WEBVTT

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<v Speaker 1>Weird, weird.

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<v Speaker 2>Welcome back midnight viewers to Fallow Malone's weekly round up.

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<v Speaker 2>I'm Father Alone, and the lady beside me, the one

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<v Speaker 2>who arrived in the glowing six four Chevy Malibu, is

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<v Speaker 2>miss ripley Gen. How are you baby? Oh good? Let's

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<v Speaker 2>do business, yellowjackets. It can piss up a rope. Meanwhile,

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<v Speaker 2>over on the Xbox, the fucking Xenomorph is relentless and

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<v Speaker 2>I cannot sneak past him. If you haven't been checking

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<v Speaker 2>out the main show, I urge you to do so.

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<v Speaker 2>HP from night, mister Walters and I are currently engaged

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<v Speaker 2>in Fusco Fest. I'd say look at the works of

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<v Speaker 2>screenwriter John Fusco. So far, we've gotten to Crossroads and

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<v Speaker 2>Young Guns, got those out for your listening pleasure. This Friday,

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<v Speaker 2>we're doing Young Guns too, and it is a blast.

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<v Speaker 2>I urge you all to tune in then or more business.

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<v Speaker 2>If you want to hear it right now, head on

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<v Speaker 2>over to patreon dot com slash Father Alone. Subscribers get

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<v Speaker 2>everything early and commercial free, and you'll have my eternal

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<v Speaker 2>gratitude sincerely. Anyone paying to hear my nonsense is Toppermost

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<v Speaker 2>of the popermost and if you join the Patreon you

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<v Speaker 2>never have to hear me use that phrase again. Here's

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<v Speaker 2>a fun fact. Did you know that film production companies logos,

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<v Speaker 2>you know, like the universal logo.

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<v Speaker 1>Come up, bump bump.

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<v Speaker 2>If the studio wants you to, you have to show

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<v Speaker 2>that at the start of your film. But the filmmaker

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<v Speaker 2>is under no obligation to use the production company's fanfare,

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<v Speaker 2>which usually means you get a bit of wild sound

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<v Speaker 2>from the feature, letting us know what the world sounds

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<v Speaker 2>like before seeing it. Or more likely, they just start

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<v Speaker 2>the music, whether it's a score or soundtrack. Technically you

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<v Speaker 2>can just put ducks quacking or a clown car honking

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<v Speaker 2>under the studio logos. I don't know why more filmmakers

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<v Speaker 2>aren't doing it, considering every film now starts with three

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<v Speaker 2>minutes of production logos. What's even better is then after

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<v Speaker 2>the logos end, we get three minutes of credits with

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<v Speaker 2>the same goddamn logos just in font form. You know

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<v Speaker 2>what now that I'm starting to rant, what part of

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<v Speaker 2>your movie is so inessential that you let the names

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<v Speaker 2>of the filmmakers play over it? Seriously, if you haven't

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<v Speaker 2>designed a credit sequence, and are just letting credits play

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<v Speaker 2>over action. What are we supposed to surmize there? One

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<v Speaker 2>or the other isn't worth your time? No such worry

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<v Speaker 2>with our first pick. It's repo man meets auto.

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<v Speaker 3>He's a green cup kid in a dirty business. He

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<v Speaker 3>repossesses cars. He's a repol man.

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<v Speaker 4>You're gonna give me my car back, or or I

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<v Speaker 4>gotta go to your house and save your dog's head

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<v Speaker 4>down the toilet.

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<v Speaker 3>His mission is to repossess a sixty four Chevy, but

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<v Speaker 3>hidden within its trunk, if.

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<v Speaker 5>You're got on the trunk, you don't want to look in.

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<v Speaker 3>There is the most important discovery in the history of

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<v Speaker 3>our planets.

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<v Speaker 2>Repol man. It's a mystery.

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<v Speaker 6>Suppose you're thinking about a plate of shrimp. Suddenly somebody

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<v Speaker 6>will say, like plate or shrimp or plate of shrimp,

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<v Speaker 6>out of the blue, no explanation.

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<v Speaker 2>It's a comedy, it's a chase.

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<v Speaker 3>It's the forces of.

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<v Speaker 2>Law, Maine.

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<v Speaker 3>I'm on my coffee break against the representatives of discontented youth,

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<v Speaker 3>against the finest minds in government.

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<v Speaker 1>I had a Levyan lobotomy, isn't that for?

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<v Speaker 3>Mooney's not all and they're all in pursuit of a

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<v Speaker 3>sixty four Chevy Malibu from who knows where.

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<v Speaker 1>Black eyes velts can explode zep everybody, Denman.

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<v Speaker 3>The story of the Ultimate Repossession Repoman not just a job,

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<v Speaker 3>It's an adventure.

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<v Speaker 2>The credits here are an early computerized map of the

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<v Speaker 2>southwestern US and the highways that twist and when their

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<v Speaker 2>ways west all the way to the bombed out Edge City, California.

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<v Speaker 2>It's not Los Angeles, it's Edge City. Before we go further,

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<v Speaker 2>I have to tip my hat to writers Dick Rude

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<v Speaker 2>and Alex Cox for their description of the title sequence

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<v Speaker 2>in the script. It reads THUSLYE reveal the dread words

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<v Speaker 2>repo Man, that's intoxicating. The writers reveal the film's title

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<v Speaker 2>to the reader, and reader only. That description isn't going

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<v Speaker 2>on screen, but they want you to know that the

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<v Speaker 2>title has horrible connotations. These are protagonists, not heroes. What protagonists?

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<v Speaker 2>I'm glad you ask. I'm gonna play Auto's introductory scene,

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<v Speaker 2>which not only features Xander Schlass as his pal Kevin,

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<v Speaker 2>who is at least a good argument for parallel thinking

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<v Speaker 2>when it comes to Napoleon Dynamite, not saying those guys

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<v Speaker 2>ever saw one of the most popular cult films of

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<v Speaker 2>all time before making their film. But I digress.

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<v Speaker 3>America's Drink and seven and it show feels right.

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<v Speaker 7>Luck seven Kevin stops singing.

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<v Speaker 3>Huh's a singing guy.

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<v Speaker 7>I'm standing right next to you, and you fucking sing

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<v Speaker 7>and cut it out? Why so tense guy, Auto, Mister Humples,

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<v Speaker 7>you were late again this morning. Now, normally i'd let

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<v Speaker 7>it go, but it's been to my attention that you're

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<v Speaker 7>not paying attention to the way you space the cans

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<v Speaker 7>many young men of your age and these I'm sure

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<v Speaker 7>any times, Auto, are you paying attention to me? Fuck you?

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<v Speaker 2>On rewatch, I realized that Auto's lame o Boss. He's

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<v Speaker 2>wearing the exact same eyeglasses that I'm wearing right now.

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<v Speaker 2>That's fucking sobering and a little sad and a little square.

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<v Speaker 2>There's no doubt. Emilio Estevez has always been my guy

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<v Speaker 2>as far as up and comers, making his dent in movies.

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<v Speaker 2>As I'm really starting to pay attention to movies, and

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<v Speaker 2>not just movies but cinema and punk rock and cult flicks.

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<v Speaker 2>This is nineteen eighty four, man, I'd be seeing it

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<v Speaker 2>a year later when I was entering teenagerdom. But if

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<v Speaker 2>it was punk and fun and dancing on the fringes

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<v Speaker 2>of culture, I was on fucking board. And here's a

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<v Speaker 2>movie that's all those things and a lead character that's

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<v Speaker 2>just as fucked up in directionless as any of the

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<v Speaker 2>lifers he ends up associating with. And at one point

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<v Speaker 2>Emilio Estevez sits by himself and drinking a six pack

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<v Speaker 2>and singing TV Party by black Flag. I love this

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<v Speaker 2>fucking movie. Which lifers? I'm glad you asked about them.

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<v Speaker 2>Harry Dean Stanton Is he the greatest character actor of

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<v Speaker 2>all time? Yes, the end, and one of the reasons,

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<v Speaker 2>A major fucking reason this movie works as well as

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<v Speaker 2>it does, because if Harry Dean is taking this lunacy seriously,

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<v Speaker 2>you all better start doing the same. And not only

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<v Speaker 2>is but a true goddamned American with a genuine code

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<v Speaker 2>he lives by. He has some of the most quotable

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<v Speaker 2>lines in film history.

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<v Speaker 7>So how much ja get paid?

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<v Speaker 5>Twenty five bucks a car paid? You don't get paid?

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<v Speaker 5>Can you work on commission?

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<v Speaker 2>That's better being paid?

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<v Speaker 8>Most cars your repper worth two or three hundred dollars

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<v Speaker 8>fifty thousand dollars.

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<v Speaker 5>Portion might make him five grand.

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<v Speaker 8>Come on, dickhead, it helps him dress like a detective.

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<v Speaker 5>Too, detective dress a square. I think this guy's a cop.

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<v Speaker 5>You're gonna think you're packing some.

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<v Speaker 2>You don't fuck with you so much?

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<v Speaker 3>Are you?

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<v Speaker 7>What? Packing? Some?

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<v Speaker 5>An asshole gets killed for a car. Guys that make

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<v Speaker 5>it are the guys that get in their cars at

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<v Speaker 5>any time. Get in at three am, get up at four.

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<v Speaker 5>That's why they need a repo.

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<v Speaker 1>Man.

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<v Speaker 5>I know they don't take speed.

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<v Speaker 7>Speed hunh jesus.

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<v Speaker 8>I never broke into a car, never hot weir in

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<v Speaker 8>a car.

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<v Speaker 2>I never broke into a trunk.

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<v Speaker 8>I shall not cause harm to any vehicle nor the

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<v Speaker 8>personal contents thereof, nor through inaction. Let that vehicle or

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<v Speaker 8>the personal contents thereof come through arm.

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<v Speaker 1>That's what I call a repoke.

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<v Speaker 8>Oh kid, don't forget it, etch it in your brains.

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<v Speaker 1>How many people got a code to live by anymore? Hey?

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<v Speaker 5>Look at that repose?

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<v Speaker 1>Assholes over the.

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<v Speaker 5>Ordinary fucking people.

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<v Speaker 1>I hate him, Let me too, What do you know? See?

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<v Speaker 8>An ordinary person spends his life avoiding tense situations. Repoll

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<v Speaker 8>man spends his life getting into pense situations.

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<v Speaker 5>Let's go get a drink.

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<v Speaker 2>That last one's kind of a motto of mine. That's

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<v Speaker 2>an aspect of outsider culture that never really gets explored

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<v Speaker 2>in a mainstream way. It's the Jaws island philosophy. It's

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<v Speaker 2>only an island from the water. Just so, we're only

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<v Speaker 2>outsiders if we buy into your bullshit to begin with,

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<v Speaker 2>some of us think you're the outsiders, and no more

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<v Speaker 2>so than the cadre of grizzled veterans at the Repo Office.

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<v Speaker 2>Special shout out to sy Richardson, who shows up in

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<v Speaker 2>all of Alex Cox's movie and is always effortlessly cool,

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<v Speaker 2>except maybe for this one bit in Repo Man where

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<v Speaker 2>he happens to say one of the uncoolest things. Ever,

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<v Speaker 2>how many times have you heard someone lay this one

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<v Speaker 2>on you?

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<v Speaker 1>Do you like music?

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<v Speaker 9>Sure?

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<v Speaker 2>In that case, you're gonna love this.

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<v Speaker 1>I was into these dudes before Environment parted with them

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<v Speaker 1>all the time.

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<v Speaker 2>Asked me to be the manager.

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<v Speaker 1>I called bullshit.

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<v Speaker 3>All that big a job?

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<v Speaker 6>You know me?

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<v Speaker 2>Okay, cool? Sure you did SI. So the repamen are

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<v Speaker 2>looking for this sixty four Chevy Malibu that's been stolen

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<v Speaker 2>out of Los Alamos, you know where maybe the government

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<v Speaker 2>has one of their facilities where they're keeping aliens under

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<v Speaker 2>wraps from the populace, and in the trunk of that

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<v Speaker 2>car potentially is an alien body, so the government's after it,

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<v Speaker 2>and every rebo company in la is too. I mean

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<v Speaker 2>a city that's the threat of a plot and the

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<v Speaker 2>reason all the disparate strands of the narrative come together.

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<v Speaker 2>But really the film is an excuse to send Auto

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<v Speaker 2>into more and more dangerous scenarios while being ultra philosophy

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<v Speaker 2>by the dregs of American society. It's really intoxicating. You

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<v Speaker 2>know how as you get older, when you revisit a

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<v Speaker 2>favorite piece of fiction, you find yourself responding to different aspects.

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<v Speaker 2>I'll give you a really fascial example. When I was

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<v Speaker 2>a teenager, I fully responded to Rorshak and the Watchman.

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<v Speaker 2>Then in my twenties and thirties, I really grew to

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<v Speaker 2>identify and I realized how horrible this sounds with the

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<v Speaker 2>comedian of late as I get closer to a century

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<v Speaker 2>in age, doctor Manhattan has his hooks in me well.

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<v Speaker 2>As a kid, I found Harry Dean Stanton's furious outlook

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<v Speaker 2>to be one of my own, but he's too earth

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<v Speaker 2>bound he's too the comedian. There is at doctor Manhattan

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<v Speaker 2>equivalent in this film. That's Tracy Walter, and I kind

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<v Speaker 2>of think he's a genius.

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<v Speaker 6>A lot of people don't realize what's really going on.

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<v Speaker 6>They view life as a bunch of unconnected incidents of things.

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<v Speaker 6>They don't realize that there's this life lattice, a coincidence

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<v Speaker 6>that lays on top of everything. Give you an example,

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<v Speaker 6>show you what I mean. Suppose you're thinking about a

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<v Speaker 6>play to shrimp. Suddenly somebody will say, like plate or

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<v Speaker 6>shrimp or play to shrimp, out of the blue. No explanation,

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<v Speaker 6>no point look up one either. It's all part of

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<v Speaker 6>cosmic unconsciousness. We love Acid Miller back in the hippy days.

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<v Speaker 2>Okay, full disclosure. This film and Alex Cox's follow up,

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<v Speaker 2>Sid and Nancy are about as formative to my young

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<v Speaker 2>psyche as you can possibly imagine. When I moved to

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<v Speaker 2>Los Angeles, I became fast friends with a young filmmaker

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<v Speaker 2>name of C. M. Tulkington. Friends is a holloway to

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<v Speaker 2>describe our relationship. He's been my big brother for fucking

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<v Speaker 2>thirty years now. He made a flick called Loven of

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<v Speaker 2>forty five, The director of photography on which was a

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<v Speaker 2>fellow named Tom Richmond. I loved Tom beyond the beyond,

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<v Speaker 2>one of the single coolest human beings I've ever had

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<v Speaker 2>the pleasure of knowing Tom is no longer with us,

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<v Speaker 2>so once again, fuck everything. But when I knew him,

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<v Speaker 2>Tom shared a home with Alex Cox. Alex was forever

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<v Speaker 2>in Europe, but the strange cinematic family that they all

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<v Speaker 2>belonged to seem to float in and out of that place.

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<v Speaker 2>It was an odd circumstance, let me tell you. Going

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<v Speaker 2>from essentially having my brain wired by art and then

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<v Speaker 2>hanging out with the artists, I felt weirdly at tuned,

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<v Speaker 2>though it's hard to describe. The first thing out of

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<v Speaker 2>my mouth to Abby Wool was a marriage proposal. Abby

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<v Speaker 2>was the co writer of Sid and Nancy. Just between

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<v Speaker 2>you and me and all the aging old krusty punks

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<v Speaker 2>out there, Abby wrote that movie. She turned me down,

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<v Speaker 2>but she did it really, really sweetly. And we're gonna

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<v Speaker 2>be talking a little bit more about Abby right now.

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<v Speaker 2>With the Ripley's pick h to the p K, Thank

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<v Speaker 2>you HP. We've got to figure out the audio equivalent

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<v Speaker 2>of the thrill cam. Speaking of movies that are as

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<v Speaker 2>indelible to me as I don't know what is like

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<v Speaker 2>Goonies for rest of gen X? Is that it? What's

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<v Speaker 2>it for millennials? Cabin Boy? That's what those kids love, right,

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<v Speaker 2>awkward humor and puppets? Wait a minute, was Chris Elliott

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<v Speaker 2>the father of postmodern comedy? That's worth exploring, though not

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<v Speaker 2>by me. I love Chris Elliot, don't get me wrong,

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<v Speaker 2>but something we should all agree on His greatest achievement

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<v Speaker 2>is his daughter, Abby Elliott. But we're not talking about

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<v Speaker 2>Abby Elliot, though there would be worse ways to spend

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<v Speaker 2>a half hour. Note, we're talking about Abbi Wool already

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<v Speaker 2>told you she air quotes co wrote Sid Nancy, a

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<v Speaker 2>movie I've already covered on the round up. You should

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<v Speaker 2>go back and listen to that right now. We'll wait,

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<v Speaker 2>but by way of recap, Sid and Nancy is the

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<v Speaker 2>most romantic film of all time. I want to go on,

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<v Speaker 2>but I've already said enough. But you know what, No,

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<v Speaker 2>this is the kind of romantic flick that it is.

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<v Speaker 2>It's an early morning in the world. Isn't awake yet,

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<v Speaker 2>including your significant other? But it's like they have got

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<v Speaker 2>their arms wrapped around you while you're watching that movie?

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<v Speaker 2>Does that make sense in no fucking way? Well it

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<v Speaker 2>doesn't matter, because Abby Wall's follow up to that goddamned

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<v Speaker 2>masterpiece is another minor miracle, her directing debut. Shot by

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<v Speaker 2>Tom Richmond, starring John Doe of the absolutely seminal La

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<v Speaker 2>Punk band X and Adam Horovitz, also known as the

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<v Speaker 2>King ad Rock of the Beastie Boys. It's the most

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<v Speaker 2>purely American movie of the nineteen nineties. This is roadside Profits.

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<v Speaker 1>Somewhere between Barstow and Reno Older Uno. Why do you

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<v Speaker 1>want to go there anyway?

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<v Speaker 9>Because of this?

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<v Speaker 1>You selling drugs? It's ashes. I met this guy, Jean Mosley,

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<v Speaker 1>Dave Coleman.

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<v Speaker 5>Hey, the coolest ride.

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<v Speaker 1>They just died on the bike. No plan?

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<v Speaker 2>Some video game?

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<v Speaker 1>Wow? Which one? Sam and Joe are going to hit

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<v Speaker 1>reality head on?

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<v Speaker 8>What do you guys? Do you ride outlaws?

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<v Speaker 1>I know Alas start out, he rolls through the few

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<v Speaker 1>Stone and.

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<v Speaker 9>Billie Idler, But you want to be a look out

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<v Speaker 9>for his transcendent reality sting in sing Out.

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<v Speaker 1>I want you to look around, Just look around, tell

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<v Speaker 1>me what you'll see. Society that's obsessed with deal and

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<v Speaker 1>good and happy. Come on, why do you like sex? Oh?

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<v Speaker 7>No?

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<v Speaker 1>Does it feels good? Right for the barn together, they'll

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<v Speaker 1>discover that Motel nine is a state of mind.

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<v Speaker 8>And there was no driving on one of my drinking glasses.

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<v Speaker 3>There was no baths off.

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<v Speaker 7>In my room.

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<v Speaker 1>You got our eyes and El Dorado ain't no Cadillac.

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<v Speaker 1>They got these bishops here called wee Wise or something.

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<v Speaker 4>When they get old, they get bigger.

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<v Speaker 3>When they get big, they get beat.

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<v Speaker 1>John Doe, Adam Horovitz, David Karrodine, Timothy Leary, Carlow Guthrie,

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<v Speaker 1>and John Cusack. If you're going to think, don't drive.

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<v Speaker 9>I guess if you want to die in the barne

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<v Speaker 9>with vampiree decline, it's up to you.

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<v Speaker 1>Roadside profits a film by Sid and Nancy's Abby Wool.

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<v Speaker 2>Who doesn't love a road trip? Weirdos and psychopaths and

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<v Speaker 2>not the good kind. Even agoraphobes love road trips. Where

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<v Speaker 2>else can you really appreciate the forgotten art of the mixtape?

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<v Speaker 2>Playlists can be a modern mixtape, but they've got to

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<v Speaker 2>be curated and with love. There's a certain breed of

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00:17:38.200 --> 00:17:40.880
<v Speaker 2>barreling down the highway playlist that seem to merge with

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<v Speaker 2>the moment and the company you're keeping, and it just

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00:17:43.400 --> 00:17:47.079
<v Speaker 2>feels like freedom personified geographically. I don't care where you

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<v Speaker 2>are go on a road trip. Don't have a car,

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<v Speaker 2>You have a friend who does, and they haven't seen

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<v Speaker 2>you in a while, and it would be fun. But

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<v Speaker 2>choose good surroundings. That's important. Now. This entire show is

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<v Speaker 2>in my humble opinion, So keep that in mind, no

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<v Speaker 2>matter what I say, even if it's something I like

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<v Speaker 2>or you like, Oh nobody likes.

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<v Speaker 1>Now.

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<v Speaker 2>Having said that, you have never experienced the true majesty

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<v Speaker 2>of a road trip until you've run from Los Angeles

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<v Speaker 2>to Las Vegas. The trip in the opposite direction is

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<v Speaker 2>thrilling for other reasons. But the trip we're talking about

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<v Speaker 2>from the Pacific Ocean past thunderously green hills, through as

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<v Speaker 2>urban as setting as you're likely to find in the

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<v Speaker 2>United States, out through a mountainous outcropping and an honest

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<v Speaker 2>to God pass. You have to ascend a pass to

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<v Speaker 2>get to the high desert, where things just turn weird

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<v Speaker 2>and arid, and away you go, and all civilization gives

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<v Speaker 2>way to the desert and then it's just you and

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<v Speaker 2>the rubber and the road. And the sky above and

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<v Speaker 2>the music surrounding you. And at the end it carved

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<v Speaker 2>out of the nothingness is a city shining bright enough

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<v Speaker 2>to bounce its light off the moon. Imagine doing that

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<v Speaker 2>besides someone you adore. Such is the journey our heroes

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<v Speaker 2>are on. In Roadside Profits, Joe befriend's Dave, a guy

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<v Speaker 2>at the refinery they both work at playing dig Doug.

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<v Speaker 2>That's a rough way to go. Even video game nerds

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<v Speaker 2>have got to know the shame of a dig Doug death.

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<v Speaker 2>Joe knows nothing about the guy except he loved the

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<v Speaker 2>town of Jackpot, Nevada. So Joe sets out to deliver

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<v Speaker 2>his ashes there. Along the way, he's joined by a

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<v Speaker 2>tag along kid with no real direction, and they encounter

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<v Speaker 2>those aforementioned profits of the roadside. You heard their names

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<v Speaker 2>in the trailer, By the way, Peter Cullen Optimist Prime

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<v Speaker 2>doing the trailer narration from sidon Nancy's Abby Wool Rollout,

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<v Speaker 2>Joe and Sam encounter a dozen or so desert eccentrics.

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<v Speaker 2>I mentioned the Americana of it all, traveling down a

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<v Speaker 2>ribbon of highway and running into the likes of Arlo Guthrie,

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<v Speaker 2>Timothy Leary, and David Carridine. Those guys are the sixties counterculture,

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<v Speaker 2>and they deliver some appropriate philosophical musings in their scenes.

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<v Speaker 2>It's the latter day profits of the roadside that are

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<v Speaker 2>a little less well known but way more interesting and cynical,

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<v Speaker 2>particularly a couple played by Bill Cobbs from Hudsucker Proxy

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<v Speaker 2>and Lynn Shay, who's had a renaissance recently with the

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<v Speaker 2>Insidious films. His character is dying of cancer and hers aids,

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<v Speaker 2>and they found each other and are living together in

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<v Speaker 2>their desert home, making art and spending their remaining time together.

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<v Speaker 2>There's a line from their scene that has stuck with me.

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<v Speaker 2>It's ad Rocks Response test.

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<v Speaker 4>Site where they test all the nuclear war is you

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<v Speaker 4>must have driven right faster. I grew up thirty miles

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<v Speaker 4>from the test site. I was dying a minute I

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<v Speaker 4>was born.

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<v Speaker 1>So's everybody.

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<v Speaker 2>So they are My favorite scene in the film takes

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<v Speaker 2>place at a fifties diner. There were so many fifties

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<v Speaker 2>diners in the late eighties. What the fuck was happening

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<v Speaker 2>to be fair Cafe Fifties in La had a great

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<v Speaker 2>burger I know most of those have closed. Are there

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<v Speaker 2>any of them left? Save the trouble of googling listeners.

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<v Speaker 2>Let me know there is still a Cafe Fifties. One

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<v Speaker 2>fifties diner that is definitely still in operation and I

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<v Speaker 2>think is the basis for the one seen in Roadside

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<v Speaker 2>Profits can be found outside Calico ghost Town in Yermo, California.

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<v Speaker 2>It's Peggy Sus that is a sprawling diner where going

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<v Speaker 2>back in time to the fifties wasn't enough. It's still

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<v Speaker 2>all Chuck Berry and Jerry Lee Lewis inside, but the

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<v Speaker 2>outside has become a mini Jurassic Park with dozens of

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<v Speaker 2>dinosaurs everywhere. I don't think anyone saw the thunder lizards coming,

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<v Speaker 2>nor would anyone have guessed the gigantic ice cream cup

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<v Speaker 2>that would spring up just a few miles distant. This

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<v Speaker 2>is all true. There is a certain craziness to the

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<v Speaker 2>High Desert that has to be experienced to be believed.

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<v Speaker 2>Also in the movie, Joe and Sam meet Casper, a

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<v Speaker 2>Symbionese member played by John Cusack. Cusack starred in Tape

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<v Speaker 2>Heads produced by Michael Nesmith and Peter McCarthy, and McCarthy

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<v Speaker 2>is the producer on this. Casper has my favorite joke

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<v Speaker 2>in the film as he lets Sam and Joe know

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<v Speaker 2>that he's Symbionese. He winks conspiratorially, but Casper has an

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<v Speaker 2>eye patch over one eye, and that's the eye he

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<v Speaker 2>winks with. That ride from La to Victorville to Baker

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<v Speaker 2>to Vegas is a magnificent one and it will deliver

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<v Speaker 2>said craziness. But to get the real desert of oddity,

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<v Speaker 2>you have to go north north, Miss Tesmacher. Are there

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<v Speaker 2>any fans of Superman two that don't think Miss Tesmacher

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<v Speaker 2>after someone says north, you know you do? Just north

396
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<v Speaker 2>of Las Vegas is where every town gets smaller and

397
00:22:16.799 --> 00:22:19.480
<v Speaker 2>all the vistas get larger. It's where you will get

398
00:22:19.519 --> 00:22:21.759
<v Speaker 2>lost in red rock canyons, and you will find yourself

399
00:22:21.880 --> 00:22:24.799
<v Speaker 2>dumb struck at the sheer void in some places, and

400
00:22:24.839 --> 00:22:27.200
<v Speaker 2>you'll run into towns like e Lee, where you can

401
00:22:27.240 --> 00:22:30.039
<v Speaker 2>have a damn fine snake while seated in an authentic

402
00:22:30.119 --> 00:22:33.480
<v Speaker 2>jail cell from the eighteenth century. It was delicious and

403
00:22:33.519 --> 00:22:36.960
<v Speaker 2>a disconcerting. The higher you go, the more desolate the surroundings.

404
00:22:37.079 --> 00:22:39.480
<v Speaker 2>And while I've never been to Antarctica, the poll to

405
00:22:39.680 --> 00:22:42.720
<v Speaker 2>go there for me is the idea that for a

406
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<v Speaker 2>brief time there'd be nothing but the land and you

407
00:22:46.480 --> 00:22:49.839
<v Speaker 2>and whatever deity happens to exist, and you can get

408
00:22:49.839 --> 00:22:53.119
<v Speaker 2>that feeling somewhere north of Lundon, Nevada. Places that make

409
00:22:53.160 --> 00:22:56.079
<v Speaker 2>you realize how easy it would be for anyone to

410
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<v Speaker 2>disappear completely. The border between Nevada and Idaho where you

411
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<v Speaker 2>find the actual town of Jackpot. It's where poor dead

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00:23:03.480 --> 00:23:06.319
<v Speaker 2>Dave's ashes are being delivered, and it's where our heroes

413
00:23:06.319 --> 00:23:08.880
<v Speaker 2>are met with their final crushing defeats that the road

414
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<v Speaker 2>trip has planned for them. Ay Man, sometimes songs end

415
00:23:11.839 --> 00:23:14.160
<v Speaker 2>in a minor key. It's not a sad ending in

416
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<v Speaker 2>any way, though certainly not as somber as the ending

417
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<v Speaker 2>of Easy Rider, the road trip from which all others

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<v Speaker 2>must be measured. Fucking boomers. Now, I take that back,

419
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<v Speaker 2>particularly because Peter Fonda is in my Palcardi's film Love

420
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<v Speaker 2>in a forty five, playing a variation of his Captain

421
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<v Speaker 2>America character from Easy Rider. And that's a good movie,

422
00:23:32.240 --> 00:23:35.599
<v Speaker 2>Easy Rider and Love at a forty five. But about Jackpot.

423
00:23:35.880 --> 00:23:38.799
<v Speaker 2>It's a one strip town, like one lane highway that

424
00:23:38.920 --> 00:23:41.519
<v Speaker 2>speed zones you down to fifteen miles an hour for

425
00:23:41.559 --> 00:23:44.640
<v Speaker 2>about one mile like one mile, with a few dozen

426
00:23:44.680 --> 00:23:48.559
<v Speaker 2>buildings lining other side. The two main buildings being casinos

427
00:23:48.559 --> 00:23:52.079
<v Speaker 2>with attached hotels on opposite sides of the road. It's

428
00:23:52.160 --> 00:23:54.680
<v Speaker 2>as way station a town as you can get, and

429
00:23:54.720 --> 00:23:57.000
<v Speaker 2>it's really just an excuse for Idaho people to come

430
00:23:57.079 --> 00:23:59.839
<v Speaker 2>gamble or people going to Idaho to have at least

431
00:23:59.839 --> 00:24:02.359
<v Speaker 2>one last good time. Do you know that the speed

432
00:24:02.359 --> 00:24:04.880
<v Speaker 2>limit in parts of Idaho are eighty miles per hour?

433
00:24:05.400 --> 00:24:08.000
<v Speaker 2>Even the highways know you want to leave. One time,

434
00:24:08.039 --> 00:24:10.359
<v Speaker 2>I was coming back from a gig in Spokane, Washington.

435
00:24:10.799 --> 00:24:13.319
<v Speaker 2>It was a full day's drive to get to Jackpot,

436
00:24:13.400 --> 00:24:16.400
<v Speaker 2>where I had booked a room site unseen. So I

437
00:24:16.440 --> 00:24:19.559
<v Speaker 2>pull into the appropriate casino hotel combo and slept my

438
00:24:19.599 --> 00:24:22.480
<v Speaker 2>way through the bitterly cold air. This was in November.

439
00:24:22.519 --> 00:24:25.640
<v Speaker 2>I believe in the wind out on those planes fucked man.

440
00:24:25.799 --> 00:24:27.920
<v Speaker 2>So I go into the reception desk and they inform

441
00:24:28.000 --> 00:24:30.279
<v Speaker 2>me that the hotel is full and I'll be across

442
00:24:30.319 --> 00:24:33.240
<v Speaker 2>the street at their overflow. And I'm like, the other

443
00:24:33.359 --> 00:24:36.000
<v Speaker 2>casino is your overflow and he says, no, no, no,

444
00:24:36.200 --> 00:24:40.000
<v Speaker 2>behind the casino, that's our overflow hotel. So I drive

445
00:24:40.160 --> 00:24:43.079
<v Speaker 2>behind the other casino, which is the casino featured in

446
00:24:43.160 --> 00:24:46.920
<v Speaker 2>Roadside Profits, and there's this squat looking hotel building. The

447
00:24:46.960 --> 00:24:50.039
<v Speaker 2>parking lot is completely empty. There's a key card entrance,

448
00:24:50.079 --> 00:24:52.559
<v Speaker 2>but the wind is so violent that the hydraulic doors

449
00:24:52.680 --> 00:24:54.799
<v Speaker 2>never get to close. As soon as the door gets

450
00:24:54.799 --> 00:24:57.960
<v Speaker 2>whisper close to relocking, a gust of wind wrenches it open,

451
00:24:58.279 --> 00:25:01.519
<v Speaker 2>and clearly a door somewhere else open because some of

452
00:25:01.559 --> 00:25:04.920
<v Speaker 2>those violent gusts are coming from inside the building, so

453
00:25:05.000 --> 00:25:08.920
<v Speaker 2>basically anyone could be in there except staff. There's no

454
00:25:09.039 --> 00:25:12.960
<v Speaker 2>staff at all. It's like a Romero film, just abandoned Apocalypse.

455
00:25:13.400 --> 00:25:15.880
<v Speaker 2>That same wind is causing a door somewhere in the

456
00:25:15.920 --> 00:25:19.519
<v Speaker 2>building to bang at irregular rhythms, the effect of which

457
00:25:19.640 --> 00:25:21.640
<v Speaker 2>is to sound like someone running down a hall and

458
00:25:21.680 --> 00:25:25.359
<v Speaker 2>getting closer. My stay in jack Pot, Nevada marked the

459
00:25:25.400 --> 00:25:28.079
<v Speaker 2>only time I've ever shoved the hotel room's chest of

460
00:25:28.160 --> 00:25:31.240
<v Speaker 2>drawers in front of the door. But it has a

461
00:25:31.279 --> 00:25:33.759
<v Speaker 2>happy ending because I woke up after my forty five

462
00:25:33.799 --> 00:25:37.000
<v Speaker 2>minutes of frenzied sleep. I was that scared to find

463
00:25:37.000 --> 00:25:39.799
<v Speaker 2>that the whole world had been blanketed in snow. It

464
00:25:39.839 --> 00:25:43.960
<v Speaker 2>was gorgeous, and thus began a treacherous drive home over

465
00:25:44.160 --> 00:25:48.519
<v Speaker 2>unplowed snowy desert roads that made the previous night'sphere seem

466
00:25:48.599 --> 00:25:51.680
<v Speaker 2>like a day at Disneyland. Nothing like that happens to

467
00:25:51.720 --> 00:25:54.160
<v Speaker 2>Sam and Joe. They find each other out in the desert.

468
00:25:54.400 --> 00:25:57.960
<v Speaker 2>They find themselves and what's left of America the oddball,

469
00:25:58.119 --> 00:26:01.680
<v Speaker 2>insular freaks, and philosophy, you know, the stuff that makes

470
00:26:01.680 --> 00:26:06.880
<v Speaker 2>this country actually great. No, not great, cool. No country

471
00:26:07.160 --> 00:26:12.000
<v Speaker 2>was ever great, but god damn it, we were cool. Yes,

472
00:26:12.079 --> 00:26:14.559
<v Speaker 2>you are still cool yourself, little lady. All right, that

473
00:26:14.640 --> 00:26:16.559
<v Speaker 2>will do it for this week's a round up. Like

474
00:26:16.599 --> 00:26:20.079
<v Speaker 2>I said, tune in on Friday, it's actually Thursday. Don't

475
00:26:20.079 --> 00:26:22.960
<v Speaker 2>tell anybody. For our look at Young Guns two in

476
00:26:23.039 --> 00:26:26.920
<v Speaker 2>our continuing Fuseco Fest. Thank you all for joining us.

477
00:26:26.960 --> 00:26:29.559
<v Speaker 2>I'm gonna leave you with a bit of dialogue, naturally.

478
00:26:29.599 --> 00:26:33.200
<v Speaker 2>It's coming from no not repo man ha ha. I

479
00:26:33.240 --> 00:26:35.640
<v Speaker 2>actually like roadside profits a little bit better.

480
00:26:35.839 --> 00:26:38.960
<v Speaker 9>Once upon a time in ancient Rome, there was a

481
00:26:39.000 --> 00:26:45.000
<v Speaker 9>band of gladiators. You know, gladiators were all slaves, but

482
00:26:45.079 --> 00:26:51.559
<v Speaker 9>these particular gladiators were utopian saints as well. This was

483
00:26:51.640 --> 00:26:57.240
<v Speaker 9>during the decline. It's about one eighty or so ad.

484
00:26:58.039 --> 00:27:02.440
<v Speaker 9>These gladiators refuse to perform their battles for the ruined class.

485
00:27:03.440 --> 00:27:06.240
<v Speaker 9>That didn't matter to them that they would be crucified

486
00:27:06.880 --> 00:27:12.359
<v Speaker 9>or burned or shot with slings and arrows. They wouldn't

487
00:27:12.400 --> 00:27:12.960
<v Speaker 9>die for sport.

488
00:27:14.720 --> 00:27:16.160
<v Speaker 1>They got killed anyway though.

489
00:27:20.079 --> 00:27:25.359
<v Speaker 9>Well, everybody dies, it's part of life. But these gladiators,

490
00:27:26.240 --> 00:27:30.400
<v Speaker 9>they didn't waste their deaths. And maybe because they were

491
00:27:30.440 --> 00:27:36.119
<v Speaker 9>martyred or maybe because they were right, their convictions were

492
00:27:36.160 --> 00:27:37.559
<v Speaker 9>passed down through the ages.

493
00:27:38.440 --> 00:27:39.480
<v Speaker 1>They could see the truth.

494
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<v Speaker 3>Touch Souls, Show, show, show,