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Speaker 1: Dear listeners of Hollywood Land. Does it feel like you're

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Speaker 1: stuck in limbo? Standing under a flickering street light at

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Speaker 1: the corner of Hollywood and True Crime, waiting for the

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Speaker 1: next episode of hollywood Land to drop.

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Speaker 2: I got you. Welcome to Hollywood Land, the Rap Party.

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Speaker 1: Welcome to the Hollywood Land bonus episode. That's right, it's

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Speaker 1: the Rap Party. This is where you come to hang

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Speaker 1: out after the last camera rolls, after the gate is checked,

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Speaker 1: the director calls cut, and the studio a lot empties out.

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Speaker 1: My name is Zeth Lundy, writer and editor at Double Elvis,

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Speaker 1: and on this bonus episode, we are talking about this

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Speaker 1: week's full episode subject of Hollywood Land, Sharon Stone. We

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Speaker 1: are previewing next week's episode on Marlon Brando. We're talking

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Speaker 1: movie and music recommendations with Jake Brennan, and we're going

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Speaker 1: to check out your voicemails, texts, dms and emails. So

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Speaker 1: come on, everybody, let's party. Last week we lost the

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Speaker 1: great Michael Madson, who died of a cardiac arrest at

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Speaker 1: the age of sixty seven. He leaves behind one of

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Speaker 1: the most fascinating filmographies of any working actor, one that

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Speaker 1: spans something like three hundred appearances in movies and TV

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Speaker 1: shows over the course of about four decades, since way

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Speaker 1: back in nineteen eighty two or so three hundred now,

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Speaker 1: in addition to some of his more iconic roles, which

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Speaker 1: we'll talk about in a minute, he did a ton

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Speaker 1: of work just to work. I'm talking directive, video projects,

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Speaker 1: small stuff, stuff that perhaps a more quote unquote discerning

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Speaker 1: actor would have passed on. And this is no way

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Speaker 1: adess on the kind of actor Michael Madison was or

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Speaker 1: the choices that he made. And it's quite the opposite,

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Speaker 1: because Michael Madson wasn't a star. I don't think he

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Speaker 1: would have wanted to be a star. He was a

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Speaker 1: working actor. He was a guy doing a job, a

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Speaker 1: guy earning money to provide for his family, a family

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Speaker 1: that included a lot of kids. And since he wasn't

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Speaker 1: as famous as some of his peers, guys like champenn

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Speaker 1: or Matthew Broderick or Brad Pitt, to name a few

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Speaker 1: of his big co stars, from early on in his career,

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Speaker 1: he needed to put himself out there, presumably to make

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Speaker 1: ends meet and also presumably because he loved doing what

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Speaker 1: he did. Now, to put this in perspective when it

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Speaker 1: comes to a peer like sham Penn, who's been acting

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Speaker 1: for about as long as Michael Madson has. Shampenn has

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Speaker 1: been in less than one hundred films and TV shows

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Speaker 1: at least by my rudimentary math. And for those of

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Speaker 1: you who know me well, you know that math is

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Speaker 1: far from my strong suit, which means that Michael Madison

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Speaker 1: kept himself at least three times as busy as a

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Speaker 1: guy like Shampenn. But no matter how many discerning choices

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Speaker 1: Seampenn has made in his career, I don't think any

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Speaker 1: role he's taken on. Okay, maybe Spacoli in Fast Times,

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Speaker 1: but that's a big maybe. I don't think any role

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Speaker 1: Seampen has taken on is as iconic as Michael Madsen

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Speaker 1: playing mister Blonde in Quentin Tarantino's nineteen ninety debut film

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Speaker 1: Reservoir Dogs. I know this is the role that everyone

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Speaker 1: has been talking about this past week, posting clips of

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Speaker 1: and tribute and you can argue that it's a basic

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Speaker 1: bitch take on the guy. I get it, But seriously,

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Speaker 1: I still remember seeing this for the first time. Probably

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Speaker 1: it was a VHS rental from a blockbuster kind of

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Speaker 1: Joint in late nineteen ninety two or early ninety three,

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Speaker 1: And first of all, just the feeling of being electrified

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Speaker 1: by his cool as fuck on screen presence. I'd probably

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Speaker 1: seen him in something at this point, maybe Thelma Luise

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Speaker 1: or Wargames or whatever, but this was like an introduction

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Speaker 1: to that magnetic presence, this hyper masculine thing. But it

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Speaker 1: was also I don't give a fuck that I'm hyper

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Speaker 1: masculine kind of thing. I'm assuming that it's the same

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Speaker 1: sort of feeling that previous generations got when they saw

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Speaker 1: Paul Newman or Steve McQueen, like really cooking for the

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Speaker 1: first time, like damn cool hand Luke or bullet or whatever.

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Speaker 1: Michael Madsen was that magnetic. And then on top of that,

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Speaker 1: the scene where they got the cop tied up in

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Speaker 1: the chair and left alone with the psychotic mister Blonde

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Speaker 1: who's super charismatic, cool as fuck but one hundred percent psychotic,

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Speaker 1: and he tortures the cop, he cuts his years off,

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Speaker 1: all while Steeler's Wheels Stuck in the Middle with You

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Speaker 1: plays loudly on the radio over the whole scene. I mean,

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Speaker 1: that scene really stays with you, and it still it

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Speaker 1: stays with me to this day. I rewatched Reservoir Dogs

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Speaker 1: over the weekend after hearing about Michael Madsen's death, and

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Speaker 1: that uncomfortable balance between horror and satire or whatever's going

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Speaker 1: on there is still there. It's it's still It's still

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Speaker 1: an incredible scene with incredible psychotic power. But Michael Madison

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Speaker 1: is just so cool through the whole thing. You know,

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Speaker 1: in Scorsese, Martin Scorsese have been pulling this move ever

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Speaker 1: since Mean Streets, you know, ironically juxtaposing a sweet pop

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Speaker 1: tune next to a scene of incredible violence. But I

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Speaker 1: feel like Tarantino really shifted up the gear with that one.

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Speaker 1: In particular, The New York Times had this to say

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Speaker 1: of Michael Madsen. They said he had the air of

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Speaker 1: a timeless movie bad guy. And I've seen more than

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Speaker 1: a few tributes all these comparisons to Robert Mitcham and

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Speaker 1: I get that. You know, these dudes are both rough

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Speaker 1: around the edges. They both have that same kind of

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Speaker 1: weathered vibe. I'm talking more about like a weathered soul

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Speaker 1: than weathered skin, by the way, and they both sort

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Speaker 1: of defied the common conventions of what a leading man

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Speaker 1: could be. But again, you know, I don't think Michael

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Speaker 1: Madson pursued being a leading man, just like I don't

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Speaker 1: think Robert Mitcham did either. But Mitcham was this huge misanthrope,

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Speaker 1: and I don't think that fits Madson, who, beneath his

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Speaker 1: tough guy exterior, I think had more warmth than Robert

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Speaker 1: Mitcham would have ever admitted to. But there's another difference

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Speaker 1: between a guy like Robert Mitcham and a guy like

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Speaker 1: Michael Madson.

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Speaker 2: I think it's this.

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Speaker 1: I think Michael Madsen was the quintessential almost movie star, right.

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Speaker 1: He got really close to grabbing that brass ring, to

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Speaker 1: commanding the sorts of paydays and film choices of some

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Speaker 1: of his peers, but he never got there, And I

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Speaker 1: think maybe he was better for it. You know, he

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Speaker 1: could be your favorite band, you know, he never sold out.

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Speaker 1: He remained authentic. But as I thought about this about

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Speaker 1: the almost movie star, I thought about all these other actors,

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Speaker 1: a lot of them from who came up with Michael Madson,

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Speaker 1: who could fit.

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Speaker 2: This category as well.

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Speaker 1: You know, you've got Eric Roberts, Julia Roberts brother who

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Speaker 1: early on in the eighties was on all this critically

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Speaker 1: acclaimed stuff like The Pope of Greenwich Village with Mickey Rourke.

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Speaker 1: He was in Star eighty, the movie about Dorothy Stratton.

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Speaker 1: He was nominated for an Academy Award for a movie

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Speaker 1: called Runaway Train in eighty five, which I've never seen.

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Speaker 2: Do you know that movie.

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Speaker 1: I've never seen that movie. Let me know if that's

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Speaker 1: worth checking out. Of course, over the years he was

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Speaker 1: derailed by, you know, drugs addiction. But in more recent

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Speaker 1: years he's sort of been on this upstore again. He

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Speaker 1: was in The Righteous Gemstones HBO series. Recently, he was

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Speaker 1: in Paul Thomas Anderson's Inherent Vice. Another guy similar to this,

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Speaker 1: Michael Bean. This is James Cameron's go to guy. He

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Speaker 1: always plays sort of like the military, the military guy,

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Speaker 1: the marine, the seal team leader.

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Speaker 2: You know.

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Speaker 1: He was in The Terminator, he was in Aliens Stay Frosty.

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Speaker 1: He was in The Abyss and The Abyss. He's really

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Speaker 1: like the antagonist of that movie, the guy who's who's

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Speaker 1: scared of the alien life form they find down beneath

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Speaker 1: the sea. And then there's other guys, you know, Tom Sizemore,

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Speaker 1: Stephen Dwarf, Billy Zain. I want to hear from you

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Speaker 1: about this. What do you think is Michael Madsen the

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Speaker 1: ultimate almost famous actor of all time? If not, is

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Speaker 1: it someone else? Someone I mentioned? Maybe someone I've forgotten

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Speaker 1: all about. Call me or text me at six one

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Speaker 1: seven nine oh six six six three eight. Let me

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Speaker 1: know what about? What about the women? What about the actresses?

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Speaker 3: Here?

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Speaker 1: Wi A are Jennifer, Jason Lee, people like that? Let

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Speaker 1: me know six one seven nine oh six six six

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Speaker 1: three eight. When it comes to this week's subject of

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Speaker 1: Hollywood Land, Sharon Stone, I don't know that she was

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Speaker 1: ever in a movie with Michael Madison, which seems crazy

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Speaker 1: because he made so many movies and for a minute

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Speaker 1: there the time that he was becoming almost famous. Uh,

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Speaker 1: she was a Sharon Stone was on a hot streak.

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Speaker 1: But coincidentally, Michael Madison wasn't. A movie in nineteen ninety

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Speaker 1: two called Fatal Instinct, which is also known by another

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Speaker 1: title to Kill four, probably renamed because the very next

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Speaker 1: year there was another movie called Fatal Instinct that came out,

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Speaker 1: and this was a parody of the It was like

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Speaker 1: a scary movie, parody of the popular erotic thriller genre

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Speaker 1: at the time. But it's funny because Michael Madisen was

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Speaker 1: in this movie in ninety two, the same year that

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Speaker 1: basic Instinct came out called Fatal Instinct, of course, the

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Speaker 1: fatal coming from Michael Douglas's previous erotic thriller Fatal Attraction.

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Speaker 1: The Sharon Stone movie. He was the popular one, of course,

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Speaker 1: and you can hear all about how her character in

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Speaker 1: that film may have inspired a notorious killer known as

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Speaker 1: the Butcher of Montreal. In this week's episode of Hollywood Land,

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Speaker 1: which is in your feed right now, Okay, coming at

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Speaker 1: you next week, We've got an episode on an actor

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Speaker 1: who is the complete and polar opposite of a guy

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Speaker 1: like Michael Madison. And what I mean is that he

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Speaker 1: was one of the most famous actors of all time

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Speaker 1: still is Marlon Brando. This is a wild one that

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Speaker 1: at its core tells this insane story about Marlon Brando's

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Speaker 1: daughter's boyfriend who wound up dead on the floor of

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Speaker 1: Brando's living room. When you listen to these episodes Sharon Stone,

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Speaker 1: Marlon Brando, whatever their Hollywood Land episodes you are listening

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Speaker 1: to this week, hit us up and let us know

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Speaker 1: what you're thinking about this, what you think about the

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Speaker 1: episodes what we got right, what we got wrong? Other

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Speaker 1: people you want us to cover in future brand new

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Speaker 1: episodes of Hollywood Lands. I want to know who do

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Speaker 1: you want. I've got this running list going, this big

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Speaker 1: running list, a lot of recommendations from people out there,

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Speaker 1: people just like you who are listening. Maybe you don't

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Speaker 1: want to call, you don't want to text you.

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Speaker 2: I don't know.

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Speaker 1: Maybe it's it's just not your thing. Maybe you want

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Speaker 1: to email instead. If you want to email, you can

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Speaker 1: shoot us an email at Disgrace Lampod at gmail dot com.

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Speaker 1: Or maybe it's easier us to go on social media

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Speaker 1: on Facebook, Instagram, or x. You can find us at

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Speaker 1: Disgrace Lampod. Let us know there. Okay, don't go anywhere.

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Speaker 1: I'm gonna bring Jake Brennan in here with me in

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Speaker 1: just a minute to chop it up right after this

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Speaker 1: commercial break. I'm gonna bring Jake Brennan in here with

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Speaker 1: me in just a minute to chop it up. Right

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Speaker 1: after this commercial break, Welcome back to the Wrap party,

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Speaker 1: where it's just about time to get my guy, Jake

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Speaker 1: Brennan in here on the mic with me. But before

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Speaker 1: we do that, real quick, I just want to check

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Speaker 1: if you're listening on Apple Podcasts, make sure you've got

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Speaker 1: auto downloads turned on so that you don't miss any episodes. Okay,

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Speaker 1: fully scripted bonus episode of Disgraceland every month as well.

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Speaker 1: For more info on that and to sign up, just

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Speaker 1: head over to disgracelampod dot com, slash membership and now,

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Speaker 1: without further ado, JB is in the house. Jake Brennan,

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Speaker 1: what's happening.

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Speaker 3: I'm here, man, I'm here. I'm excited. I'm excited to

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Speaker 3: talk about Sharon's.

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Speaker 1: How you doing, I'm doing great. I'm doing great. Yeah,

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Speaker 1: Sharon's Are we talking about multiple sharons today?

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Speaker 2: What's happening?

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Speaker 3: I'm talking about multiple sharons? Yes, absolutely great.

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Speaker 2: I knew you would flip the script somehow, so.

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Speaker 3: I'm kind of I'm wondering, is there not a band

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Speaker 3: playing Newport Folk this year called the Sharons, because I

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Speaker 3: definitely feel like there should.

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Speaker 1: Be the Sharon Sharons, like the Linda Linda's.

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Speaker 3: Yeah, Yes, maybe it can be the Sharon Sharon Sharon's.

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Speaker 3: There you go say that three times fast.

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Speaker 1: It's been busy week out here in Hollywood Lands. We

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Speaker 1: got listeners calling, texting with their two cents or their

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Speaker 1: two pence, as our friends from across the pond like

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Speaker 1: to say, Uh, first up, I want to check out

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Speaker 1: this voicemail from our guy Nolan in the five o two.

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Speaker 4: Hi, my name is Nolan calling from Louisville, Kentucky. I

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Speaker 4: started a new job and you were one of the

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Speaker 4: podcasts I started listening to. I'd become a big fan.

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Speaker 4: I just had a question for you about a couple

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Speaker 4: people like that I kind of thought got written out

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Speaker 4: of Hollywood history. First was Brad Davis, who was in

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Speaker 4: Midnight Express in nineteen seventy eight. He died in nineteen

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Speaker 4: ninety one, but he had started a movie that was

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Speaker 4: really big, and none of the other credits since then

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Speaker 4: until he died seemed like they did much. And the

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Speaker 4: other was Elia Kazan, who got written out, you know,

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Speaker 4: for a reason. Yeah, I was just wondering about that. Also,

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Speaker 4: Eddie Nash, please do an Eddie Nash episode. Okay, thanks,

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Speaker 4: keep the show going.

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Speaker 3: Bye, Nolan can rats on the new gig man that

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Speaker 3: I have some comments. You mind if I go first?

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Speaker 2: Yeah, go for it.

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Speaker 3: Brad Davis, I got to admit I've never seen Midnight Express.

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Speaker 3: It always has scared the hell out of me. I

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Speaker 3: haven't seen it, and I don't know who Brad Davis is.

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Speaker 3: I just looked him up real quick while no one

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Speaker 3: was talking, and I got it. It's a hole in

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Speaker 3: my game that I will fill by the next time

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Speaker 3: we talk. Okay, I'll try to watch Midnight Express. Elia Kazan.

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Speaker 3: It's interesting. I was just talking to my wife about this.

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Speaker 3: All of a sudden, everybody I know is reading East

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Speaker 3: of Eden.

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Speaker 2: Have you noticed this? No? I have not noticed this.

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Speaker 3: Yeah, my wife I was like, what do you what

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Speaker 3: are you reading? She's like East of Eden?

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Speaker 2: Like what?

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Speaker 3: Totally not like in the you know. I don't know

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Speaker 3: how she got onto it, but she got onto it.

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Speaker 3: My buddy Cam texted me a couple of days ago

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Speaker 3: he's reading East of Eden. Yeah, where does it take place.

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Speaker 3: Where does East of Eden take place in California?

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Speaker 4: Right?

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Speaker 1: Okay, California, Northern California. I believe I haven't read the book.

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Speaker 1: I've only seen the movie.

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Speaker 2: Yeah, it was a while back.

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Speaker 3: It's Elia Kazan, correct I yes, yeah, okay, So and

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Speaker 3: then I found out his granddaughter, Zoe Zoe zan who

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Speaker 3: I love her. She's fantastic. I think she's behind the

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Speaker 3: adaptation of East of Eden that's coming to one of

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Speaker 3: the streaming networks. I'm not sure if it's Netflix, but

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Speaker 3: that's in the works too, So I think what might

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Speaker 3: be happening here is we're at the beginning of the

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Speaker 3: East of Eden wave that is cresting. So maybe maybe

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Speaker 3: Elia Kazan will will get his due that no one

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Speaker 3: is alluding that he didn't get. But I feel like

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Speaker 3: we had a reckoning with Eliot. Not a reckoning. We

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Speaker 3: had a what's what's the word a reclamation for for

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Speaker 3: Elia Kazan a couple of years ago at one of

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Speaker 3: them at the Golden Globes or something. I seem to

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Speaker 3: remember Robert de Niro and a bunch of people standing

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Speaker 3: up and then a bunch of others. Not was that

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Speaker 3: for Elia Kazan or am I thinking of somebody else

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Speaker 3: I got.

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Speaker 2: I'd have to look it up, But I believe you're right.

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Speaker 1: I believe there was some sort of taking back of

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Speaker 1: that history that occurred at some point.

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Speaker 3: One of the blacklisted directors. For sure, maybe let's check in.

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Speaker 3: Let's let's let's figure that out, find out what that

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Speaker 3: sort of reclamation project was, and then we'll report back

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Speaker 3: next week.

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Speaker 1: For not totally, because if I'm not mistaken, he wasn't

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Speaker 1: just blacklisted like he named names right, Yes, that was

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Speaker 1: the thing.

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Speaker 3: So I'm almost certain that what I'm talking about was

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Speaker 3: Elia Kazan because it was divisive there weren't. It wasn't

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Speaker 3: like the whole audience was standing up applauding him. Some

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Speaker 3: were not. And I'm messing it up. I can't remember

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Speaker 3: which which which it is. We should figure it out.

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Speaker 3: I'm not gonna be able to figure it out in

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Speaker 3: a Google search right now, but we'll figure it out

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Speaker 3: and maybe talk about next week.

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Speaker 1: We'll get into that. For sure, we'll get into Brad

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Speaker 1: Davis too. That's interesting. My only, my only I don't

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Speaker 1: think i've seen in that express either. Oliver Stone wrote

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Speaker 1: that screenplay, though I believe that. I think it was

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Speaker 1: his first screenplay. Next up, we've got a text here

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Speaker 1: from the six two three, and this is about our

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Speaker 1: conversation about Roman Polanski from last week. It's a long text.

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Speaker 1: I'm going to sort of just try to summarize it

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Speaker 1: here a little bit. Textra writes in listening to the

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Speaker 1: Bonus episode about Roman Polanski and about the artists versus

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Speaker 1: personal life and separating them from watching their art. I

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Speaker 1: think when you're talking about a director like Polanski, it's

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Speaker 1: very easy for me to separate the art and the artist.

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Speaker 1: I don't have to watch Polanski while watching his films.

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Speaker 1: I don't have to see his face. I mean, you

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Speaker 1: do see his face briefly in Chinatown. That's me interjecting

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Speaker 1: out the texture. To be honest, I barely have to

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Speaker 1: think about him. It's even a little bit similar with

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Speaker 1: music and artists like Michael Jackson or Kelly, because you

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Speaker 1: don't necessarily have to see them unless you're watching a video.

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Speaker 1: But if you're talking about an actor that you have

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Speaker 1: to see on screen for an entire movie, that becomes

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Speaker 1: very difficult for me. If I had to watch Roman

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Speaker 1: Polanski on the screen. Having a daughter of my own,

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Speaker 1: I would want to reach through the screen and strangle

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Speaker 1: the dude, et cetera, et cetera.

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Speaker 2: What are your thoughts on that?

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Speaker 3: I mean, I agree with it, but I also disagree

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Speaker 3: with that. I guess the disagreeing part comes from the

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Speaker 3: fact that you're not seeing his face. You're still getting

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Speaker 3: his point of view and his emotion, and it's directly

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Speaker 3: tied to who he is as a human, which is

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Speaker 3: directly tied to the transgression. But that said, I do

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Speaker 3: agree with the part of being able to separate the

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Speaker 3: art and the artist. And I don't know for I

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Speaker 3: keep going back to this thing. For me, it's an

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Speaker 3: individual basis. It's subjective. It depends on where I'm at

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Speaker 3: with that artist at that point in my head, how

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Speaker 3: groty they are, how disgusting they were, how sort of

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Speaker 3: front of mind, whatever that incident is for me at

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Speaker 3: the moment, That's really what it is.

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Speaker 4: It's not.

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Speaker 3: You know, oh golly, this person married a fifteen year

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Speaker 3: old and therefore I just, you know, on moral grounds,

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Speaker 3: can never listen to them again. It's just not gonna happen.

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Speaker 2: Right, And whether you see them or not doesn't really

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Speaker 2: wait into it for you.

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Speaker 3: That's the other part of it. It doesn't It doesn't matter.

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Speaker 3: I'm not seeing Jerry Lee Lewis. When I listen to

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Speaker 3: his records, you know I'm hearing him fucking crush you

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Speaker 3: know the Star Club. You know I can't not love that.

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Speaker 2: Yeah. Absolutely.

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Speaker 1: Over On Instagram at Bob Arcter ninety three, he responded

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Speaker 1: to Jake had posted this photo of his studio wall

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Speaker 1: and he's got this framed poster for the friends of

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Speaker 1: Eddie Coyle and so so. Bob Archter ninety three wrote,

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Speaker 1: Eddie Coyle, you should do an episode about Mitcham hanging

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Speaker 1: out with the winter Hill Gang when he was researching

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Speaker 1: the role.

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Speaker 3: Ding Ding Ding Ding Ding.

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Speaker 1: Go ahead, Zeth So at Bob Archer ninety three, we

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Speaker 1: do have an episode on Robert Mitcham, if you is that.

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Speaker 2: Is that out in the feed yet?

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Speaker 3: No, it's not out in the feed yet. We should

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Speaker 3: put it out soon. It might be my favorite episode

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Speaker 3: of Hollywood Land. And I don't know if I ever

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Speaker 3: told you this, but Mitcham's grandson got in touch with.

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Speaker 2: Me after he did tell me that.

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Speaker 3: Yeah, and he was and he said, I'm not going

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Speaker 3: to nail the quote, but it was something like, I

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Speaker 3: didn't realize what a badass my grandfather was, and it

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Speaker 3: was it wasn't just that, it was also like, thank

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Speaker 3: you for representing him that way too. It's very cool,

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Speaker 3: and he was very cool. The kid was probably, I

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Speaker 3: don't know, nineteen twenty something like that. He seemed pretty young.

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Speaker 2: Actually.

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Speaker 1: We also have an episode on the winter Hill Gang.

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Speaker 1: Alex Rocko, who was in the Winter Hill Gang, who

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Speaker 1: was famous for playing Moe Green in the Godfather as well.

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Speaker 3: Right, right, right, and he's in Friends of Eddie Coyle.

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Speaker 3: But Morocco is nowhere to be found in either of

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Speaker 3: these films. It's Alex Rocco. Correct, that Alex Rocco. That's

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Speaker 3: mog Okay, hold on, now, everybody's confused.

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Speaker 2: Okay.

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Speaker 3: The actor who plays Mo Green in The Godfather is

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Speaker 3: in Friends of Eddie Coyle. His name is Alex Rocco.

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Speaker 3: That's it.

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Speaker 1: And he was an actual member of the winter Hill Gang.

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Speaker 1: And and and the point I was trying to make,

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Speaker 1: like fucking thirty hours ago was that when when I

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Speaker 1: first researched Robert Mitcham, your dad who helps us out

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Speaker 1: with research, I reached out to your dad and I

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Speaker 1: said Dennis, I need some research on Robert Mitcham, and

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Speaker 1: he was like, oh, check out what I have for you.

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Speaker 1: And the first thing he sent me was this fucking

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Speaker 1: photograph of Robert Mitcham hanging out with the Winter Hill Gang,

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Speaker 1: I think brought together by Alex Rocco, who bridged that

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Speaker 1: gap there. And it's this amazing picture of them just

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Speaker 1: hanging out like in a bar somewhere in somewhere in Boston.

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Speaker 2: It's great.

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Speaker 3: It's a basement. It's been like Melrose. It's such this

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Speaker 3: it's the sketchiest photo that ship would never happen today,

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Speaker 3: obviously the age of social media totally, but it's so sketchy,

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Speaker 3: it's and all I can think of in that in

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Speaker 3: that photo, I'm pretty sure it's a basement. All I

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Speaker 3: can think about is I think the only recorded, at

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Speaker 3: least it was for a certain amount of time, the

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Speaker 3: only documented making ceremony like that when you become made

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Speaker 3: as a Mafia member took place, took place in Medford

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Speaker 3: or Melrose, Massachusetts or something. Well shit, And I know

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Speaker 3: it's how he went during It's an Irish game.

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Speaker 2: But whatever.

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Speaker 3: When I whenever I see that, I think of that like,

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Speaker 3: I don't know. Whenever I drive through Medford or Melrose,

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Speaker 3: you know, I'm looking at house basements. Kind of shady

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Speaker 3: shit went on there, you know, And to know that

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Speaker 3: Robert Mitchum was part of some of that is hysterical.

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Speaker 1: Well, shout out to your dad, because that's that's what

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Speaker 1: I love about him, is you ask him for shit

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Speaker 1: and you get good ship.

431
00:21:00,160 --> 00:21:03,960
Speaker 3: So I think how we someone connected, like Howie Winter's

432
00:21:04,040 --> 00:21:06,720
Speaker 3: kid or something was is a fan of my dad's

433
00:21:06,720 --> 00:21:08,480
Speaker 3: and like went to one of his gigs and gave

434
00:21:08,560 --> 00:21:11,199
Speaker 3: him that that photo years ago. I think that's how

435
00:21:11,200 --> 00:21:12,880
Speaker 3: we get his hands on it. Yeah, amazing cool.

436
00:21:13,280 --> 00:21:13,760
Speaker 2: I love that.

437
00:21:14,080 --> 00:21:17,800
Speaker 1: Thanks for the comment. Robert Mitchum episode coming soon. All Right,

438
00:21:17,800 --> 00:21:19,440
Speaker 1: One last text I wanted to get to this week

439
00:21:19,440 --> 00:21:20,679
Speaker 1: and this one. I want to dive into this one

440
00:21:20,680 --> 00:21:22,679
Speaker 1: with you. It's short and sweet, but it's a good one.

441
00:21:22,880 --> 00:21:24,920
Speaker 1: This is from our guy Ish in the seven eighty

442
00:21:24,960 --> 00:21:28,760
Speaker 1: one is what's the best movie soundtrack of all time?

443
00:21:28,960 --> 00:21:32,600
Speaker 1: Not score soundtrack? I wanted to include this here because

444
00:21:32,640 --> 00:21:34,159
Speaker 1: it seemed more relevant to the rap party than the

445
00:21:34,200 --> 00:21:37,000
Speaker 1: after party for me. So, off the top of your dome,

446
00:21:37,119 --> 00:21:37,720
Speaker 1: what do you got?

447
00:21:38,920 --> 00:21:41,359
Speaker 3: The first thing? That comes to mind is dazed and confused,

448
00:21:41,480 --> 00:21:44,080
Speaker 3: and that cannot be the answer, but maybe it is.

449
00:21:44,560 --> 00:21:47,320
Speaker 3: Maybe the first thing you remember is the answer. You go,

450
00:21:47,440 --> 00:21:48,680
Speaker 3: I'll keep thinking what's yours?

451
00:21:48,720 --> 00:21:51,040
Speaker 1: So I've always had this short list of soundtracks that

452
00:21:51,280 --> 00:21:54,119
Speaker 1: I think from my childhood, and they are stand by Me,

453
00:21:54,840 --> 00:21:56,600
Speaker 1: Good Morning Vietnam, and Repoman.

454
00:21:57,320 --> 00:22:00,119
Speaker 3: Oh my god, dude, were you born in nineteen forty five?

455
00:22:00,160 --> 00:22:02,879
Speaker 3: That's like the most boomeraush shit except Repo Man. The

456
00:22:02,920 --> 00:22:06,720
Speaker 3: other two are like I hear Fortunate Son in the background.

457
00:22:06,920 --> 00:22:08,920
Speaker 1: Yeah, I know fortunate Sons, not on either of those.

458
00:22:08,920 --> 00:22:12,560
Speaker 1: But no, there's some deep cuts on the Good Morning Vietnam.

459
00:22:12,560 --> 00:22:15,760
Speaker 1: There's like Liar Liar and uh, five o'clock World some

460
00:22:15,800 --> 00:22:16,200
Speaker 1: of those.

461
00:22:16,040 --> 00:22:17,600
Speaker 3: But I don't even know what those are. What are those?

462
00:22:17,600 --> 00:22:19,359
Speaker 3: What's liar Liar? What's five o'clock World?

463
00:22:19,880 --> 00:22:23,840
Speaker 1: There are these great like Nuggets are right before the

464
00:22:23,920 --> 00:22:26,399
Speaker 1: Nuggets era. It's like it's it's very much like frat

465
00:22:26,440 --> 00:22:27,160
Speaker 1: garage rock.

466
00:22:27,440 --> 00:22:28,600
Speaker 3: Oh yeah, I love that shit.

467
00:22:29,280 --> 00:22:32,200
Speaker 1: They sound incredible and they'reby I don't remember the names

468
00:22:32,200 --> 00:22:34,800
Speaker 1: of the bands. They're by bands that had these minor hits,

469
00:22:34,800 --> 00:22:37,200
Speaker 1: and I knew these songs because when I grew up,

470
00:22:37,440 --> 00:22:40,399
Speaker 1: there was an oldie station here in town, and you know,

471
00:22:40,440 --> 00:22:42,719
Speaker 1: I listened to the radio aton and taped songs off

472
00:22:42,760 --> 00:22:45,840
Speaker 1: the radio and my boombox on cassettes. But there was

473
00:22:45,880 --> 00:22:48,000
Speaker 1: an oldie station, and it was like the story has

474
00:22:48,040 --> 00:22:50,600
Speaker 1: been rewritten now and everything's so homogenized, and it's like,

475
00:22:50,680 --> 00:22:52,840
Speaker 1: this is this is the music from nineteen sixty eight,

476
00:22:52,880 --> 00:22:54,919
Speaker 1: this is the music from nineteen sixty five, and we

477
00:22:54,960 --> 00:22:55,640
Speaker 1: get the same.

478
00:22:55,480 --> 00:22:58,960
Speaker 2: Shit over and over again. It's the Beatles, it's whatever, and.

479
00:22:58,880 --> 00:23:02,080
Speaker 3: The same songs by the Beatles exactly Leonard skinnerd and yeah,

480
00:23:02,119 --> 00:23:02,800
Speaker 3: of course, but.

481
00:23:03,119 --> 00:23:05,200
Speaker 1: But years ago. And not to sound like an old person,

482
00:23:05,240 --> 00:23:08,080
Speaker 1: but there was this diversity on the radio. And I

483
00:23:08,119 --> 00:23:09,760
Speaker 1: think when you look I mean when you look back

484
00:23:09,800 --> 00:23:12,440
Speaker 1: up the charts as well, and there's like all these

485
00:23:12,480 --> 00:23:15,560
Speaker 1: songs that were hits that were sort of written out

486
00:23:15,600 --> 00:23:17,520
Speaker 1: of history for whatever reason, and a lot of these

487
00:23:17,600 --> 00:23:19,840
Speaker 1: there's a lot on the Good Morning Vietnam soundtrack in particular,

488
00:23:20,080 --> 00:23:22,280
Speaker 1: that I believe fit that category. But for whatever reason,

489
00:23:22,280 --> 00:23:24,280
Speaker 1: I really gravitated and I also it helped. The Good

490
00:23:24,280 --> 00:23:27,040
Speaker 1: Morning Vietnam soundtrack also had it has snippets of Robin

491
00:23:27,040 --> 00:23:30,159
Speaker 1: Williams dialogue from the movie throughout and that, like I

492
00:23:30,200 --> 00:23:32,080
Speaker 1: memorized all those like as a kid as well.

493
00:23:32,119 --> 00:23:33,359
Speaker 2: So oh, I need to get that.

494
00:23:33,400 --> 00:23:36,399
Speaker 3: I want to get that actual the actual soundtrack on vinyl.

495
00:23:36,440 --> 00:23:37,320
Speaker 2: Yeah, I have it on vinyl.

496
00:23:37,320 --> 00:23:40,760
Speaker 3: It's great talking about that stuff. And speaking of Boomer soundtracks,

497
00:23:40,840 --> 00:23:43,479
Speaker 3: two of my faves. This is the most generic, like

498
00:23:43,720 --> 00:23:48,119
Speaker 3: picket fence choice ever, but I don't care because it

499
00:23:48,280 --> 00:23:50,119
Speaker 3: just hit me at the right time as a kid

500
00:23:50,200 --> 00:23:53,440
Speaker 3: in high school. Like fifteen was the big Chill soundtrack.

501
00:23:53,520 --> 00:23:55,640
Speaker 3: I knew you guys say that, and it was like, yeah, yeah,

502
00:23:55,680 --> 00:23:57,359
Speaker 3: that's how basic that answer is. You knew I was

503
00:23:57,400 --> 00:24:00,320
Speaker 3: gonna say it, but it was like an entry into

504
00:24:00,359 --> 00:24:03,439
Speaker 3: that stuff. And Platoon too, it was like it was

505
00:24:03,480 --> 00:24:08,160
Speaker 3: super boomery. Boomery wasn't the sentence that it is now,

506
00:24:08,280 --> 00:24:10,359
Speaker 3: you know what I mean. It wasn't the damning sentence

507
00:24:10,400 --> 00:24:12,239
Speaker 3: that it is now. It was like, Oh, this is

508
00:24:12,440 --> 00:24:15,920
Speaker 3: what my parents were listening to, and it was actually

509
00:24:16,000 --> 00:24:17,760
Speaker 3: cool then. It wasn't just shit that I hear now,

510
00:24:17,760 --> 00:24:20,040
Speaker 3: and I think is uncol because it gave it the context,

511
00:24:20,320 --> 00:24:22,119
Speaker 3: you know what I mean. Another one that was like that,

512
00:24:22,160 --> 00:24:25,120
Speaker 3: but a little older, was the Mermaid soundtrack and where

513
00:24:25,160 --> 00:24:26,800
Speaker 3: my girlfriend in high school was really into that.

514
00:24:26,920 --> 00:24:28,040
Speaker 2: Oh I don't know that one at all.

515
00:24:28,200 --> 00:24:30,280
Speaker 3: Yeah, it's like a lot of smokey, it's a lot

516
00:24:30,280 --> 00:24:32,920
Speaker 3: of it's it's it's I guess Big Shells Supermotown, but

517
00:24:32,960 --> 00:24:36,639
Speaker 3: it's and also kind of like a little doo woppy

518
00:24:36,880 --> 00:24:39,680
Speaker 3: as well. I'm you know, like, yeah, anyways, I could

519
00:24:39,720 --> 00:24:42,760
Speaker 3: go on God revotman though, what's on that? I know

520
00:24:42,800 --> 00:24:44,320
Speaker 3: it's all punk, right, the.

521
00:24:44,640 --> 00:24:46,199
Speaker 2: Spanish secret Agent man is on there?

522
00:24:46,240 --> 00:24:51,160
Speaker 1: Man, Okay, home Braced Secreteau How it's so good.

523
00:24:51,200 --> 00:24:51,960
Speaker 2: It's so good.

524
00:24:53,680 --> 00:24:55,640
Speaker 1: It's like the Yeah, it's like black fat like TV

525
00:24:55,720 --> 00:24:57,240
Speaker 1: party by Black Flag is on there.

526
00:24:57,840 --> 00:24:59,120
Speaker 2: I think there's some Iggy on there.

527
00:24:59,560 --> 00:25:02,840
Speaker 1: Talk about the two polar opposites of having this like

528
00:25:02,880 --> 00:25:05,240
Speaker 1: boomer soundtrack and then having your mind blown open by

529
00:25:05,760 --> 00:25:06,800
Speaker 1: this shit on Rebuilt man.

530
00:25:06,800 --> 00:25:09,520
Speaker 3: You know, yeah, you know. The Good Fellow soundtrack doesn't

531
00:25:09,520 --> 00:25:12,520
Speaker 3: exist on Spotify for some reason, probably due to licensing

532
00:25:12,600 --> 00:25:15,720
Speaker 3: or whatever. But there's a playlist that basically is the

533
00:25:16,119 --> 00:25:18,480
Speaker 3: movie and I go back to that every Christmas. It's

534
00:25:18,520 --> 00:25:22,520
Speaker 3: like a Christmas record for me, Christmas treat. Yeah, it's

535
00:25:22,520 --> 00:25:25,240
Speaker 3: so good. All that like Copa Cabana stuff mixed in

536
00:25:25,280 --> 00:25:29,520
Speaker 3: of course with the coked out Harrison stuff and muddy waters.

537
00:25:29,520 --> 00:25:32,960
Speaker 1: Just so good ish, great question, and I want to

538
00:25:33,000 --> 00:25:35,440
Speaker 1: put that question out to everyone who's listening as well.

539
00:25:36,080 --> 00:25:40,600
Speaker 1: What is your favorite soundtrack? Not a score, but a soundtrack,

540
00:25:40,680 --> 00:25:44,040
Speaker 1: movie soundtrack? Call us or text us at six one

541
00:25:44,119 --> 00:25:47,400
Speaker 1: seven nine six six six three eight. You can also

542
00:25:47,440 --> 00:25:50,359
Speaker 1: email us at Disgrace Lampod at gmail dot com. You

543
00:25:50,359 --> 00:25:53,640
Speaker 1: can hit us up on Instagram, Facebook x at Disgrace

544
00:25:53,720 --> 00:25:57,240
Speaker 1: lamb Pod. Send us recommendations please, But first, Jake and

545
00:25:57,240 --> 00:25:59,280
Speaker 1: I have some recommendations of our own, which we're going

546
00:25:59,320 --> 00:26:00,639
Speaker 1: to get into right after this.

547
00:26:01,040 --> 00:26:01,440
Speaker 2: Hang tight.

548
00:26:20,240 --> 00:26:22,960
Speaker 1: All right, everybody, welcome back to the wrap party. Zeth

549
00:26:23,040 --> 00:26:25,199
Speaker 1: Lundy here with Jake Brennan coming at you with a

550
00:26:25,240 --> 00:26:28,280
Speaker 1: part of the show we call four Year Consideration. This

551
00:26:28,320 --> 00:26:30,960
Speaker 1: is where Jake and I give you music and movie recommendations.

552
00:26:31,400 --> 00:26:34,080
Speaker 1: But the twist is that they are all recommendations inspired

553
00:26:34,119 --> 00:26:37,200
Speaker 1: by the subject from our full episode of Hollywood Land

554
00:26:37,200 --> 00:26:40,080
Speaker 1: this week. This week, of course, we've got Sharon Stone.

555
00:26:40,480 --> 00:26:42,520
Speaker 1: Jake is always going to start with you, what music

556
00:26:42,560 --> 00:26:44,600
Speaker 1: recommendations are you bringing this week?

557
00:26:45,119 --> 00:26:49,360
Speaker 3: Okay, well, I steered clear of my Sharona. I steered

558
00:26:49,480 --> 00:26:53,439
Speaker 3: clear of even though I love her Sharon Jones. I

559
00:26:53,520 --> 00:26:56,080
Speaker 3: tried to dig in and I thought, God, what I know.

560
00:26:56,160 --> 00:27:02,359
Speaker 3: There's a song in my recent discovery of songs called Sharon.

561
00:27:02,440 --> 00:27:04,280
Speaker 3: What the hell is it? And I went swimming this

562
00:27:04,320 --> 00:27:06,520
Speaker 3: morning and I was, I was. I pulled it from

563
00:27:06,720 --> 00:27:10,560
Speaker 3: the back of my brain and I discovered the song

564
00:27:10,600 --> 00:27:14,280
Speaker 3: when I was researching the Beastie Boys episode. It's a

565
00:27:14,320 --> 00:27:18,520
Speaker 3: song called Sharon by David Bromberg from nineteen seventy two

566
00:27:18,640 --> 00:27:22,320
Speaker 3: that The beast He's used for their Johnny Ryell song

567
00:27:22,480 --> 00:27:27,119
Speaker 3: the Down Down Out, Don't Down Down Out, Don't Don't

568
00:27:27,320 --> 00:27:29,719
Speaker 3: and it's but the song is incredible and it's just

569
00:27:29,720 --> 00:27:31,639
Speaker 3: that riff over and over again in the verse like

570
00:27:31,680 --> 00:27:36,040
Speaker 3: long versus singer songwriter guy from the early seventies New York.

571
00:27:36,560 --> 00:27:39,879
Speaker 3: Based the little I know of him, I think he

572
00:27:40,000 --> 00:27:42,320
Speaker 3: was like a like one of these lower so I

573
00:27:42,359 --> 00:27:44,920
Speaker 3: Greenwich village guys who was caught up in the whole

574
00:27:45,000 --> 00:27:47,040
Speaker 3: Dylan thing at the moment, like I mean, like kind

575
00:27:47,040 --> 00:27:50,359
Speaker 3: of in the circle as well. And I think he

576
00:27:50,400 --> 00:27:52,399
Speaker 3: was a sideman and he could play multiple instruments and

577
00:27:52,400 --> 00:27:54,040
Speaker 3: played with a bunch of folks. But none of that

578
00:27:54,080 --> 00:27:56,920
Speaker 3: matters right now. Just just go to Spotify or wherever

579
00:27:56,920 --> 00:27:59,720
Speaker 3: you get your music and search Sharon by David Bromberg

580
00:28:00,200 --> 00:28:03,800
Speaker 3: r O, M B E r G. The next one,

581
00:28:04,720 --> 00:28:11,159
Speaker 3: I thought Sharon Stone, Sharon Tate, And you know, I

582
00:28:11,200 --> 00:28:15,919
Speaker 3: could have gotten to eight thousand different Sharon Tate related

583
00:28:16,000 --> 00:28:19,879
Speaker 3: music recommendations. And I almost did something by Mark Lindsay,

584
00:28:19,920 --> 00:28:22,639
Speaker 3: Paul Revere and the Raiders, but I thought instead, Okay,

585
00:28:22,680 --> 00:28:25,879
Speaker 3: what makes me feel? And I thought of that really

586
00:28:26,040 --> 00:28:32,359
Speaker 3: cryptic factoid from the history of Helter Skelter where the

587
00:28:32,400 --> 00:28:36,600
Speaker 3: next morning, when they discovered the bodies, they found the

588
00:28:36,600 --> 00:28:40,520
Speaker 3: sheet music on the piano too Straight Shooter by the

589
00:28:40,520 --> 00:28:44,360
Speaker 3: Mamas and the Papas. That song has the creep factor

590
00:28:44,480 --> 00:28:48,000
Speaker 3: of that song it's already I don't know, it already

591
00:28:48,040 --> 00:28:49,560
Speaker 3: was creepy to me, and the Mamas and the Papas

592
00:28:49,560 --> 00:28:50,880
Speaker 3: are kind of creepy to me for a bunch of

593
00:28:50,920 --> 00:28:52,760
Speaker 3: different reasons. I know that sounds weird because you're the

594
00:28:52,800 --> 00:28:54,400
Speaker 3: most vanilla shit ever.

595
00:28:54,760 --> 00:28:57,520
Speaker 1: Yeah, but those harmonies are pretty haunting and weird when

596
00:28:57,560 --> 00:28:59,640
Speaker 1: you really like pay attention to them. Mike, you know, Monday,

597
00:28:59,680 --> 00:29:01,520
Speaker 1: Monday in California dreaming and all.

598
00:29:01,360 --> 00:29:04,840
Speaker 3: That ghostly and John Phillips is such a fucking creep

599
00:29:05,280 --> 00:29:08,360
Speaker 3: writing about the girl showing up at the canyon and

600
00:29:08,480 --> 00:29:13,320
Speaker 3: just like just fucking gross and in in that the

601
00:29:13,360 --> 00:29:16,520
Speaker 3: Once upon a Time in Hollywood film, the Quentin Tarantina one. Yeah,

602
00:29:16,520 --> 00:29:18,280
Speaker 3: I love that he did this. There's a scene where

603
00:29:18,320 --> 00:29:21,080
Speaker 3: Abigail Folger is at the piano the night before and

604
00:29:21,120 --> 00:29:24,560
Speaker 3: she's playing trying to play straight shooter, and it's just

605
00:29:24,600 --> 00:29:26,680
Speaker 3: like you know, sing, you know, Hunt and peck single

606
00:29:26,720 --> 00:29:29,239
Speaker 3: notes on the piano and her trying to like get

607
00:29:29,280 --> 00:29:32,120
Speaker 3: her voice around it, and it just makes it so

608
00:29:32,120 --> 00:29:36,680
Speaker 3: so creepy. The other one, Share Your Love by Aretha Franklin,

609
00:29:38,240 --> 00:29:40,600
Speaker 3: just a fantastic song. I think it's a Bobby Blue

610
00:29:40,600 --> 00:29:44,760
Speaker 3: Bland song. I'm not exactly sure, but google this song

611
00:29:44,840 --> 00:29:50,560
Speaker 3: also early seventies, I believe, and it's it's the perfect

612
00:29:50,680 --> 00:29:54,160
Speaker 3: sort of like deep cut Aretha that'll make you go like,

613
00:29:54,600 --> 00:29:56,720
Speaker 3: how the fuck do I not know this song? And

614
00:29:56,840 --> 00:29:59,760
Speaker 3: it's so great she has. Her greatness is so great

615
00:29:59,760 --> 00:30:01,640
Speaker 3: that like the shit no one pays attention to is

616
00:30:01,680 --> 00:30:04,200
Speaker 3: greater than everything else. That's the type of artist she is.

617
00:30:04,240 --> 00:30:07,520
Speaker 3: She's amazing, and this song is indicative of I think, uh,

618
00:30:07,600 --> 00:30:08,600
Speaker 3: that exact point.

619
00:30:09,200 --> 00:30:11,080
Speaker 1: I don't know what that what record that's from, but

620
00:30:11,120 --> 00:30:13,960
Speaker 1: I discovered only recently her album let Me in Your Life,

621
00:30:14,360 --> 00:30:17,720
Speaker 1: which is that's the title of a Bill Withersoon, which

622
00:30:17,720 --> 00:30:20,680
Speaker 1: I think opens the record, and it's one it's sort

623
00:30:20,680 --> 00:30:23,280
Speaker 1: of outside that like quote unquote classic period, you know,

624
00:30:23,320 --> 00:30:25,600
Speaker 1: of like respect and things and all that stuff.

625
00:30:25,720 --> 00:30:27,080
Speaker 2: So I always kind of ignored it.

626
00:30:27,200 --> 00:30:28,960
Speaker 1: I was actually in my local record store and the

627
00:30:29,000 --> 00:30:30,120
Speaker 1: owner was playing it and he was like, do you

628
00:30:30,200 --> 00:30:31,400
Speaker 1: know this now? I said no, and he was like,

629
00:30:31,440 --> 00:30:33,440
Speaker 1: it's fucking great, and so I bought it and it's

630
00:30:33,640 --> 00:30:36,760
Speaker 1: it's amazing. But to your point, she is so great,

631
00:30:37,200 --> 00:30:39,240
Speaker 1: there's so much stuff hiding in plain sight.

632
00:30:39,720 --> 00:30:41,479
Speaker 2: Right she did. It's amazing, you know.

633
00:30:41,560 --> 00:30:43,880
Speaker 3: Right, Well, it goes to your earlier point about how

634
00:30:43,880 --> 00:30:46,120
Speaker 3: we just keep getting served the same shit over and

635
00:30:46,280 --> 00:30:49,200
Speaker 3: I don't need to hear fucking respect or natural woman

636
00:30:49,240 --> 00:30:50,520
Speaker 3: ever again in my life. I'm good.

637
00:30:50,560 --> 00:30:51,280
Speaker 2: I'm all caught up.

638
00:30:51,560 --> 00:30:54,160
Speaker 3: I gotta be careful what I say. I said I

639
00:30:54,200 --> 00:30:56,120
Speaker 3: said in in I don't know if it was in

640
00:30:56,160 --> 00:30:58,080
Speaker 3: Hollywood Land or disgrace in or an after party or

641
00:30:58,080 --> 00:31:00,680
Speaker 3: what it was, but I said, you know, that's that

642
00:31:00,760 --> 00:31:02,160
Speaker 3: Buffalo Springfield song.

643
00:31:02,440 --> 00:31:05,640
Speaker 2: So yes, people look around. What's going on with the

644
00:31:05,680 --> 00:31:06,680
Speaker 2: song about the riots in.

645
00:31:06,800 --> 00:31:10,000
Speaker 1: La Yeah yeah, yeah, for what it's worth, for what

646
00:31:10,040 --> 00:31:10,440
Speaker 1: it's worth.

647
00:31:11,640 --> 00:31:12,520
Speaker 2: Yeah yeah.

648
00:31:12,560 --> 00:31:14,520
Speaker 3: I never need to hear either of those songs again,

649
00:31:14,640 --> 00:31:17,080
Speaker 3: especially not in a documentary about the sixties or Vietnam.

650
00:31:17,160 --> 00:31:17,760
Speaker 3: That's my point.

651
00:31:18,800 --> 00:31:19,520
Speaker 2: Yeah, that's great.

652
00:31:19,520 --> 00:31:21,280
Speaker 1: And you know, there's all this great music out there

653
00:31:21,400 --> 00:31:23,080
Speaker 1: probably is cheaper to license if you were to use

654
00:31:23,080 --> 00:31:25,000
Speaker 1: it instead of using this same shit all over again.

655
00:31:25,080 --> 00:31:26,400
Speaker 2: Right, yes, exactly.

656
00:31:26,640 --> 00:31:28,520
Speaker 3: So those are my three what are yours?

657
00:31:28,840 --> 00:31:31,160
Speaker 1: So you know I tried to go outside the box

658
00:31:31,200 --> 00:31:33,320
Speaker 1: this week. I really did. I was like, I'm not

659
00:31:33,360 --> 00:31:35,440
Speaker 1: going to do like three sharing Stone movies because that's

660
00:31:35,440 --> 00:31:38,760
Speaker 1: just so that's just so routine. But that's what ended

661
00:31:38,840 --> 00:31:39,840
Speaker 1: up happening sort of here.

662
00:31:39,920 --> 00:31:42,200
Speaker 3: So yeah, you got to do. I mean, that's what

663
00:31:42,240 --> 00:31:43,560
Speaker 3: we're here for. I can be the go off the

664
00:31:43,600 --> 00:31:44,320
Speaker 3: reservation guy.

665
00:31:44,360 --> 00:31:47,640
Speaker 1: You recommended a song that has the word share in

666
00:31:47,680 --> 00:31:49,800
Speaker 1: the title, so not even sharing, you know what.

667
00:31:49,800 --> 00:31:56,320
Speaker 2: I mean, like sharing my love? Like no, all right, movies.

668
00:31:56,640 --> 00:31:59,560
Speaker 1: First thing, I want to mention the most recent thing

669
00:31:59,600 --> 00:32:04,520
Speaker 1: I've seen Sharon Stone in is Martin Scorsese's Rolling Thunder

670
00:32:04,560 --> 00:32:10,240
Speaker 1: review documentary, The Bob Dylan Documentary. Great, right, so this

671
00:32:10,280 --> 00:32:11,720
Speaker 1: is a document Well, it's weird to call it a

672
00:32:11,800 --> 00:32:15,080
Speaker 1: documentary because it's and for those that don't know and

673
00:32:15,160 --> 00:32:17,160
Speaker 1: you go in watching this, the whole thing is not

674
00:32:17,280 --> 00:32:21,160
Speaker 1: completely nonfiction. There's a lot of fiction sprinkled into this movie.

675
00:32:21,200 --> 00:32:23,440
Speaker 1: And that's sort of the whole point of this thing.

676
00:32:23,560 --> 00:32:26,000
Speaker 1: Is this, you know, playing around with this Dylan's ever

677
00:32:26,080 --> 00:32:31,320
Speaker 1: changing chameleon persona here. But it does document Dylan's tour

678
00:32:31,400 --> 00:32:34,360
Speaker 1: from the mid seventies, which included the likes of Joe

679
00:32:34,360 --> 00:32:38,160
Speaker 1: Bias and Roger McGuinn and t Bone Burnett. Mick Ronson

680
00:32:38,240 --> 00:32:40,640
Speaker 1: was on guitar. David Bowie's guitarist was on that tour.

681
00:32:40,720 --> 00:32:44,280
Speaker 1: It's that's wild. Sharon Stone plays a part in this movie.

682
00:32:44,600 --> 00:32:47,680
Speaker 1: I say plays a part because her part is not

683
00:32:48,520 --> 00:32:51,120
Speaker 1: is not real to what happened. Her part is sort

684
00:32:51,160 --> 00:32:52,560
Speaker 1: of added later. I don't know if you remember this

685
00:32:52,640 --> 00:32:54,240
Speaker 1: at all. Remember her part of this movie?

686
00:32:54,320 --> 00:32:54,680
Speaker 2: Yeah?

687
00:32:54,720 --> 00:32:55,000
Speaker 3: I do.

688
00:32:56,320 --> 00:32:58,160
Speaker 1: I'm still not sure how I feel about this movie,

689
00:32:58,200 --> 00:33:01,320
Speaker 1: but I do like it. I gotta watch it again.

690
00:33:01,400 --> 00:33:04,080
Speaker 1: My favorite part in this movie, though, doesn't involve Sharon

691
00:33:04,120 --> 00:33:09,120
Speaker 1: Stone and involves Joni Mitchell. And all these dudes are

692
00:33:09,160 --> 00:33:12,120
Speaker 1: sitting around Joni Mitchell in a house somewhere and they

693
00:33:12,160 --> 00:33:16,280
Speaker 1: all have guitars out, including Bob Dylan and Jonie's tuned

694
00:33:16,360 --> 00:33:18,600
Speaker 1: to whatever the fuck tuning she's in that no one

695
00:33:18,680 --> 00:33:22,840
Speaker 1: else knows, and she's playing them Coyote, which she just wrote, right,

696
00:33:23,720 --> 00:33:26,120
Speaker 1: and they're all trying to like they're all acting like

697
00:33:26,120 --> 00:33:27,800
Speaker 1: they're like, oh, yeah, we're just gonna fall in with

698
00:33:27,840 --> 00:33:29,960
Speaker 1: the changes here and play along with you, right, And

699
00:33:29,960 --> 00:33:33,600
Speaker 1: they're all like acting like they're actually playing with her,

700
00:33:33,680 --> 00:33:35,960
Speaker 1: And it's so obvious that she's leaving, like they're all

701
00:33:36,000 --> 00:33:38,680
Speaker 1: they have no fucking clue what she's doing. And it's

702
00:33:38,920 --> 00:33:42,320
Speaker 1: if you watch that scene, Bob Dylan is so fucking lost,

703
00:33:42,400 --> 00:33:44,880
Speaker 1: it's amazing, and she's fucking killing the song.

704
00:33:45,200 --> 00:33:45,760
Speaker 2: It's great.

705
00:33:46,440 --> 00:33:48,800
Speaker 3: Yeah, I get so, Wait, you're not going to give

706
00:33:48,800 --> 00:33:51,400
Speaker 3: the Sharon Stone thing. That's the cool, that's that's you

707
00:33:51,440 --> 00:33:52,480
Speaker 3: can't just leave that there.

708
00:33:53,720 --> 00:33:55,400
Speaker 1: So the Sharon Stone thing is like she's like a

709
00:33:55,800 --> 00:33:59,000
Speaker 1: she claims that she's jumped on this tour when she

710
00:33:59,200 --> 00:34:01,760
Speaker 1: was like a teenage or something. Was it that she

711
00:34:01,880 --> 00:34:03,800
Speaker 1: like worked as like a costume designer for this tour

712
00:34:03,880 --> 00:34:04,520
Speaker 1: or something like that.

713
00:34:05,240 --> 00:34:09,879
Speaker 3: No, doesn't her mom shoot, her mom brings her backstage

714
00:34:09,880 --> 00:34:12,759
Speaker 3: as a kid. I think what I think? Okay, now again,

715
00:34:12,960 --> 00:34:16,080
Speaker 3: I think this story comes to play in the doc.

716
00:34:16,640 --> 00:34:19,239
Speaker 3: Dylan is in part, like you know, kind of in

717
00:34:19,280 --> 00:34:21,839
Speaker 3: his abstract sort of way, trying to explain why he's

718
00:34:21,840 --> 00:34:26,400
Speaker 3: wearing makeup on that tour, and it's he met this

719
00:34:26,480 --> 00:34:28,680
Speaker 3: girl who was a fan, whose mother brought her and

720
00:34:28,719 --> 00:34:31,480
Speaker 3: she was in the Kiss, and that's how he kind

721
00:34:31,520 --> 00:34:35,000
Speaker 3: of got onto the makeup thing was through Sharon Stone.

722
00:34:35,040 --> 00:34:37,520
Speaker 3: I am ninety nine percent sure I'm right, but I

723
00:34:37,520 --> 00:34:40,359
Speaker 3: have a habit of coming on this podcast lately and

724
00:34:40,400 --> 00:34:45,160
Speaker 3: saying things that I'm confusing facts with other facts. So

725
00:34:45,480 --> 00:34:47,640
Speaker 3: let's let's just go with this and if we're wrong,

726
00:34:47,640 --> 00:34:49,520
Speaker 3: people will tell us and we'll correct it next week.

727
00:34:49,680 --> 00:34:50,560
Speaker 2: Yeah, I think you might be.

728
00:34:50,640 --> 00:34:52,799
Speaker 1: You might be right in a in a very a

729
00:34:52,880 --> 00:34:56,720
Speaker 1: very brief or very quick googling of this, because Dylan

730
00:34:56,840 --> 00:34:58,560
Speaker 1: was wearing face paint on that tour. He said that

731
00:34:58,600 --> 00:35:00,919
Speaker 1: he apparently he was inspired to wear the face paint

732
00:35:00,920 --> 00:35:03,680
Speaker 1: because he did see Kiss performing queens and he was

733
00:35:03,719 --> 00:35:06,719
Speaker 1: taken there by Scarlett Rivera, who was playing violin for

734
00:35:06,760 --> 00:35:09,239
Speaker 1: him at the time, who allegedly was in a relationship

735
00:35:09,239 --> 00:35:10,040
Speaker 1: with Gene Simmons.

736
00:35:10,400 --> 00:35:11,799
Speaker 2: So that all checks out.

737
00:35:12,040 --> 00:35:14,160
Speaker 3: And I'm pretty I'm pretty sure Sharon Stone is literally

738
00:35:14,200 --> 00:35:17,040
Speaker 3: in the movie showing up as a kid backstage with

739
00:35:17,080 --> 00:35:19,960
Speaker 3: her mom in the in the kiss makeup. Yeah, yes, okay,

740
00:35:20,040 --> 00:35:21,520
Speaker 3: can I tell you real quick with t Bone told

741
00:35:21,520 --> 00:35:24,759
Speaker 3: me about that movie. He told me that they kind

742
00:35:24,760 --> 00:35:26,680
Speaker 3: of got it wrong. They didn't capture the fact. He

743
00:35:26,760 --> 00:35:31,040
Speaker 3: was kind of like, we were punk kids before, before

744
00:35:31,080 --> 00:35:34,000
Speaker 3: there was really punk in New York. And he meant

745
00:35:34,080 --> 00:35:36,480
Speaker 3: it like, you know, they were all from different sort

746
00:35:36,520 --> 00:35:38,440
Speaker 3: of all over the country, and they kind of like

747
00:35:38,480 --> 00:35:43,120
Speaker 3: descended upon Manhattan and they were all like street kids. Now,

748
00:35:43,200 --> 00:35:45,319
Speaker 3: of course, Bowie's guitar player wasn't a street kid at

749
00:35:45,360 --> 00:35:47,440
Speaker 3: that point, but the rest of them were kind of like,

750
00:35:47,920 --> 00:35:49,839
Speaker 3: you know, they didn't really the hand the mouth sort

751
00:35:49,880 --> 00:35:53,040
Speaker 3: of thing, grimy and sort of He didn't say this overtly,

752
00:35:53,080 --> 00:35:55,360
Speaker 3: but the implication was that's kind of the genius of

753
00:35:55,440 --> 00:35:58,200
Speaker 3: Dylan to kind of like just sweep them all up

754
00:35:58,239 --> 00:36:01,080
Speaker 3: and bring bring them along for the ride with him

755
00:36:01,080 --> 00:36:02,839
Speaker 3: and Joe and bias, and you know, you got Sam

756
00:36:02,880 --> 00:36:05,600
Speaker 3: Sheppard jumping on the bandwagon, and it's just I thought

757
00:36:05,640 --> 00:36:08,440
Speaker 3: that was that was a really kind of like wow,

758
00:36:08,560 --> 00:36:11,440
Speaker 3: like like we we watched these things that we project

759
00:36:11,520 --> 00:36:14,040
Speaker 3: our own interpretation onto them. But for the people who

760
00:36:14,080 --> 00:36:18,800
Speaker 3: are inside these events that are being depicted, it's oftentimes

761
00:36:19,120 --> 00:36:21,960
Speaker 3: totally fucking different than what history writes it as. And

762
00:36:22,000 --> 00:36:24,080
Speaker 3: I think this is a perfect example of how how

763
00:36:24,120 --> 00:36:25,960
Speaker 3: they saw it, which was totally different.

764
00:36:26,280 --> 00:36:28,480
Speaker 2: Well, it sounds like we need t Bone's version of

765
00:36:28,520 --> 00:36:29,520
Speaker 2: this story somehow.

766
00:36:30,480 --> 00:36:33,160
Speaker 3: I just gave it to you, you know what I mean.

767
00:36:33,200 --> 00:36:34,839
Speaker 1: People needs to write a book, is what I'm saying.

768
00:36:35,520 --> 00:36:37,440
Speaker 1: You know he has Has you written the book? Do

769
00:36:37,480 --> 00:36:38,239
Speaker 1: I never know about this?

770
00:36:38,640 --> 00:36:40,520
Speaker 3: No, I don't think he's written one, but there is

771
00:36:41,080 --> 00:36:44,240
Speaker 3: one I have it. I haven't read it written about

772
00:36:44,360 --> 00:36:48,120
Speaker 3: him by It's a very scholarly take on t Bone Burnett,

773
00:36:48,480 --> 00:36:50,200
Speaker 3: you know, published I think by one of these university

774
00:36:50,239 --> 00:36:51,319
Speaker 3: presses or something like that.

775
00:36:51,560 --> 00:36:53,879
Speaker 1: Obviously, I'm going to mention the first time that Sharon

776
00:36:53,920 --> 00:36:56,960
Speaker 1: Stone worked with SCORSESEI, which was Casino nineteen ninety five

777
00:36:57,000 --> 00:37:00,239
Speaker 1: movie where she played Ginger, a Vegas hustler who's torn

778
00:37:00,280 --> 00:37:02,759
Speaker 1: between Robert de Niro and James Woods. James Woods, by

779
00:37:02,760 --> 00:37:04,640
Speaker 1: the way, who's never been smarmy or and that's saying

780
00:37:04,680 --> 00:37:06,759
Speaker 1: a lot for James Woods. I want to let it

781
00:37:06,800 --> 00:37:08,600
Speaker 1: get this movie with you right now, real quick. Is

782
00:37:08,600 --> 00:37:09,960
Speaker 1: this just Goodfellas in Vegas?

783
00:37:10,160 --> 00:37:14,680
Speaker 3: Go? No, no, no, It's so much more the character.

784
00:37:14,680 --> 00:37:19,680
Speaker 3: I mean, I'm trying to find the right comp right, like, okay,

785
00:37:19,960 --> 00:37:23,880
Speaker 3: that like saying that Casino is just Goodfellas in Vegas

786
00:37:24,600 --> 00:37:28,839
Speaker 3: is like saying that Exile on Main Street is just

787
00:37:28,880 --> 00:37:30,160
Speaker 3: Sticky Fingers in France.

788
00:37:30,280 --> 00:37:31,319
Speaker 2: I love that. I love that.

789
00:37:31,400 --> 00:37:33,520
Speaker 3: Now it's produced in a very similar way, and it's

790
00:37:33,520 --> 00:37:35,760
Speaker 3: written in a very similar way because it's very close

791
00:37:35,840 --> 00:37:38,840
Speaker 3: to Goodfellas, and it's Vice Corses and it's the same

792
00:37:38,920 --> 00:37:41,640
Speaker 3: it's Nicholas Pelegi, who's the same author, but it's the

793
00:37:41,719 --> 00:37:44,680
Speaker 3: characters are totally different. De Niro's playing a completely different character.

794
00:37:44,840 --> 00:37:51,120
Speaker 3: There's absolutely no character at all like Sharon Stone in Goodfellas, right,

795
00:37:51,239 --> 00:37:58,080
Speaker 3: she might be the biggest differentiating factor in that film. Now, yeah,

796
00:37:58,239 --> 00:38:01,880
Speaker 3: is there an overuse of Rolling Stone song? Maybe, but

797
00:38:01,920 --> 00:38:05,719
Speaker 3: there's but there's a lot of other great stuff going on,

798
00:38:05,840 --> 00:38:08,440
Speaker 3: and it's a whole other world, and it's it's a

799
00:38:08,440 --> 00:38:11,440
Speaker 3: different story. So you know, it's a filmmaker who I

800
00:38:11,480 --> 00:38:16,160
Speaker 3: think hadn't yet said everything he needed to say about

801
00:38:16,440 --> 00:38:19,600
Speaker 3: sort of that era of the American mafia. But it's

802
00:38:19,640 --> 00:38:21,080
Speaker 3: not just good Fellas in Vegas.

803
00:38:22,400 --> 00:38:24,319
Speaker 2: You've just argued my point. For me. I think that

804
00:38:24,320 --> 00:38:25,479
Speaker 2: that's a boneheaded take.

805
00:38:25,680 --> 00:38:28,480
Speaker 1: I think that was a take that I sort of

806
00:38:28,480 --> 00:38:30,440
Speaker 1: falsely believed in for a hot minute, because that's what

807
00:38:30,480 --> 00:38:32,120
Speaker 1: everybody would say about it, was that it was just

808
00:38:32,520 --> 00:38:35,279
Speaker 1: Good Fella's Part two. But it's it's so much more

809
00:38:35,280 --> 00:38:38,279
Speaker 1: and it's so different that I'm fully in line with

810
00:38:38,280 --> 00:38:40,480
Speaker 1: what you just said, all right, And then my third

811
00:38:40,480 --> 00:38:43,040
Speaker 1: pick here is also from ninety five. It's a movie

812
00:38:43,120 --> 00:38:45,960
Speaker 1: called The Quick and the Dead. It's a Sam Raimi

813
00:38:46,040 --> 00:38:50,760
Speaker 1: Western with Gene Hackman and Leonardo DiCaprio. Sharon Stone famously

814
00:38:50,880 --> 00:38:55,879
Speaker 1: paid Leo's salary because he was still very untested actor

815
00:38:55,920 --> 00:38:57,520
Speaker 1: and the student didn't want to hire him, so she,

816
00:38:58,040 --> 00:38:59,719
Speaker 1: out of her own pocket, paid for him to be

817
00:38:59,760 --> 00:39:01,960
Speaker 1: in the movie, which is pretty dope. This is far

818
00:39:02,000 --> 00:39:04,560
Speaker 1: from my favorite western, it's not my favorite Sam Reimi movie,

819
00:39:04,560 --> 00:39:07,400
Speaker 1: but it's from this moment in Hollywood history.

820
00:39:07,480 --> 00:39:08,360
Speaker 2: Where. I don't know.

821
00:39:08,480 --> 00:39:12,719
Speaker 1: I guess it's right after Unforgiven Clint Eastwood's Masterpiece came

822
00:39:12,760 --> 00:39:17,000
Speaker 1: out that Hollywood had this renewed interest in making westerns

823
00:39:17,080 --> 00:39:19,879
Speaker 1: and making them from maybe different povs. So I've always

824
00:39:19,920 --> 00:39:21,240
Speaker 1: kind of had a soft spot for this one.

825
00:39:21,760 --> 00:39:24,640
Speaker 3: She's so badass in that film, and I don't know,

826
00:39:24,680 --> 00:39:28,280
Speaker 3: I think that's my second favorite Sharon movie besides Casino.

827
00:39:28,480 --> 00:39:31,759
Speaker 3: I think that's it. Casino's tough to top, though. You

828
00:39:31,840 --> 00:39:33,920
Speaker 3: just can't take your eyes off her. You just really

829
00:39:33,960 --> 00:39:37,640
Speaker 3: she isn't like the picture of glamour and beauty and

830
00:39:37,680 --> 00:39:40,040
Speaker 3: you you literally understand. At the same time, You're like,

831
00:39:40,040 --> 00:39:42,800
Speaker 3: how is Ace Rosstein so fucking pussy whipped and stupid?

832
00:39:42,840 --> 00:39:44,719
Speaker 3: How is he doing all these things? And then the

833
00:39:44,760 --> 00:39:47,799
Speaker 3: camera like whippants to Sharon Stone You're like, I get it, Yeah, yeah, yeah,

834
00:39:47,840 --> 00:39:50,200
Speaker 3: I get it. Here's all my money.

835
00:39:51,600 --> 00:39:53,840
Speaker 1: Oh man, all right, we want to hear from all you.

836
00:39:53,920 --> 00:39:56,080
Speaker 1: What do you think about recommendations this week? Do you

837
00:39:56,160 --> 00:39:59,880
Speaker 1: have any Sharon adjacent recommendations? And if you want to

838
00:39:59,880 --> 00:40:02,680
Speaker 1: be liberal with what that means, go for it. Hit

839
00:40:02,760 --> 00:40:04,640
Speaker 1: us up and let us know. Six one seven nine

840
00:40:04,680 --> 00:40:08,879
Speaker 1: oh six six six three eight. We have come to

841
00:40:08,920 --> 00:40:11,640
Speaker 1: the part of the show where we must bid Adieux

842
00:40:11,840 --> 00:40:13,080
Speaker 1: to mister Brennan.

843
00:40:13,160 --> 00:40:13,319
Speaker 4: Here.

844
00:40:13,520 --> 00:40:15,640
Speaker 3: Yeah, I'm gonna take off. I'm gonna go watch Casino now.

845
00:40:15,680 --> 00:40:17,680
Speaker 3: I'm just gonna have an armed background today. Want to work.

846
00:40:17,840 --> 00:40:20,160
Speaker 2: Just watch the scene where they bust the guys cheating.

847
00:40:20,320 --> 00:40:20,759
Speaker 2: That must be.

848
00:40:20,880 --> 00:40:23,640
Speaker 1: That's probably in the top five Scorsese scenes for me

849
00:40:23,719 --> 00:40:28,160
Speaker 1: that entire with Is it Jeff Beck and Rod Stewarts.

850
00:40:28,160 --> 00:40:30,680
Speaker 1: I ain't superstitious. Is that's what he was playing? The

851
00:40:31,040 --> 00:40:33,000
Speaker 1: juaa guitar or whatever? That's so good man.

852
00:40:33,440 --> 00:40:36,120
Speaker 3: Yeah, yeah, I actually just found something out there and

853
00:40:36,160 --> 00:40:39,160
Speaker 3: I put it in the recent Frank Sinatra episode. That's

854
00:40:39,160 --> 00:40:42,600
Speaker 3: from Casino, the scene where they they put the guy's

855
00:40:42,600 --> 00:40:45,880
Speaker 3: head and Avice, Oh yeah, that's not that. That didn't

856
00:40:45,880 --> 00:40:48,239
Speaker 3: actually take place. It might have been in Vegas, I

857
00:40:48,239 --> 00:40:49,880
Speaker 3: don't know, but it wasn't. You know. They're kind of

858
00:40:49,920 --> 00:40:52,759
Speaker 3: grabbing from mob history and using it there. It was

859
00:40:52,800 --> 00:40:56,239
Speaker 3: taken from this guy, Mad Sam, who I have in

860
00:40:56,280 --> 00:40:59,200
Speaker 3: the Sinatra episode. He was Sam g and Kana's a

861
00:40:59,200 --> 00:41:03,719
Speaker 3: different Sam, but MG and Kanna's sort of torturer in residence,

862
00:41:04,120 --> 00:41:07,080
Speaker 3: and that was a thing that he did, and that

863
00:41:07,560 --> 00:41:09,920
Speaker 3: is how that ended up in Casino. But it was

864
00:41:09,960 --> 00:41:12,360
Speaker 3: actually in relation as I read it, it was in

865
00:41:12,440 --> 00:41:15,680
Speaker 3: relation to some of the men who they thought kidnapped

866
00:41:15,760 --> 00:41:20,320
Speaker 3: Sinatra's kid. Who knows if that's exactly one hundred percent accurate,

867
00:41:20,400 --> 00:41:23,799
Speaker 3: but there's like there's I feel like with all this

868
00:41:23,880 --> 00:41:26,920
Speaker 3: mob history, so much of it gets misattributed.

869
00:41:26,960 --> 00:41:28,000
Speaker 2: Now, yeah, you know what I mean.

870
00:41:28,080 --> 00:41:30,960
Speaker 3: It's like, this is a thing that happened, but the

871
00:41:30,960 --> 00:41:34,200
Speaker 3: context they say it happened in, it might have happened there,

872
00:41:34,239 --> 00:41:35,880
Speaker 3: but it might have been something else. And who the

873
00:41:35,880 --> 00:41:38,400
Speaker 3: fuck knows who. They're all liars anyways, they're all liars,

874
00:41:38,400 --> 00:41:41,359
Speaker 3: and D's so but yeah, anyways, it's just interesting we're

875
00:41:41,360 --> 00:41:43,719
Speaker 3: talking about Casino and I just wrote figure that out

876
00:41:43,800 --> 00:41:44,400
Speaker 3: last week.

877
00:41:44,200 --> 00:41:46,640
Speaker 1: You know, real quick too. About that scene, the head

878
00:41:46,680 --> 00:41:49,440
Speaker 1: and the vice scene. He had to take out a

879
00:41:49,480 --> 00:41:51,200
Speaker 1: shot in that scene because they were going to give

880
00:41:51,239 --> 00:41:55,160
Speaker 1: the movie an X rating because it was too violent.

881
00:41:55,360 --> 00:41:57,120
Speaker 1: And I think it's in the extras. On the Blue

882
00:41:57,160 --> 00:41:58,360
Speaker 1: I had the Blu ray, I think it's in the

883
00:41:58,400 --> 00:42:02,080
Speaker 1: extras where you can see like the additional I carnage

884
00:42:02,120 --> 00:42:06,520
Speaker 1: in that scene. It's pretty nasty, nasty, nasty all.

885
00:42:06,480 --> 00:42:08,680
Speaker 3: Right, dude, I carnage. I gotta get out of here.

886
00:42:08,880 --> 00:42:10,200
Speaker 2: Everybody else hang tight.

887
00:42:10,280 --> 00:42:24,200
Speaker 1: I'll be back right after this with some final thoughts.

888
00:42:34,520 --> 00:42:36,400
Speaker 2: What's up, everybody? We are back.

889
00:42:36,520 --> 00:42:39,719
Speaker 1: I am back back with you good people of Hollywood Land,

890
00:42:39,719 --> 00:42:41,960
Speaker 1: and I want to know what are you watching?

891
00:42:42,080 --> 00:42:44,120
Speaker 2: What's in your queue? What do you got lined up

892
00:42:44,320 --> 00:42:47,640
Speaker 2: on TV? In the theater? Hit me up? Let me know.

893
00:42:47,760 --> 00:42:51,080
Speaker 1: I need some recommendations. I need some recommendations. I need

894
00:42:51,120 --> 00:42:52,680
Speaker 1: some hot and sweaty summer movies.

895
00:42:52,760 --> 00:42:56,520
Speaker 2: You know I need. Do the Right Thing is my

896
00:42:56,640 --> 00:42:59,280
Speaker 2: go to hot and sweaty summer movie. Love that movie.

897
00:42:59,320 --> 00:43:02,800
Speaker 1: Dog Day After is another go to hot and sweaty

898
00:43:02,840 --> 00:43:05,040
Speaker 1: summer movie. I need more, though, Give me some more.

899
00:43:05,080 --> 00:43:07,960
Speaker 1: Send me your recommendations for things I can watch when

900
00:43:08,400 --> 00:43:11,080
Speaker 1: the heat is over ninety degrees. I'm sweating and I

901
00:43:11,120 --> 00:43:13,800
Speaker 1: need some a good movie to put on in the background.

902
00:43:14,040 --> 00:43:16,040
Speaker 1: I've got a movie date later this week with my

903
00:43:16,200 --> 00:43:17,759
Speaker 1: daughter and my oldest We're going to go see that

904
00:43:17,800 --> 00:43:20,759
Speaker 1: new f one movie together. So I'm pretty pumped on that.

905
00:43:20,880 --> 00:43:22,960
Speaker 1: So I'll let you know what I think about that

906
00:43:23,080 --> 00:43:26,600
Speaker 1: when we meet again. But until then, remember a couple

907
00:43:26,600 --> 00:43:30,000
Speaker 1: of things. Number One available right now in your Hollywoodland feed.

908
00:43:30,080 --> 00:43:34,520
Speaker 1: Our episode on Sharon Stone number two, coming next week

909
00:43:34,560 --> 00:43:39,399
Speaker 1: on Monday, Our episode on Marlon Brando number three. Don't

910
00:43:39,440 --> 00:43:42,479
Speaker 1: forget the scripted episodes that you're hearing in your feed

911
00:43:42,560 --> 00:43:45,920
Speaker 1: every Monday. The Sharon Stones, the Marlon Brandos. These are

912
00:43:45,960 --> 00:43:47,800
Speaker 1: new to you if you are new to this podcast,

913
00:43:47,960 --> 00:43:50,520
Speaker 1: and if you're new to this podcast, welcome, We love

914
00:43:50,560 --> 00:43:52,560
Speaker 1: having you here. But if you've been listening for a

915
00:43:52,560 --> 00:43:55,440
Speaker 1: while and you heard these episodes in their previous incarnation

916
00:43:55,719 --> 00:43:58,320
Speaker 1: as episodes of a show called bad Lands, and you're wondering,

917
00:43:58,560 --> 00:44:00,640
Speaker 1: what am I going to hear some brand new episodes

918
00:44:00,640 --> 00:44:03,440
Speaker 1: of Hollywood Land on some brand new subjects and some

919
00:44:03,480 --> 00:44:07,560
Speaker 1: brand new crimes, do not worry. We've got them. They're coming.

920
00:44:07,800 --> 00:44:09,439
Speaker 1: They're in the tank, whether or not, in the tank

921
00:44:09,440 --> 00:44:12,319
Speaker 1: where we pulled the car up to the gas station

922
00:44:12,440 --> 00:44:14,840
Speaker 1: and we've opened the gas tank and I'm about to

923
00:44:14,880 --> 00:44:16,520
Speaker 1: get the pump out to put the This is a

924
00:44:16,680 --> 00:44:20,400
Speaker 1: horrible metaphor that I'm using right now, just awful. But anyways,

925
00:44:20,600 --> 00:44:23,040
Speaker 1: don't worry. They're in the pipeline. They're coming at you

926
00:44:23,320 --> 00:44:26,359
Speaker 1: this fall, brand new, honest to God episodes, all right,

927
00:44:26,560 --> 00:44:30,280
Speaker 1: Number four. Do you listen to Disgraceland, Jake's other award

928
00:44:30,280 --> 00:44:33,000
Speaker 1: winning show made four and about rock and roll animals,

929
00:44:33,080 --> 00:44:36,040
Speaker 1: The og Music and True Crime Pod with wild stories

930
00:44:36,080 --> 00:44:40,800
Speaker 1: about Frank Sinatra, The Replacements, Aliyah, Travis Scott, The Cramps,

931
00:44:40,960 --> 00:44:44,919
Speaker 1: Lana del Rey, Metallica, Bobby Brown, and hundreds more. If

932
00:44:44,960 --> 00:44:48,240
Speaker 1: not you're missing out, just go search up Disgraceland wherever

933
00:44:48,320 --> 00:44:51,640
Speaker 1: you get podcasts. Number five now in honor of this

934
00:44:51,680 --> 00:44:54,759
Speaker 1: week's episode, Me Reading You, the list of the top

935
00:44:54,800 --> 00:44:57,920
Speaker 1: movies from March of nineteen ninety two, the month that

936
00:44:58,000 --> 00:44:59,959
Speaker 1: Basic Instinct was released in theater.

937
00:45:00,040 --> 00:45:00,840
Speaker 4: Yours.

938
00:45:02,000 --> 00:45:08,600
Speaker 1: Number one, Wayne's World, directed by Penelope Spherus. Number two,

939
00:45:09,320 --> 00:45:14,919
Speaker 1: Basic Instinct directed by Paul Verhoeven. Number three, Can't Set

940
00:45:15,080 --> 00:45:17,960
Speaker 1: My Cousin Vinnie Had directed, directed by directed by Jonathan

941
00:45:18,040 --> 00:45:22,640
Speaker 1: Lyn mctierney. Number number four, Number eight thelawmore Man, directed

942
00:45:22,640 --> 00:45:27,920
Speaker 1: by directed Leonard Carnor Shelton. Number five Fried Green Tomatoes.

943
00:45:28,080 --> 00:45:30,719
Speaker 1: It was directed by directed John Avls.

944
00:45:31,840 --> 00:45:37,759
Speaker 2: Number six Stopped from

945
00:45:33,880 --> 00:45:40,480
Speaker 3: My Quit Talking and Start Mixing