Presenting Our New Video Podcast "This Film Should be Played Loud"

We're sharing the audio from our new video podcast "This Film Should Be Played Loud." "This Film Should Be Played Loud" is a new monthly video podcast where Jake and Zeth discuss the convergence of music and film. Each episode explores the great music from one great film and the needle drops, the scores, and the soundtracks that heighten storytelling and enrich the viewing experience. "This Film Should Be Played Loud" is only available on Patreon. To see what you've been missing and to get access to ad free listening of Disgraceland and Hollywoodland as well as other exclusive bonus content, become an All Access member by visiting disgracelandpod.com https://disgracelandpod.com. For a limited time, you can receive 20% off your monthly or yearly membership by using the code "DISGO" at checkout. See omnystudio.com/listener https://omnystudio.com/listener for privacy information.

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:01Speaker 00

  This is exactly right.

• 0:13Speaker 01

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• 0:44Jake Brennan?

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• 1:16Speaker 03

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• 1:44Jake Brennan?

  Hey, Discos. We have a special treat for you today in the feed. Today, we are unveiling to all of you, or most of you anyways, a special sneak peek at our new video podcast, This Film Should Be Played Loud. This Film Should Be Played Loud is a new monthly podcast, co-hosted by myself, DisgraceLand host, of course, Jake Brennan, and Hollywoodlands, Zeth Lundie. In this new show, Zeth and I tackle our favorite Favorite topic, the convergence of music and films is kind of like a combination of DisgraceLand and Hollywoodland, but just centered around the music in movies. Each episode of this film should be played loud is a discussion about the great music in an equally great movie that we both love. Soundtracks, needle drops, scores.

• 2:29Jake Brennan?

  We take you into the moments in these films where music heightens the storytelling and the movie watching experience. We tackle one film in every episode. So if you want to know about what drove Martin Scorsese's incredible song selection for the Goodfellas soundtrack, or curious to understand how the songs in Trainspotting impacted 90s pop culture, or maybe you want to hear why Boogie Nights contains the single greatest performance by an actor in a recording studio ever captured on film. All of these topics are covered in our episodes. Songs from movies that sent us down rabbit holes, scenes with songs by that musician who became your favorite, who you didn't know you loved until you saw the film. How films soundtrack the devil and the tunes you hated before they made it onto the screen,

• 3:14Jake Brennan?

  but that you now love. We discuss, we discuss all this and more in this film should be played loud. Now, this new podcast is available to watch and listen to exclusively on Patreon for our DisgraceLand All Access Members. Go to disgracelandpod.com to sign up now and use discount code DISCO for 20% off your monthly or yearly membership. But act now because this discount is only available for a limited time. Again, this podcast, this film should be played loud. It's not going to be available here in the DisgraceLand feed or in the Hollywoodland feed. You can only get it on Patreon. And again, you can watch it and you can listen to it. All right. As promised, we're now going to let you hear our first episode of this film should be

• 3:59Jake Brennan?

  played loud on the great soundtrack for the incredible film Goodfellas. You can hear it here for a limited time in the DisgraceLand feed, but All Access Members can watch this Goodfellas episode along with, like I said, episodes on Trainspotting, Boogie Nights, and more to come, all over on Patreon by becoming DisgraceLand All Access Members. As always, guys, thank you for your support. Without further ado, here is this film should be played loud.

• 4:27Jake Brennan?

  Let's uh, I'm gonna go get my shine box, right? Is that what we're doing?

• 4:30Speaker 04

  Yeah, yeah, go eat your shine box. I'm gonna go pistol whip my neighbor across the street and go to bed.

• 4:36Jake Brennan?

  You want some fucko?

• 4:45Jake Brennan?

  Welcome to the first episode of This Film Should Be Played Loud, an exclusive video podcast for our Patreon listeners, a podcast about great music in great film. This first episode is on Goodfellas and its incredible soundtrack. They often call me Speedo, but my real name is Mr. Jake Brennan. That's Dr. Zeth Lundie, my co-host. Zeth, how are you, my man?

• 5:04Speaker 04

  I'm doing great, man. I'm psyched to talk about Goodfellas. It's turned 35 this year.

• 5:09Jake Brennan?

  I know, that's crazy. That is, I was um, I was, 1990 it came out. I was 16 years old. I saw it at the Seastown Mall in Lemonster, Massachusetts. I went with a bunch of friends from Clinton. I believe Bruce Millet took us in what would have been a big, black Cadillac arriving in style. And um, I think my good friend, Mr. Dave Duchesneowski was with us. I can't remember who else, probably Seth Sauer, Sean Hastings. Anyways, we all saw this and you know, it was just, I didn't know anything about Martin Scorsese. I didn't know really that much about Robert De Niro. I was just 16 years old, but what I did know about was The Rolling Stones.

• 5:53Jake Brennan?

  And oh my God, what this movie did for The Rolling Stones. We're gonna talk about that later, but I wanna know how you first saw this movie and how the music impacted you at the age you were at when you finally saw Goodfellas.

• 6:08Speaker 04

  You know, I was thinking about that earlier. I did not see it in the theater. This came out in 1990, so I was, you know, I was 13 when it came out. Uh, just about to go into high school or I was going into high school. Um, and I did not see it in the theater. I don't know when I saw it. Uh, it wasn't one of the first Scorsese films I saw because I remember very early on seeing Raging Bull and Taxi Driver and some of the, the earlier ones like that first, and then getting into Goodfellas later. But to your point, the music aspect of it really, um, we'll, we'll get into this some, some more later, but, but it really illuminated some

• 6:51Speaker 04

  musical icons for me that weren't illuminated for me at the time.

• 6:55Jake Brennan?

  Right. Pre, pre-internet era. Yeah. You're, you're not scrolling through. You don't have the benefit of, of streaming, scrolling, none of that. You got your, your snobby record store guy. You got your, your friends, your friend who's got an older brother at college. I actually had a friend in high school around the same time, whose older brother went to school in London or somewhere in England. I think it was London, but he had, it, it, this sounds weird. This sounds like something you would hear somebody who grew up in the 1960s say. But it, it just goes, it, you couldn't, we just didn't have the access to music.

• 7:29Speaker 04

  Yeah.

• 7:30Jake Brennan?

  Like we, I mean, CDs weren't even a thing yet.

• 7:32Speaker 04

  Right.

• 7:32Jake Brennan?

  So it was cassettes for us and no one really listened to vinyl except their parents. And they weren't really using record players anymore. And Chad Taylor's older brother, uh, I, I think he got them from going to, going to call. He had all the early singles. It ended up being that singles box set. And Chad would make me tapes. So I had all that. I had Memo from Turner. I had, you know,

• 7:56Speaker 04

  See, that blows my mind. I didn't know about Memo from Turner until like way, way, way, way longer.

• 8:02Jake Brennan?

  Yeah. Well, I didn't, I didn't know the actual lineage of Memo from Turner. And there's, and there's some interesting history with the film here. So, so Memo from Turner is, is a obscure Mick Jagger song that the Rolling Stones recorded. It was first recorded by the Stones, then I think I have this right as first recorded by the Rolling Stones. Uh, then Mick rerecorded it with John Hyatt and some members of the Rolling Stones. I think, um, God, there's somebody else famous who plays on this.

• 8:31Speaker 04

  Right Cooter plays slide on it.

• 8:33Jake Brennan?

  Did I say John Hyatt?

• 8:34Speaker 04

  You said John Hyatt.

• 8:35Jake Brennan?

  I meant right Cooter.

• 8:36Speaker 04

  Right Cooter. Yeah, and this is for the performance soundtrack, right?

• 8:40Jake Brennan?

  The performance soundtrack, right? I remember you in Hemlock Road, 1956. You're a faggy little leather boy with a smaller piece of stick. And that's the version that's in Goodfellas. It's in that incredible run of, of the helicopter scene, right? Everyone knows the helicopter scene from Goodfellas. This might be.

• 9:03Speaker 04

  You're jumping ahead here, but you're getting me excited.

• 9:05Jake Brennan?

  Well, whatever, we have no format. This is just all about, you know, music and movies that we love. So the helicopter scene, I went back and I looked. It's, it's the best mixed tape inside of a movie that I, that I've ever come across. And it's, it feels like it's a, a long tape when you think of the impact of it, but it's actually pretty short. It's Jump in the Fire by Harry Nilson, then it goes to Memo from Turner, the Mick Jagger version, however incorrectly credited in the soundtrack as a Rolling Stones song. It's actually not. It's a Mick Jagger version. Then it goes into like a couple of seconds of the live version of Magic Bus by The Who. And then it goes into Monkey Man. And then What Is Life by George Harrison. You kind of feel like he's getting away with it, like he's getting away with it. And then Manish Boy by Muddy Waters.

• 9:50Jake Brennan?

  And then of course, the writings on the wall for Henry Hill.

• 9:53Speaker 04

  But, but hang on. The best part about that whole stretch, for me at least, my favorite part is in between Monkey Man and What Is Life, there's just the briefest clip of Muddy Waters at the beginning of Manish Boy going, "Everything, everything is gonna be alright this morning." And that's it.

• 10:12Speaker 05

  Everything, everything gonna be alright this morning.

• 10:16Speaker 04

  And then it cuts right into What Is Life and you're like, what the fuck is going on here?

• 10:22Jake Brennan?

  You're absolutely right. And you know, in that, okay, so we, we need to talk about Scorsese's approach here. Before Goodfellas, Scorsese is famously the guy, because of Mean Streets, he's famously the guy who uses rock and roll to express emotion, to use rock and roll songs, pop songs. To express emotion in film as opposed to using score.

• 10:42Speaker 04

  Right.

• 10:43Jake Brennan?

  Okay, so by the time he gets to Goodfellas, you know, he's already gone through and he's worked up the script with Nicholas Pilegi and he's got like, he's, he's indicating in the margins what songs he wants. And I read an interview with the, the music editor for the film where he said that Scorsese knew two years in advance, what songs exactly he wanted playing in which frames of the film.

• 11:04Speaker 04

  He was putting it in the script. He was like, put cream sunshine to your love here.

• 11:08Jake Brennan?

  Right, exactly. Pilegi's rereading the script and he's, it just says sunshine to love. It just said, add cream.

• 11:13Speaker 04

  Yeah.

• 11:13Jake Brennan?

  Pilegi's like, what the fuck do you mean add cream? He's like,

• 11:27Jake Brennan?

  You know, it's interesting, when I read this thing about the music editor from Goodfellas making a big deal of the fact that Scorsese knew exactly what songs he wanted in the film two years in advance. It didn't strike me as being strange. Not, I was just like, well, yeah, that's how you fucking do it, dude. Right, right? But it's not how you do it. I mean, I've actually, I've worked on indie films and stuff. I've music supervised stuff and did music for, for a film, a Parker Posey film. And the director was a friend. He, he was basically like, I don't know shit about music. You figure it out. And I feel like that's an approach that a lot of directors have.

• 12:03Speaker 04

  I think you're right, but remember that Scorsese started, I mean, one of his first major gigs was the Woodstock movie, which he's credited for now as an editor. But I believe at the time, this was in that, that Mr. Scorsese documentary that was on Apple recently. He was like the second director of that movie. So like, he's, he's creating that movie. He's cutting that movie with music at the forefront of his mind, right?

• 12:29Jake Brennan?

  Exactly, exactly. And he's, and obviously he's surrounded by great live music, Santana, Sly Stone, all that stuff.

• 12:34Speaker 04

  Yeah, yeah.

• 12:34Jake Brennan?

  But this is after he grows up. And, and this is the good thing about Goodfellas. It really feels like, like, I don't know. It was growing up in my small town. It was very much like this where, you know, we all hung out on this main drag, right?

• 12:48Speaker 04

  Yep.

• 12:49Jake Brennan?

  And you would just hear, there'd just be this soundtrack constantly, cars driving by, people still carry boom boxes around. I'm not trying to make it sound like I grew up in the Bronx. I didn't. But music was kind of like, it was more in the air than, than it is now. Now everyone's got, you know, ear pods on and they're, you know, they're in their little pods in their cars and whatever. It just, it was, it was different then. And and I feel like it was much different and a much more extreme version of what I just explained in a tiny little sort of, you know, two block stretch of downtown New York where Martin Scorsese grew up in the 1960s and that sort of like jukebox system that he was living in.

• 13:29Speaker 04

  Yeah.

• 13:29Jake Brennan?

  And that's what that movie feels like all the way throughout the beginning. I mean, the first, you know, the opening is, you know, by the time he blows up the cars, you've already whipped through like, your, your ears are just on fire from all the incredible sound tracking that's going on.

• 13:44Speaker 04

  Yeah. It's like a radio station, you know, it's just like switching the channels. It's doo-wop, it's girl groups. It's, it's Italian. It's, it's, it's all over the place.

• 13:52Jake Brennan?

  But it's what he would have heard.

• 13:54Speaker 04

  Right. Exactly.

• 13:55Jake Brennan?

  And he's, he's so fearless with his music choices and confident. And, you know, I don't care, man. Like, like, I, I know we all love Memo from Turner and Monkey Man, but no one knew those fucking songs except Stone's heads. And they'd be like, well, if you're gonna put a Stone song in there, give me Shelter, I understand. But, you know, why not Jumpin' Jet? Why not Brown Sugar? Why, why not? Hey, they got the new Steel Wheels album just came out. Why don't we use a song off that? You know what I mean? Like, and he's like, no, fuck you. It's these songs.

• 14:26Speaker 04

  I'd never heard, to the point earlier, talking about Memo from Turner. I had never heard Monkey Man. I had never heard Memo from Turner. I never heard Harry Nelson's Jump in the Fire. I had never heard any of these songs until I saw them in Goodfellas.

• 14:40Jake Brennan?

  Yeah. Yeah. It really, and then think of like, I was thinking about this too. It does, this movie does a lot for Eric Clapton, who I have a real rough relationship with.

• 14:50Speaker 04

  Like, I think we all do, but yes, yeah.

• 14:52Jake Brennan?

  Like, the Rolling Stones were... I was kinda like, I was in my group of friends. I was like the guy who listened, I was the Stones guy, but I was also the guy who listened to like old music and it's only, it's, I'm not trying to, you know, inflate my taste as a young fucking Wes Anderson character, but my dad had a massive record collector, so I had access to shit that other, my friends didn't, right?

• 15:13Speaker 04

  Yeah.

• 15:13Jake Brennan?

  But I was like the Stones guy. I was always, I was always trying to push the Stones on people. And, you know, people were going to go so far, cause they were fucking lame in 1990.

• 15:22Speaker 04

  Cause all we knew was Rockin' A Hard Place in the late eighties, you know what I mean?

• 15:26Jake Brennan?

  Yes, yes. It was, they were lame. Those records sucked. Those 1980s records sucked. Steel Wheels I like now.

• 15:34Speaker 04

  I kinda like Steel Wheels now. I gotta, I gotta admit, yeah.

• 15:37Jake Brennan?

  Hated it then and all my friends rightfully did as well, but then Goodfellas happens and it's like, oh yeah. And I'm sitting there going, see, I told you pricks. You know, like, listen, listen. However, we have to talk about Clapton and we have to talk, there's something, this happens, it happens twice in this movie with me. I've never been an Eric Clapton fan. I'm becoming one. I'm becoming one, but we used to, you know, you know, 10 years after Goodfellas is out, now it's like shorthand and it's in the culture, it's in the zeitgeist. So we're hanging out upstairs at the Middle East or whatever with our friends and we're like, Leila's on or we're like, and you know, the piano part happens. We're like, this is the best shit Clapton ever did. You know what I mean? Cause he's not on it. It's at that point.

• 16:20Speaker 04

  Yeah.

• 16:21Jake Brennan?

  But it cemented that song for me. I love it. I fucking love the tune, the whole thing, the entire song. It's fantastic. And I gotta say, like, you know, Sunshine Of Your Love, I showed Goodfellas to Harland, my 11 year old the other night. And that scene, Jimmy Conway at the bar. Dun dun dun dun dun dun dun. And he, and it's when he's real, he realizes he's gonna kill Maury.

• 16:50Speaker 04

  Yeah. He's taking that long drag on the cigarette.

• 16:53Jake Brennan?

  Yeah. And it's fucking pure evil and Sunshine Of Your Love is playing.

• 17:08Jake Brennan?

  And my son just goes, oh, like, that was it. Like, he was so moved by that, like, viscerally, like, you know, he just knew how awesome that was.

• 17:18Speaker 04

  I love that. I love that. That's great. That's great. You know, there's something about the way, I think it was Philip Seymour Hoffman who once said that cigarettes are great for actors because it gives them something to do with their hands, like, but, but De Niro really knows how to like, the pull on that cigarette. Like, he doesn't have to say anything. You just, that and the song, and in the song, you hear Eric Clapton say, "It's getting near dark," right? It's getting near dark. It's like, oh shit, like, yeah.

• 17:43Jake Brennan?

  Oh, wow. Wow. So, in, in, just like the Rolling Stones in 1990 were fucking dead. Clapton was nothing in 1990.

• 17:56Speaker 04

  Yeah.

• 17:57Jake Brennan?

  I mean, the lamest, you know, like, my friends' dads liked Derek Clapton, you know what I mean?

• 18:03Speaker 04

  Well, it was that whole, we joke about this, but it's that whole divorce rock era.

• 18:07Jake Brennan?

  It really is.

• 18:08Speaker 04

  What's that, oh shit, what was that record he had out? It was super slick.

• 18:12Jake Brennan?

  Promises, prom, that, no, that's not the one. It's, uh, it's Promises. He has the song Promises. I love, I love that shit now. That's the thing. Now I love it.

• 18:18Speaker 04

  No, I do too. Hold on, but he had a, he, like, he had this incredible divorce rock record out at that time. Journeyman came out in 1989. Journeyman had Pretending, Running on Faith, Bad Love, No Alibis. This was like the super slick AOR Eric Clapton, which, which sort of made him, uh, super lame.

• 18:46Jake Brennan?

  Yeah, the, the, I think the I Shot the Sheriff stuff is like 1980, 1981. That's okay. And then it's bad. And then he has a Scorsese, like, rise again with Color of Money.

• 18:58Speaker 04

  Color of Money.

• 19:05Jake Brennan?

  Which is also lame. I was like, this is like a fucking Miller Lite commercial.

• 19:09Speaker 04

  It's lame. Well, I know, but that's, that's what makes that movie so great. It's like the Phil Collins on in that movie as well. Like it makes that it's of that time, you know?

• 19:16Jake Brennan?

  Yeah.

• 19:20Jake Brennan?

  Yeah, color of money is, it's.

• 19:23Speaker 04

  It's essential. It's amazing.

• 19:24Jake Brennan?

  Essential? Really?

• 19:25Speaker 04

  It's essential. It's essential, Scorsese. Yes. Yeah.

• 19:28Jake Brennan?

  It's, it, you know, Tom Cruise could have done nothing after that and we would have been like, Tom Cruise is fucking the man.

• 19:34Speaker 04

  He's amazing in that. He's incredible.

• 19:37Jake Brennan?

  All that's real. The whole thing. All right. We're getting off track with, with Vince.

• 19:40Speaker 04

  And just the fact that he's playing, we don't have to go in the weeds about this, but he's playing, Paul Newman thinks he's playing Tom Cruise and Tom Cruise has been playing Paul Newman the whole movie. It's just, ah, it's awesome.

• 19:49Jake Brennan?

  It is so good. It's so damn good.

• 19:53Speaker 01

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• 20:24Jake Brennan?

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• 21:26Jake Brennan?

  All right. So I wanted to do this thing. Okay. There's no score in Goodfellas. Right. In this podcast, just so everyone knows, we'll reset it a little bit. This podcast, Zeth and I are going to do this once a month for our Patreon listeners, for you guys. And we're going to do a new movie every month. And we're going to talk about the music in that movie. We're going to talk about this, here, we're clearly talking about the soundtrack. But we're also going to talk about the score. We're going to talk about music supervision. And we're going to do it, you know, more in a fanboy kind of way and less in kind of a nerdy research kind of way, because we do enough nerdy research on other stuff. Yeah. And this is just stuff that's fun to talk about on a Tuesday night while I'm having a glass of bourbon with my doctor here. So, so we're going to keep it to that. Now, in Goodfellas, there's no score, like zero. Right. Nine.

• 22:12Jake Brennan?

  Zilch. This has become my new favorite thing in watching film and television. Okay. Because I'm like, I've had it with modern scoring in television. Like, I'm watching the new Claire Danes Netflix show, which I kind of like a lot. Okay. And the score is just like, it's like, yeah, we've been doing the same score since Ozark. Okay, everybody does this. And it gets in the way of the emotion. It's so predictable, it, it, it puts a sort of governor on the emotion, right? Right. And it's also, there's something going on with the way they're mixing stuff lately, where it's so hard to hear dialogue, and I don't know if it's our TVs or what the hell it is. Anyhow, I'm rewatching The Wire, like we talked about, absolutely no score in The Wire.

• 22:57Jake Brennan?

  Interesting. Okay. No scoring. Everything is incidental. It's all on the radio or whatever. Same thing with Rachel Getting Married, another great example of that. And this, this is intentional, what he does, like absolutely no score. Fantastic. There's a, there's a best score in music supervision category at the Oscars. There is no best soundtrack award at the Oscars. There fucking should be, man. Yeah. Like, you think of all the great movies with great soundtracks. Yeah, I know. Goodfellas, Boogie Nights, Easy Rider, I can go on and on. Do the Right Thing, it's endless. Yeah, yeah. It's The Graduate, it's like, why we're going to be doing this show forever? Exactly. Because it's endless material.

• 23:39Jake Brennan?

  So, one thing I want to look at, though, if you, I want to look at, like, okay, if there was a best soundtrack category. Sure. Right? From films that were released when Goodfellas was released in 1990. Okay? Who would win it? So it's, it's hard to come up with a list of nominees. I think you gotta look first at the best picture nominees, which Goodfellas was nominated for best picture. Didn't win. It only won, it was nominated for five awards. It won, Joe Pesci won for best supporting actor. That's it.

• 24:09Speaker 04

  Okay. What won best picture?

• 24:11Jake Brennan?

  Best picture was Dances with Wolves.

• 24:14Speaker 04

  Yep.

• 24:15Jake Brennan?

  Okay. Okay. So best picture nominees, Dances with Wolves, Ghost, Awakenings, Godfather Three and Goodfellas. Now of these, I think the only one that sniffs a best soundtrack nomination, I can't believe I'm fucking saying this, but Ghost, because of that iconic Righteous Brothers fucking Swayze. I was like, was that Swayze kinda like, I was thinking, was Swayze kinda like, like, like feeling up Whoopi Goldberg and Ghost and the Righteous Brothers? I looked it up. I was like, no, it was Demi Moore. But Whoopi Goldberg was in Ghost.

• 24:51Speaker 04

  She was in Ghost. Yeah.

• 24:52Jake Brennan?

  Yeah.

• 24:52Speaker 04

  All right. So again, another movie where I, and it's just probably part of our generation, but I, I was made aware of Unchained Melody by that movie, you know?

• 25:02Jake Brennan?

  Yeah, I probably was too.

• 25:04Speaker 04

  Yeah.

• 25:04Jake Brennan?

  Big Chill turned me on to a lot of shit. Big Chill.

• 25:07Speaker 04

  Big Chill, Stand By Me, Good Morning Vietnam, all that stuff. Yeah. Yeah.

• 25:11Jake Brennan?

  Uh, what was the other one? The Cher one? Was it The Mermaids? Little Mermaids?

• 25:15Speaker 04

  Yeah.

• 25:16Jake Brennan?

  I think that was, that's another one. Kinda big chilly. So other films from 1990 that, that came out that weren't best picture.

• 25:22Speaker 04

  Okay.

• 25:22Jake Brennan?

  Okay. Here's a list of the top grossing, uh, films in order. Some of them were best picture nominees. Ghost, Home Alone, Pretty Woman, Dances with Wolves, Total Recall, Back to the Future Three, I didn't even know there was a three, Die Hard Two, Presumed Innocent, Teenage Mutant Ninja Turtles and Kindergarten Cop. So those are the best, the highest.

• 25:41Speaker 04

  It's not a tumor.

• 25:42Jake Brennan?

  Highest grossing.

• 25:43Speaker 04

  It's not a tumor.

• 25:44Jake Brennan?

  At all.

• 25:45Speaker 04

  Pretty Woman had a soundtrack soundtrack, but the rest of those probably had scores, right?

• 25:49Jake Brennan?

  It did. Uh, yes, you're right. I'm sure Back to the Future had a soundtrack. So, so Pretty Woman and Ghost are in the mix here. Okay. So now let's look at, so, so far we've got Goodfellas, Pretty Woman and Ghost for possible nominees.

• 26:04Speaker 04

  Okay.

• 26:05Jake Brennan?

  So let's look at some of the, the best independent films from 1990.

• 26:09Speaker 04

  Okay.

• 26:10Jake Brennan?

  Here's where it gets interesting.

• 26:11Speaker 04

  Okay. All right.

• 26:12Jake Brennan?

  Pump Up the Volume.

• 26:14Speaker 04

  Oh, yeah.

• 26:15Jake Brennan?

  Oh, yeah.

• 26:15Speaker 04

  Oh, yeah. Pump Up the Volume has got the, uh, Wave of Mutilation, UK Surf version, that slow version of the Pixies song.

• 26:23Jake Brennan?

  Mm hmm.

• 26:24Speaker 04

  Yeah.

• 26:24Jake Brennan?

  Um.

• 26:24Speaker 04

  Sorry. I digress there.

• 26:25Jake Brennan?

  It also has Henry Rollins and Bad Brains doing MC5.

• 26:29Speaker 04

  That's right.

• 26:30Jake Brennan?

  Metropolitan. I just wanted to mention this movie because I love it, but it doesn't have a soundtrack.

• 26:35Speaker 04

  Okay.

• 26:35Jake Brennan?

  Uh, Slacker, Wild at Heart. King of New York. House Party.

• 26:43Speaker 04

  Oh, yeah.

• 26:44Jake Brennan?

  Some great soundtracks here. Let's just dip into the Pump Up the Volume soundtrack here.

• 26:48Speaker 04

  All right. All right.

• 26:49Jake Brennan?

  This is gold. Everybody Knows by Concrete Blonde.

• 26:53Speaker 04

  The Leonard Cohen song.

• 26:54Jake Brennan?

  The Leonard Cohen song. Yeah. Wave of Mutilation, uh, Pixies. You mentioned that, the UK Surf version. Kick Out the Jams. I mentioned the MC5 tune, Bad Brains and Henry Rollins. Me and the Devil Blues, Robert Johnson's song by Cowboy Junkies.

• 27:09Speaker 04

  Hmm. Yeah.

• 27:10Jake Brennan?

  Just so, so, so good. Dad, I'm in jail by Was Not Was.

• 27:16Speaker 04

  Yeah, that's the song I was telling you about the other day.

• 27:19Jake Brennan?

  Yeah. Why were you, why were we talking about?

• 27:21Speaker 04

  Dad, I'm in jail. Cause you were, we were just talking about, uh, Was Not Was. And, uh, I asked you if you knew that song and you, and, uh, it's just, it's such a great song. It's not even a song. It's just a experimental, strange track.

• 27:33Jake Brennan?

  Just a telephone call? It's just Don Was recording Ryan Adams calling home? All right. So, all right. The Wild at Heart soundtrack.

• 27:41Speaker 04

  Yeah.

• 27:41Jake Brennan?

  All right. Lotta Angelo, uh, Bottle of Mate. Uh, so I'm not going to go through that. It's literally like seven songs. There's a Them, Them doing Baby, Please Don't Go.

• 27:50Speaker 04

  Sure.

• 27:50Jake Brennan?

  Great. Chris Isaak's Wicked Game, Gene Vincent, Be Bop a Lula. This is, this is what you'd expect. Uh, Nick Cage doing Love Me Tender.

• 27:57Speaker 04

  I think there's that, like that thrash metal band is on there too, that the club they go to. It's, it's kind of all over the place in the best way. Yeah.

• 28:03Jake Brennan?

  Yeah. I don't remember this movie hardly at all. Um, I know I saw it.

• 28:10Jake Brennan?

  With my girlfriend at the time, I was probably distracted and I want, I really want to hear Nick Cage doing Love Me Tender.

• 28:17Speaker 04

  Dude, it's amazing. It's amazing. Like I, I've watched this movie probably more than I should. It's like one of my favorites, but um, yes, Nick Cage doing, singing those songs. It's incredible, especially inside that, that thrash metal club where he has the thrash band stop and has them provide the backing.

• 28:35Jake Brennan?

  To Love Me Tender?

• 28:36Speaker 04

  To, to uh, it's not Love Me Tender because he, he says he's going to sing that to his wife. He sings um, another Elvis song. Love Me, maybe?

• 28:45Jake Brennan?

  Yeah, yeah.

• 28:57Jake Brennan?

  Alright, so Wild at Heart, Pump Up the Volume, and then House Party, LL Cool J, To the Break Dawn, Luther Vandross, Delphonics, Hey Love.

• 29:07Speaker 04

  Yeah.

• 29:08Jake Brennan?

  Bad Boy Having a Party, Sam Cooke. So this is, this is a good one. This is a good one. Didn't really crack the, Eric B. Rakim, Run for Cover. Yeah, it's, this is a great, great soundtrack. So if we're nominating, we gotta come up with five. Let me know. These are the five I have. Goodfellas, Pretty Woman, Pump Up the Volume, House Party, and Ghost. All from 1990.

• 29:30Speaker 04

  Okay. All right. I can go, I can get with that.

• 29:32Jake Brennan?

  There's nothing I missed, right?

• 29:33Speaker 04

  No, no.

• 29:34Jake Brennan?

  You don't want to throw Godfather 3 in here for Godfather Waltz for the 1700th time?

• 29:40Speaker 04

  No, no, I don't. And I actually did a little recon just to see if we were missing anything and I, you know, we're really not. There was the Adventures of Ford Fairlane movie, the movie with uh,

• 29:49Jake Brennan?

  Dice Clay?

• 29:50Speaker 04

  Dice Clay. That has a pretty, a kind of an interesting soundtrack, but uh, I don't know that it really deserves to be in this list, so.

• 29:56Jake Brennan?

  No, I, I mean, it's almost like, this is an unfair version of this. Like I really think this could be a good device to do. Pot, like podcast episode to podcast episode.

• 30:06Speaker 04

  Sure, yeah.

• 30:06Jake Brennan?

  Like what are the, what are the best soundtrack nominations for the year that the movie comes out? But Goodfellas might be the greatest soundtrack ever. So nothing is going to come close to it in 1990.

• 30:17Speaker 04

  You know what's great about Goodfellas soundtrack is it, it just seems to span the, the genesis of rock and roll. You know, it's, it starts with doo-wop and girl group and then it moves into, you know, British Invasion and uh,

• 30:34Speaker 04

  That just gritty rock and roll, Rolling Stones, Cream, whatever.

• 30:37Jake Brennan?

  Drug rock.

• 30:38Speaker 04

  Drug rock.

• 30:38Jake Brennan?

  It's like classic rock, drug rock. It's not Queens of the Stone Age drug rock. It's Eric Clapton at his filthiest, like.

• 30:45Speaker 04

  Exactly. Everything's got that, yeah, that filthy gritty kind of.

• 30:49Jake Brennan?

  Dwayne Allman and needles hanging out of their arms and like that era Clapton, you know what I mean? Like songs written by a fucking murderer, but Clapton claims the credit.

• 30:59Speaker 04

  And well, two songs that that involve a Jim Gordon on drums, right? Layla and Jump Into The Fire.

• 31:07Jake Brennan?

  Yeah, yeah, pretty incredible.

• 31:08Speaker 04

  Do you know about the the songs that Scorsese had on a list that he didn't include in this movie?

• 31:15Jake Brennan?

  No, but I can't wait to hear this.

• 31:17Speaker 04

  So, so there's a Made Man, I think is the name of the book, is a book that's about the making of Goodfellas. And in that book, there's a there's a list of song titles that Scorsese had. And a bunch of them were the ones that we hear in the movie. You know, what's funny is that Jump Into The Fire by Harry Nilson is not on this list.

• 31:37Jake Brennan?

  Hmm.

• 31:37Speaker 04

  But the songs, some of the songs that are on this list that were not used include With A Little Help From My Friends by Joe Cocker.

• 31:44Jake Brennan?

  Okay, I feel like he used, did he use that in Casino?

• 31:48Speaker 04

  No. I don't think so. I don't think so.

• 31:51Jake Brennan?

  I'm thinking, keep going. I don't want to cut you off. Keep going.

• 31:54Speaker 04

  Gasoline Alley by Rod Stewart. I was thinking if there was a song that could have been included here that was not like a Faces Rod Stewart song again with that sort of like gritty, like druggie rock.

• 32:03Jake Brennan?

  That's True Blue. Never been a millionaire. And I tell your mama I don't care. Never gonna own a racehorse. It's so good. I'm using that one in my movie.

• 32:19Speaker 04

  What year is that from, True Blue? That seems a little too late, don't you think?

• 32:23Jake Brennan?

  No, it's still, it's still seventies. I think Ronnie Wood's playing.

• 32:26Speaker 04

  Oh, no, you're right. You're right. Okay. All right. Anyways, okay, Gasoline Alley, Rod Stewart, Only The Good Die Young, Billy Joel.

• 32:32Jake Brennan?

  Oh, great one.

• 32:40Jake Brennan?

  That was in Goodfellas, right? We would now be saying, that makes perfect sense. These were like Long Island mobster Queens guys, you know, like, and it would have had this whole blow up shine culturally to it that it doesn't really have.

• 32:53Speaker 04

  Yeah.

• 32:53Jake Brennan?

  You know?

• 32:53Speaker 04

  Yeah.

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• 33:26Jake Brennan?

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• 33:57Speaker 04

  Hello, hello. I'm Malcolm Gladwell, host of Smart Talks with IBM. I spoke with IBM's Ana Paula Assis about what digital sovereignty actually means in the age of AI.

• 34:08Speaker 06

  AI now moves from somebody operating a system to the technology actually making decisions. So you have to have a much better visibility of what AI is touching, data it is accessing, and where.

• 34:24Speaker 04

  Hear the full conversation wherever you get your podcasts.

• 34:29Speaker 04

  Um, now, not to get like too like, uh, too, too much Professor Lundie about this at all, but do you notice that?

• 34:36Jake Brennan?

  It's Dr. Lundie to you.

• 34:37Speaker 04

  When we get into, when we get into like the true, like when, when Paulie's like, don't be involved in, in, in drugs, don't be involved in heroin and Henry's like, yeah, yeah, yeah, no problem. And then we cut to him doing coke. And immediately that's like, give me shelter, the Rolling Stones. We jump from doo wop and girl group stuff to rock and roll when the, when the corruption comes in, when the vice comes in.

• 35:00Jake Brennan?

  The darkness.

• 35:01Speaker 04

  Very tellingly, right after Henry is arrested, after that incredible playlist of songs with the Nielsen, Rolling Stones, muddy waters, he's arrested. And then the rest of the movie, which is like 20 to 25 minutes, has no music at all.

• 35:19Jake Brennan?

  I know.

• 35:19Speaker 04

  Nothing.

• 35:20Jake Brennan?

  It's the aftermath.

• 35:21Speaker 04

  Not anything.

• 35:21Jake Brennan?

  It's the aftermath.

• 35:22Speaker 04

  Yeah. Yeah.

• 35:24Jake Brennan?

  Yeah. It's just like, it's dead. Everything's dead. It's Heinz ketchup on egg noodles. Dead.

• 35:29Speaker 04

  I was gonna say.

• 35:30Jake Brennan?

  You know?

• 35:32Speaker 04

  You notice that De Niro's, that Jimmy puts ketchup on his pasta?

• 35:37Jake Brennan?

  And he shakes it. He shakes it. My buddy, Dave Welsh from Clinton used to do that. He used to just fucking shake it.

• 35:43Speaker 04

  Oh, my God.

• 35:44Jake Brennan?

  I was like, dude, it's gonna take you 20 minutes to get that shit on your french fries. I know what you're doing. Come on now.

• 35:50Speaker 04

  Oh, man.

• 35:51Jake Brennan?

  It's hard to find glass bottles of Heinz. I gotta tell you.

• 35:53Speaker 04

  Yeah, I know.

• 35:54Jake Brennan?

  I can get them for like nine bucks at Whole Foods, but you know, who wants to do that? So there's some interesting, uh, music, uh, life imitating art in this film.

• 36:06Speaker 04

  Okay.

• 36:07Jake Brennan?

  It's when they're at the Copa, it's Henny Youngman. Take my wife, please. It's the real Henny Youngman playing himself, like 20 years older than he should be in that scene. And they do that incredible device where they cut from, I think it's the Copa where Henny Youngman is some club.

• 36:25Speaker 04

  I think so.

• 36:25Jake Brennan?

  And they cut from the club and Henny on stage doing his thing. Take my wife, that whole bit, you know what I mean?

• 36:32Speaker 04

  Right.

• 36:33Jake Brennan?

  And he keeps going. They cut through the airport where they're, they're stealing, they're, you know, they're robbing the airport the first time.

• 36:40Speaker 04

  And he's still doing his bit.

• 36:44Speaker 07

  Dr. Welser is here. Wonderful doctor. Gave the guy six months to live. Couldn't pay his bill. Gave another six months.

• 36:50Speaker 04

  While they're showing them walking.

• 36:52Jake Brennan?

  You still hear it. It's so good. It's so fucking good. It's one of those things. I'm like, did Scorsese like fall into that? Did he invent that? Or who did he steal it from? I want to know where that came from because it's so simple. It's but it's so brilliant. It's just great. It's just great.

• 37:09Speaker 04

  His cinematic language is just unmatched. It's really this like the syntax, the punctuation, the everything. He's just, it's like, it's like someone's talking to you with all the senses, you know?

• 37:20Jake Brennan?

  Yeah. Yeah. I mean, it was, I was reading about, talk about punctuation, the opening scene. You know, when they're, after they opened the trunk of the car and they, they stab bats. And then they, they slam the trunk and rags to riches starts.

• 37:38Speaker 04

  Yep.

• 37:39Jake Brennan?

  They had a fight in the edit over and over again to get that. So it, the trunk slams on the downbeat.

• 37:51Jake Brennan?

  You know what I mean? It's like normally you would start it like with the up, like on the, on the one or whatever. But it's like they, and he wanted the downbeat because the slamming of the trunk down. Just brilliant. Just, it's so smart.

• 38:06Speaker 04

  I think it's just all in his head. I think it's just evidenced by all those storyboards that he drew as a kid. I think he's just, he just has, he has this innate God given knack for that sort of thing.

• 38:18Jake Brennan?

  Yeah. Yeah. He absolutely does. And again, the confidence of, this is one of those things too, that has to be some sort of like, we just, we can pull this, one of these out of every movie, I feel like, out of every movie soundtrack. We talked about this movie kind of makes you like Clapton. It absolutely, now this took a while. Like I didn't see Don't Look Back, the Dylan movie, until probably 10 years after I saw Goodfellas.

• 38:44Speaker 04

  Yeah, same. Yeah.

• 38:45Jake Brennan?

  So it took me a full decade to develop my hatred of Donovan. Okay.

• 38:51Jake Brennan?

  I fucking hate-

• 38:51Speaker 04

  Is your hatred of Donovan like vicariously through Bob Dylan? Because Bob Dylan hates Donovan.

• 38:56Jake Brennan?

  Really? Well, you can kind of tell in that movie. He's just such a twit and he's, he's, I would say this guy's so contrived and full of shit. You know, he's like Scott Weiland without the darkness. You know what I mean? Like-

• 39:10Speaker 04

  Yeah, I hear you. I hear you.

• 39:12Jake Brennan?

  But then, and even like Goodfellas, it took, it took like 20 years of Goodfellas for me to finally be like, I love Donovan.

• 39:26Jake Brennan?

  Just because of Atlantis.

• 39:27Speaker 04

  Atlantis, yeah.

• 39:28Jake Brennan?

  It's, it's so good. The counterpoint between that song and his hippie dippy bullshit and the violence that's going on.

• 39:34Speaker 04

  Totally.

• 39:35Jake Brennan?

  Ah, you know who stole that completely? Is Gus Van Zant in, um, Good Will Hunting.

• 39:49Jake Brennan?

  When they're tooling on the kid in South Boston in the beginning of the film and Jerry Rafferty's, uh, Baker Street is playing.

• 39:55Speaker 04

  Yep, yep.

• 39:56Jake Brennan?

  It's absolutely, it's the same thing. It's just, uh, slow motion, all of it. I don't know, they, I think they do like a bit of slow motion in the, in the, uh, scene where they're beating on Billy Bats. Uh, maybe not.

• 40:09Speaker 04

  There might be. I, I always get that scene, that scene is very similar to that scene in Casino where the pressure staffs the guy with, in the neck with a pen. It's very similar.

• 40:19Jake Brennan?

  Yeah, it is. It is very similar.

• 40:24Speaker 04

  The, the, the Goodfellas scene though with Atlantis is one of those great, like you put it, counterpoints. Like that, that, that song is not at all what you'd expect for that moment of violence, you know? Um, and it, and it just, the violence does seem way more real with that song playing.

• 40:41Jake Brennan?

  Yeah. And this is why counterpoint with filmmaking and soundtracking, you just hit the nail completely on the head. And I want to reinforce it. It's why it's so important because if you were in a bar and a fight broke out, the fucking jukebox doesn't care what song's playing.

• 40:58Speaker 04

  Exactly.

• 40:58Jake Brennan?

  Yeah. And that's how life works. It's absurd and there's strange shit happening all the time and you can't control it. And he's just like- It's, but I have to say, that's not how I think that the majority of creative people think. They think like, we have to match the emotion of what we're seeing.

• 41:18Speaker 04

  Sure.

• 41:19Jake Brennan?

  And Scorsese's bravery is, creative bravery is just like, no, this is how, I, I saw a guy getting his head fucking stomped on the ground in my neighborhood and, you know, Frankie Valli, Frankie Valli ballad was playing in the background.

• 41:34Speaker 04

  Yeah, yeah. He's, he seemed to just kinda say like, fuck it with this movie. Like, I'm just gonna, I'm gonna do whatever creative impulse I want to do with this movie and, you know what I mean? Like, detractors be damned or whatever.

• 41:46Jake Brennan?

  Right. Yeah. It's, it's his, I think it's his most personal movie. I think.

• 41:54Speaker 04

  I wouldn't be surprised, knowing his upbringing, you know?

• 41:57Jake Brennan?

  I mean, maybe, maybe Mean Streets, but it's so much earlier and he wasn't at the peak of his powers. He didn't have the budget. Um, I'm trying to think of another one that is more personal, that's kinda later. Maybe The Irishman? That's very personal, I feel like, because of how the age he, he was at when he made it and all those guys were at.

• 42:15Speaker 04

  Yeah, yeah.

• 42:16Jake Brennan?

  I can see that. Scoring in that is fantastic as well. Soundtracking in that and the scoring. He uses score. He has Robbie Robertson score that.

• 42:24Speaker 04

  Yeah, yeah.

• 42:25Jake Brennan?

  Which is a reason we have to cover Irishman. And that was something too, which in the beginning, you don't like Irishman as much as I do, do you?

• 42:32Speaker 04

  No, no, I, no, I, I like, I like The Irishman. I haven't, I need to see it more. I haven't seen it enough. I, I need to see it more. So it's sort of like, lives in me some more. You know what I mean?

• 42:41Jake Brennan?

  Yeah. In the beginning, the, the scoring was a sore thumb and now I can't live without it. Now I just, I love it. It's fantastic.

• 42:50Speaker 04

  The best music, the best, the best movies are the ones that, you know, it's like, uh, it's like Glenn says in Raising Arizona, it's a way homer. You only get it on the way home.

• 43:02Jake Brennan?

  I love that. Okay, more, more life imitating art. Bobby Vinton at the Copa.

• 43:07Speaker 04

  Okay.

• 43:08Jake Brennan?

  That's actually Bobby Vinton. It's Robert Vinton. That's Bobby Vinton's son.

• 43:13Speaker 04

  No shit.

• 43:13Jake Brennan?

  Looks exactly like his dad and is actually, I, I think he's the same age his old man would have been at, in that era when they were doing it.

• 43:22Speaker 04

  No way. What, what else did, what, what did he, what else did he do?

• 43:25Jake Brennan?

  I don't think he did anything. I think he was just sitting around his whole entire life being like, okay, I'm on the bench here.

• 43:29Speaker 04

  Waiting for the phone call.

• 43:31Jake Brennan?

  I'm ready, Mr. Scorsese. Here we go.

• 43:33Speaker 04

  Oh my God. Roses are red. Is that the song he does in that scene? Roses and he holds out his hand to, that the bottle goes to the table and he's.

• 43:40Jake Brennan?

  Yeah.

• 43:41Speaker 04

  Yeah.

• 43:41Jake Brennan?

  Yeah.

• 43:42Speaker 04

  Yeah. The way that this film is scored with its soundtrack, that rock and roll is, equals corruption. Rock and roll equals reckoning. Not, not that Scorsese is coming down on rock and roll, but it's just the way, the, the, the seduction of the lifestyle, which is the first half of the film, how you're seduced by this lifestyle. That's all, doo-wop, it's girl groups, it's like, you know, um, uh.

• 44:06Jake Brennan?

  Big strings arrangements, it's roses are red, it's.

• 44:10Speaker 04

  Then he kissed me, leader of the pack, you know, like he's sure the boy I love, all these, the Ronettes, the Crystals, the whatever. And then as soon as we get into the nitty gritty of Henry Hill doing cocaine with one of his multiple mistresses, it's like, you know, it's Mick Jagger singing about rape and murder. You know what I mean?

• 44:30Jake Brennan?

  Mick Jagger literally like puking into the microphone on a monkey man like.

• 44:44Speaker 04

  Yeah, exactly. And it's, that's obviously such a deliberate choice and it works so well. I think on a, almost like a subconscious level as you're watching this movie and moves you through where the, where the, the, the character arc of Henry Hill is going.

• 44:59Jake Brennan?

  Yeah, I think that's accurate. I think that's accurate. I think this is, um, I don't own this soundtrack. I don't think it's in print anymore.

• 45:08Speaker 04

  It exists. I mean, it came out back in the day.

• 45:10Jake Brennan?

  It came out. It's not, it's not, you can't stream it. You can find playlists.

• 45:14Speaker 04

  Right. But you know what, you know what was not on, this is wild. I looked at the soundtrack. You know what song was not on the soundtrack? The, the physical CD that came out was Jumping to the Fire.

• 45:25Jake Brennan?

  Hmm. That's interesting.

• 45:26Speaker 04

  Which might be because it's so long, maybe they didn't, you know?

• 45:29Jake Brennan?

  Yeah, yeah. You only had 70 minutes on a CD or whatever it was.

• 45:33Speaker 04

  Right, right.

• 45:33Jake Brennan?

  Did you know, I think you're the one who told me this, that My Way, they wanted the Sinatra version of it for the closing credits.

• 45:38Speaker 04

  Oh, I didn't tell you that. I didn't know that.

• 45:40Jake Brennan?

  Yeah, and they couldn't get it. So they went with the Sid Vicious version. And how fucking great is that?

• 45:45Speaker 04

  I love that. I love that. Yeah.

• 45:47Jake Brennan?

  So much better.

• 45:48Speaker 04

  Yeah, yeah.

• 45:48Jake Brennan?

  So much better.

• 45:49Speaker 04

  Totally, totally.

• 45:50Jake Brennan?

  I mean, I don't even think he would have gone with the Sinatra thing if he did clear it because it just, I mean, so on the money. I mean, would it was the plan to have the Sinatra thing playing while Tommy shooting?

• 46:03Speaker 04

  Yeah, no, because that would have, that would have taken us back in time. We need the, we need to be moving forward. The music's moving forward as the characters are moving forward. You need to have the 1977, 78, 79, whatever it is, version of that song, the punk version.

• 46:17Jake Brennan?

  It's the best credits tune. It's just the shooting too. It's just fucking, it's so good.

• 46:24Speaker 04

  It is great.

• 46:25Jake Brennan?

  It's so good. All right. All right. Let's talk about some movies we're gonna do next, next month. We're gonna do this, we're gonna do this every month, guys. And we're gonna do it towards the end of the month because we need time to think about this and, and, you know, put them together. I, I just think there's no shortage of incredible topics that we can cover here. Boogie Nights comes to mind. That is a huge one. We can do 17 different Scorsese ones. There's a million Tarantino ones. We came out of the gate big here with Goodfellas. I wanna, I wanna, I don't wanna go so big. I don't wanna burn out on all the huge ones.

• 46:58Speaker 04

  Yeah.

• 46:58Jake Brennan?

  Early on, we gotta come up with a good mix. I watched the other night, this is gonna sound like the most emo shit ever, and I'm not trying to sound like fucking Guy from Rights of Spring, but I watched Rachel Getting Married the other night.

• 47:09Speaker 04

  Yeah, yeah. I watched it the other day, too.

• 47:11Jake Brennan?

  And the soundtrack is, it's, it's actually incidental.

• 47:17Speaker 04

  Yeah.

• 47:18Jake Brennan?

  There are no songs mixed into it, but it's about a family in the music business and you, there's a bunch of musicians at this wedding and you hear everything. It's fantastic. And, and the stories behind how they got that music, how they made it, how they shot it, because it's a small Little indie film is really interesting. So I'd like to cover that at some point as well. I mean, there's so many. I mean, I wouldn't even, I don't even know how we would do it, but I'd love to do. There's no music and no country for old men. And somehow I think there's a version of us covering that.

• 47:51Speaker 04

  Cause all the spots where the music should be where it would have fucked it up.

• 47:56Jake Brennan?

  What I don't know, what are some of the choices you've been thinking about?

• 47:59Speaker 04

  I, I mentioned this to you earlier. I, I mentioned Trainspotting earlier. I rewatched Trainspotting recently and I really think that that is sort of like the consummate example of, of using songs in your movie to, to sort of communicate whatever you're, whatever's going on theme thematically and narratively in the film. So that springs to mind right away.

• 48:22Speaker 04

  Yeah, there's so, there's so many places that we can go with this.

• 48:25Jake Brennan?

  I mean,

• 48:28Jake Brennan?

  yeah, okay. We could, we could just turn this into the, the selections pod. We're not going to do that. Let's get some sort of list together with the listeners on Patreon. We'll get some suggestions from folks.

• 48:39Speaker 04

  Great idea.

• 48:41Jake Brennan?

  Yeah, man. This was fun. This is good.

• 48:44Speaker 04

  Absolutely.

• 48:45Jake Brennan?

  Let's, uh, I'm going to go get my shine box, right? Is that what we're doing? Is that the way?

• 48:48Speaker 04

  Yeah. Yeah. Go get your shine box. I'm going to go pistol whip my neighbor across the street and go to bed.

• 48:53Jake Brennan?

  You want some fucko?

• 48:55Speaker 04

  You want fucko? You want some?

• 49:06Jake Brennan?

  All right. Hope you guys dug that. That was our first episode of this film should be played loud. You can watch and listen to all episodes by becoming an all access member of Disgrace Land on Patreon. Go to disgracelandpod.com to sign up. And if you sign up now, for a limited time, you can receive 20% off your monthly or yearly membership by using code Disco at checkout. Disgrace Land all access members also receive ad free listening to all Disgrace Land and Hollywood Land episodes and access to the Disco community in the Patreon chat. Again, go to disgracelandpod.com to sign up now and get 20% off with code Disco.

• 49:45Jake Brennan?

  CEO. Thanks for your support, guys. Hey, guys. Time to dust off your detective skills while unwinding in the Caribbean on Virgin Voyages' second true crime voyages. Back by popular demand, this five-night, adults-only escape set sail March 20, 2027, to Grand Turk in the Beach Club at Bimini. The difference between this year and last will be that I will be on the cruise this year along with Zeth, and he and I will be taping a live version of Disgrace Land along with podcast hosts from Exactly Right's buried bones, podcast of the year award winners, wisecrack, and other fan favorites. Get on this cruise with us, guys, and enjoy live podcast recordings, behind-the-scenes storytelling,

• 50:26Jake Brennan?

  exclusive meet and greets, and immersive true crime programming throughout this one-of-a-kind voyage. Head over to www.virginvoyages.com/trucrime to secure your spot. I like a story with a twist as much as anyone, but some of the best traditions don't have one. They just started and kept going. That's something that's great about Chateau St. Michelle. They've been leading Washington wine since 1967 with wines that are balanced, expressive, and easy to enjoy. Choosing the right bottle shouldn't feel complicated. It should be something you open with confidence every time. So for once, here's a story with no twist, just a good bottle. Redefine your rituals with Chateau St. Michelle.

• 51:08Speaker 01

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