1 00:00:01,080 --> 00:00:03,440 Speaker 1: Hey guys, Welcome to Disgraceland, which is brought to you 2 00:00:03,480 --> 00:00:06,360 Speaker 1: by Double Elvis. This week, we have a brand new 3 00:00:06,400 --> 00:00:09,760 Speaker 1: episode on Talking Heads in the Disgraceland feed and for 4 00:00:09,840 --> 00:00:13,840 Speaker 1: our All Access members and our Patreon and Apple subscription feeds. 5 00:00:13,960 --> 00:00:16,079 Speaker 1: Have you heard our recent episode on Willing Jennings. Get 6 00:00:16,120 --> 00:00:18,480 Speaker 1: in here. Check that out and make sure you're all 7 00:00:18,480 --> 00:00:21,200 Speaker 1: signed up for our all access content either on Apple 8 00:00:21,239 --> 00:00:24,800 Speaker 1: Podcasts or on Patreon to hear the Wayland episode along 9 00:00:24,840 --> 00:00:27,760 Speaker 1: with all other exclusive episodes and content that we have 10 00:00:27,840 --> 00:00:30,120 Speaker 1: going on over there and over in the feed for 11 00:00:30,280 --> 00:00:33,240 Speaker 1: music Land Stories, that's the fiction show from my company, 12 00:00:33,280 --> 00:00:36,239 Speaker 1: Double Elvis, produced in partnership with Starglow Media. We are 13 00:00:36,320 --> 00:00:41,160 Speaker 1: just over halfway through our third season featuring supermaginative storytelling 14 00:00:41,200 --> 00:00:44,559 Speaker 1: combined with the sounds of bomba, reggaeton, merengue and salsa. 15 00:00:44,720 --> 00:00:47,479 Speaker 1: So check that out as well. All right, people, let's 16 00:00:47,680 --> 00:00:53,120 Speaker 1: get into it, hey, discos. Need a little more disgrace 17 00:00:53,200 --> 00:00:56,920 Speaker 1: Land in your life, just to touch to get you through? Yeah, 18 00:00:57,000 --> 00:00:59,720 Speaker 1: me too. This is the podcast that comes after the 19 00:01:00,880 --> 00:01:20,800 Speaker 1: Welcome to Disgraceland, The After Party Welcome to the Disgraceland 20 00:01:20,880 --> 00:01:23,840 Speaker 1: bonus episode A Little Thing we like to call the 21 00:01:23,959 --> 00:01:26,600 Speaker 1: after party. This is the show after the show, the 22 00:01:26,640 --> 00:01:28,280 Speaker 1: party after the party, the bridge to get you from 23 00:01:28,280 --> 00:01:31,200 Speaker 1: one full episode of Disgraceland to the other, the backyard 24 00:01:31,240 --> 00:01:34,720 Speaker 1: to dig into the dirt. On this bonus episode, we 25 00:01:34,880 --> 00:01:39,000 Speaker 1: are talking about nineteen seventy seven in New York City. 26 00:01:39,360 --> 00:01:41,880 Speaker 1: It's the greatest time and place to be alive ever 27 00:01:41,920 --> 00:01:43,800 Speaker 1: in the history of humanity. I'm not sure we're going 28 00:01:43,840 --> 00:01:45,880 Speaker 1: to get into that because we are also talking about 29 00:01:46,200 --> 00:01:49,080 Speaker 1: talking Heads, which were featured in this week's full episode 30 00:01:49,080 --> 00:01:51,400 Speaker 1: of Disgraceland, And of course we're going to get into 31 00:01:51,400 --> 00:01:53,880 Speaker 1: some of the research that helped us put that episode together. 32 00:01:54,040 --> 00:01:57,240 Speaker 1: As always, your voicemails, your text, and a whole lot 33 00:01:57,240 --> 00:02:00,680 Speaker 1: of Rosie. All right, this goes, let's get into it. 34 00:02:10,400 --> 00:02:14,840 Speaker 1: Nineteen seventy seven New York City talking Heads release what 35 00:02:15,080 --> 00:02:17,960 Speaker 1: becomes their first hit, Psycho Killer, which may or may 36 00:02:18,000 --> 00:02:21,040 Speaker 1: not have been intentionally written about serial killer David berker 37 00:02:21,040 --> 00:02:24,720 Speaker 1: Witz aka the son of Sam, who was in that 38 00:02:24,880 --> 00:02:28,080 Speaker 1: very year of nineteen seventy seven, terrorizing New Yorkers like 39 00:02:28,120 --> 00:02:32,560 Speaker 1: the Psycho Killer that he was. Psycho Killer was a perfect, 40 00:02:33,040 --> 00:02:38,440 Speaker 1: perfect song for the time. Okay, guys, the lyric of course, 41 00:02:38,760 --> 00:02:41,960 Speaker 1: Kess Curse all that. The tune, it's just the way 42 00:02:42,000 --> 00:02:44,919 Speaker 1: it feels, the way it sounds. It's super tight. And 43 00:02:45,360 --> 00:02:47,119 Speaker 1: I mean I mean that in like a tense way. 44 00:02:47,160 --> 00:02:48,880 Speaker 1: I don't mean it in like it was played tight 45 00:02:48,919 --> 00:02:51,440 Speaker 1: and everybody played together. This is a ton of tension 46 00:02:51,440 --> 00:02:54,600 Speaker 1: in the way that that song feels, just like there 47 00:02:54,639 --> 00:02:57,000 Speaker 1: was a ton of tension in the summer of nineteen 48 00:02:57,040 --> 00:03:01,440 Speaker 1: seventy seven in New York City, major part of nineteen 49 00:03:01,480 --> 00:03:03,680 Speaker 1: seventy seven, not just the summer, the summer got really 50 00:03:03,720 --> 00:03:06,520 Speaker 1: fucked up, but really all of nineteen seventy seven in 51 00:03:06,840 --> 00:03:10,040 Speaker 1: New York. The song, of course, like I mentioned, it's 52 00:03:10,080 --> 00:03:13,600 Speaker 1: got that weird French hook that gives it this bit 53 00:03:13,600 --> 00:03:16,920 Speaker 1: of sophistication. You know, it makes it oh so Trey 54 00:03:17,040 --> 00:03:21,480 Speaker 1: New York cycle Killer kes Cerse that hook blaring from 55 00:03:21,480 --> 00:03:26,720 Speaker 1: New York City car stereo speakers, transistor radios, boomboxes, that hook, 56 00:03:26,800 --> 00:03:30,200 Speaker 1: that kes Cersey. It's it was I got to think 57 00:03:30,480 --> 00:03:35,200 Speaker 1: embedded in the subconscious of now Rogers and Bernard Edwards 58 00:03:35,440 --> 00:03:39,920 Speaker 1: from the band Chic, who at that exact moment in time, 59 00:03:40,680 --> 00:03:44,360 Speaker 1: right when Cycle Killer's out there permeating you know the subconscious. 60 00:03:44,360 --> 00:03:46,760 Speaker 1: Like I said of New Yorkers, it's being blasted through 61 00:03:46,800 --> 00:03:50,400 Speaker 1: speakers everywhere. Those two dudes, now Rogers and Bernard Edwards 62 00:03:50,440 --> 00:03:52,800 Speaker 1: from Chic are sitting down to write their first hit 63 00:03:53,160 --> 00:03:58,600 Speaker 1: that also included a sophisticated bit of En Francis in 64 00:03:58,680 --> 00:04:01,760 Speaker 1: the hook, but with one hundred percent less irony, and 65 00:04:01,800 --> 00:04:05,600 Speaker 1: they give us they freak say Chic. It's just a 66 00:04:05,640 --> 00:04:11,480 Speaker 1: reminder that Psycho Killer nailed the moment. Okay, nineteen seventy 67 00:04:11,480 --> 00:04:15,760 Speaker 1: seven New York City, possibly one of the greatest moments 68 00:04:15,760 --> 00:04:18,520 Speaker 1: in human history when it comes to the creation of 69 00:04:18,720 --> 00:04:23,960 Speaker 1: great music. So much societal drama leading to so much 70 00:04:24,160 --> 00:04:28,279 Speaker 1: incredible music. You've got, like I mentioned, the son of 71 00:04:28,320 --> 00:04:32,400 Speaker 1: Sam running around randomly shooting women. The forty four caliber 72 00:04:32,440 --> 00:04:35,560 Speaker 1: killer as he was called, shot and killed six people, 73 00:04:35,640 --> 00:04:40,200 Speaker 1: wounded eleven, and freaked everybody out in the process. New 74 00:04:40,279 --> 00:04:42,880 Speaker 1: York City was scared, and some of you were there, 75 00:04:42,920 --> 00:04:46,719 Speaker 1: and you can speak about this with more insight than 76 00:04:46,800 --> 00:04:49,479 Speaker 1: I can. I'm only going off of the books that 77 00:04:49,520 --> 00:04:53,680 Speaker 1: I've read, the documentaries that I've watched, some people that 78 00:04:53,720 --> 00:04:57,280 Speaker 1: I've spoken to, of course, the music that I've listened to, 79 00:04:57,600 --> 00:05:02,680 Speaker 1: and even the movies, Son of Sam, the Summer of Sam. 80 00:05:02,720 --> 00:05:04,960 Speaker 1: I should say, the Spike Lee film really kind of 81 00:05:05,000 --> 00:05:07,560 Speaker 1: nails it in a Spike Lee kind of way. But 82 00:05:07,640 --> 00:05:09,799 Speaker 1: during that time, like I said, you got burker WIT's 83 00:05:09,839 --> 00:05:12,640 Speaker 1: running around. You also have there's no Internet, of course, 84 00:05:12,680 --> 00:05:15,920 Speaker 1: but the tabloid newspapers they have the attention of everybody. 85 00:05:15,960 --> 00:05:19,240 Speaker 1: They're piling onto this whole, this whole serial killer thing 86 00:05:19,279 --> 00:05:21,760 Speaker 1: that's happening. In part they're trying to draw the killer out, 87 00:05:22,240 --> 00:05:24,839 Speaker 1: but they're also of course stoking all this fear with 88 00:05:24,880 --> 00:05:28,520 Speaker 1: their sensation of this headlines and their NonStop coverage. New 89 00:05:28,600 --> 00:05:33,760 Speaker 1: York City itself literally a mess, okay, trash everywhere. New 90 00:05:33,839 --> 00:05:36,080 Speaker 1: York City's broke. New York City can't afford to pay 91 00:05:36,080 --> 00:05:39,480 Speaker 1: its city workers, so the garbage workers just stopped working. 92 00:05:39,520 --> 00:05:42,719 Speaker 1: They went on strike, and the trash piled up everywhere 93 00:05:42,760 --> 00:05:44,800 Speaker 1: on street corners. Like look at the pictures, go back 94 00:05:44,839 --> 00:05:48,520 Speaker 1: Google pictures from New York City in nineteen seventy seven. 95 00:05:48,600 --> 00:05:51,000 Speaker 1: This trash everywhere. And I'm not talking about just like 96 00:05:51,320 --> 00:05:54,000 Speaker 1: you know, candy wrappers blowing down the street. I'm talking 97 00:05:54,000 --> 00:05:57,680 Speaker 1: about piles and piles of garbage on street corners. So 98 00:05:57,720 --> 00:06:01,320 Speaker 1: you get that going on the Bronx. Huge part of 99 00:06:01,360 --> 00:06:05,479 Speaker 1: New York City was on fire again, literally on fire, 100 00:06:06,080 --> 00:06:10,839 Speaker 1: large swaths of worthless real estate burning nightly, huge buildings 101 00:06:10,839 --> 00:06:13,560 Speaker 1: being burnt to the ground, set a flame largely by 102 00:06:13,640 --> 00:06:15,640 Speaker 1: landlords looking to get out from under bad real estate 103 00:06:15,680 --> 00:06:20,120 Speaker 1: investments through fire insurance scams. Just crazy stuff happening in 104 00:06:20,160 --> 00:06:23,320 Speaker 1: seventy seven and close by, also in the Bronx nearby 105 00:06:23,440 --> 00:06:27,200 Speaker 1: Yankee Stadium, massive drama playing out all summer and all 106 00:06:27,279 --> 00:06:31,880 Speaker 1: fall between their egomaniac star Reggie Jackson, their old school 107 00:06:31,920 --> 00:06:36,159 Speaker 1: manager Billy Martin, and megalomaniac owner George Steinbrenner. Every night, 108 00:06:36,560 --> 00:06:39,680 Speaker 1: every night, it seemed, there's all this drama. 109 00:06:39,320 --> 00:06:46,080 Speaker 2: Playing out everywhere at a Yankee Stadium aka the Bronx, Zoo, benchings, brawls, beamball, 110 00:06:46,400 --> 00:06:49,039 Speaker 2: all of it. As the Yankees are scrapping their way 111 00:06:49,080 --> 00:06:52,320 Speaker 2: to their twenty first World Series win championship. I should say, 112 00:06:52,800 --> 00:06:54,479 Speaker 2: hurts me to say they had to go through the 113 00:06:54,480 --> 00:06:57,680 Speaker 2: Red Sox to get there. I haven't even mentioned all this, 114 00:06:57,920 --> 00:07:02,159 Speaker 2: all this, and I haven't even mentioned the blackout yet. Okay, 115 00:07:02,279 --> 00:07:04,080 Speaker 2: just imagine the city you live in right now, or 116 00:07:04,120 --> 00:07:06,760 Speaker 2: the town or whatever the state. Imagine where you're at 117 00:07:06,920 --> 00:07:09,279 Speaker 2: and imagine everything I just mentioned. You got a serial killer, 118 00:07:09,400 --> 00:07:12,160 Speaker 2: you have garbage piling up, you have buildings burning, you 119 00:07:12,200 --> 00:07:15,480 Speaker 2: have the tabloids going crazy, you have this insane baseball 120 00:07:15,640 --> 00:07:18,440 Speaker 2: thing that's happening, this baseball team that's captured the imagination 121 00:07:18,520 --> 00:07:19,160 Speaker 2: of everybody. 122 00:07:19,240 --> 00:07:23,160 Speaker 1: And then in the middle of all that, the lights 123 00:07:23,240 --> 00:07:28,960 Speaker 1: go out everywhere, literally all the electricity. It's the summer, 124 00:07:29,520 --> 00:07:34,080 Speaker 1: it's sweltering out. It's so hot, no air conditioners, no lights. 125 00:07:34,840 --> 00:07:37,040 Speaker 1: Just imagine that. Okay, right in the middle of a 126 00:07:37,080 --> 00:07:43,640 Speaker 1: heat wave. Can you imagine how freaked out you would be? Insanity? Okay, 127 00:07:44,000 --> 00:07:46,320 Speaker 1: there were more fires. Of course, there's looting when the 128 00:07:46,320 --> 00:07:50,240 Speaker 1: blackout happens, more riots, three hundred million dollars in damages, 129 00:07:50,320 --> 00:07:55,640 Speaker 1: Businesses get destroyed, people's homes get destroyed. So my point 130 00:07:55,720 --> 00:07:59,520 Speaker 1: is that psycho killer by Talking Heads, we get into 131 00:07:59,520 --> 00:08:03,480 Speaker 1: it in this episode on Talking Heads. It just I've 132 00:08:03,520 --> 00:08:05,080 Speaker 1: thought about the subject a lot in my life, but 133 00:08:05,360 --> 00:08:08,040 Speaker 1: this episode really really made me think about it again. Okay, 134 00:08:08,080 --> 00:08:18,080 Speaker 1: this incredible mix of activity, of human drama, of human failure, murders, garbage, arson, egos, 135 00:08:18,680 --> 00:08:23,320 Speaker 1: huge personalities, serial killers, blackouts, looting, violence, all of it 136 00:08:23,880 --> 00:08:28,720 Speaker 1: contributed to quite possibly the greatest music of all time. 137 00:08:29,640 --> 00:08:32,440 Speaker 1: Nineteen seventy seven didn't just inspire Cycle Killer by the 138 00:08:32,440 --> 00:08:35,120 Speaker 1: Talking Heads, which came out in December of that year, 139 00:08:35,200 --> 00:08:38,079 Speaker 1: fully steeped in all the chaos of the twelve months prior, 140 00:08:38,480 --> 00:08:40,959 Speaker 1: but consider the music released in nineteen seventy eight by 141 00:08:40,960 --> 00:08:44,160 Speaker 1: New Yorkers and New York adjacent artists. Okay, I understand 142 00:08:44,240 --> 00:08:45,800 Speaker 1: I'm going to mention some artists here that aren't from 143 00:08:45,840 --> 00:08:48,000 Speaker 1: New York, but we're definitely in and around New York 144 00:08:48,640 --> 00:08:53,600 Speaker 1: in nineteen seventy seven, taking in all of this influence 145 00:08:54,400 --> 00:08:56,240 Speaker 1: and putting it into the music that they released in 146 00:08:56,320 --> 00:09:00,520 Speaker 1: nineteen seventy eight, Blondies Parallel Lines Album, Bruce Springsteen's Darkness 147 00:09:00,559 --> 00:09:03,800 Speaker 1: on the Edge of Town, Billy Joel's fifty Second Street, 148 00:09:04,280 --> 00:09:07,520 Speaker 1: Ramones Rode to Ruin, and of course The Rolling Stones 149 00:09:07,679 --> 00:09:09,680 Speaker 1: one of the greatest New York albums of all time. 150 00:09:09,800 --> 00:09:13,360 Speaker 1: Some Girls. Okay, and again, I know it's written by Brits, 151 00:09:13,400 --> 00:09:15,600 Speaker 1: but it is about as New York of a record 152 00:09:15,600 --> 00:09:17,920 Speaker 1: as you're going to get. And I haven't even yet 153 00:09:17,960 --> 00:09:22,320 Speaker 1: mentioned anything about how nineteen seventy seven also inspired an 154 00:09:22,559 --> 00:09:26,320 Speaker 1: entire new genre of music, and I'm not talking about 155 00:09:26,320 --> 00:09:30,040 Speaker 1: punk rock. I'm talking about hip hop. Okay, punk rock. 156 00:09:30,440 --> 00:09:34,680 Speaker 1: The roots of punk rock started much earlier, late sixties 157 00:09:34,679 --> 00:09:37,959 Speaker 1: with the Stooges and Velvet Underground and early seventies with 158 00:09:39,520 --> 00:09:43,000 Speaker 1: the New York Dolls, but hip hop comes later in 159 00:09:43,040 --> 00:09:46,880 Speaker 1: seventy seven, is part, very much part of the time 160 00:09:46,920 --> 00:09:51,120 Speaker 1: where that spark, that first atomic bomb of influence happens. 161 00:09:51,400 --> 00:09:54,319 Speaker 1: The Bronx might have been burning, but it was also 162 00:09:54,360 --> 00:09:57,400 Speaker 1: a cauldron of inspiration cooking up a whole new kind 163 00:09:57,440 --> 00:10:00,280 Speaker 1: of music that in nineteen seventy eight resulted in Music 164 00:10:00,280 --> 00:10:04,040 Speaker 1: Obsessive's first hearing about the likes of DJ Coolhirk, The 165 00:10:04,120 --> 00:10:08,400 Speaker 1: Treacherous Three, the Cold Crush Brothers, all hip hop pioneers 166 00:10:08,440 --> 00:10:10,560 Speaker 1: from New York who would go on to build a 167 00:10:10,600 --> 00:10:14,079 Speaker 1: genre that would completely change the music industry for the 168 00:10:14,120 --> 00:10:18,880 Speaker 1: next half century. That all started in nineteen seventy seven 169 00:10:19,000 --> 00:10:22,000 Speaker 1: and New York City. It gave us talking head cycle 170 00:10:22,080 --> 00:10:24,680 Speaker 1: Killer featured in this week's episode of Disgrace, but it 171 00:10:24,720 --> 00:10:28,880 Speaker 1: also gave us so much more. Has there ever been 172 00:10:28,920 --> 00:10:32,680 Speaker 1: a time in place that's been more influential on music 173 00:10:33,000 --> 00:10:36,960 Speaker 1: than New York City in nineteen seventy seven. I don't know, man, 174 00:10:37,280 --> 00:10:39,600 Speaker 1: I don't know. I'm thinking, and I'm having a hard 175 00:10:39,640 --> 00:10:43,240 Speaker 1: time coming up with something. If there is, what is it? 176 00:10:43,280 --> 00:10:46,960 Speaker 1: Is it Seattle in the nineties, Is it La in 177 00:10:47,040 --> 00:10:50,360 Speaker 1: the eighties? Is it Tapanga Canyon in the sixties? Detroit 178 00:10:50,400 --> 00:10:53,480 Speaker 1: in the sixties, motown all that? Does anything compete with 179 00:10:53,559 --> 00:10:57,000 Speaker 1: New York City in nineteen seventy seven. Get at me 180 00:10:57,040 --> 00:10:59,559 Speaker 1: in the Patreon chat, let me know. We'll chop it 181 00:10:59,600 --> 00:11:01,040 Speaker 1: up in the chain. Or you can hit me up 182 00:11:01,120 --> 00:11:04,800 Speaker 1: at this gray lampod on Instagram, on x on Facebook, 183 00:11:05,000 --> 00:11:07,240 Speaker 1: you can call me, send me a text, let me know, 184 00:11:07,559 --> 00:11:10,720 Speaker 1: let me know what? What is the time? In place? Again? 185 00:11:11,200 --> 00:11:13,280 Speaker 1: That's better than New York in nineteen seventy seven? Is 186 00:11:13,360 --> 00:11:15,439 Speaker 1: as Seattle in the nineties? Is at La in the eighties? 187 00:11:15,480 --> 00:11:18,280 Speaker 1: Is a Topega Canny in the sixties? Detroit in the sixties? 188 00:11:18,840 --> 00:11:21,480 Speaker 1: Is anything compared with New York City in nineteen seventy seven? 189 00:11:21,800 --> 00:11:24,160 Speaker 1: What am I forgetting? Let me know? Send me a text, 190 00:11:24,440 --> 00:11:27,319 Speaker 1: call me, leave me a voicemail six one seven, nine 191 00:11:27,360 --> 00:11:53,880 Speaker 1: oh six sixty six three eight keskers all right back 192 00:11:53,920 --> 00:11:57,000 Speaker 1: into it here, guys, I should have mentioned this at 193 00:11:57,000 --> 00:12:00,200 Speaker 1: the top. If things sound a little different to you today, 194 00:12:00,880 --> 00:12:04,800 Speaker 1: it's because I'm recording in a different place. I'm recording 195 00:12:04,840 --> 00:12:09,760 Speaker 1: in this crazy burn. I'm doing a little working vacation 196 00:12:10,160 --> 00:12:14,360 Speaker 1: for the next few weeks before my actual vacation, which 197 00:12:14,400 --> 00:12:17,880 Speaker 1: means I'm traveling with my family, but I'm working. They're not, 198 00:12:19,520 --> 00:12:22,640 Speaker 1: And I'm set up in this barn and it's wild. 199 00:12:22,640 --> 00:12:25,280 Speaker 1: I'm on the third floor. I can literally smell hey 200 00:12:25,600 --> 00:12:30,000 Speaker 1: and horseshit, and that's not a bad thing. And you know, 201 00:12:30,120 --> 00:12:32,320 Speaker 1: I'm trying to do this. I don't quite yet know 202 00:12:32,400 --> 00:12:34,160 Speaker 1: how it's going to sound in the final mix, but 203 00:12:34,240 --> 00:12:37,120 Speaker 1: to me, it feels good, it feels right. I kind 204 00:12:37,120 --> 00:12:38,520 Speaker 1: of want to keep talking to you, guys. I don't 205 00:12:38,520 --> 00:12:41,120 Speaker 1: want to stop. I'm into this, but I just wanted 206 00:12:41,120 --> 00:12:42,600 Speaker 1: to let you know. If there's a difference in the 207 00:12:42,640 --> 00:12:45,000 Speaker 1: sound quality, that is why. Hopefully it's not too too 208 00:12:45,080 --> 00:12:48,120 Speaker 1: much of a difference. Speaking equality, we have some quality 209 00:12:48,160 --> 00:12:52,040 Speaker 1: merch for you, Disgraceland merch. All right, our All Access 210 00:12:52,080 --> 00:12:54,320 Speaker 1: members got first crack at it. Then we opened it 211 00:12:54,400 --> 00:12:56,600 Speaker 1: up to everybody else a few weeks back. In case 212 00:12:56,640 --> 00:12:59,640 Speaker 1: you didn't hear or forgot, go to disgracelandpod dot com 213 00:12:59,679 --> 00:13:03,720 Speaker 1: slash merch all right, we got new Disgraceland shirts. Got 214 00:13:03,720 --> 00:13:06,640 Speaker 1: this cool rock a Roller shirt as well. It's based 215 00:13:06,679 --> 00:13:09,000 Speaker 1: on the Coca Cola logo. You can probably figure out 216 00:13:09,000 --> 00:13:11,160 Speaker 1: what that is. And of course we have some pins. 217 00:13:11,240 --> 00:13:13,880 Speaker 1: Go grab that be for It's all gone, all right. 218 00:13:14,240 --> 00:13:17,719 Speaker 1: Sources for this week's episode. This is the thing we've 219 00:13:17,760 --> 00:13:21,560 Speaker 1: been talking about recently, in like the last six months, 220 00:13:21,559 --> 00:13:23,640 Speaker 1: in these after party episodes, have been making a point 221 00:13:23,679 --> 00:13:26,960 Speaker 1: to talk about the sources and the source material. I 222 00:13:26,960 --> 00:13:29,040 Speaker 1: think this is something that a large part of you 223 00:13:29,120 --> 00:13:32,120 Speaker 1: care about. We talked a lot before about recommendations about 224 00:13:32,120 --> 00:13:36,560 Speaker 1: books and music and television, and this gives you a 225 00:13:36,600 --> 00:13:38,800 Speaker 1: good insight into the books and music and television that 226 00:13:38,960 --> 00:13:43,000 Speaker 1: directly contributes to the making of these episodes. We approached 227 00:13:43,040 --> 00:13:45,920 Speaker 1: this story with the idea for this episode to kind 228 00:13:45,960 --> 00:13:48,079 Speaker 1: of tell them a and B story of eco way 229 00:13:48,080 --> 00:13:51,080 Speaker 1: between David Byrne and the Talking Heads and David Berkowitz 230 00:13:51,120 --> 00:13:54,319 Speaker 1: aka the son of Sam to Dave's Too, Dave's to 231 00:13:54,480 --> 00:13:56,800 Speaker 1: David's I should say, we wanted to show how some 232 00:13:56,840 --> 00:14:02,120 Speaker 1: of their similar characteristics like maniacal focus, ego, unique writing style, 233 00:14:02,840 --> 00:14:06,520 Speaker 1: trouble relating with other people. Sorry, I don't know what 234 00:14:06,640 --> 00:14:08,679 Speaker 1: I'm laughing. I shouldn't be. We wanted to show how 235 00:14:08,720 --> 00:14:11,480 Speaker 1: those unique and similar characteristics could be channeled toward, in 236 00:14:11,520 --> 00:14:15,720 Speaker 1: one case, creativity and in the other case destruction. David Byrne, 237 00:14:15,720 --> 00:14:18,520 Speaker 1: of course, was able to find his community and creative outlet, 238 00:14:19,640 --> 00:14:23,160 Speaker 1: his quirks, his drive, his focus, all the weird character 239 00:14:23,160 --> 00:14:26,760 Speaker 1: traits that make up David Byrne made him famous. And 240 00:14:26,920 --> 00:14:29,520 Speaker 1: David Berkerwitz wasn't quite able to find that connection that 241 00:14:29,600 --> 00:14:32,840 Speaker 1: he felt he was cut off from in society, and 242 00:14:32,840 --> 00:14:35,480 Speaker 1: he channeled his rage and his focus and his lack 243 00:14:35,480 --> 00:14:39,800 Speaker 1: of connection toward destroying the world that rejected him, or 244 00:14:39,800 --> 00:14:40,640 Speaker 1: at least trying to. 245 00:14:41,040 --> 00:14:41,160 Speaker 3: So. 246 00:14:41,200 --> 00:14:42,680 Speaker 1: We used a bunch of books for this one, Okay, 247 00:14:42,720 --> 00:14:45,200 Speaker 1: both for the true crime angle and for the music angle. First, 248 00:14:45,320 --> 00:14:49,000 Speaker 1: let's talk true crime in world building. There's a great book, great, great, great, 249 00:14:49,000 --> 00:14:52,200 Speaker 1: great great book. I read it long before I started disgracing, 250 00:14:52,240 --> 00:14:55,840 Speaker 1: called Ladies and Gentlemen, The Bronx Is Burning nineteen seventy seven. 251 00:14:55,920 --> 00:14:58,840 Speaker 1: Baseball politics in the Battle for the Soul of a 252 00:14:58,880 --> 00:15:03,320 Speaker 1: City by Jonathan If you guys wanted an expansion on 253 00:15:03,400 --> 00:15:05,720 Speaker 1: what I was talking about at the beginning of this episode. 254 00:15:05,840 --> 00:15:10,160 Speaker 1: This is the book to go to. It perfectly encapsulates 255 00:15:11,120 --> 00:15:15,080 Speaker 1: and expands on everything I just mentioned. It even gets 256 00:15:15,120 --> 00:15:16,920 Speaker 1: more into the music. It's everything. I remember my dad 257 00:15:16,960 --> 00:15:18,400 Speaker 1: recommended this book to me, and he was like, it's 258 00:15:18,400 --> 00:15:22,560 Speaker 1: everything you love. It's baseball, it's punk rock, and it's politics. 259 00:15:22,720 --> 00:15:25,360 Speaker 1: Get into it. I don't love politics, but I'm interested 260 00:15:25,400 --> 00:15:27,320 Speaker 1: in history. I think that's what he meant, and this 261 00:15:27,480 --> 00:15:31,040 Speaker 1: book just nails the fucking history. The fiscal crisis that 262 00:15:31,120 --> 00:15:33,480 Speaker 1: I mentioned that New York was going through the subway, 263 00:15:33,520 --> 00:15:35,600 Speaker 1: I didn't even mention the subway strikes, but the garbage 264 00:15:35,600 --> 00:15:38,840 Speaker 1: strikes the Yankees, I didn't mention the Mets. I'm kind 265 00:15:38,840 --> 00:15:43,240 Speaker 1: of saving the Mets guys for the disgraceland the disco 266 00:15:43,360 --> 00:15:46,880 Speaker 1: sports fans out there. There's a nineteen eighty six Mets 267 00:15:47,000 --> 00:15:50,040 Speaker 1: episode that I'm about to start researching. But of course, 268 00:15:50,080 --> 00:15:53,800 Speaker 1: the birth of punk rock is well covered in this book, 269 00:15:53,880 --> 00:15:56,240 Speaker 1: as is Studio fifty four, which I did not mention. 270 00:15:56,920 --> 00:16:02,280 Speaker 1: Spike Lee's Summer of Sam does an amazing job at 271 00:16:02,400 --> 00:16:04,880 Speaker 1: melding all of these different elements as well that made 272 00:16:04,920 --> 00:16:07,080 Speaker 1: up the world of New York in nineteen seventy seven, 273 00:16:08,240 --> 00:16:12,840 Speaker 1: especially the disco piece of it, and sort of this 274 00:16:13,040 --> 00:16:17,640 Speaker 1: part of disco that doesn't get a lot of historical traction, 275 00:16:18,000 --> 00:16:20,800 Speaker 1: but I feel like Spike Lead nailed it, and it's 276 00:16:20,880 --> 00:16:27,720 Speaker 1: so weird that sorry for speaking slowly here, I'm trying 277 00:16:27,720 --> 00:16:30,480 Speaker 1: to trying to articulate this in the best way. There's 278 00:16:30,520 --> 00:16:33,880 Speaker 1: this thing in Summer of Sam where disco has permeated 279 00:16:34,320 --> 00:16:39,040 Speaker 1: the working class outer burrows of Manhattan. Of course that's 280 00:16:39,080 --> 00:16:41,680 Speaker 1: part of Saturday Night Fever. It's a huge piece of it. 281 00:16:41,720 --> 00:16:44,160 Speaker 1: But I think nowadays, aside from Saturday Night Fever, when 282 00:16:44,200 --> 00:16:45,760 Speaker 1: we think of disco, we think of sort of like 283 00:16:46,000 --> 00:16:49,440 Speaker 1: the elite Manhattan Studio fifty four version of it, and 284 00:16:49,480 --> 00:16:52,640 Speaker 1: you really get into the working class character element of 285 00:16:52,680 --> 00:16:57,200 Speaker 1: disco with Spike Lee's storytelling your great film. If you 286 00:16:57,200 --> 00:17:00,000 Speaker 1: haven't seen it, check that out as well. We also 287 00:17:00,040 --> 00:17:01,960 Speaker 1: so for the true crime side of this, we looked 288 00:17:01,960 --> 00:17:04,119 Speaker 1: at this book called The Ultimate Evil, The Search for 289 00:17:04,200 --> 00:17:08,000 Speaker 1: the Sons of Sam by Mary Terry. This gets into 290 00:17:08,119 --> 00:17:13,560 Speaker 1: some admittedly pretty bonkers conspiracy theories that we didn't we 291 00:17:13,600 --> 00:17:16,080 Speaker 1: didn't really touch upon in this episode, including speculation that 292 00:17:16,160 --> 00:17:19,560 Speaker 1: David Berkowitz did not act alone. If anybody wants to 293 00:17:19,600 --> 00:17:22,800 Speaker 1: sidebar that in Patreon, I'm happy to talk about it 294 00:17:22,800 --> 00:17:25,159 Speaker 1: and happy to hear your theories, happy to hear why 295 00:17:25,720 --> 00:17:28,520 Speaker 1: you might believe in this conspiracy theory here that David 296 00:17:28,480 --> 00:17:31,679 Speaker 1: Berkowitz did not act alone. But a lot of the 297 00:17:31,720 --> 00:17:36,520 Speaker 1: details that we use that have been exhaustively researched come 298 00:17:36,560 --> 00:17:38,879 Speaker 1: from this book, this Mariy Terry book. He was a 299 00:17:38,920 --> 00:17:41,280 Speaker 1: reporter for the New York Post, and this book was 300 00:17:41,280 --> 00:17:44,760 Speaker 1: the inspiration for the Netflix series The Sons of Sam 301 00:17:44,800 --> 00:17:49,399 Speaker 1: A Descent into Darkness, which we can recommend as well. Guys, 302 00:17:49,440 --> 00:17:52,119 Speaker 1: I can't get enough of this era in nineteen seventy 303 00:17:52,119 --> 00:17:59,160 Speaker 1: seven in New York City. If I haven't mentioned any books, documentaries, films, 304 00:18:00,960 --> 00:18:03,680 Speaker 1: even records, anything from this era that you guys think 305 00:18:03,720 --> 00:18:06,399 Speaker 1: I might be interested in, jump into the Patreon chat. 306 00:18:06,760 --> 00:18:10,320 Speaker 1: Let's talk about it there, Let's share some links. You 307 00:18:10,359 --> 00:18:13,000 Speaker 1: can always hit me up, as you know, at Grace 308 00:18:13,080 --> 00:18:15,640 Speaker 1: Lampod on Instagram and x and of course you can 309 00:18:15,800 --> 00:18:18,080 Speaker 1: call me uh six one seven nine oh six six 310 00:18:18,240 --> 00:18:21,040 Speaker 1: six three eight and send me a text or leave 311 00:18:21,040 --> 00:18:24,359 Speaker 1: me a voicemail, just like Lisa from The four two five. 312 00:18:25,760 --> 00:18:28,720 Speaker 1: I think, Lisa here from Seattle, Washington. 313 00:18:29,840 --> 00:18:36,919 Speaker 3: I'm a newer podcast member of yours, and I have 314 00:18:37,040 --> 00:18:38,360 Speaker 3: some weird ones for you. 315 00:18:38,480 --> 00:18:42,520 Speaker 1: I've got Tornado O'Connor, would be a good and interesting 316 00:18:42,560 --> 00:18:46,480 Speaker 1: one to kind of look. 317 00:18:46,320 --> 00:18:49,400 Speaker 3: Into Marky Mark and the Punky Munch, just. 318 00:18:49,359 --> 00:18:52,800 Speaker 1: Because Marky Mark is kind of a piece of shit 319 00:18:52,920 --> 00:18:55,480 Speaker 1: and the I don't think people know that. And then 320 00:18:55,520 --> 00:18:58,240 Speaker 1: also Chris Cross, Chris Cross has a cavity. 321 00:18:59,320 --> 00:18:59,680 Speaker 3: All right. 322 00:18:59,760 --> 00:19:03,080 Speaker 1: Thank fights, Lisa, thank you so much. Thanks for your 323 00:19:03,119 --> 00:19:05,880 Speaker 1: new listenership out there, all the way out there in Seattle. 324 00:19:06,040 --> 00:19:10,679 Speaker 1: We appreciate it. Shnead O'Connor. Yes, that would be a 325 00:19:10,760 --> 00:19:14,439 Speaker 1: very interesting one, a very sad one. I'm hesitant to 326 00:19:14,440 --> 00:19:16,840 Speaker 1: dig into that. I'm in a good headspace, Lisa. I'm 327 00:19:16,840 --> 00:19:19,240 Speaker 1: not gonna lie. I'm feeling good. It's the summer. Things 328 00:19:19,240 --> 00:19:22,320 Speaker 1: are a little bit stressful, but you know that's the 329 00:19:22,400 --> 00:19:25,119 Speaker 1: stress I can handle. Got no dark thoughts going on, 330 00:19:25,200 --> 00:19:28,639 Speaker 1: no depression lately, guys. I'm feeling good. Shnead O'Connor. Lisa 331 00:19:28,640 --> 00:19:31,640 Speaker 1: feels like she's gonna bump me out, though, but being 332 00:19:31,680 --> 00:19:33,919 Speaker 1: bummed out by subject matter has never deterred me. In 333 00:19:33,960 --> 00:19:35,520 Speaker 1: the past. Just you know, I'm trying to have like 334 00:19:35,560 --> 00:19:38,000 Speaker 1: a you know, cool, easy breezy summer here, Lisa. So, 335 00:19:38,040 --> 00:19:39,960 Speaker 1: I don't know that I'm going to get into Shanad 336 00:19:40,040 --> 00:19:42,840 Speaker 1: anytime soon, but perhaps in the future Shnad is on 337 00:19:42,880 --> 00:19:47,080 Speaker 1: the list. You'll be happy to know. Chris Cross, however, 338 00:19:47,440 --> 00:19:51,280 Speaker 1: do you mean Christopher Cross? Sailing that Christopher Cross? Or 339 00:19:51,320 --> 00:19:53,720 Speaker 1: do you mean Chriss Cross? Warm it up, kid, that 340 00:19:53,880 --> 00:19:56,960 Speaker 1: Criss Cross. Let me know who else did you mention? 341 00:19:57,040 --> 00:20:00,359 Speaker 1: I can't remember, Lisa callback six one seven, six six 342 00:20:00,680 --> 00:20:03,800 Speaker 1: three at callback anytime. Great to have you. Thanks for 343 00:20:03,840 --> 00:20:06,159 Speaker 1: becoming a newly minted disco all right, who else we 344 00:20:06,200 --> 00:20:08,920 Speaker 1: got here? Let's hear from Mike in the eight one two. 345 00:20:09,960 --> 00:20:13,680 Speaker 3: Hey Jake, this is Mike from the eight one two 346 00:20:14,760 --> 00:20:19,440 Speaker 3: calling to talk about a really good music scene. It's 347 00:20:19,480 --> 00:20:24,320 Speaker 3: the one here in my hometown of Bloomington, Indiana. It 348 00:20:24,520 --> 00:20:30,000 Speaker 3: stretches way back into the nineteen twenties and thirties. Not 349 00:20:30,119 --> 00:20:37,040 Speaker 3: only do we have Hogy Carmichael, but we've got a 350 00:20:37,080 --> 00:20:41,879 Speaker 3: few other really amazing people that have come out of 351 00:20:41,920 --> 00:20:48,080 Speaker 3: the Bloomington scene. As far as alternative or punk or 352 00:20:49,200 --> 00:20:53,960 Speaker 3: you know, weirdo music, We've got the MX eighty sound, 353 00:20:55,640 --> 00:21:01,320 Speaker 3: We've got the connections to the Zero Boys, and there's 354 00:21:01,359 --> 00:21:03,800 Speaker 3: a whole bunch of other really great music that has 355 00:21:03,800 --> 00:21:08,360 Speaker 3: come out of Bloomington, Indiana. Does it compare to scenes 356 00:21:08,400 --> 00:21:12,440 Speaker 3: like New York or Chicago or Los Angeles, No, it doesn't. 357 00:21:12,560 --> 00:21:16,600 Speaker 3: But it's all really really good music. And here's a 358 00:21:16,640 --> 00:21:19,560 Speaker 3: shameless plug. If anybody wants to hear more about it, 359 00:21:19,880 --> 00:21:25,320 Speaker 3: check out my podcast called Down in Bloomington and you 360 00:21:25,359 --> 00:21:28,960 Speaker 3: can find that anywhere where you find your podcast. 361 00:21:30,080 --> 00:21:32,840 Speaker 1: Rock and roll on Yo, Mike, thanks for the call. 362 00:21:33,200 --> 00:21:37,880 Speaker 1: No disrespect to Bloomington, Indiana. But when you're reaching back 363 00:21:37,880 --> 00:21:41,680 Speaker 1: to the twenties and thirties for your influences to make 364 00:21:41,720 --> 00:21:44,800 Speaker 1: your point, I'm kidding and I'm being as smart ass 365 00:21:44,840 --> 00:21:47,360 Speaker 1: I get you. No disrespect to Hogey Carmichael, all right. 366 00:21:48,119 --> 00:21:51,399 Speaker 1: I think Hogy Carmichael shows up in our Miles Davis episode. 367 00:21:51,920 --> 00:21:54,400 Speaker 1: I'm not sure if you've heard that, Mike, but thanks 368 00:21:54,480 --> 00:21:57,120 Speaker 1: for the call. Appreciate it. I got nothing but love 369 00:21:57,200 --> 00:21:59,320 Speaker 1: for Indiana. I want you to know that gave Boston 370 00:21:59,400 --> 00:22:02,439 Speaker 1: Larry Bird. Okay six one seven nine oh six six 371 00:22:02,560 --> 00:22:04,880 Speaker 1: six three eight guys, uh from the two to oh 372 00:22:04,920 --> 00:22:09,320 Speaker 1: two Detroit is the biggest music city. Good god, Danielle 373 00:22:09,359 --> 00:22:12,560 Speaker 1: from the two to two, chiming in on the conversation 374 00:22:12,600 --> 00:22:14,719 Speaker 1: we've been having here that Mike was talking about two 375 00:22:14,880 --> 00:22:19,359 Speaker 1: regarding the greatest music scenes, which cities have spawned them. 376 00:22:19,440 --> 00:22:20,960 Speaker 1: Let's see two on one, Rights and you need to 377 00:22:20,960 --> 00:22:25,000 Speaker 1: do an episode on Robert Johnson. You know I have 378 00:22:25,160 --> 00:22:28,359 Speaker 1: done an episode on Robert Johnson, and it's in the archive. 379 00:22:28,520 --> 00:22:30,840 Speaker 1: It's right there. It's in the Disgrace lad archive two 380 00:22:30,880 --> 00:22:33,480 Speaker 1: on one. Go check that out. Guys. This is a problem. 381 00:22:33,560 --> 00:22:35,040 Speaker 1: This is a this is a good problem. It's a 382 00:22:35,040 --> 00:22:37,959 Speaker 1: problem I never anticipated I would be having. It's why 383 00:22:38,040 --> 00:22:41,720 Speaker 1: we do these rewind episodes. We release one archive episode 384 00:22:41,720 --> 00:22:44,600 Speaker 1: per week on Fridays because new listeners come in and 385 00:22:44,600 --> 00:22:47,560 Speaker 1: we have now over one hundred and fifty episodes or something, 386 00:22:47,600 --> 00:22:49,720 Speaker 1: and they're not aware of all the subjects we have 387 00:22:49,840 --> 00:22:53,200 Speaker 1: covered in the past. So for you two to one, 388 00:22:53,240 --> 00:22:55,480 Speaker 1: that Robert Johnson episode one of my PHAs. By the way, 389 00:22:55,680 --> 00:22:58,440 Speaker 1: it's waiting for you at six three six, Rights and man, 390 00:22:58,880 --> 00:23:01,840 Speaker 1: I think you did. Bordan je described and explained his 391 00:23:01,920 --> 00:23:05,280 Speaker 1: past and his present and his feelings so beautifully and 392 00:23:05,320 --> 00:23:08,480 Speaker 1: really projected what an awesome human being he was and 393 00:23:08,520 --> 00:23:10,680 Speaker 1: what it was capable of in an awesome way. He 394 00:23:10,720 --> 00:23:13,119 Speaker 1: had some dark demons a lot of us do, and 395 00:23:13,160 --> 00:23:15,600 Speaker 1: I think he touched on that perfectly and just strong 396 00:23:15,720 --> 00:23:19,320 Speaker 1: enough and gently enough to make us all feel all caps. 397 00:23:19,760 --> 00:23:22,879 Speaker 1: Thanks Jake, love your stories you got at six three six. 398 00:23:23,320 --> 00:23:26,480 Speaker 1: That was a tough episode to write, sorted to the 399 00:23:26,480 --> 00:23:28,760 Speaker 1: point I was kind of making light about earlier about 400 00:23:28,880 --> 00:23:32,480 Speaker 1: having taken on dark subjects. That was a real dark one, 401 00:23:32,480 --> 00:23:35,200 Speaker 1: Anthony Bourdina course meant a lot to a lot of people, 402 00:23:35,280 --> 00:23:38,439 Speaker 1: myself included. I never even met the man, but I 403 00:23:38,560 --> 00:23:40,960 Speaker 1: was touched by everything that he brought into this world. 404 00:23:41,040 --> 00:23:46,520 Speaker 1: So yeah, I'm glad you liked it. Lots of people 405 00:23:46,560 --> 00:23:51,320 Speaker 1: texting in here about Detroit. I'm sorry. Detroit's great de 406 00:23:51,359 --> 00:23:54,080 Speaker 1: Troit gave us motown. Detroit gave us the Stooges. Detroit 407 00:23:54,119 --> 00:23:57,439 Speaker 1: gave us the silver bullet Band. Detroit gave us the 408 00:23:57,440 --> 00:24:01,240 Speaker 1: White Stripes. Detroit gave us Alice Hoop. Detroit gave us 409 00:24:02,000 --> 00:24:06,040 Speaker 1: whom I forgetting, so many more the sites, lots of garage, 410 00:24:06,080 --> 00:24:08,200 Speaker 1: great garage rock as well. And you know, I didn't 411 00:24:08,200 --> 00:24:10,240 Speaker 1: mean to shad on Detroit at all that was not 412 00:24:10,320 --> 00:24:12,600 Speaker 1: my intent. I love Detroit, I do. I love it 413 00:24:12,640 --> 00:24:14,240 Speaker 1: as a city. I think it's one of the great 414 00:24:14,280 --> 00:24:16,520 Speaker 1: American cities. I know it's fallen on hard times in 415 00:24:16,560 --> 00:24:19,159 Speaker 1: the past, obviously, but still there's a vibrant part of 416 00:24:19,240 --> 00:24:22,399 Speaker 1: Detroit that exists to this day. Uh And Detroit has 417 00:24:22,400 --> 00:24:25,639 Speaker 1: given so much to this country, including the music that 418 00:24:25,720 --> 00:24:29,560 Speaker 1: it has generated. So no shade intended at all for Detroit. 419 00:24:29,600 --> 00:24:32,359 Speaker 1: Six point seven nine oh six six six three eight, 420 00:24:32,960 --> 00:24:34,720 Speaker 1: A lot of text, a lot of voicemails for you, 421 00:24:34,800 --> 00:24:39,600 Speaker 1: this one here eight five nine rites in Jake, all 422 00:24:39,640 --> 00:24:43,760 Speaker 1: exclamation points. You finally did the Waylan in Lane episodes 423 00:24:44,000 --> 00:24:47,679 Speaker 1: all all caps and continues with all caps. But we 424 00:24:47,800 --> 00:24:50,840 Speaker 1: have to pay for him on Patreon. Come on, man, 425 00:24:52,280 --> 00:24:55,359 Speaker 1: yes you do. You don't have to pay for them specifically. 426 00:24:55,400 --> 00:24:56,960 Speaker 1: It's not like you're going into a store and buying 427 00:24:56,960 --> 00:24:58,880 Speaker 1: a record. We have a Patreon where you get an 428 00:24:58,920 --> 00:25:02,800 Speaker 1: extra for three episode per month. On top of not 429 00:25:03,400 --> 00:25:07,480 Speaker 1: having any ads in your episodes, on top of having 430 00:25:07,560 --> 00:25:11,040 Speaker 1: access to this always on chat. And I did not 431 00:25:11,200 --> 00:25:15,399 Speaker 1: select the Lane Staly episodes in Whyland Jennings episodes, excuse 432 00:25:15,440 --> 00:25:17,520 Speaker 1: me to be exclusive for any other reason? Than it 433 00:25:17,640 --> 00:25:20,359 Speaker 1: just kind of worked out that way. I'm not exactly 434 00:25:20,400 --> 00:25:22,560 Speaker 1: sure what the thinking was for the programming for what 435 00:25:23,480 --> 00:25:25,159 Speaker 1: was going to be exclusive this year and what was 436 00:25:25,200 --> 00:25:28,880 Speaker 1: going to be wide, but yeah, you got to pay 437 00:25:28,920 --> 00:25:33,360 Speaker 1: five bucks to get a fifth a fifth full Disgraceland 438 00:25:33,400 --> 00:25:36,800 Speaker 1: episode per month. And give you guys a little context 439 00:25:36,880 --> 00:25:41,320 Speaker 1: when we started this podcast for the first one, two, three, four, 440 00:25:42,400 --> 00:25:46,760 Speaker 1: four years, five years, five years. For the first five years, 441 00:25:46,760 --> 00:25:50,280 Speaker 1: we only released twenty four episodes per year, and now, 442 00:25:50,320 --> 00:25:56,520 Speaker 1: of course we're releasing five per month sometimes most times, yeah, 443 00:25:56,560 --> 00:25:58,439 Speaker 1: most times, and one of those, yeah, one of those 444 00:25:58,440 --> 00:26:00,520 Speaker 1: who get paid for them's the break. But you get 445 00:26:00,560 --> 00:26:02,040 Speaker 1: more than that, So I hope you, didget, we got 446 00:26:02,080 --> 00:26:05,639 Speaker 1: a lot more coming your way in the exclusive feed. 447 00:26:07,560 --> 00:26:09,360 Speaker 1: And you know what I should do. I should probably 448 00:26:09,359 --> 00:26:10,760 Speaker 1: talk to you guys a little bit more and get 449 00:26:10,760 --> 00:26:15,280 Speaker 1: your feedback on which episodes should be should be exclusive, 450 00:26:15,359 --> 00:26:18,560 Speaker 1: and should be available everywhere. So you bring up a 451 00:26:18,560 --> 00:26:21,000 Speaker 1: good point, and I'm gonna think about it. Come back 452 00:26:21,000 --> 00:26:23,439 Speaker 1: to you guys. Also, I'll be back in a flash 453 00:26:23,480 --> 00:26:25,520 Speaker 1: to you know, talk about some more stuff here in 454 00:26:25,600 --> 00:26:42,200 Speaker 1: disco Land. All right later, all right, we are back, 455 00:26:42,200 --> 00:26:43,480 Speaker 1: and as I mentioned at the top of the show, 456 00:26:43,520 --> 00:26:46,680 Speaker 1: and I was just talking about we have this insane 457 00:26:46,720 --> 00:26:48,880 Speaker 1: story that we were originally going to tell you in 458 00:26:49,040 --> 00:26:52,280 Speaker 1: this Talking Heads episode. It's a crazy story, but we 459 00:26:52,359 --> 00:26:54,439 Speaker 1: did not get to it in the actual episode, but 460 00:26:54,520 --> 00:26:58,199 Speaker 1: if you're part of our All Access members club, you 461 00:26:58,240 --> 00:27:00,840 Speaker 1: can hear it in the all access version of this 462 00:27:00,960 --> 00:27:04,280 Speaker 1: bonus episode. Okay, And like I was saying, for five 463 00:27:04,320 --> 00:27:06,080 Speaker 1: bucks a month, you're gonna get a lot. You're not 464 00:27:06,119 --> 00:27:07,840 Speaker 1: only going to get this extra content here in the 465 00:27:07,840 --> 00:27:10,560 Speaker 1: bonus episode, you're going to get that extra full episode 466 00:27:10,640 --> 00:27:13,600 Speaker 1: like the Lane Stay and Waylon Jennings episodes that we 467 00:27:13,600 --> 00:27:17,160 Speaker 1: were just discussing. And you're also going to get access 468 00:27:17,160 --> 00:27:20,040 Speaker 1: to merchandise before anyone else. And we haven't always on 469 00:27:20,160 --> 00:27:24,320 Speaker 1: chat with myself and fellow discos where we can all 470 00:27:24,359 --> 00:27:25,960 Speaker 1: sort of chop it up and talk about whatever we 471 00:27:26,000 --> 00:27:31,360 Speaker 1: want to talk about, including these exclusive episode subjects Chris Cordell, Bascat, 472 00:27:31,400 --> 00:27:34,359 Speaker 1: Hunter s Thompson, etc. Okay, you got to go over 473 00:27:34,440 --> 00:27:38,120 Speaker 1: and sign up, either via Apple Podcasts or Patreon. Either way, 474 00:27:38,359 --> 00:27:40,399 Speaker 1: it's a bargain, man, It's worth it, and it's a 475 00:27:40,440 --> 00:27:42,239 Speaker 1: way for us to connect on a deeper level. So 476 00:27:42,280 --> 00:27:46,280 Speaker 1: I hope you join me as an All Access member. 477 00:27:46,680 --> 00:28:03,200 Speaker 4: I will be back in a flash. 478 00:28:03,800 --> 00:28:06,000 Speaker 1: All right, let's recap, shall we Number one, there's more 479 00:28:06,040 --> 00:28:07,880 Speaker 1: after party to listen to right now. All you got 480 00:28:07,920 --> 00:28:09,879 Speaker 1: to do is go to disgrace laandpod dot com slash 481 00:28:09,880 --> 00:28:12,080 Speaker 1: membership and sign up to become an All Access member. 482 00:28:12,080 --> 00:28:14,360 Speaker 1: But if that ain't your bag, then number two right 483 00:28:14,400 --> 00:28:17,119 Speaker 1: now in your feed. This week's brand new episode on 484 00:28:17,160 --> 00:28:20,520 Speaker 1: Talking Heads coming tomorrow. Rebind episode on James Brown next 485 00:28:20,560 --> 00:28:23,119 Speaker 1: week in the Disgraceland Feed, a brand new episode on 486 00:28:23,160 --> 00:28:26,600 Speaker 1: Alfred Hitchcock. Five. My number is six one seven nine 487 00:28:26,600 --> 00:28:30,000 Speaker 1: oh six six six three eight. Call me on the 488 00:28:30,040 --> 00:28:32,640 Speaker 1: telephone or text me right number six. Remember, no one 489 00:28:32,640 --> 00:28:34,320 Speaker 1: cares about these stories more than you doing well. 490 00:28:34,359 --> 00:28:35,160 Speaker 4: That's a disgrace. 491 00:28:35,800 --> 00:28:38,120 Speaker 1: And now my moment of bliss in honor of this 492 00:28:38,120 --> 00:28:41,000 Speaker 1: week's episode on Talking Heads, me reading you. The Billboard 493 00:28:41,000 --> 00:28:43,360 Speaker 1: Hot one hundred for the week of August sixth, nineteen 494 00:28:43,440 --> 00:28:46,800 Speaker 1: seventy seven, the week that David Bergerwitz aka the Son 495 00:28:46,840 --> 00:28:54,040 Speaker 1: of Sam was finally arrested. Number one. I just want 496 00:28:54,080 --> 00:28:58,320 Speaker 1: to be you, Andy Gibb last week one peak position 497 00:28:58,760 --> 00:29:03,640 Speaker 1: one weeks on chart sixteen. Number two I'm in You 498 00:29:04,080 --> 00:29:09,200 Speaker 1: Peter Frampton, last week to peak position two weeks on 499 00:29:09,320 --> 00:29:14,280 Speaker 1: Chart eleven, number three, Best of My Love The Emotions 500 00:29:14,720 --> 00:29:19,920 Speaker 1: last week six, peak position three weeks on Chart nine, 501 00:29:20,520 --> 00:29:25,480 Speaker 1: number four. My Heart Belongs to Me Barbara streisand last 502 00:29:25,520 --> 00:29:32,000 Speaker 1: week for peak position weeks on chart twelve five. Do 503 00:29:32,040 --> 00:29:35,760 Speaker 1: You Want to Make Love? Peter McCann. Last Weekek's on 504 00:29:35,960 --> 00:29:41,120 Speaker 1: chart peak position, peak position weeks on chart number six 505 00:29:41,840 --> 00:29:46,360 Speaker 1: due run wrong in Sean Casson Posish last week peak 506 00:29:46,440 --> 00:29:52,800 Speaker 1: position weeks on chart. Quit talking and start mixing.