1 00:00:00,720 --> 00:00:03,120 Speaker 1: Disgraceland is a production of Double Elvis. 2 00:00:13,039 --> 00:00:17,599 Speaker 2: The stories about NWA are insane. Their founding member was 3 00:00:17,600 --> 00:00:22,000 Speaker 2: a retired crack dealer, their producer was a violent surly genius. 4 00:00:22,480 --> 00:00:25,280 Speaker 2: Their main lyricist words set off a riot with tens 5 00:00:25,280 --> 00:00:29,040 Speaker 2: of thousands of fans. NWA, the group was born of 6 00:00:29,080 --> 00:00:32,840 Speaker 2: the violent streets. Its members were raised on Compton, south 7 00:00:32,880 --> 00:00:35,880 Speaker 2: central Los Angeles, where they are forced to dodge stray 8 00:00:35,920 --> 00:00:39,199 Speaker 2: bullets from rival gangs and shakedowns from abusive cops on 9 00:00:39,240 --> 00:00:43,600 Speaker 2: the regular. This violent and horribly unjust daily life informed 10 00:00:43,720 --> 00:00:46,800 Speaker 2: NWA's music, imbued it with a sense of reality that 11 00:00:46,960 --> 00:00:50,080 Speaker 2: previously had not existed in pop music and for many 12 00:00:50,280 --> 00:00:54,920 Speaker 2: was too unbelievable to be true. They were labeled sensationalists, misogynists, 13 00:00:54,960 --> 00:00:59,240 Speaker 2: profanity spewing, opportunists, anything but what they really were protest 14 00:00:59,320 --> 00:01:03,080 Speaker 2: musicians who, by the way, were highly entertaining, and who 15 00:01:03,080 --> 00:01:06,000 Speaker 2: made great music. That music you heard at the top 16 00:01:06,040 --> 00:01:09,080 Speaker 2: of the show that wasn't great music. That was a 17 00:01:09,080 --> 00:01:12,959 Speaker 2: preset loop from my mellotron called trash Man Funk BK two. 18 00:01:13,880 --> 00:01:16,160 Speaker 2: I played you that loop because I can't afford the 19 00:01:16,240 --> 00:01:19,080 Speaker 2: rights to Money Money by Billy idol and why would 20 00:01:19,080 --> 00:01:22,640 Speaker 2: I play you that specific slice of secondhand shondel Cheese? 21 00:01:22,640 --> 00:01:23,440 Speaker 1: Could I afford it? 22 00:01:24,200 --> 00:01:27,280 Speaker 2: Because that was the number one song in America on 23 00:01:27,360 --> 00:01:30,480 Speaker 2: November twenty seven, nineteen eighty seven, And that was the 24 00:01:30,560 --> 00:01:33,720 Speaker 2: day NWA entered the studio to record their album Straight 25 00:01:33,720 --> 00:01:36,920 Speaker 2: out of Compton, an album of hard beats and lyrics 26 00:01:37,000 --> 00:01:39,640 Speaker 2: so steeped in reality that they would predict one of 27 00:01:39,680 --> 00:01:41,679 Speaker 2: the most shockingly violent events. 28 00:01:41,319 --> 00:01:45,080 Speaker 1: In American history. On this episode. 29 00:01:44,920 --> 00:01:49,720 Speaker 2: Trash Man Funk, Shondel Cheese and the Violent Reality of NWA. 30 00:01:50,760 --> 00:02:21,280 Speaker 2: I'm Jake Brennan and miss this Disgraceland. The crimes they 31 00:02:21,320 --> 00:02:25,640 Speaker 2: committed were violent, thuggish, numerous and constant assault with the 32 00:02:25,639 --> 00:02:30,520 Speaker 2: deadly weapon, inflicting great bodily harm, breaking and entering brutality. 33 00:02:31,000 --> 00:02:34,040 Speaker 2: They took no shit. Were known to snatch up unsuspecting 34 00:02:34,120 --> 00:02:36,600 Speaker 2: victims on the street, throw them up against the wall, 35 00:02:36,639 --> 00:02:39,040 Speaker 2: empty their pockets, and think nothing of kneeing them in 36 00:02:39,080 --> 00:02:42,280 Speaker 2: the testicles, forcing them to bend over in submission, and 37 00:02:42,320 --> 00:02:46,119 Speaker 2: then kicking in their teeth. Beat Downs were common, bare 38 00:02:46,200 --> 00:02:49,120 Speaker 2: knuckle brawls, boot kicks to the head, and when the 39 00:02:49,160 --> 00:02:52,120 Speaker 2: beatings didn't work, they'd use their gats to make a point, 40 00:02:52,360 --> 00:02:56,440 Speaker 2: pistol whippings cold steel to the temple to intimidate. They 41 00:02:56,480 --> 00:02:59,600 Speaker 2: were known to smil menacingly through the windows of their cars, 42 00:03:00,040 --> 00:03:03,960 Speaker 2: driving through the neighborhoods, slow surveying their turf, and ensuring 43 00:03:04,000 --> 00:03:06,800 Speaker 2: that anyone out of line was quickly swarmed and brought 44 00:03:06,800 --> 00:03:11,880 Speaker 2: to heal. Straight gangster, except I'm not talking about gangsters 45 00:03:12,080 --> 00:03:16,000 Speaker 2: or NWA or any other so called gangster rappers. I'm 46 00:03:16,040 --> 00:03:21,160 Speaker 2: talking about the LAPD. In nineteen eighty five, violent crime 47 00:03:21,200 --> 00:03:24,800 Speaker 2: in Los Angeles exploded to unprecedented levels due to the 48 00:03:24,800 --> 00:03:25,760 Speaker 2: cities heavy. 49 00:03:25,520 --> 00:03:27,280 Speaker 1: Trafficking of crack cocaine. 50 00:03:27,720 --> 00:03:30,920 Speaker 2: Unemployment was on the rise, and career opportunities for young 51 00:03:30,960 --> 00:03:34,239 Speaker 2: black men in South central Los Angeles were near obsolete. 52 00:03:34,280 --> 00:03:38,120 Speaker 2: In the mid eighties, the violent street gangs who controlled 53 00:03:38,120 --> 00:03:40,920 Speaker 2: the drug trade in Compton, Englewood and other neighborhoods and 54 00:03:40,960 --> 00:03:44,200 Speaker 2: towns that comprise South central Los Angeles, the Bloods and 55 00:03:44,200 --> 00:03:46,000 Speaker 2: the Cryps, and their various offsets. 56 00:03:46,280 --> 00:03:48,200 Speaker 1: They offered real financial. 57 00:03:47,720 --> 00:03:50,840 Speaker 2: Opportunity for neighborhood kids where there otherwise were not. 58 00:03:51,720 --> 00:03:54,440 Speaker 1: The gang ranks swelled, and so did the murder rate. 59 00:03:54,840 --> 00:03:57,240 Speaker 2: Bloods and Crips decked out from head to toe and 60 00:03:57,280 --> 00:04:02,680 Speaker 2: red and blue, respectively, overwhelmed LA. Their presence, their violence 61 00:04:02,800 --> 00:04:05,960 Speaker 2: was a daily reality for residents in South Central, particularly 62 00:04:05,960 --> 00:04:09,920 Speaker 2: incomptent drive by shootings. Machine guns sprang from the windows 63 00:04:09,920 --> 00:04:12,840 Speaker 2: of pimped out sixty four impalas at the barred screen 64 00:04:12,920 --> 00:04:16,120 Speaker 2: doors of drug guns, indistinguishable from any of the innocent 65 00:04:16,160 --> 00:04:20,039 Speaker 2: families and neighborhood bungalows. Dead bodies lying in the streets, 66 00:04:20,120 --> 00:04:22,640 Speaker 2: victims of the ongoing curf war between the bloods and 67 00:04:22,680 --> 00:04:26,520 Speaker 2: the crips, or drug deals gone bad, or just innocent bystanders, 68 00:04:26,520 --> 00:04:30,279 Speaker 2: often children caught up in friendly fire. There were three 69 00:04:30,360 --> 00:04:33,560 Speaker 2: thousand gang related murders in the eighties in Los Angeles. 70 00:04:33,839 --> 00:04:35,719 Speaker 2: If you grew up in LA during this time and 71 00:04:35,720 --> 00:04:38,640 Speaker 2: were black and male, you were six times more likely 72 00:04:38,680 --> 00:04:43,680 Speaker 2: to be murdered than your white counterpart. But it wasn't 73 00:04:43,720 --> 00:04:47,599 Speaker 2: all bad. Compton was a real community, with hard working 74 00:04:47,640 --> 00:04:50,479 Speaker 2: men and women getting up every day, sending their kids 75 00:04:50,520 --> 00:04:54,159 Speaker 2: to school and themselves off to work, hoping, praying everyone 76 00:04:54,200 --> 00:04:57,120 Speaker 2: would make it home intact for dinner time, without hassle 77 00:04:57,440 --> 00:04:59,560 Speaker 2: from either the gangs or from those who were sworn 78 00:04:59,560 --> 00:05:04,240 Speaker 2: to serve protect the LAPD, who under the leadership of 79 00:05:04,279 --> 00:05:08,200 Speaker 2: Police Chief Daryl Gates, were at war in their war zone, 80 00:05:08,480 --> 00:05:13,960 Speaker 2: South Central Compton. Gates militarized as police force, armored tanks, 81 00:05:14,000 --> 00:05:18,039 Speaker 2: battering rams, helicopters, and in any means necessary mentality when 82 00:05:18,040 --> 00:05:23,400 Speaker 2: it came to police work force, indiscriminate force was their weapon. Gates, 83 00:05:23,560 --> 00:05:27,200 Speaker 2: in an official testimony before the United States Senate, actually 84 00:05:27,240 --> 00:05:31,320 Speaker 2: said that those who merely smoke pop should be quote unquote. 85 00:05:30,920 --> 00:05:32,839 Speaker 1: Taken out in shot dot dot. 86 00:05:33,920 --> 00:05:36,839 Speaker 2: Daryl Gates thought of his LAPD as a quote unquote 87 00:05:36,880 --> 00:05:40,400 Speaker 2: professional organization and to him, in many of his cops 88 00:05:40,640 --> 00:05:44,800 Speaker 2: seuth Central residents were mostly all gangsters, potsmokers, crack dealers, 89 00:05:44,800 --> 00:05:48,400 Speaker 2: it didn't matter. And the ones wearing gang colors red blue, whatever, 90 00:05:48,600 --> 00:05:51,080 Speaker 2: they were, all the same. Black was the only color 91 00:05:51,160 --> 00:05:54,080 Speaker 2: that mattered. If you were young black and a resident 92 00:05:54,120 --> 00:05:56,880 Speaker 2: of South central Los Angeles in the eighties, as far 93 00:05:56,920 --> 00:06:00,640 Speaker 2: as the LAPD was concerned, you were trouble at worst, 94 00:06:00,680 --> 00:06:04,120 Speaker 2: a hardcore gang banger, at best, an eventual shipbird destined 95 00:06:04,120 --> 00:06:06,679 Speaker 2: for one of the gangs prison, and or an early grave. 96 00:06:07,240 --> 00:06:11,160 Speaker 2: An LAPD acted accordingly. Young black men were harassed by 97 00:06:11,200 --> 00:06:15,120 Speaker 2: cops constantly, whether they were gang affiliated or not. Pulled 98 00:06:15,120 --> 00:06:18,520 Speaker 2: over for nothing, padded down, searched, smacked around, beat on, 99 00:06:18,640 --> 00:06:24,760 Speaker 2: hauled in, humiliated. The NAACP and ACLU filed complaints, locals 100 00:06:24,800 --> 00:06:29,479 Speaker 2: signed petitions, State and federal representatives gazed speeches, community groups 101 00:06:29,520 --> 00:06:32,960 Speaker 2: held meetings, citizens voiced their anger, and church basements over 102 00:06:32,960 --> 00:06:35,279 Speaker 2: staled donuts and cold black coffee, and at the end 103 00:06:35,320 --> 00:06:39,480 Speaker 2: of the day, nothing changed. The lapd blew it all off. 104 00:06:39,480 --> 00:06:42,320 Speaker 2: It kept going about their business, and the gang bangers 105 00:06:42,360 --> 00:06:45,640 Speaker 2: tolerated the police harassment and kept banging, and the bodies 106 00:06:45,760 --> 00:06:49,520 Speaker 2: kept dropping. An entire community kept on keeping on living 107 00:06:49,520 --> 00:06:53,240 Speaker 2: their lives in fear. It was war, and Darryl Gates 108 00:06:53,279 --> 00:06:55,280 Speaker 2: and his cops are going to continue to police the 109 00:06:55,320 --> 00:06:59,599 Speaker 2: only way they knew how, through sheer, brutal, indiscriminate, racially 110 00:06:59,600 --> 00:07:02,839 Speaker 2: biased force. And there was little that anyone could do 111 00:07:02,880 --> 00:07:06,240 Speaker 2: about it. But one gang banger would find a weapon 112 00:07:06,320 --> 00:07:09,800 Speaker 2: more powerful than any community group, more powerful than any 113 00:07:09,840 --> 00:07:14,000 Speaker 2: petition or local politician or the NAACP and ACLU combined 114 00:07:14,600 --> 00:07:21,520 Speaker 2: that weapon a microphone. That gangster, easy motherfucking ew but Ease, 115 00:07:22,280 --> 00:07:25,480 Speaker 2: also known by real name Eric Wright, was no common 116 00:07:25,560 --> 00:07:30,120 Speaker 2: gang banger. In another lay born into different circumstances. Eric 117 00:07:30,160 --> 00:07:32,560 Speaker 2: would have been a CEO or some other sort. 118 00:07:32,360 --> 00:07:33,520 Speaker 1: Of high level executive. 119 00:07:34,080 --> 00:07:36,600 Speaker 2: He had a mind for business and took his business 120 00:07:36,680 --> 00:07:41,640 Speaker 2: dealing cocaine wholesale seriously every morning while his competitors and 121 00:07:41,680 --> 00:07:44,600 Speaker 2: customers slapped off the effects of whatever wild party they 122 00:07:44,600 --> 00:07:47,880 Speaker 2: had attended the night before. Young, early twenty soethingter Eric, 123 00:07:48,040 --> 00:07:50,560 Speaker 2: who didn't drink, would wake up early, sit at his 124 00:07:50,600 --> 00:07:54,280 Speaker 2: parents breakfast table and read the La Times. Then, as 125 00:07:54,400 --> 00:07:57,280 Speaker 2: was his routine, he'd head to the garage and organize 126 00:07:57,320 --> 00:08:00,480 Speaker 2: his product, readying it for sale later that after after noon, 127 00:08:00,560 --> 00:08:03,680 Speaker 2: before peeling off the customary two grand in cash from 128 00:08:03,720 --> 00:08:05,800 Speaker 2: one of the many stashes he kept in and around 129 00:08:05,800 --> 00:08:08,640 Speaker 2: the house, stuffing it into his sock, and gliding out 130 00:08:08,640 --> 00:08:11,520 Speaker 2: over the driveway to his mint condition nineteen seventy three 131 00:08:11,640 --> 00:08:15,760 Speaker 2: Chevy Caprice, decked out in all black, a color chosen 132 00:08:15,800 --> 00:08:18,440 Speaker 2: not entirely because of its bad assory, but also because 133 00:08:18,440 --> 00:08:22,000 Speaker 2: of its neutrality. The black Chicago White Sox hat covering 134 00:08:22,040 --> 00:08:25,320 Speaker 2: his black Jerry Curl hair, the black satin La Raiders 135 00:08:25,360 --> 00:08:28,640 Speaker 2: starter jacket, the black jeans, black Adidas, and black wrap 136 00:08:28,680 --> 00:08:31,880 Speaker 2: around sunglasses all had the added benefit of not being 137 00:08:31,920 --> 00:08:34,920 Speaker 2: either blue or red, the colors of the local crips 138 00:08:34,960 --> 00:08:38,600 Speaker 2: blue and rival Bloods Red. Meeting Eric clad head to 139 00:08:38,600 --> 00:08:41,400 Speaker 2: toe him black, wasn't in danger of pissing off either 140 00:08:41,520 --> 00:08:44,040 Speaker 2: gang and accidentally winding up dead because of a poor 141 00:08:44,080 --> 00:08:47,600 Speaker 2: fashion choice. But avoiding death on the streets of Compton 142 00:08:47,800 --> 00:08:49,800 Speaker 2: wasn't that easy for the drug dealer who would later 143 00:08:49,840 --> 00:08:54,240 Speaker 2: name himself easy. He had four kids from three different 144 00:08:54,240 --> 00:08:57,199 Speaker 2: women by the time he was twenty three. Eric loved 145 00:08:57,200 --> 00:09:00,320 Speaker 2: the ladies, but the responsibility many had to hustle. Many 146 00:09:00,400 --> 00:09:02,680 Speaker 2: had to be out there slinging it every day, and 147 00:09:02,760 --> 00:09:05,560 Speaker 2: the more coke wholesale or not, the more risks there 148 00:09:05,640 --> 00:09:07,960 Speaker 2: was that he'd be arrested or killed and either a 149 00:09:08,000 --> 00:09:10,760 Speaker 2: deal gone wrong or a robbery, not to mention the 150 00:09:10,760 --> 00:09:13,560 Speaker 2: fact that the local cops took every opportunity they could 151 00:09:13,600 --> 00:09:15,960 Speaker 2: to fuck with him, so he did his best to 152 00:09:16,040 --> 00:09:18,720 Speaker 2: lay low and deal as dope as carefully as possible. 153 00:09:19,360 --> 00:09:23,360 Speaker 2: Unlike his first cousin, Horace Butler, Horace was Eric's mentor 154 00:09:23,400 --> 00:09:26,240 Speaker 2: in the drug game, and Horace lived large. He cut 155 00:09:26,280 --> 00:09:30,079 Speaker 2: an impressive figure, more fat boy than Bobby Brown. Horace 156 00:09:30,160 --> 00:09:31,840 Speaker 2: was a big man who was in the game to 157 00:09:31,880 --> 00:09:34,840 Speaker 2: make it big as fast as possible. He dealt weight 158 00:09:34,920 --> 00:09:36,880 Speaker 2: and didn't care who he fucked with along the way. 159 00:09:37,800 --> 00:09:39,640 Speaker 2: It was only a matter of time before he pissed 160 00:09:39,679 --> 00:09:42,480 Speaker 2: off the wrong person, which he inevitably did and ended 161 00:09:42,600 --> 00:09:45,280 Speaker 2: up shot to death in his candy painted GMC truck 162 00:09:45,559 --> 00:09:48,520 Speaker 2: on the on ramp to the tent. When he died, 163 00:09:48,960 --> 00:09:51,920 Speaker 2: Eric was heartbroken, but he was also the beneficiary of 164 00:09:51,920 --> 00:09:55,719 Speaker 2: his cousin's large stash of cocaine and cash. He went 165 00:09:55,760 --> 00:09:58,160 Speaker 2: to work quick, cutting it up and listening a trusted 166 00:09:58,160 --> 00:09:59,760 Speaker 2: friend a deal for him and putting some of the 167 00:09:59,800 --> 00:10:02,240 Speaker 2: money out on the street to start working for him. 168 00:10:02,520 --> 00:10:05,000 Speaker 2: He applied his intelligence to the game of drug dealing 169 00:10:05,120 --> 00:10:07,520 Speaker 2: and within no time he was more successful than his 170 00:10:07,559 --> 00:10:10,040 Speaker 2: dead cousin ever could have dreamed of, and sitting on 171 00:10:10,080 --> 00:10:13,360 Speaker 2: nearly half a million dollars in profit. But he knew 172 00:10:13,880 --> 00:10:16,600 Speaker 2: it was only a matter of time, only a matter 173 00:10:16,679 --> 00:10:18,600 Speaker 2: of time before it was his head with a bullet 174 00:10:18,600 --> 00:10:20,880 Speaker 2: hole and it blood. He did, face down on the 175 00:10:20,880 --> 00:10:23,400 Speaker 2: steering wheel of his seventy three Caprice on the side 176 00:10:23,400 --> 00:10:25,720 Speaker 2: of the tent. He needed to get out of the game, 177 00:10:26,480 --> 00:10:28,640 Speaker 2: but like most young men in Compton, at the time, 178 00:10:28,960 --> 00:10:31,360 Speaker 2: there were a few options beyond dealing drugs or go 179 00:10:31,480 --> 00:10:35,200 Speaker 2: nowhere minimum wage jobs other than pussy rap music was 180 00:10:35,240 --> 00:10:38,400 Speaker 2: his only other interests. He was obsessed with the mixtapes 181 00:10:38,440 --> 00:10:41,920 Speaker 2: he'd heard circulating throughout the neighborhood. The tapes originated from 182 00:10:41,960 --> 00:10:44,280 Speaker 2: a booth of the local swap meet run by indie 183 00:10:44,280 --> 00:10:47,920 Speaker 2: record store owner Steve Janno, and they blew Eric's mind 184 00:10:48,400 --> 00:10:51,680 Speaker 2: that they were long playing sixty minute mixes featuring run DMC, 185 00:10:51,960 --> 00:10:54,960 Speaker 2: Rob Bass and DJ Easy Rock, King T and the 186 00:10:55,000 --> 00:10:57,720 Speaker 2: Fat Boys, and some of the breaks featured raps in 187 00:10:57,760 --> 00:11:00,320 Speaker 2: the creator of the mixes, a kid who had turned 188 00:11:00,320 --> 00:11:02,000 Speaker 2: out Eric Kneuo from the neighborhood. 189 00:11:02,800 --> 00:11:04,360 Speaker 1: Eric quickly bought up every one. 190 00:11:04,200 --> 00:11:06,640 Speaker 2: Of these cassettes and begged Jano to introduce them to 191 00:11:06,679 --> 00:11:08,559 Speaker 2: the kid who made them, a dude by the name 192 00:11:08,600 --> 00:11:11,160 Speaker 2: of Andre Young, one of the other kids down at 193 00:11:11,160 --> 00:11:12,640 Speaker 2: Skateland USA. 194 00:11:12,360 --> 00:11:13,800 Speaker 1: Called Doctor Dre. 195 00:11:32,160 --> 00:11:35,680 Speaker 2: Skateland USA was a local Compton hangout for teens and 196 00:11:35,760 --> 00:11:39,439 Speaker 2: young people, a roller rank that would host MC's DJs 197 00:11:39,480 --> 00:11:42,520 Speaker 2: and touring rap artists. It was a neutral space where 198 00:11:42,559 --> 00:11:44,960 Speaker 2: once you were inside, you were supposedly saved from the 199 00:11:45,000 --> 00:11:48,440 Speaker 2: gang warfare happening right outside its doors, but there was 200 00:11:48,480 --> 00:11:51,320 Speaker 2: only one way in and one way out. Once you 201 00:11:51,400 --> 00:11:55,040 Speaker 2: walked out of Skateland stores, it was blood country. The 202 00:11:55,120 --> 00:11:57,280 Speaker 2: gang bangers would line up and beat down anyone who 203 00:11:57,280 --> 00:12:01,280 Speaker 2: looked funnier looked at them funny upon their exit. Skateland 204 00:12:01,360 --> 00:12:03,760 Speaker 2: was also where Doctor Drake got his first real shot 205 00:12:03,760 --> 00:12:07,480 Speaker 2: at performing with his group World Class Wrecon Crew, a 206 00:12:07,559 --> 00:12:11,480 Speaker 2: hip hop infused electro collective drafting off of disco's last 207 00:12:11,520 --> 00:12:15,840 Speaker 2: gasp of relevance. Ultimately, the group was going nowhere, and 208 00:12:15,920 --> 00:12:19,120 Speaker 2: Drey was unhappy, though he appreciated collaborating with the group's 209 00:12:19,120 --> 00:12:23,640 Speaker 2: other DJ, DJ Yellow Yellow cracked him up. It was 210 00:12:23,679 --> 00:12:26,080 Speaker 2: the mid eighties, the radio was all about a new edition. 211 00:12:26,160 --> 00:12:29,120 Speaker 2: In Top forty was blanketed by SYP pop and R 212 00:12:29,160 --> 00:12:32,120 Speaker 2: and B, but on the East Coast, Rap was evolving 213 00:12:32,160 --> 00:12:36,000 Speaker 2: into something much harder. Run DMC's Sucker MC's B side 214 00:12:36,000 --> 00:12:38,800 Speaker 2: from their nineteen eighty three It's Like That single was 215 00:12:38,840 --> 00:12:42,160 Speaker 2: a shotgun blast whose kickback reverberated all the way. 216 00:12:42,040 --> 00:12:45,480 Speaker 1: From Queen's to Compton. Dray was possessed by the beat. 217 00:12:45,760 --> 00:12:49,880 Speaker 2: It was so fucking hard, but World Class Wrecking Crew's 218 00:12:49,960 --> 00:12:53,160 Speaker 2: manager pushed Dray to produce what DRA called the soft 219 00:12:53,160 --> 00:12:56,320 Speaker 2: shit in hopes of cracking the FM dial, and they 220 00:12:56,360 --> 00:12:59,920 Speaker 2: came close. One of their singles, Surgery, received local air 221 00:13:00,400 --> 00:13:03,559 Speaker 2: and sold a respectable fifty thousand copies. But Drey's heart 222 00:13:03,720 --> 00:13:06,800 Speaker 2: wasn't it. He wanted to make something bigger, something that 223 00:13:06,880 --> 00:13:10,000 Speaker 2: sounded hard like run DMC, but that also incorporated the 224 00:13:10,120 --> 00:13:13,000 Speaker 2: hyperreal lyrics being spit out at the time by West 225 00:13:13,000 --> 00:13:17,000 Speaker 2: Coast pimp turned rapper Iced Tea, best demonstrated on one 226 00:13:17,000 --> 00:13:19,599 Speaker 2: of his early B sides, six in the Morning, a 227 00:13:19,720 --> 00:13:23,320 Speaker 2: track I says was heavily influenced by Philadelphia rapper schooly 228 00:13:23,400 --> 00:13:27,640 Speaker 2: D in his track PSK what Does It Mean? Ice 229 00:13:27,720 --> 00:13:30,320 Speaker 2: ta Six in the Morning is now credited as the 230 00:13:30,360 --> 00:13:34,480 Speaker 2: first gangster rap song. It's lyrics at the time totally unique. 231 00:13:35,080 --> 00:13:37,040 Speaker 2: If you were young and black and growing up on 232 00:13:37,080 --> 00:13:40,720 Speaker 2: the violent gang controlled in LAPD patrolled streets of South 233 00:13:40,760 --> 00:13:44,080 Speaker 2: central Los Angeles, these lyrics were your first and only 234 00:13:44,160 --> 00:13:47,320 Speaker 2: opportunity to hear your world represented on the radio or 235 00:13:47,360 --> 00:13:50,439 Speaker 2: anywhere else in pop culture. It was your only shot 236 00:13:50,520 --> 00:13:53,000 Speaker 2: to see what so many other Americans get to experience 237 00:13:53,080 --> 00:13:56,280 Speaker 2: every day and take for granted. Their world reflected back 238 00:13:56,320 --> 00:14:00,120 Speaker 2: to them from mainstream culture. Six in the Morning was 239 00:14:00,200 --> 00:14:02,920 Speaker 2: released in nineteen eighty six, the same year that The 240 00:14:02,960 --> 00:14:05,840 Speaker 2: Cosby Show, Family Ties and Cheers were the top three 241 00:14:05,920 --> 00:14:10,280 Speaker 2: rated television shows. Falcos Rock Me Amadeis, Madonna's Papa Don't 242 00:14:10,280 --> 00:14:12,880 Speaker 2: Preach in Berlin's Take My Breath Away, with the year's 243 00:14:12,920 --> 00:14:16,880 Speaker 2: top selling singles and top gun Crocodile, Dundee and Platoon 244 00:14:16,920 --> 00:14:20,240 Speaker 2: were the highest grossing films at the box office. There 245 00:14:20,320 --> 00:14:22,640 Speaker 2: was not an ounce of street reality in any of 246 00:14:22,640 --> 00:14:26,040 Speaker 2: these top selling mainstream performances from nineteen eighty six. So 247 00:14:26,120 --> 00:14:29,560 Speaker 2: for Dre, hearing his life, his reality, his and so 248 00:14:29,640 --> 00:14:32,360 Speaker 2: many of his neighbor's story and lifestyle spit back in 249 00:14:32,440 --> 00:14:35,360 Speaker 2: him over the radio through the speakers of friends Alpines 250 00:14:35,480 --> 00:14:37,960 Speaker 2: rolling down Crenshaw in the middle of the neighborhood that 251 00:14:38,000 --> 00:14:41,880 Speaker 2: inspired the track Six in the Morning was powerful. Drey 252 00:14:42,040 --> 00:14:45,080 Speaker 2: knew that this was where his future was. Hardcore street 253 00:14:45,160 --> 00:14:47,920 Speaker 2: lyrics like the ones from Iced Tea over hard beats 254 00:14:47,960 --> 00:14:53,080 Speaker 2: like the ones from Run DMC and DRE had a 255 00:14:53,120 --> 00:14:56,480 Speaker 2: secret weapon, a sound that would separate his musical fusion 256 00:14:56,560 --> 00:14:59,800 Speaker 2: from everything else, a sound that anyone anywhere would be 257 00:14:59,800 --> 00:15:02,880 Speaker 2: able to to recognize as his own, a sound that even. 258 00:15:02,760 --> 00:15:04,360 Speaker 1: He would be able to hear a mile away. 259 00:15:04,520 --> 00:15:08,240 Speaker 2: When his song eventually blasted from passing car stereos, he 260 00:15:08,280 --> 00:15:10,680 Speaker 2: and everyone else would know it was a Doctor Dre 261 00:15:10,880 --> 00:15:13,960 Speaker 2: jam when they heard his signature sound, the Compton whistle. 262 00:15:14,800 --> 00:15:17,960 Speaker 2: It was that high pitched, squealing synthesizer that Dre first 263 00:15:17,960 --> 00:15:21,320 Speaker 2: heard in the Ohio players tracked funky worm. Dre went 264 00:15:21,360 --> 00:15:23,720 Speaker 2: to work implementing it in and around the beats he 265 00:15:23,800 --> 00:15:26,040 Speaker 2: was fucking with in the back room at Skateland during 266 00:15:26,080 --> 00:15:29,080 Speaker 2: off hours. This sound would eventually grow to become the 267 00:15:29,120 --> 00:15:31,880 Speaker 2: staple sound of the genre. Dre would eventually help invent 268 00:15:32,320 --> 00:15:38,560 Speaker 2: g funk. Drey's new friend, Eric was way down with 269 00:15:38,600 --> 00:15:40,960 Speaker 2: what Drey was cooking up, and Dra convinced Eric he 270 00:15:41,000 --> 00:15:43,600 Speaker 2: didn't need to invest in a record store. He needed 271 00:15:43,640 --> 00:15:46,880 Speaker 2: to invest in a record label. They had what they needed, 272 00:15:47,080 --> 00:15:50,240 Speaker 2: a signature sound, big ass beats, and an original point 273 00:15:50,240 --> 00:15:53,520 Speaker 2: of view. Their songs would rep their reality, and they 274 00:15:53,560 --> 00:15:56,560 Speaker 2: as rappers would rep their hometown Compton, just like East 275 00:15:56,560 --> 00:16:00,480 Speaker 2: Coast rappers wrapped Hollis Queen's in the Bronx two hundred 276 00:16:00,480 --> 00:16:02,840 Speaker 2: and fifty thousand dollars of Eric's drug money that they 277 00:16:02,840 --> 00:16:05,800 Speaker 2: could invest into their new venture. But they also had 278 00:16:05,840 --> 00:16:09,520 Speaker 2: a problem. Neither of them wrote lyrics, but Dre had 279 00:16:09,520 --> 00:16:13,120 Speaker 2: a friend who did. O'sha Jackson, only sixteen, was a 280 00:16:13,240 --> 00:16:16,880 Speaker 2: natural born lyricist with drive. He was from Englewood, next 281 00:16:16,920 --> 00:16:19,880 Speaker 2: neighborhood over from Compton, but every morning he bust out 282 00:16:19,880 --> 00:16:21,880 Speaker 2: to a high school in the burbs with white kids 283 00:16:21,920 --> 00:16:25,560 Speaker 2: who rolled the school in BMW convertibles. Eventual Brett Easton 284 00:16:25,600 --> 00:16:28,560 Speaker 2: Elli's characters, who O'sha could not relate to at all, 285 00:16:28,720 --> 00:16:31,320 Speaker 2: but whose easy way of life stirred in him envy 286 00:16:31,320 --> 00:16:34,840 Speaker 2: in resentment. Their galling entitlement made it clear to O'Shea 287 00:16:35,000 --> 00:16:37,800 Speaker 2: that there was another, potentially better, easier way of life 288 00:16:37,840 --> 00:16:41,080 Speaker 2: if he played the game right, hustled, fostered his talent, 289 00:16:41,320 --> 00:16:43,280 Speaker 2: and didn't get caught up in the gangs or catch 290 00:16:43,320 --> 00:16:47,560 Speaker 2: a deadly beating from the cops. O'sha hated the gang bangers. 291 00:16:47,840 --> 00:16:50,360 Speaker 2: He knew they were evil and running down his community, 292 00:16:50,560 --> 00:16:53,720 Speaker 2: but he hated the cops more. The twin influences of 293 00:16:53,760 --> 00:16:56,640 Speaker 2: the gang bangers and South Central police tactics would combine 294 00:16:56,640 --> 00:16:59,480 Speaker 2: to give O'sha his lyrical point. Of view, and like 295 00:16:59,520 --> 00:17:02,680 Speaker 2: all great writers, he wrote what he knew the streets 296 00:17:02,720 --> 00:17:06,040 Speaker 2: outside his door in Englewood and in neighboring Compton, where 297 00:17:06,040 --> 00:17:08,880 Speaker 2: his friend Drey lived, and was fucking with that hustler, Eric, 298 00:17:09,280 --> 00:17:10,920 Speaker 2: the one who gave up the game and was now 299 00:17:10,960 --> 00:17:15,600 Speaker 2: calling himself easy. Dre, the doctor, mad scientist that he was, 300 00:17:15,600 --> 00:17:18,600 Speaker 2: was now conducting a full on experiment. He knew that 301 00:17:18,640 --> 00:17:20,920 Speaker 2: if he got himself, oh Shay and Eric in a 302 00:17:21,000 --> 00:17:23,760 Speaker 2: room together, they could unlock a new evolution and wrap 303 00:17:24,359 --> 00:17:27,639 Speaker 2: without fail. O'sha was inspired by Eric's larger than life 304 00:17:27,680 --> 00:17:31,160 Speaker 2: well life and wrote lyrics about him, But the group 305 00:17:31,240 --> 00:17:33,240 Speaker 2: Dre picked to perform the track was a bust in 306 00:17:33,240 --> 00:17:36,080 Speaker 2: the studio and they couldn't relate to the hardcore lyrics. 307 00:17:36,440 --> 00:17:38,639 Speaker 2: They were put off by the gangster language and bailed. 308 00:17:39,480 --> 00:17:41,720 Speaker 2: It was down to Drey and dj Yella, who'd made 309 00:17:41,720 --> 00:17:46,919 Speaker 2: the scene, Eric and O'sha. Then it happened. Drey somehow 310 00:17:46,960 --> 00:17:49,959 Speaker 2: convinced Eric to jump on the mic. After all, O'sha 311 00:17:50,040 --> 00:17:52,919 Speaker 2: wrote the song about him. It took some coaxing, but 312 00:17:53,000 --> 00:17:55,760 Speaker 2: ultimately he did it and was careful, patient producing. Drey 313 00:17:55,840 --> 00:17:58,440 Speaker 2: was able to ease his friend Eric Wright fully into 314 00:17:58,480 --> 00:18:02,359 Speaker 2: the character of eas Everything was there, the authentic gangster 315 00:18:02,480 --> 00:18:05,600 Speaker 2: drug dealing backstory, the man in black hip hop fashion, 316 00:18:05,640 --> 00:18:06,920 Speaker 2: that take no shit attitude. 317 00:18:06,920 --> 00:18:09,240 Speaker 1: Why wouldn't it work? And Drey was right? 318 00:18:09,880 --> 00:18:13,159 Speaker 2: The fully produced track was electric and once pressed and 319 00:18:13,200 --> 00:18:16,120 Speaker 2: distributed throughout La Through the strength of its hard beat, 320 00:18:16,240 --> 00:18:19,080 Speaker 2: the attitude and the vocal performance, and the authenticity and 321 00:18:19,119 --> 00:18:21,879 Speaker 2: reality it repped in its lyrics, the track Boys in 322 00:18:21,920 --> 00:18:25,640 Speaker 2: the Hood became an instant hit. kDa, the Redondo Beach 323 00:18:25,680 --> 00:18:27,760 Speaker 2: outfit that was one of the top not to mention, 324 00:18:27,880 --> 00:18:30,680 Speaker 2: one of the only rap friendly radio stations in America, 325 00:18:31,119 --> 00:18:34,760 Speaker 2: was flooded with requests. Within months, the newly minted Easy 326 00:18:34,800 --> 00:18:37,199 Speaker 2: E went from selling pressings out of his car to 327 00:18:37,280 --> 00:18:40,960 Speaker 2: a former distribution deal. Fuck that soft shit, The hard 328 00:18:40,960 --> 00:18:41,800 Speaker 2: stuff was where. 329 00:18:41,600 --> 00:18:42,080 Speaker 1: It was at. 330 00:18:42,600 --> 00:18:44,119 Speaker 2: All you had to do was go out on your 331 00:18:44,119 --> 00:18:46,280 Speaker 2: front ear and listen to the cars rolling by to 332 00:18:46,280 --> 00:18:49,000 Speaker 2: hear the influence of the track. It was everywhere in 333 00:18:49,000 --> 00:18:51,639 Speaker 2: South Central at the end of nineteen eighty seven. You 334 00:18:51,640 --> 00:18:53,840 Speaker 2: couldn't help but hear it as long as you were 335 00:18:53,880 --> 00:18:57,520 Speaker 2: listening outside during the day. At night, the lyrics stopped 336 00:18:57,520 --> 00:18:59,920 Speaker 2: and the story that the lyrics told began For real, 337 00:19:00,800 --> 00:19:04,080 Speaker 2: a big beat built from gunshots, ghetto bird choppers, batter 338 00:19:04,200 --> 00:19:08,159 Speaker 2: rams and police sirens, real life sounds, soundtracking life for 339 00:19:08,240 --> 00:19:13,840 Speaker 2: the citizens of South Central We'll be right back after 340 00:19:13,880 --> 00:19:19,840 Speaker 2: this word word word. At first, the chant from the 341 00:19:19,880 --> 00:19:23,520 Speaker 2: audience was familiar to Eric, We want easy, over and 342 00:19:23,640 --> 00:19:25,440 Speaker 2: over again, and he loved it. 343 00:19:25,720 --> 00:19:26,439 Speaker 1: Why wouldn't he? 344 00:19:27,040 --> 00:19:29,200 Speaker 2: It was validation for all the hard work and the 345 00:19:29,320 --> 00:19:32,120 Speaker 2: risk he took, investing a quarter million of his hard 346 00:19:32,160 --> 00:19:35,880 Speaker 2: earned street dollars into himself, his record label, and ultimately 347 00:19:35,920 --> 00:19:38,680 Speaker 2: the success of his group. He worked out his own 348 00:19:38,760 --> 00:19:42,800 Speaker 2: version of the American Dream for himself, but the adoring 349 00:19:42,880 --> 00:19:45,920 Speaker 2: chorus gave way to a different chant. It was also 350 00:19:45,960 --> 00:19:49,000 Speaker 2: a song title which showed that the crowd loved the 351 00:19:49,080 --> 00:19:52,480 Speaker 2: music they were putting out, But this one was less satisfying, 352 00:19:52,640 --> 00:19:56,639 Speaker 2: more jarring. It reminded him of something more menacing, confrontational. 353 00:19:57,080 --> 00:20:00,119 Speaker 2: It reminded him of the cops back in Compton as 354 00:20:00,160 --> 00:20:02,080 Speaker 2: it pulled them over. A Couple months back, he yanked 355 00:20:02,119 --> 00:20:04,679 Speaker 2: him from his vintage of ew Bug, the one with 356 00:20:04,760 --> 00:20:07,480 Speaker 2: the freaks come out at night, lettering airbrushed across the 357 00:20:07,560 --> 00:20:10,840 Speaker 2: back and slammed his face cheek, sat down hard under 358 00:20:10,840 --> 00:20:13,359 Speaker 2: the hood of the car, who then pulled him upright, 359 00:20:13,440 --> 00:20:15,840 Speaker 2: spun him around to face, and pressed the barrel of 360 00:20:15,880 --> 00:20:19,000 Speaker 2: a standard issue Block twenty two straight into Easy's temple. 361 00:20:19,680 --> 00:20:22,159 Speaker 2: They wanted the drugs, and they knew he was a dealer. 362 00:20:22,680 --> 00:20:24,800 Speaker 2: But what they didn't though, was that he'd cleaned up 363 00:20:24,840 --> 00:20:27,920 Speaker 2: his act and taken his talents to the music industry. 364 00:20:28,080 --> 00:20:31,119 Speaker 2: So the LAPD would walk away empty handed, but not 365 00:20:31,200 --> 00:20:35,120 Speaker 2: without making a point. Compton was their turf, not Easies, 366 00:20:35,600 --> 00:20:38,399 Speaker 2: local drug dealer or rapper or whatever the fuck. They 367 00:20:38,440 --> 00:20:41,399 Speaker 2: owned the night, They owned the streets, not him, and 368 00:20:41,520 --> 00:20:45,040 Speaker 2: for E, he was humiliating and if he was being honest, 369 00:20:45,480 --> 00:20:50,320 Speaker 2: scary as fuck. O'Shea was next to Easy on stage. 370 00:20:50,600 --> 00:20:52,880 Speaker 2: He was now going by the name Ice Cube. He 371 00:20:52,880 --> 00:20:55,080 Speaker 2: heard the same chant as E, but he had his 372 00:20:55,119 --> 00:20:57,399 Speaker 2: own memory, winding up his heart rate as the crowd 373 00:20:57,480 --> 00:21:00,639 Speaker 2: yelled back a phrase that he had written back to 374 00:21:00,680 --> 00:21:03,159 Speaker 2: the cops outside of the studio, as the members of 375 00:21:03,240 --> 00:21:06,800 Speaker 2: NWA had secluded themselves in to record their group's masterpiece, 376 00:21:07,119 --> 00:21:09,600 Speaker 2: an effort that took only eight weeks and cost only 377 00:21:09,640 --> 00:21:13,760 Speaker 2: ten thousand dollars to make. Those cops meant business just 378 00:21:13,840 --> 00:21:16,720 Speaker 2: like Cube did. Maybe They recognized something to him that 379 00:21:16,760 --> 00:21:19,840 Speaker 2: they saw in themselves, an unwillingness to take any shit 380 00:21:19,920 --> 00:21:22,600 Speaker 2: at all, which is why they braced him on the sidewalk, 381 00:21:22,680 --> 00:21:25,040 Speaker 2: and when he asked why they were questioning him, they 382 00:21:25,040 --> 00:21:27,200 Speaker 2: threw him to the pavement, stepped on the back of 383 00:21:27,240 --> 00:21:29,280 Speaker 2: his neck, and demanded to know why he was just 384 00:21:29,320 --> 00:21:32,040 Speaker 2: hanging out on the corner doing nothing, And they weren't 385 00:21:32,040 --> 00:21:34,600 Speaker 2: buying the truth. The Cube was taking a break from 386 00:21:34,600 --> 00:21:37,199 Speaker 2: the hard work and making a record, not until the 387 00:21:37,200 --> 00:21:40,600 Speaker 2: band's manager, Jerry Heller, a white man, came outside to 388 00:21:40,640 --> 00:21:44,280 Speaker 2: squash the b Even then, the cops refused to accept 389 00:21:44,320 --> 00:21:47,119 Speaker 2: the Cube was an actual musician. After all, rap was 390 00:21:47,160 --> 00:21:50,280 Speaker 2: a music, it was a fat Whatever it was, it 391 00:21:50,320 --> 00:21:53,199 Speaker 2: would save ice Cube from the rage roiling inside him 392 00:21:53,320 --> 00:21:56,000 Speaker 2: due to a lifetime of similar incidents just like this. 393 00:21:56,040 --> 00:21:56,280 Speaker 3: One. 394 00:21:57,440 --> 00:22:00,600 Speaker 2: Doctor dre hated the chant. It annoyed him. He just 395 00:22:00,640 --> 00:22:02,879 Speaker 2: wanted to make music. But the chant, something about the 396 00:22:02,920 --> 00:22:05,879 Speaker 2: pointed anger of it so direct aims straight at the 397 00:22:05,920 --> 00:22:08,680 Speaker 2: cops from back home, the same cops who did next 398 00:22:08,720 --> 00:22:11,080 Speaker 2: to nothing to protect his dead brother or to find 399 00:22:11,080 --> 00:22:13,160 Speaker 2: his killer, the ones who left them to bleed out 400 00:22:13,160 --> 00:22:15,840 Speaker 2: and die on the streets. Of Compton. Drey didn't want 401 00:22:15,840 --> 00:22:18,200 Speaker 2: the grief within him stirred, and that's all the Chant did. 402 00:22:19,080 --> 00:22:21,639 Speaker 2: Yell it didn't mind it. Neither did mc wren the 403 00:22:21,680 --> 00:22:24,040 Speaker 2: two other group members. They had their own baggage to 404 00:22:24,119 --> 00:22:25,960 Speaker 2: sort through, and the Chant did to them what it 405 00:22:26,000 --> 00:22:28,560 Speaker 2: did to the others, forced them to remember where. 406 00:22:28,440 --> 00:22:29,159 Speaker 1: They came from. 407 00:22:29,320 --> 00:22:31,760 Speaker 2: How fucked up Life on the streets of Compton was 408 00:22:32,440 --> 00:22:36,679 Speaker 2: pure violence, deadly gang members and deadly cops, a violent 409 00:22:36,800 --> 00:22:40,199 Speaker 2: vice that squeezed you into submission. The cops scared them 410 00:22:40,200 --> 00:22:42,520 Speaker 2: more than the bloods and the crips, though, but at 411 00:22:42,600 --> 00:22:45,359 Speaker 2: least to the gang bangers. NWA were now celebrities and 412 00:22:45,400 --> 00:22:48,600 Speaker 2: not to be fucked with. Within reason. They were NWA 413 00:22:48,880 --> 00:22:51,840 Speaker 2: Compton's greatest exports since Dennis Johnson, who at the time 414 00:22:51,920 --> 00:22:54,600 Speaker 2: was busy helping the Boston Celtics gang entry into yet 415 00:22:54,600 --> 00:22:56,120 Speaker 2: another Eastern Conference finals. 416 00:22:56,119 --> 00:22:57,320 Speaker 1: But I Digress. 417 00:22:57,320 --> 00:23:01,560 Speaker 2: NWA was easy East brainchild supergroup that included all of 418 00:23:01,600 --> 00:23:04,280 Speaker 2: the men currently standing on stage next to e plus 419 00:23:04,400 --> 00:23:08,320 Speaker 2: lyricists The Doc. They were now NWA, and they were 420 00:23:08,359 --> 00:23:11,840 Speaker 2: a supergroup with attitude the idea of a posse. This 421 00:23:11,960 --> 00:23:15,040 Speaker 2: deep was easiest and their first real album Straight Out 422 00:23:15,040 --> 00:23:18,639 Speaker 2: of Compton was Drey's sonic vision reality wraps over Heartbeats 423 00:23:18,720 --> 00:23:21,159 Speaker 2: come to life and album for him over sixty minutes, 424 00:23:21,560 --> 00:23:23,720 Speaker 2: and it was as hard to ignore as fresh spray 425 00:23:23,760 --> 00:23:27,600 Speaker 2: from an AK forty seven. It's opening salvo, you are 426 00:23:27,640 --> 00:23:30,840 Speaker 2: now about to witness the strength the street knowledge quickly 427 00:23:30,840 --> 00:23:32,960 Speaker 2: smacks you in the face and then pummels you with 428 00:23:33,000 --> 00:23:37,240 Speaker 2: a sledgehammer beat that somehow also grooves while cue Easy 429 00:23:37,280 --> 00:23:39,879 Speaker 2: and Ren kickoff verse after verse at the verse with 430 00:23:40,000 --> 00:23:43,359 Speaker 2: the line straight out of Compton, detailing of life spent 431 00:23:43,480 --> 00:23:44,840 Speaker 2: dodging violent cops in. 432 00:23:44,800 --> 00:23:46,040 Speaker 1: The streets of their homehood. 433 00:23:46,800 --> 00:23:49,080 Speaker 2: There's no mistaking where these dudes were from, and that 434 00:23:49,200 --> 00:23:52,480 Speaker 2: wasn't an accident. Dre and E wanted to rep their hometown, 435 00:23:52,680 --> 00:23:56,040 Speaker 2: just like East Coast rappers rep theirs, except Compton wasn't 436 00:23:56,080 --> 00:23:58,440 Speaker 2: exactly the same as Hall as Queen's or the Bronx. 437 00:23:59,080 --> 00:23:59,960 Speaker 1: Compton was a war. 438 00:24:00,720 --> 00:24:04,000 Speaker 2: So to properly do it justice, NWA relied on their 439 00:24:04,040 --> 00:24:07,000 Speaker 2: own experiences in the street reality that they faced on 440 00:24:07,040 --> 00:24:13,080 Speaker 2: a daily basis to inform their lyrics that meant violence, drugs, 441 00:24:13,200 --> 00:24:17,920 Speaker 2: crooked cops, and backward misogynist attitudes toward women. Aka Bitches 442 00:24:17,960 --> 00:24:21,119 Speaker 2: and Hose with no sugarcoating. They spit it out all 443 00:24:21,160 --> 00:24:23,679 Speaker 2: over beats that hit you hard and peppered everything with 444 00:24:23,760 --> 00:24:26,120 Speaker 2: humor they learned from the blue comedy records of Rudy 445 00:24:26,200 --> 00:24:27,800 Speaker 2: Ray Moore and Red Fox at their. 446 00:24:27,640 --> 00:24:28,480 Speaker 1: Parents vibd on. 447 00:24:29,160 --> 00:24:32,040 Speaker 2: To an adolescent music fan in nineteen eighty eight, it 448 00:24:32,119 --> 00:24:35,120 Speaker 2: all added up to something as infectious, if not more so, 449 00:24:35,200 --> 00:24:38,280 Speaker 2: than Aerosmith or Guns n' Roses or any other mainstream 450 00:24:38,359 --> 00:24:42,600 Speaker 2: rock blanketing airways at the time. The violence and profanity 451 00:24:42,640 --> 00:24:45,920 Speaker 2: depicted in the lyrics made it almost impossible for radio 452 00:24:46,040 --> 00:24:49,119 Speaker 2: to get behind the album, and MTV outright banned their 453 00:24:49,160 --> 00:24:51,160 Speaker 2: first videos, but it didn't matter. 454 00:24:51,560 --> 00:24:54,240 Speaker 1: The record was too good, the lyrics too real. 455 00:24:54,960 --> 00:24:58,200 Speaker 2: Through the power of strong distribution for easies, new record label, 456 00:24:58,320 --> 00:25:02,000 Speaker 2: ruthless records, and even wrong or word of mouth, news 457 00:25:02,040 --> 00:25:04,840 Speaker 2: of this new type of wild rap or reality rap, 458 00:25:04,960 --> 00:25:07,879 Speaker 2: or what the press was fast calling gangster rap, spread 459 00:25:07,960 --> 00:25:11,480 Speaker 2: quick not only through urban neighborhoods and schools, but through 460 00:25:11,520 --> 00:25:15,320 Speaker 2: lily white suburban neighborhoods and small towns all across America. 461 00:25:15,680 --> 00:25:18,919 Speaker 2: And of course the gang bangers loved it too. It 462 00:25:19,000 --> 00:25:21,879 Speaker 2: was their world come to life on record. But what 463 00:25:22,000 --> 00:25:26,240 Speaker 2: made NWA so revolutionary is that they embraced the persona 464 00:25:26,320 --> 00:25:29,560 Speaker 2: of the gangsters. They weren't objectifying the gang violence they 465 00:25:29,600 --> 00:25:32,159 Speaker 2: saw in their neighborhoods, they were personifying it. 466 00:25:32,560 --> 00:25:33,720 Speaker 1: They were the bad guys. 467 00:25:34,000 --> 00:25:37,520 Speaker 2: Long before Tony Soprano or Walter White, five kids from 468 00:25:37,600 --> 00:25:40,000 Speaker 2: Compton made it okay to root for the bad guys. 469 00:25:40,680 --> 00:25:42,760 Speaker 2: They were the protagonists, the antagonists. 470 00:25:43,119 --> 00:25:47,359 Speaker 4: The lapd over on the East Coast public enemy may 471 00:25:47,400 --> 00:25:49,879 Speaker 4: have been bringing the noise by commenting on the social 472 00:25:49,880 --> 00:25:53,320 Speaker 4: injustice they saw, but NWA was cutting through the noise 473 00:25:53,359 --> 00:25:56,160 Speaker 4: by playing the part of the villain, wearing the black hat, 474 00:25:56,440 --> 00:25:59,080 Speaker 4: shooting down the cops and the raps, dealing weight in 475 00:25:59,119 --> 00:26:02,040 Speaker 4: their raps, beating down rivals in the wraps, a first 476 00:26:02,040 --> 00:26:04,040 Speaker 4: person fucking of the system. 477 00:26:04,280 --> 00:26:07,399 Speaker 2: NWA had had enough enough with the drive bys and 478 00:26:07,440 --> 00:26:11,159 Speaker 2: the senseless murders, enough with the police harassment, enough with 479 00:26:11,240 --> 00:26:12,480 Speaker 2: the lack of opportunity. 480 00:26:12,960 --> 00:26:14,480 Speaker 1: But they didn't play the victim card. 481 00:26:14,520 --> 00:26:18,200 Speaker 2: They took a truly defiant stance, redefined the theater of ward, 482 00:26:18,320 --> 00:26:20,959 Speaker 2: fought back through music, and made their way through their 483 00:26:21,000 --> 00:26:24,280 Speaker 2: own fucked up reality by any means necessary. A model 484 00:26:24,400 --> 00:26:27,520 Speaker 2: coined by Malcolm X, stolen by Daryl Gates, and stolen 485 00:26:27,600 --> 00:26:32,160 Speaker 2: back by NWA. American teenagers ate it up. They sold 486 00:26:32,320 --> 00:26:34,960 Speaker 2: millions of copies of Straight Out of Content, and Easye 487 00:26:35,040 --> 00:26:37,480 Speaker 2: was laughing to himself with the absurdity of it all. 488 00:26:38,359 --> 00:26:41,760 Speaker 2: But not everybody thought it was funny. The lapd were pissed, 489 00:26:42,040 --> 00:26:45,520 Speaker 2: as were their police brethren throughout the country, and tonight 490 00:26:45,800 --> 00:26:48,560 Speaker 2: here in Detroit at the Joe Louis Arena, in front 491 00:26:48,560 --> 00:26:51,000 Speaker 2: of upwards of twenty thousand people, it all seemed to 492 00:26:51,000 --> 00:26:56,200 Speaker 2: be coming to a head. While Easye, Ice Cube, Doctor 493 00:26:56,280 --> 00:26:59,359 Speaker 2: dre Yella and mc wren sat on stage letting the 494 00:26:59,440 --> 00:27:01,800 Speaker 2: chant of Fuck the Police rained down on them in 495 00:27:01,840 --> 00:27:04,800 Speaker 2: front of twenty thousand strong they could feel the tension. 496 00:27:05,040 --> 00:27:06,919 Speaker 2: They could see it in the eyes of the cops 497 00:27:06,920 --> 00:27:10,080 Speaker 2: and the crowd there ostensibly to protect the band, though 498 00:27:10,119 --> 00:27:12,119 Speaker 2: it felt like they were there more to intimidate and 499 00:27:12,200 --> 00:27:15,800 Speaker 2: to oppress. NWA was warned before the show not to 500 00:27:15,840 --> 00:27:17,520 Speaker 2: play their song Fuck the Police. 501 00:27:18,080 --> 00:27:18,840 Speaker 1: The song had. 502 00:27:18,720 --> 00:27:22,800 Speaker 2: Sparked a nationwide debate over NWA's claims of police brutality 503 00:27:22,920 --> 00:27:25,080 Speaker 2: and of what life was really like in the streets 504 00:27:25,080 --> 00:27:28,359 Speaker 2: they grew up on were gangster rappers really rapping the 505 00:27:28,359 --> 00:27:30,679 Speaker 2: reality of their surroundings or were they just cashing in 506 00:27:30,720 --> 00:27:34,639 Speaker 2: on the profanity and violence. Police forces around the country 507 00:27:34,720 --> 00:27:37,080 Speaker 2: took the song in its direct title as an affront, 508 00:27:37,600 --> 00:27:40,200 Speaker 2: many of them refusing to provide security for the group 509 00:27:40,200 --> 00:27:43,120 Speaker 2: while they were on tour the lyrics were too controversial. 510 00:27:44,200 --> 00:27:46,840 Speaker 2: The lyrics go on to detail Ice Cube's first person 511 00:27:46,880 --> 00:27:49,920 Speaker 2: account of crooked lapd and the justified beating on in 512 00:27:50,000 --> 00:27:53,560 Speaker 2: quote unquote slaughter of the police. The lyrics were a 513 00:27:53,600 --> 00:27:56,800 Speaker 2: live wire, and on this night in particular, the tension 514 00:27:56,840 --> 00:27:58,639 Speaker 2: in the room made it feel like the song if 515 00:27:58,680 --> 00:28:01,439 Speaker 2: the group decided to play it might inside a riot. 516 00:28:02,240 --> 00:28:05,800 Speaker 2: The crowd would not stop channing the title over and over. 517 00:28:06,440 --> 00:28:10,000 Speaker 2: It was deafening and inspiring. It was time for the 518 00:28:10,040 --> 00:28:12,880 Speaker 2: group to kick into one of their other songs. Gangsta 519 00:28:13,280 --> 00:28:16,320 Speaker 2: Easy was ready. Cube was hoping for something more, and 520 00:28:16,400 --> 00:28:19,760 Speaker 2: Drey was milling about, hovering over his tables on stage. 521 00:28:20,119 --> 00:28:22,639 Speaker 1: Yella, as always, was dutifully. 522 00:28:22,160 --> 00:28:24,960 Speaker 2: Awaiting direction from Dre, and Wren was wondering what the 523 00:28:25,000 --> 00:28:27,920 Speaker 2: fuck was with the delay, and the crowd kept chanting. 524 00:28:28,200 --> 00:28:31,120 Speaker 2: Cops were now nervously making their way through the audience 525 00:28:31,160 --> 00:28:33,879 Speaker 2: to the front of the stage, some of them uniformed, 526 00:28:33,880 --> 00:28:36,040 Speaker 2: most of them undercover. There on the scene in the 527 00:28:36,080 --> 00:28:38,480 Speaker 2: crowd to prevent whatever the fuck was about to happen 528 00:28:38,520 --> 00:28:42,080 Speaker 2: from happening, and Drey's eyes caught Cubes across the stage. 529 00:28:42,400 --> 00:28:45,280 Speaker 2: He motioned him closer, and when he got into earshot, 530 00:28:45,400 --> 00:28:49,680 Speaker 2: Drey asked, you ready. Cube said nothing, just gave him 531 00:28:49,680 --> 00:28:53,600 Speaker 2: an approving scowl and a defiant nod. Dray shouted, come 532 00:28:53,640 --> 00:28:58,680 Speaker 2: in on the two, then fuck the police. The crowd 533 00:28:58,760 --> 00:29:03,200 Speaker 2: lost itself, every word back in Acube's face. Cops looked 534 00:29:03,240 --> 00:29:06,800 Speaker 2: visibly scared. They were outnumbered by the tens of thousands. 535 00:29:07,040 --> 00:29:10,000 Speaker 2: The song was killing and worth every ounce of bullshit 536 00:29:10,080 --> 00:29:12,920 Speaker 2: it brought on because it was real. You could tell 537 00:29:12,960 --> 00:29:16,400 Speaker 2: from the response it was undeniable. Kids loved it because 538 00:29:16,400 --> 00:29:19,760 Speaker 2: it tapped into something totally authentic, totally unique. It was 539 00:29:19,800 --> 00:29:22,680 Speaker 2: a look into an American reality that was underreported in 540 00:29:22,720 --> 00:29:25,840 Speaker 2: the media. It was a crisis, this reality of gangs 541 00:29:25,840 --> 00:29:28,840 Speaker 2: and abusive cops, a cycle of violence that made it 542 00:29:28,880 --> 00:29:31,840 Speaker 2: near impossible to find your way through to the American dream. 543 00:29:32,080 --> 00:29:34,640 Speaker 2: And it was pissed the fuck off, just like nearly 544 00:29:34,680 --> 00:29:37,280 Speaker 2: everyone in the audience, which is why the crowd began 545 00:29:37,360 --> 00:29:40,240 Speaker 2: to riot. The sound of gunshots or what was later 546 00:29:40,320 --> 00:29:43,560 Speaker 2: learned to be firecrackers set the riot off. Yello heard 547 00:29:43,560 --> 00:29:46,960 Speaker 2: them first on stage and quickly fled, Fuck this, no 548 00:29:47,120 --> 00:29:49,720 Speaker 2: protest song was worth dying for. The rest of the 549 00:29:49,760 --> 00:29:53,120 Speaker 2: group followed suit, trying to escape backstage while the crowd 550 00:29:53,160 --> 00:29:55,600 Speaker 2: tor shit up in the house. But the members of 551 00:29:55,680 --> 00:29:58,760 Speaker 2: NWA were quickly corralled by the local cops and hauled 552 00:29:58,760 --> 00:30:02,400 Speaker 2: in for inciting a riot. But in the end it 553 00:30:02,440 --> 00:30:05,240 Speaker 2: all worked out. The Detroit cops were not like the 554 00:30:05,240 --> 00:30:08,360 Speaker 2: cops back home. They were more interested in autographs for 555 00:30:08,440 --> 00:30:11,440 Speaker 2: their kids than they were pressing charges. It seemed like 556 00:30:11,480 --> 00:30:13,840 Speaker 2: they had arrested them just to prove they could, and 557 00:30:13,880 --> 00:30:17,040 Speaker 2: the group was quickly let go. Cube even joke to 558 00:30:17,080 --> 00:30:19,640 Speaker 2: the cops, maybe we can produce a song for you 559 00:30:19,680 --> 00:30:37,240 Speaker 2: guys called fuck n W A Fuck the Police is 560 00:30:37,280 --> 00:30:40,560 Speaker 2: the greatest protest song in the history of music period. 561 00:30:41,200 --> 00:30:43,840 Speaker 2: No other song got to the point quicker and or 562 00:30:43,960 --> 00:30:47,160 Speaker 2: had a greater impact. You can come into my podcast 563 00:30:47,240 --> 00:30:49,280 Speaker 2: studio and stand on my desk and yell at me 564 00:30:49,320 --> 00:30:51,840 Speaker 2: about Woody Guthrie and Bob Dylan and Sam Cook and 565 00:30:51,920 --> 00:30:55,120 Speaker 2: Joe Strummer, and Hell even Public Enemy, but named one 566 00:30:55,200 --> 00:30:58,800 Speaker 2: song by any of those artists that generated a formal response, 567 00:30:58,840 --> 00:31:02,360 Speaker 2: a thinly veiled threat from the United States Government, the FBI. 568 00:31:03,000 --> 00:31:03,560 Speaker 1: You can't. 569 00:31:04,360 --> 00:31:07,240 Speaker 2: The letter the FBI wrote to Ruthless Records reads, in part, 570 00:31:07,680 --> 00:31:12,000 Speaker 2: a song recorded by NWA encourages violence against and disrespect 571 00:31:12,040 --> 00:31:16,560 Speaker 2: for law enforcement, advocating violence and assault is wrong. Seventy 572 00:31:16,600 --> 00:31:20,160 Speaker 2: seven law enforcement officers were feloniously slain in the line 573 00:31:20,160 --> 00:31:23,880 Speaker 2: of duty in nineteen eighty eight. Law enforcement officers dedicate 574 00:31:23,920 --> 00:31:27,000 Speaker 2: their lives to the protection of our citizens, and recordings 575 00:31:27,000 --> 00:31:30,160 Speaker 2: such as this one from NWA are degrading to these brave, 576 00:31:30,280 --> 00:31:33,360 Speaker 2: dedicated officers. I wanted you to be aware of the 577 00:31:33,440 --> 00:31:36,959 Speaker 2: FBI's position relative to this song and its message. I 578 00:31:37,000 --> 00:31:39,720 Speaker 2: believe my views reflect the opinion of the entire law 579 00:31:39,760 --> 00:31:45,600 Speaker 2: enforcement community, Signed Milt Altrich, Assistant Director, Office of Public Affairs, 580 00:31:45,880 --> 00:31:51,280 Speaker 2: Federal Bureau of Investigation, US Department of Justice. The FBI 581 00:31:51,360 --> 00:31:54,960 Speaker 2: response was that apex of criticism and heat NWA caught 582 00:31:55,000 --> 00:31:58,800 Speaker 2: from the song. Critics throughout the country railed against the group. 583 00:31:59,480 --> 00:32:02,280 Speaker 2: Criticism of the cops, it was stated over and over again, 584 00:32:02,400 --> 00:32:05,480 Speaker 2: was a fabrication and exaggeration and way over the line 585 00:32:06,040 --> 00:32:10,240 Speaker 2: nothing more than sensationalism contrived to sell records. But ice 586 00:32:10,320 --> 00:32:12,200 Speaker 2: Cube and the rest of the group held firm in 587 00:32:12,240 --> 00:32:15,320 Speaker 2: the face of their critics. They knew what their reality was. 588 00:32:15,560 --> 00:32:18,520 Speaker 2: They knew that Daryl Gates and the LAPD, at least 589 00:32:18,520 --> 00:32:21,400 Speaker 2: the cops policing the neighborhoods they came up on were 590 00:32:21,440 --> 00:32:24,640 Speaker 2: corrupt and violent, and then NWA or not, the world 591 00:32:24,680 --> 00:32:28,720 Speaker 2: would soon know their shocking reality. George Holiday, for one, 592 00:32:28,840 --> 00:32:32,240 Speaker 2: was shocked, shocked at what he'd seen firsthand and caught 593 00:32:32,240 --> 00:32:35,760 Speaker 2: on videotape, shocked that the police would do that, and 594 00:32:35,880 --> 00:32:39,320 Speaker 2: also shocked that CNN was not interested. So he got 595 00:32:39,400 --> 00:32:43,120 Speaker 2: himself a meeting quickly with an enterprising reporter at KTLA, 596 00:32:43,520 --> 00:32:47,120 Speaker 2: the local Los Angeles television station. When he arrived, the 597 00:32:47,160 --> 00:32:50,120 Speaker 2: newsroom was a buzz. Magic Johnson's Lakers were on a 598 00:32:50,200 --> 00:32:52,360 Speaker 2: run and heading toward what was expected to be an 599 00:32:52,400 --> 00:32:57,200 Speaker 2: epic NBA Finals showdown against the freak Michael Jordan. Holiday 600 00:32:57,240 --> 00:33:00,240 Speaker 2: and the reporter entered a bear conference room. Holiday found 601 00:33:00,280 --> 00:33:03,760 Speaker 2: himself nervous, chatty, and recounting unprompted the events that led 602 00:33:03,840 --> 00:33:06,760 Speaker 2: him to the KTLA newsroom that day. It was a 603 00:33:06,800 --> 00:33:09,760 Speaker 2: helicopter that got my attention. It was too low. I 604 00:33:09,840 --> 00:33:11,720 Speaker 2: lived by the highway, so I hear them, but never 605 00:33:11,760 --> 00:33:14,560 Speaker 2: that low. And then there were the sirens and the cruisers. 606 00:33:14,680 --> 00:33:16,600 Speaker 2: I looked up my window and realized they were all 607 00:33:16,600 --> 00:33:19,240 Speaker 2: outside my door, right across the street. So I grabbed 608 00:33:19,280 --> 00:33:22,000 Speaker 2: my camcorder, brand new, not even out of the box. 609 00:33:22,240 --> 00:33:24,640 Speaker 2: I just hit the little button and pointed. I was 610 00:33:24,680 --> 00:33:26,720 Speaker 2: out on my balcony, so I had a straight shot. 611 00:33:26,960 --> 00:33:29,040 Speaker 2: CNN doesn't want it, says they can't run it, says 612 00:33:29,080 --> 00:33:31,080 Speaker 2: it's too much. I thought you guys might be able 613 00:33:31,080 --> 00:33:35,360 Speaker 2: to use it, and the reporter said nothing, just fidgeted 614 00:33:35,360 --> 00:33:38,480 Speaker 2: with the wires behind the television in the VCR. But 615 00:33:38,520 --> 00:33:40,680 Speaker 2: when he was done, he slid the VHS tape that 616 00:33:40,720 --> 00:33:43,760 Speaker 2: had Holidays so worked up out from the Manila envelope 617 00:33:43,800 --> 00:33:47,880 Speaker 2: and popped it into the VCR. And that sound plastic 618 00:33:47,960 --> 00:33:51,880 Speaker 2: hitting plastic, then the cartridge sliding back into the console, 619 00:33:52,240 --> 00:33:55,080 Speaker 2: the VHS tape in his grip, the creak of the 620 00:33:55,120 --> 00:33:58,440 Speaker 2: tape heads and spinning gears, the anticipatory sound of it 621 00:33:58,480 --> 00:34:01,720 Speaker 2: all had George Holiday's heart in his throat. The reporter 622 00:34:01,880 --> 00:34:05,600 Speaker 2: was calm, sitting back in his chair, notebook in his lap, 623 00:34:05,640 --> 00:34:09,440 Speaker 2: penned between his lips, staring at the TV. The sounds 624 00:34:09,440 --> 00:34:14,440 Speaker 2: of the KTLA newsroom keyboards clacking away, telephones ringing, pagers buzzing, 625 00:34:14,719 --> 00:34:17,959 Speaker 2: angry editors shouting, began to fall away as the sound 626 00:34:18,000 --> 00:34:21,000 Speaker 2: of the home video Holiday capture began to fully transfer 627 00:34:21,080 --> 00:34:26,440 Speaker 2: from the VHS tape to the tiny television speakers. Helicopters, sirens, 628 00:34:26,680 --> 00:34:29,800 Speaker 2: muffled shouting, and then the image came to life of 629 00:34:29,880 --> 00:34:33,600 Speaker 2: the TV screen. To accompany the sound, Holiday watched the 630 00:34:33,640 --> 00:34:39,360 Speaker 2: reporter lean in, transfixed its dark out nighttime. A white 631 00:34:39,400 --> 00:34:42,080 Speaker 2: Hyundai on the side of the road, three of its 632 00:34:42,080 --> 00:34:45,880 Speaker 2: four doors opened. A man, a black man, presumably his owner, 633 00:34:45,960 --> 00:34:49,520 Speaker 2: lying on the ground above him, four white Los Angeles 634 00:34:49,560 --> 00:34:54,360 Speaker 2: police officers above them, a helicopter shouting down, its powerful 635 00:34:54,400 --> 00:34:58,000 Speaker 2: floodlight on the scene, in effect providing big budget action 636 00:34:58,160 --> 00:35:01,240 Speaker 2: film quality lighting for George Holiday and his camera perched 637 00:35:01,239 --> 00:35:04,520 Speaker 2: a few yards away on his deck, videotaping the beating 638 00:35:04,560 --> 00:35:07,400 Speaker 2: that would set his city on fire, A beating that 639 00:35:07,560 --> 00:35:11,360 Speaker 2: shocked Americans, but a beating that did not shock NWA. 640 00:35:11,800 --> 00:35:14,000 Speaker 2: It was a beating they'd warned us about over and 641 00:35:14,080 --> 00:35:16,960 Speaker 2: over again on straight out of Compton. The sound of 642 00:35:17,000 --> 00:35:19,960 Speaker 2: their account on record was shocking, sure, but it was 643 00:35:20,000 --> 00:35:22,680 Speaker 2: nowhere near as shocking is the sound of the real thing, 644 00:35:23,200 --> 00:35:26,040 Speaker 2: the sound of a defenseless black man, a man whose 645 00:35:26,120 --> 00:35:28,879 Speaker 2: name America would soon come to know as Rodney King, 646 00:35:29,280 --> 00:35:32,680 Speaker 2: being struck fifty six times with batons by a gang 647 00:35:32,760 --> 00:35:38,480 Speaker 2: of white thugs, young, angry, violent, heavily armed LA cops, 648 00:35:39,160 --> 00:35:45,600 Speaker 2: defenseless on the ground, writhing in pain, struck fifty six times. 649 00:35:47,120 --> 00:35:51,279 Speaker 3: Anything the evidence is new, it's dramatic behind its devastating. 650 00:35:51,360 --> 00:35:54,319 Speaker 3: Of those Los Angeles police officers involved in the March 651 00:35:54,400 --> 00:35:56,920 Speaker 3: third beating, the dreck white coverage, one of. 652 00:35:56,920 --> 00:36:00,279 Speaker 1: The two officers was nearly the times that evening. That's 653 00:36:00,280 --> 00:36:04,360 Speaker 1: a got to be arrest, another call, saying sounds almost 654 00:36:04,400 --> 00:36:07,040 Speaker 1: as exciting as the last call. It was right out 655 00:36:07,040 --> 00:36:10,320 Speaker 1: of gorillas in the midst there's a professional organization. 656 00:36:10,400 --> 00:36:29,080 Speaker 5: Where do you think we are? 657 00:36:14,680 --> 00:36:39,160 Speaker 3: The the phrump that they tho becon King was high 658 00:36:39,200 --> 00:36:43,480 Speaker 3: on road and resist being arrest things that they never left. 659 00:36:44,080 --> 00:36:45,760 Speaker 1: I think it's a disgraced. 660 00:36:47,480 --> 00:36:50,080 Speaker 5: It's a professional organization. What do you think we are? 661 00:36:51,640 --> 00:36:55,120 Speaker 1: I'm Jake Brennan in this this Disgraceland. 662 00:37:19,880 --> 00:37:22,680 Speaker 2: Disgraceland was created by Yours Truly and is produced in 663 00:37:22,719 --> 00:37:26,080 Speaker 2: partnership with Double Elvis. Credits for this episode can be 664 00:37:26,160 --> 00:37:29,759 Speaker 2: found on the show notes page at disgracelampod dot com. 665 00:37:29,840 --> 00:37:30,799 Speaker 1: If you're listening as a. 666 00:37:30,760 --> 00:37:34,000 Speaker 6: Disgraceland All Access member, thank you for supporting the show. 667 00:37:34,080 --> 00:37:36,799 Speaker 6: We really appreciate it, and if not, you can become 668 00:37:36,840 --> 00:37:40,200 Speaker 6: a member right now by going to disgracelampod dot com 669 00:37:40,239 --> 00:37:44,600 Speaker 6: Slash Membership. Members can listen to every episode of Disgraceland 670 00:37:44,719 --> 00:37:48,600 Speaker 6: ad free, Plus you'll get one brand new exclusive episode 671 00:37:48,680 --> 00:37:52,880 Speaker 6: every month, weekly unscripted bonus episodes, special audio collections, and 672 00:37:52,960 --> 00:37:57,800 Speaker 6: early access to merchandise and events. Visit disgracelampod dot com 673 00:37:57,800 --> 00:38:01,000 Speaker 6: Slash Membership for details, Rate and review the show, and 674 00:38:01,000 --> 00:38:05,040 Speaker 6: follow us on Instagram, TikTok, Twitter, and Facebook at disgraceslampod 675 00:38:05,200 --> 00:38:09,080 Speaker 6: and on YouTube at YouTube dot com slash at disgrace Slampod, 676 00:38:10,080 --> 00:38:10,720 Speaker 6: Rock and Roller. 677 00:38:13,160 --> 00:38:14,719 Speaker 4: He's a bad down man.