely a script.

1047
00:55:36,840 --> 00:55:39,460
Speaker 1: They had like an idea and they had an ending

1048
00:55:39,500 --> 00:55:41,700
Speaker 1: where they wanted to get to. And they were just

1049
00:55:41,739 --> 00:55:44,200
Speaker 1: sort of like in between other movies were just sort

1050
00:55:44,219 --> 00:55:45,540
Speaker 1: of like flying by the seat of their pants and

1051
00:55:45,560 --> 00:55:49,600
Speaker 1: shooting this. And so, and, and incredibly, it turned out

1052
00:55:49,620 --> 00:55:52,120
Speaker 1: to be a great movie. It's a great, great movie.

1053
00:55:52,960 --> 00:55:58,259
Speaker 2: He's incredible. He's very special. And, Obviously ambitious, audacious even.

1054
00:55:58,280 --> 00:56:01,580
Speaker 2: It's interesting with your picks, you went in this direction.

1055
00:56:01,600 --> 00:56:06,860
Speaker 2: I haven't seen A Woman Under the Influence, Jenna Rollins.

1056
00:56:07,300 --> 00:56:08,719
Speaker 2: I haven't seen it, so I can't really say. But

1057
00:56:08,739 --> 00:56:12,600
Speaker 2: the other two, it doesn't seem like there's been movies

1058
00:56:12,640 --> 00:56:15,219
Speaker 2: that were made afterward in the same way.

1059
00:56:15,239 --> 00:56:16,560
Speaker 1: In the same way, yeah, right.

1060
00:56:17,100 --> 00:56:19,219
Speaker 2: Like when I think of Break the Mold, I know

1061
00:56:19,239 --> 00:56:22,820
Speaker 2: what you're saying. I was like, oh, these albums broke

1062
00:56:22,860 --> 00:56:25,259
Speaker 2: the mold before. But people rush to put the mold

1063
00:56:25,300 --> 00:56:28,140
Speaker 2: back together again and then copy it. You know what

1064
00:56:28,160 --> 00:56:28,540
Speaker 2: I'm saying?

1065
00:56:28,700 --> 00:56:30,239
Speaker 1: I see what you mean. I think it works either way.

1066
00:56:30,410 --> 00:56:30,969
Speaker 1: It does.

1067
00:56:31,160 --> 00:56:33,910
Speaker 2: It absolutely does. It's just me not understanding the mission

1068
00:56:34,110 --> 00:56:36,430
Speaker 2: as usual. It's like that one category in this film

1069
00:56:36,450 --> 00:56:38,290
Speaker 2: should be played loud that I can never fucking get.

1070
00:56:38,310 --> 00:56:42,730
Speaker 1: You're getting there. You're getting there. You're doing better.

1071
00:56:42,750 --> 00:56:43,710
Speaker 2: All right. This is great, man.

1072
00:56:43,890 --> 00:56:44,470
Speaker 1: Good recs.

1073
00:56:44,870 --> 00:56:45,089
Speaker 2: All right.

1074
00:56:45,130 --> 00:56:59,069
Speaker 1: Good to talk. We'll be right back after this. All right, gang,

1075
00:56:59,090 --> 00:57:01,930
Speaker 1: there you go. Some dirty, dirty wrecks for movies and

1076
00:57:02,110 --> 00:57:05,430
Speaker 1: albums that broke the proverbial mold, that dared to be different,

1077
00:57:06,450 --> 00:57:09,350
Speaker 1: and maybe even rewrote a couple of rules. Maybe you've

1078
00:57:09,370 --> 00:57:12,219
Speaker 1: got your own dirty wrecks for this kind of movie

1079
00:57:12,280 --> 00:57:14,919
Speaker 1: or this kind of record. And if you do, tell us, man.

1080
00:57:16,000 --> 00:57:19,400
Speaker 1: You know, you know, you know our name. Look up

1081
00:57:19,520 --> 00:57:22,640
Speaker 1: the number.

1082
00:57:22,660 --> 00:57:22,970
Speaker 2: 617-906-6638.

1083
00:57:23,610 --> 00:57:28,410
Speaker 1: Disgracelandpod at gmail.com. Perhaps you saw the new Nathan Fielder

1084
00:57:28,490 --> 00:57:31,530
Speaker 1: and Lance Oppenheim doc. You can see everything and you

1085
00:57:31,550 --> 00:57:34,410
Speaker 1: want to talk about it. Let me know your thoughts.

1086
00:57:34,430 --> 00:57:35,050
Speaker 2: 617-906-6638.

1087
00:57:35,070 --> 00:57:42,670
Speaker 1: You can also email me at disgracelandpod at gmail.com. Okay,

1088
00:57:42,690 --> 00:57:45,030
Speaker 1: while you're doing that, in the meantime, as Space Hog

1089
00:57:45,050 --> 00:57:48,030
Speaker 1: would say, let's recap. Number one, first of all, right

1090
00:57:48,050 --> 00:57:51,430
Speaker 1: now in your Hollywoodland feed, our episode on Jane Mansfield.

1091
00:57:51,970 --> 00:57:54,070
Speaker 1: Number two, coming at you this Friday, we've got a

1092
00:57:54,110 --> 00:57:56,260
Speaker 1: new episode of The Screening Room. And this week, I'm

1093
00:57:56,300 --> 00:58:01,360
Speaker 1: talking all about the 2018 Ari Aster film, Hereditary. Number three,

1094
00:58:01,460 --> 00:58:04,200
Speaker 1: next week on Monday, we're bringing you our fully scripted

1095
00:58:04,320 --> 00:58:09,100
Speaker 1: and sound design episode on Jodie Foster. Number four, Over

1096
00:58:09,180 --> 00:58:11,540
Speaker 1: in our sister show, Disgraceland, we've got a brand new

1097
00:58:11,580 --> 00:58:15,680
Speaker 1: episode on Reggie Watts, which asks the question, is Reggie

1098
00:58:15,700 --> 00:58:18,320
Speaker 1: Watts the guy your mother warned you and or your

1099
00:58:18,400 --> 00:58:21,580
Speaker 1: sister about? You can listen to that on Apple Podcasts,

1100
00:58:21,640 --> 00:58:26,050
Speaker 1: the iHeartRadio app, or wherever you get your podcasts. Number five,

1101
00:58:26,250 --> 00:58:29,790
Speaker 1: this film should be played loud. Our video podcast available

1102
00:58:29,830 --> 00:58:34,010
Speaker 1: exclusively to members of Disgraceland All Access on Patreon.com. We

1103
00:58:34,050 --> 00:58:37,110
Speaker 1: have a brand new episode on Shaun of the Dead

1104
00:58:37,230 --> 00:58:40,630
Speaker 1: that comes out today. Come listen to us talk about

1105
00:58:41,610 --> 00:58:44,290
Speaker 1: this film and find out which one of us was

1106
00:58:44,370 --> 00:58:48,490
Speaker 1: higher when we first saw this in theaters back in 2004.

1107
00:58:48,490 --> 00:58:51,350
Speaker 1: And now, in honor of this week's episode, here's what

1108
00:58:51,370 --> 00:58:54,880
Speaker 1: America was watching at the movies in 1967, the year

1109
00:58:54,920 --> 00:59:00,100
Speaker 1: that Jane Mansfield died at the age of 34. Number one,

1110
00:59:00,660 --> 00:59:04,900
Speaker 1: The Graduate, directed by Mike Nichols. Number two, Guess Who's

1111
00:59:04,940 --> 00:59:09,920
Speaker 1: Coming to Dinner, directed by Stanley Cranor. Number three, Bonnie

1112
00:59:09,960 --> 00:59:14,520
Speaker 1: and Clyde, directed by Arthur Penn. Number four, The Dirty Dozen,

1113
00:59:15,120 --> 00:59:20,220
Speaker 1: directed by Robert Aldrich. Number five, Valley of the Dolls,

1114
00:59:20,260 --> 00:59:24,590
Speaker 1: directed by Mark Robson. Number six, To Sir With Love,

1115
00:59:25,160 --> 00:59:29,470
Speaker 1: directed by James Clable. Number seven, You Only Live Twice,

1116
00:59:29,490 --> 00:59:35,080
Speaker 1: directed Directed by Lewis Gilbert. Number eight. Thoroughly modeled. Quit

1117
00:59:35,300 --> 00:59:37,430
Speaker 1: talking and start mixing.

1118
00:59:37,670 --> 00:59:38,120
Speaker 3: Cut it!