1 00:00:00,720 --> 00:00:16,160 Speaker 1: Disgraceland as a production of Double Elvis. The stories about 2 00:00:16,239 --> 00:00:21,040 Speaker 1: iggy Pop are insane. He bloodied himself in public, taunted 3 00:00:21,120 --> 00:00:25,239 Speaker 1: dangerous bikers into a violent beatdown, committed himself to live 4 00:00:25,400 --> 00:00:29,840 Speaker 1: acts of sex, sickness, and rumored suicide on stage. He 5 00:00:29,880 --> 00:00:34,199 Speaker 1: was addicted, arrested, and committed to an insane asylum. He 6 00:00:34,440 --> 00:00:39,600 Speaker 1: terrified and enthralled audiences, accidentally invented punk rock, post punk, 7 00:00:39,640 --> 00:00:42,600 Speaker 1: and of course was the originator of the stage dive. 8 00:00:43,640 --> 00:00:46,839 Speaker 1: Iggy Pop pushed rock and roll further over the line 9 00:00:47,000 --> 00:00:50,040 Speaker 1: than anyone before him and ushered in a new era 10 00:00:50,200 --> 00:00:53,760 Speaker 1: of musical nihilism that was perfectly suited for the cynical 11 00:00:53,800 --> 00:00:58,680 Speaker 1: malaise of the nineteen seventies. And Iggy Pop made great music, 12 00:00:59,320 --> 00:01:01,280 Speaker 1: some of the great music ever made it as a 13 00:01:01,280 --> 00:01:03,800 Speaker 1: matter of fact. And that music I played you at 14 00:01:03,800 --> 00:01:07,039 Speaker 1: the top of the show. That wasn't great music. That 15 00:01:07,200 --> 00:01:10,720 Speaker 1: was a preset loop from my melotron called Mellow Submarine 16 00:01:10,800 --> 00:01:15,360 Speaker 1: slog BK one. I played you that loop because I 17 00:01:15,400 --> 00:01:17,960 Speaker 1: can't afford the rights to thank you for letting me 18 00:01:18,040 --> 00:01:22,240 Speaker 1: be myself again by Sly and the Family Stone. And 19 00:01:22,280 --> 00:01:24,920 Speaker 1: why would I play you that specific slice of Coke 20 00:01:25,080 --> 00:01:25,800 Speaker 1: sold Cheese? 21 00:01:25,800 --> 00:01:26,680 Speaker 2: Could I afford it? 22 00:01:27,720 --> 00:01:31,080 Speaker 1: Because that was the number one song in America on 23 00:01:31,160 --> 00:01:35,360 Speaker 1: February twenty first, nineteen seventy, and that was the day 24 00:01:35,440 --> 00:01:38,320 Speaker 1: Iggy Pop played New York City for the first time, 25 00:01:38,680 --> 00:01:41,920 Speaker 1: announcing in earnest to the world the arrival of a 26 00:01:41,959 --> 00:01:44,880 Speaker 1: new kind of rock star, one who would push it 27 00:01:44,959 --> 00:01:48,720 Speaker 1: further than any other musician before him, both on and 28 00:01:48,840 --> 00:01:55,040 Speaker 1: off stage. On this episode, Submarine slogs coke sold Cheese, 29 00:01:55,280 --> 00:01:59,240 Speaker 1: Iggy Pop and pushing it over the line, I'm Jake Brennan. 30 00:01:59,600 --> 00:02:01,680 Speaker 2: In this disgrace, la. 31 00:02:25,760 --> 00:02:29,800 Speaker 1: Iggy Pop was bleeding again, and this time it was bad. 32 00:02:30,639 --> 00:02:31,959 Speaker 2: He looked down at his chest. 33 00:02:32,280 --> 00:02:35,080 Speaker 1: The image of the blood torrenting out clanged against the 34 00:02:35,120 --> 00:02:40,000 Speaker 1: many hyperreal images rapidly firing throughout his brain so fast 35 00:02:40,080 --> 00:02:42,640 Speaker 1: it was hard to tell if he was awake or dreaming. 36 00:02:43,840 --> 00:02:47,360 Speaker 1: Iggy was in his temporary room. The walls weren't rubber, 37 00:02:47,400 --> 00:02:50,720 Speaker 1: but they were institutional green, drab enough to make you 38 00:02:50,760 --> 00:02:53,560 Speaker 1: want to kill yourself, but just the same. Iggy Pop, 39 00:02:53,680 --> 00:02:56,960 Speaker 1: known to his close friends as Jim and to authorities 40 00:02:57,000 --> 00:03:01,280 Speaker 1: as James Austerberg, was not wearing a straight jack. He 41 00:03:01,360 --> 00:03:03,880 Speaker 1: was dressed the same way he dressed before checking into 42 00:03:03,919 --> 00:03:08,560 Speaker 1: the mental institution. No shirt, no shoes, low slung pants, 43 00:03:08,639 --> 00:03:12,200 Speaker 1: pajama bottoms. It wasn't the woman's dress he was wearing 44 00:03:12,240 --> 00:03:15,200 Speaker 1: when the pigs picked him up, wandering down sunset, looking 45 00:03:15,240 --> 00:03:17,880 Speaker 1: like one of Charlie's girl's blotto in the midst of 46 00:03:17,880 --> 00:03:21,520 Speaker 1: a dark drug psychosis. But it was still typical Iggy, 47 00:03:22,360 --> 00:03:26,880 Speaker 1: his skin like leather, his chest impossibly cut, his hair long, 48 00:03:27,040 --> 00:03:31,320 Speaker 1: dirty perfect. He sat crosslegged on his unmade bed, his 49 00:03:31,520 --> 00:03:35,160 Speaker 1: veiny hand fingering the space between his first two toes, 50 00:03:35,720 --> 00:03:39,120 Speaker 1: sleepily shaking off the cobwebs of another night of tough 51 00:03:39,160 --> 00:03:43,720 Speaker 1: heroin detox, and the dreams hit him hard, so hard 52 00:03:43,720 --> 00:03:47,680 Speaker 1: that waking was a restless, confusing endeavor, filled with fear, 53 00:03:47,920 --> 00:03:51,560 Speaker 1: paranoia in the dreadful sense that this this was going 54 00:03:51,600 --> 00:03:54,240 Speaker 1: to be the day when he would finally slip over 55 00:03:54,280 --> 00:03:58,600 Speaker 1: the line and never come back. Reality was tenuous at 56 00:03:58,600 --> 00:04:02,200 Speaker 1: best and played tricks on and whenever it could, Particularly 57 00:04:02,280 --> 00:04:05,400 Speaker 1: in the minutes after he awoke from a fevered dream, 58 00:04:05,680 --> 00:04:08,560 Speaker 1: Iggy blinked his eyes open. He could see out beyond 59 00:04:08,600 --> 00:04:12,040 Speaker 1: the doors, iron bars that kept him rock and roll animal, 60 00:04:12,120 --> 00:04:16,200 Speaker 1: that he was caged His eyes scanned down the long, 61 00:04:16,279 --> 00:04:20,719 Speaker 1: fifteen foot wide card its linoleum, bleaming in parts, cracked 62 00:04:20,760 --> 00:04:24,520 Speaker 1: and neglected in others. He leaned back on his bed, 63 00:04:24,760 --> 00:04:28,080 Speaker 1: more of a cot. Really, he'd slept in smaller rooms. 64 00:04:28,080 --> 00:04:30,120 Speaker 1: How the trailer he grew up in with his parents 65 00:04:30,200 --> 00:04:32,800 Speaker 1: back in ann Arbor, Michigan, was tighter than this place. 66 00:04:34,080 --> 00:04:37,920 Speaker 1: He opened his eyes. He was in the funhouse now, 67 00:04:38,480 --> 00:04:41,479 Speaker 1: the grimy single family turned drug down that Iggy and 68 00:04:41,520 --> 00:04:44,719 Speaker 1: his bandmates lived and rehearsed in at two six sixty 69 00:04:44,800 --> 00:04:46,600 Speaker 1: six Packard Road in ann Arber. 70 00:04:47,240 --> 00:04:49,120 Speaker 2: He could tell from the blood on the ceiling. 71 00:04:49,440 --> 00:04:53,800 Speaker 1: Jackson pollocked across the room from dirty syringes post heroine 72 00:04:53,839 --> 00:04:59,640 Speaker 1: shots splattered onto the cheap acoustical ceiling. The blood was dried, browned, caked, 73 00:04:59,720 --> 00:05:04,320 Speaker 1: gro not going anywhere, just like he and his bandmates. 74 00:05:04,000 --> 00:05:04,600 Speaker 2: The Stooges. 75 00:05:06,560 --> 00:05:10,560 Speaker 1: For a minute, there was promise, a record deal, real excitement, 76 00:05:10,680 --> 00:05:13,560 Speaker 1: more than a couple great songs and performances that were 77 00:05:13,640 --> 00:05:18,039 Speaker 1: immediately the stuff of legend. Plus they sounded new and 78 00:05:18,080 --> 00:05:20,680 Speaker 1: were onto something that up to that point no other 79 00:05:20,720 --> 00:05:24,920 Speaker 1: group of musicians had locked into. They were too experimental 80 00:05:25,000 --> 00:05:28,120 Speaker 1: to be considered pop, too rocking, to be considered our 81 00:05:28,279 --> 00:05:30,840 Speaker 1: beat and too raw to be called rock and roll. 82 00:05:31,560 --> 00:05:37,719 Speaker 1: They had it going on, but now there was just squalor, grime, 83 00:05:37,960 --> 00:05:42,520 Speaker 1: junk and disillusion. His bandmates, bassist Dave Alexander and the 84 00:05:42,520 --> 00:05:46,520 Speaker 1: brothers Ashton Ron and Scotty on guitar and drums, respectively, 85 00:05:46,880 --> 00:05:50,880 Speaker 1: were survivors, tough like the steel frames that clang together 86 00:05:50,960 --> 00:05:53,640 Speaker 1: on the assembly line and the Ford Motor Company plant. 87 00:05:53,640 --> 00:05:57,919 Speaker 1: They'd grown up around in nearby Dearborn, Michigan. Ron and Scotty, 88 00:05:58,000 --> 00:06:00,440 Speaker 1: the dumb dumb boys, there were something else. 89 00:06:00,400 --> 00:06:01,120 Speaker 2: Sicky thought. 90 00:06:01,640 --> 00:06:05,400 Speaker 1: Their playing was the essence of raw power, pommeling drums 91 00:06:05,400 --> 00:06:09,360 Speaker 1: and slinky proto punk riffage. They came off sounding more 92 00:06:09,400 --> 00:06:11,839 Speaker 1: like the big bad roar of the sixty nine Mustang 93 00:06:11,880 --> 00:06:14,440 Speaker 1: Boss fresh off the line, and they did their Detroit 94 00:06:14,480 --> 00:06:17,800 Speaker 1: contemporaries in the MC five or the Silver Bullet Band. 95 00:06:18,680 --> 00:06:21,800 Speaker 1: The Ashtons were greasy, grassy mills, stunt doubles, rock and 96 00:06:21,880 --> 00:06:24,840 Speaker 1: roll Hansen brothers, too dumb to be anything else and 97 00:06:24,920 --> 00:06:27,920 Speaker 1: too smart to care, And as much as he didn't 98 00:06:27,920 --> 00:06:31,320 Speaker 1: care to admit it, Iggy needed them. The Stooges on 99 00:06:31,480 --> 00:06:34,440 Speaker 1: stage anyway, helped it down while Iggy the front man 100 00:06:34,480 --> 00:06:38,640 Speaker 1: did anything but as a performer, Iggy Pop was an 101 00:06:38,720 --> 00:06:43,640 Speaker 1: untangled mess of spontaneous self expression. Live performances were a 102 00:06:43,640 --> 00:06:46,640 Speaker 1: physical manifestation of boundary bending madness. 103 00:06:47,320 --> 00:06:49,120 Speaker 2: Nobody took their lives show further. 104 00:06:49,760 --> 00:06:53,200 Speaker 1: Iggy Pop confronted the audience unlike any perform of the Forum. 105 00:06:53,800 --> 00:06:57,520 Speaker 1: His bony body and undeniable good looks writhed and undulated 106 00:06:57,600 --> 00:07:00,120 Speaker 1: across stages in a way that made even the hard. 107 00:07:00,279 --> 00:07:02,920 Speaker 2: Midwest Hillbillies question their sexuality. 108 00:07:03,640 --> 00:07:08,360 Speaker 1: He confronted audience members with self mutilation, nudity, public intoxication, 109 00:07:08,800 --> 00:07:11,520 Speaker 1: and just about anything he could think of, anything that 110 00:07:11,520 --> 00:07:14,160 Speaker 1: would bring him closer to the edge to the line. 111 00:07:14,960 --> 00:07:18,160 Speaker 1: For some, it was an edge of artistic expression, for others, 112 00:07:18,200 --> 00:07:21,920 Speaker 1: the edge of madness. Iggy would cut himself on stage. 113 00:07:22,120 --> 00:07:25,960 Speaker 1: Iggy would vomit on stage. Iggy would pass out on stage. 114 00:07:26,200 --> 00:07:29,040 Speaker 1: Iggy would leave the stage, enter the audience, have his 115 00:07:29,160 --> 00:07:32,720 Speaker 1: clothes ripped off, and willingly allow audience members to flate him. 116 00:07:32,800 --> 00:07:38,480 Speaker 1: During the Stooges sets, nothing it seemed, was over the line. 117 00:07:40,760 --> 00:07:42,600 Speaker 1: As mad as he was and as crazed as his 118 00:07:42,720 --> 00:07:46,520 Speaker 1: band seemed, Iggy and the Stooges were moved by serious music, 119 00:07:47,360 --> 00:07:50,560 Speaker 1: even if attempting the greatness of their heroes Miles Davis Son, 120 00:07:50,680 --> 00:07:53,960 Speaker 1: rob Bo Diddley among them, met playing beyond their ability. 121 00:07:54,520 --> 00:07:57,080 Speaker 1: The Stooges would live out on that fragile limb of 122 00:07:57,200 --> 00:08:01,560 Speaker 1: risk or die trying. So by the time nineteen sixty 123 00:08:01,640 --> 00:08:04,200 Speaker 1: nine rolled around, it was clear that the Stooges were 124 00:08:04,200 --> 00:08:07,760 Speaker 1: an aberration, the first musical love child of the failed 125 00:08:07,800 --> 00:08:11,880 Speaker 1: hippie experiment. The Stooges were the result of a broken promise, 126 00:08:12,400 --> 00:08:15,280 Speaker 1: almost like a kid born to divorced parents who, while 127 00:08:15,280 --> 00:08:18,280 Speaker 1: coming apart, got together for one last fuck in oops. 128 00:08:18,600 --> 00:08:21,160 Speaker 1: Nine months later, a little baby that no one wanted 129 00:08:21,200 --> 00:08:24,240 Speaker 1: to shows up, and he's pissed and he's looking for attention. 130 00:08:24,680 --> 00:08:27,000 Speaker 1: So he grows up to be a delinquent, a fuck up, 131 00:08:27,280 --> 00:08:31,840 Speaker 1: a stooge. The Holy Union of Peace and Love peaked 132 00:08:31,880 --> 00:08:34,920 Speaker 1: two years earlier, during the Summer of Love, but peace 133 00:08:34,960 --> 00:08:38,600 Speaker 1: and Love didn't last. It was all bullshit. The revolution 134 00:08:38,840 --> 00:08:42,240 Speaker 1: was over, the bum's lost, the squares won in America 135 00:08:42,360 --> 00:08:45,120 Speaker 1: was now being ushered out of the once promising decade 136 00:08:45,160 --> 00:08:49,319 Speaker 1: into the darkness of the seventies. By Charles Manson altamont 137 00:08:49,440 --> 00:08:52,640 Speaker 1: In Vietnam, and if you really wanted to know what 138 00:08:52,679 --> 00:08:56,440 Speaker 1: all that sounded like, this new burgeoning era of nihilism 139 00:08:56,480 --> 00:08:58,960 Speaker 1: and anarchy, all you had to do was put on 140 00:08:59,000 --> 00:09:03,800 Speaker 1: a Stooges record, Peace and love. Fuck that more like 141 00:09:04,880 --> 00:09:28,120 Speaker 1: no Fun. Jim Osterberg aka Iggy Pop knew what time 142 00:09:28,160 --> 00:09:32,360 Speaker 1: it was time to push the limits, limits of your music, 143 00:09:32,800 --> 00:09:36,040 Speaker 1: tease madness, to make great art. The trick was not 144 00:09:36,080 --> 00:09:39,200 Speaker 1: getting caught on the wrong side of that line, and 145 00:09:39,280 --> 00:09:42,960 Speaker 1: all of it took its toll. Heroin and lsdlay, speed 146 00:09:43,040 --> 00:09:45,960 Speaker 1: and cocaine and pills and of course weed and alcohol 147 00:09:46,240 --> 00:09:48,400 Speaker 1: and anything and everything else he could get his hands 148 00:09:48,400 --> 00:09:51,840 Speaker 1: on to come down after a show. Years of hardcore 149 00:09:51,960 --> 00:09:55,160 Speaker 1: drug use turned into a serious heroin and cocaine addiction 150 00:09:55,559 --> 00:09:59,200 Speaker 1: before his band broke up just after two records won 151 00:09:59,280 --> 00:10:03,760 Speaker 1: great third as a solo artist fronting of Frankenstein's Stooges lineup, 152 00:10:04,559 --> 00:10:07,920 Speaker 1: A batter reputation and police mandated stint in a mental 153 00:10:07,960 --> 00:10:11,120 Speaker 1: institution was all Iggy Pop had the show for it. 154 00:10:11,800 --> 00:10:15,920 Speaker 1: That and scar tissue. He looked down at his chest. 155 00:10:16,240 --> 00:10:19,280 Speaker 1: The bleeding had ceased, the scar tissue snapped him back. 156 00:10:20,040 --> 00:10:24,480 Speaker 1: He remembered Max's Kansas City, nineteen seventy three. It was 157 00:10:24,520 --> 00:10:27,440 Speaker 1: supposed to be Iggy in the Stooge's Triumphant returned to 158 00:10:27,520 --> 00:10:31,240 Speaker 1: New York after recording their latest album, Rob Power in London. 159 00:10:31,840 --> 00:10:36,079 Speaker 1: What it was instead was a bloody mess. The sound 160 00:10:36,120 --> 00:10:39,520 Speaker 1: of Scotty Snare big like a shotgun or a rifle, 161 00:10:39,720 --> 00:10:43,280 Speaker 1: a twenty two like Chris Burden's twenty two, and boy 162 00:10:43,360 --> 00:10:46,360 Speaker 1: howdy did it ever, and the cut on stage from 163 00:10:46,360 --> 00:10:48,760 Speaker 1: the glass was intended to be like the cut from 164 00:10:48,760 --> 00:10:51,600 Speaker 1: the bullet Burden it fired at himself and as much 165 00:10:51,679 --> 00:10:56,440 Speaker 1: talked about nineteen seventy one performance art piece Shoot, the 166 00:10:56,480 --> 00:10:58,720 Speaker 1: one where he filmed a friend shooting a twenty two 167 00:10:58,720 --> 00:11:03,040 Speaker 1: at him from just fifteen feet away. Imagine that, having 168 00:11:03,080 --> 00:11:05,960 Speaker 1: a gun fired at you on purpose and taking a 169 00:11:06,000 --> 00:11:09,800 Speaker 1: bullet in the name of art. The piece was meant 170 00:11:09,840 --> 00:11:12,920 Speaker 1: to protest the absurdity of America's obsession with guns in 171 00:11:12,960 --> 00:11:16,880 Speaker 1: the Vietnam War, and it worked. Shoot was all the 172 00:11:16,920 --> 00:11:20,360 Speaker 1: smart set could talk about. Iggy was obsessed with it, 173 00:11:20,600 --> 00:11:23,680 Speaker 1: and here he was on stage at Maxis, Kansas City, 174 00:11:23,960 --> 00:11:27,280 Speaker 1: the epicenter of downtown cool, the venue that set the 175 00:11:27,320 --> 00:11:29,360 Speaker 1: bar for the rest of the world on what was 176 00:11:29,400 --> 00:11:33,640 Speaker 1: happening in front of set smart set. Iggy had burdened 177 00:11:33,640 --> 00:11:36,680 Speaker 1: on the brain. He'd show the audience. It would be 178 00:11:36,720 --> 00:11:38,640 Speaker 1: just a flesh wound, just like a shoot, but it 179 00:11:38,679 --> 00:11:41,720 Speaker 1: would be raw, powerful and unlike anything to happen before 180 00:11:41,720 --> 00:11:45,320 Speaker 1: and rock and roll. Iggy was pushing himself closer and 181 00:11:45,360 --> 00:11:49,200 Speaker 1: closer over the line. He could see them now, all 182 00:11:49,240 --> 00:11:51,960 Speaker 1: in their seats. There in front of him, beb and Todd, 183 00:11:52,080 --> 00:11:56,280 Speaker 1: Nico and Fran, Andy, Lou, Alice and Danny. The band 184 00:11:56,320 --> 00:11:59,959 Speaker 1: now with master Dark Arts glam Satan himself on lead guitar. 185 00:12:00,280 --> 00:12:01,920 Speaker 2: James Williamson kicked. 186 00:12:01,720 --> 00:12:05,199 Speaker 1: Into Search and Destroyed, and Iggy laid into the first lyric, 187 00:12:05,320 --> 00:12:08,120 Speaker 1: possibly the greatest opening line in the history of long 188 00:12:08,160 --> 00:12:09,680 Speaker 1: playing rock and roll records. 189 00:12:10,760 --> 00:12:12,439 Speaker 2: The crowd was wrapped instantly. 190 00:12:14,840 --> 00:12:17,959 Speaker 1: Scotty tore the ass of the beat ron, recently demoted 191 00:12:18,000 --> 00:12:20,760 Speaker 1: to bass but still holding it down on stage, wearing 192 00:12:20,800 --> 00:12:23,920 Speaker 1: his Nazi SS choker, ran rough over the crowd with 193 00:12:24,000 --> 00:12:27,200 Speaker 1: his low slung gild. James ate up all of the 194 00:12:27,280 --> 00:12:30,360 Speaker 1: sonic space, utilizing every square inch of his worn out 195 00:12:30,440 --> 00:12:33,520 Speaker 1: les Paul's neck. Iggy reminded them all of who he 196 00:12:33,760 --> 00:12:37,240 Speaker 1: was the one who searches and destroys, and they kicked 197 00:12:37,240 --> 00:12:40,200 Speaker 1: it up a notch pushed themselves further toward the line. 198 00:12:40,720 --> 00:12:43,120 Speaker 1: Iggy headed into the crowd, stood on the tables in 199 00:12:43,120 --> 00:12:46,439 Speaker 1: front of the stage space, walked his way over low tops, 200 00:12:46,679 --> 00:12:50,839 Speaker 1: stomped on downtown glitterati, horrified and excited every last one 201 00:12:50,880 --> 00:12:54,040 Speaker 1: of them along the way, James hit the solo. Iggy 202 00:12:54,040 --> 00:12:56,520 Speaker 1: dove back onto the stage and landed on a mess 203 00:12:56,559 --> 00:12:57,440 Speaker 1: of broken. 204 00:12:57,080 --> 00:12:58,160 Speaker 2: Beer bottle glass. 205 00:13:00,760 --> 00:13:04,079 Speaker 1: The cut didn't feel like anything special, just another shard 206 00:13:04,120 --> 00:13:07,839 Speaker 1: of glass penetrating his tough Midwestern skin. But when he 207 00:13:07,920 --> 00:13:10,480 Speaker 1: looked down at the blood, he knew he was in trouble. 208 00:13:11,280 --> 00:13:14,840 Speaker 1: This was no Gray's twenty two Chris Burden flesh wound. 209 00:13:15,400 --> 00:13:20,360 Speaker 1: This was penetration. Iggy stretched himself out and pumped his 210 00:13:20,440 --> 00:13:23,040 Speaker 1: right arm to test the pain, and when he did, 211 00:13:23,200 --> 00:13:26,000 Speaker 1: blood spurted out on his wound and into the audience like. 212 00:13:26,000 --> 00:13:28,760 Speaker 2: A squirt gun. He was too good to be true. 213 00:13:29,040 --> 00:13:32,640 Speaker 1: Iggy pumped his arm again, more blood shrieks from the audience. 214 00:13:33,200 --> 00:13:35,800 Speaker 1: Not one to be outdone, James made his guitar squeal 215 00:13:35,920 --> 00:13:40,000 Speaker 1: with feedback like a stuck pig. Booze smack and adrenaline 216 00:13:40,000 --> 00:13:43,560 Speaker 1: mass of the pain. The blood from Iggy's chest gushed out. 217 00:13:43,760 --> 00:13:47,640 Speaker 1: The audience freaked out. Aggy kept pushing, the band kept chugging. 218 00:13:47,800 --> 00:13:50,280 Speaker 1: The staff feared the worst, imminent death by one of 219 00:13:50,320 --> 00:13:51,120 Speaker 1: their performers. 220 00:13:51,480 --> 00:13:52,880 Speaker 2: Iggy Pop feared nothing. 221 00:13:53,280 --> 00:13:55,520 Speaker 1: Alice Cooper rose out of his seat in the audience 222 00:13:55,559 --> 00:13:56,719 Speaker 1: and rushed at the stage. 223 00:13:56,960 --> 00:13:57,959 Speaker 2: Iggy collapsed. 224 00:13:58,160 --> 00:14:02,400 Speaker 1: The band stopped stagehand dragged the bloodied singer off stage. 225 00:14:02,679 --> 00:14:05,600 Speaker 1: Alice called for an ambulance for his old Detroit buddy, 226 00:14:05,679 --> 00:14:08,360 Speaker 1: Jim Ron dropped his bass and pulled his friend out 227 00:14:08,400 --> 00:14:11,880 Speaker 1: of the melee. Iggy could hear them all chattering. He 228 00:14:11,880 --> 00:14:14,520 Speaker 1: could hear the audience squeal of the feedback and the 229 00:14:14,559 --> 00:14:18,320 Speaker 1: siren from the ambulance. It was soundtracked now to the 230 00:14:18,360 --> 00:14:21,960 Speaker 1: eerie melody for Miles Davis as Miles runs the Voodoo down. 231 00:14:22,480 --> 00:14:26,160 Speaker 1: Iggy loved that song. His subconscious would call upon it often. 232 00:14:26,760 --> 00:14:30,000 Speaker 1: It was so unlike Miles, but then again, Miles was Miles. 233 00:14:30,440 --> 00:14:34,720 Speaker 1: He never knew what he was going to do. Miles 234 00:14:34,760 --> 00:14:37,280 Speaker 1: was backstage with Iggy now, but they were no longer 235 00:14:37,320 --> 00:14:40,960 Speaker 1: at Max's. They're at in Gano's sight of the Stooge's 236 00:14:41,080 --> 00:14:44,080 Speaker 1: very first New York show Miles was in on the blow, 237 00:14:44,200 --> 00:14:47,640 Speaker 1: Iggy and Ron were hoovering up before they're set wild 238 00:14:47,720 --> 00:14:52,280 Speaker 1: Man Miles Davis he liked the band, vibed on their spirit. 239 00:14:52,480 --> 00:14:54,720 Speaker 1: He'd recommend them the next day to whoever would listen. 240 00:14:54,760 --> 00:14:57,520 Speaker 1: Iggy was sure of it. More likely than not, though 241 00:14:57,560 --> 00:15:00,560 Speaker 1: Miles Davis would forget all about the Stooge as soon 242 00:15:00,560 --> 00:15:04,720 Speaker 1: as his hangover passed. Giggy could hear his horn. Iggy 243 00:15:04,720 --> 00:15:08,040 Speaker 1: could hear the shot from Chris Burdens twenty two. Iggy 244 00:15:08,040 --> 00:15:10,960 Speaker 1: could hear that voodoo running down. Iggy could hear the 245 00:15:11,000 --> 00:15:13,760 Speaker 1: feedback from the Less Paul and Jiggy could hear that 246 00:15:13,920 --> 00:15:17,840 Speaker 1: heavy clanging from the dearborn line. It was all there, 247 00:15:17,880 --> 00:15:20,720 Speaker 1: along with the sound of a familiar laugh and paranoid 248 00:15:20,720 --> 00:15:24,280 Speaker 1: whispers from a cocaine tongue, the sound of a friend, 249 00:15:24,640 --> 00:15:29,440 Speaker 1: Iggy's friend, Jim's friend, actor Dennis Hopper up in Iggy's dream, 250 00:15:29,600 --> 00:15:33,720 Speaker 1: high as a bird on cocaine. In the dream, Hopper 251 00:15:33,840 --> 00:15:37,160 Speaker 1: was playing the role of Jack Nicholson's Randall Patrick McMurphy 252 00:15:37,280 --> 00:15:39,960 Speaker 1: for one flew over the cuckoo's nest and shuffling through 253 00:15:40,000 --> 00:15:43,280 Speaker 1: this same mental institution that Iggy was now locked up 254 00:15:43,280 --> 00:15:47,920 Speaker 1: in Hopper made a better McMurphy. By Iggy's estimation, he 255 00:15:48,000 --> 00:15:51,160 Speaker 1: was more paranoid and as such better suited to maneuver 256 00:15:51,280 --> 00:15:55,160 Speaker 1: around the wicked ways of Nurse Ratchet. But Iggy's nurse 257 00:15:55,240 --> 00:15:58,520 Speaker 1: was no burly serge. She was slight and sexier than 258 00:15:58,560 --> 00:16:02,880 Speaker 1: any astronaut's wife. That nurse's uniform hugged tight in all 259 00:16:02,920 --> 00:16:07,040 Speaker 1: the right places, her hair red and gestapo like authoritarian 260 00:16:07,120 --> 00:16:10,240 Speaker 1: vibe pushed all of Iggy's buttons at once, and the 261 00:16:10,240 --> 00:16:14,080 Speaker 1: feedback and his head swirled. The institutional green walls split 262 00:16:14,120 --> 00:16:19,040 Speaker 1: into psychedelic waves of rich, burdened beauty. Popper McMurphy's cocaine 263 00:16:19,120 --> 00:16:22,680 Speaker 1: tongue snaked its way around Iggy's waist and extended itself 264 00:16:22,720 --> 00:16:26,960 Speaker 1: to ginger Nurse Ratchet, coiling them together. Iggy's cock pulsed 265 00:16:27,040 --> 00:16:31,080 Speaker 1: up against their uniform. He could feel himself swelling inside 266 00:16:31,560 --> 00:16:35,240 Speaker 1: the rush. The line was in sight, about to be crossed. 267 00:16:36,120 --> 00:16:40,000 Speaker 1: The deafening clang of American steel, the crowd chanting, and 268 00:16:40,080 --> 00:16:45,120 Speaker 1: then a familiar whisper in his ear, calming. The voice 269 00:16:45,160 --> 00:16:50,320 Speaker 1: was that of another friend. It sounded supportive. Superior English, Safe, 270 00:16:50,520 --> 00:16:54,840 Speaker 1: deep and knowing. Iggy felt the fevered dream breaking, and 271 00:16:54,880 --> 00:16:57,360 Speaker 1: the familiar voice gave him the confidence to come out 272 00:16:57,400 --> 00:16:59,800 Speaker 1: of the dream, to open his eyes, to jump back 273 00:16:59,840 --> 00:17:07,560 Speaker 1: in reality. So he did, and now, once emerged from 274 00:17:07,600 --> 00:17:10,520 Speaker 1: the dream and safe inside the drab green walls of 275 00:17:10,560 --> 00:17:15,640 Speaker 1: his insane asylum bedroom, Jim Austerbury aka Eggy Pop could 276 00:17:15,680 --> 00:17:19,639 Speaker 1: see that he had company in real life. Hopper McMurphy 277 00:17:19,640 --> 00:17:23,280 Speaker 1: had gone full. Dennis Hopper, the actual Dennis Hopper, Iggy's 278 00:17:23,280 --> 00:17:25,680 Speaker 1: old friend in the flesh, sitting in front of him, 279 00:17:25,680 --> 00:17:28,800 Speaker 1: along with Ginger Nurse Ratchet sitting at his side. And 280 00:17:28,880 --> 00:17:32,880 Speaker 1: Ginger Nurse Ratchet had gone full. Thin white duke right 281 00:17:32,920 --> 00:17:35,879 Speaker 1: there in Aggy's room, seated next to Dennis Hopper Ginger 282 00:17:35,960 --> 00:17:39,000 Speaker 1: Nurse Ratchet, the thin white duke was none other than 283 00:17:39,080 --> 00:17:42,320 Speaker 1: Davy Jones aka the Man who fell to Earth to 284 00:17:42,359 --> 00:17:47,440 Speaker 1: save Iggy Pop aka David Bowie. Bowie opened his mouth 285 00:17:47,520 --> 00:17:50,679 Speaker 1: and said, well, Jim, how about a line and we 286 00:17:50,760 --> 00:17:51,640 Speaker 1: blast out of here. 287 00:17:54,359 --> 00:18:00,159 Speaker 2: We'll be right back after this word word word. 288 00:18:00,160 --> 00:18:03,879 Speaker 1: Bowie had no cocaine, which was an oddity the show 289 00:18:03,920 --> 00:18:07,240 Speaker 1: at the Rochester War Memorial in upstate New York earlier. 290 00:18:07,280 --> 00:18:08,320 Speaker 2: That evening was great. 291 00:18:08,920 --> 00:18:11,600 Speaker 1: Bowie and his band were on fire, perhaps buoyed by 292 00:18:11,640 --> 00:18:14,879 Speaker 1: the touring presence and competitive spirit of David's new friend 293 00:18:14,920 --> 00:18:19,480 Speaker 1: and co conspirator, Iggy Pop, or as he called them, Jim. 294 00:18:19,720 --> 00:18:22,520 Speaker 1: The two met back in nineteen seventy one in New 295 00:18:22,600 --> 00:18:26,560 Speaker 1: York at Max's Before All the Blood. Bowie was keen 296 00:18:26,640 --> 00:18:29,600 Speaker 1: on producing a record for this uniquely American artist who 297 00:18:29,640 --> 00:18:34,399 Speaker 1: represented what Bowie could never be. Raw, uncalculating, exciting, in 298 00:18:34,440 --> 00:18:38,280 Speaker 1: a manner that eluded Ziggy's stardust. Ziggy could never be Iggy, 299 00:18:38,520 --> 00:18:41,280 Speaker 1: but he could at least help Iggy, and Bowie, of 300 00:18:41,320 --> 00:18:46,240 Speaker 1: course represented something Iggy could never be. Refined, creatively, disciplined, driven, 301 00:18:46,359 --> 00:18:50,800 Speaker 1: business minded. Despite their differences, their genius was obvious to 302 00:18:50,840 --> 00:18:53,840 Speaker 1: one another. They had an easy going dynamic and almost 303 00:18:53,880 --> 00:18:58,359 Speaker 1: instantly formed a real bond. David Bowie was steadfast in 304 00:18:58,359 --> 00:19:01,280 Speaker 1: his supportive Iggy Pop in his flailing career at a 305 00:19:01,320 --> 00:19:03,879 Speaker 1: time when his own career was exploding and making him 306 00:19:03,920 --> 00:19:06,920 Speaker 1: one of the biggest stars on the planet. At first, 307 00:19:07,000 --> 00:19:09,760 Speaker 1: Bowie secured a management deal for Iggy Busch led to 308 00:19:09,800 --> 00:19:12,480 Speaker 1: a record deal which led to the recording of Raw Power, 309 00:19:12,800 --> 00:19:15,720 Speaker 1: an album that Bowie mixed, and soon the two were 310 00:19:15,760 --> 00:19:19,000 Speaker 1: nearly inseparable, which was why Iggy was on the road 311 00:19:19,040 --> 00:19:22,199 Speaker 1: with Bowie in nineteen seventy six. What else was he 312 00:19:22,240 --> 00:19:25,240 Speaker 1: going to do. The Stooges were broken up again, so 313 00:19:25,359 --> 00:19:27,840 Speaker 1: the plan was to hang with Bowie and steal time 314 00:19:27,880 --> 00:19:30,280 Speaker 1: on the road to work on new material that Bowie 315 00:19:30,280 --> 00:19:34,719 Speaker 1: would eventually produce. Iggy needed Bowie and Bowie needed Iggy, 316 00:19:34,920 --> 00:19:38,440 Speaker 1: and right now they both needed cocaine. But the after 317 00:19:38,560 --> 00:19:43,400 Speaker 1: party wasn't panning out. Rochester wasn't Manhattan. Drugs the powdery 318 00:19:43,480 --> 00:19:46,480 Speaker 1: kind anyway, did not flow as freely here as they 319 00:19:46,480 --> 00:19:49,520 Speaker 1: did in the city, and there was something weird about 320 00:19:49,560 --> 00:19:52,119 Speaker 1: the company the women they'd picked up at the show. 321 00:19:52,840 --> 00:19:55,480 Speaker 1: Two of them Bowie had signaled to from the stage 322 00:19:55,520 --> 00:19:58,640 Speaker 1: and was keen on meeting afterward. But there were two others, 323 00:19:58,720 --> 00:20:02,200 Speaker 1: pretty athletic but kind of square looking, who were off 324 00:20:02,920 --> 00:20:06,159 Speaker 1: and they were super concerned with scoring, more specifically with 325 00:20:06,200 --> 00:20:09,760 Speaker 1: scoring cocaine from David Bowie himself, which was of course 326 00:20:09,800 --> 00:20:13,679 Speaker 1: seen as being ghosh. Still, there was the matter of 327 00:20:13,720 --> 00:20:17,000 Speaker 1: the lack of drugs. Grass and wine alone wasn't going 328 00:20:17,040 --> 00:20:19,639 Speaker 1: to cut it. Bowie did a lap through the suite 329 00:20:19,680 --> 00:20:24,480 Speaker 1: at the Americana, Rochester. The Four Seasons December nineteen sixty three, 330 00:20:24,600 --> 00:20:28,040 Speaker 1: Oh What a Night, crackled through the cheap bedside clock radio. 331 00:20:28,760 --> 00:20:33,000 Speaker 1: The vibe was low key, iggy pop, sat quiet spectacles 332 00:20:33,040 --> 00:20:37,640 Speaker 1: resting atop his nose, casually perusing the local newspaper, absent 333 00:20:37,720 --> 00:20:41,520 Speaker 1: mindedly hitting joints as they were passed his way. The 334 00:20:41,560 --> 00:20:44,440 Speaker 1: walls of the American were thin and as mellow as 335 00:20:44,480 --> 00:20:47,600 Speaker 1: the party was, it was anything but quiet. The two 336 00:20:47,640 --> 00:20:50,200 Speaker 1: plain closed cops on the other side of the suite's 337 00:20:50,240 --> 00:20:54,000 Speaker 1: wall were listening intently. There were no bugs, no mics 338 00:20:54,080 --> 00:20:57,480 Speaker 1: or anything approaching a high tech listening device, just two 339 00:20:57,560 --> 00:21:00,840 Speaker 1: donut eaters with cheap hotel tumblers pressed between the wall 340 00:21:00,920 --> 00:21:04,600 Speaker 1: and their ears, desperately listening for drug lingo to hopefully 341 00:21:04,640 --> 00:21:06,800 Speaker 1: slip from the lips of the rock stars and their 342 00:21:06,840 --> 00:21:09,680 Speaker 1: groupies partying On the other side of the wall, where 343 00:21:09,760 --> 00:21:12,720 Speaker 1: David Bowie stood bored and annoyed, but too polite and 344 00:21:12,760 --> 00:21:16,600 Speaker 1: aloof to let it show. One of the square girls 345 00:21:16,600 --> 00:21:21,200 Speaker 1: had him buttonholed talking about nothing, such a bore. Finally, 346 00:21:21,400 --> 00:21:25,320 Speaker 1: he politely interrupted, I'm sorry, isn't there anyone you know 347 00:21:25,480 --> 00:21:29,240 Speaker 1: in this town who you could trouble for some cocaine 348 00:21:29,640 --> 00:21:32,920 Speaker 1: And with that the handcuffs came out. That was all 349 00:21:32,920 --> 00:21:37,680 Speaker 1: the Square Girls slash undercover cop needed to ask. David Bowie, 350 00:21:37,720 --> 00:21:40,119 Speaker 1: along with e Pop, were both cuffed and they in 351 00:21:40,119 --> 00:21:43,639 Speaker 1: the suite were searched, whereupon no cocaine was found, but 352 00:21:43,720 --> 00:21:47,639 Speaker 1: a half pound of marijuana was. The two, along with 353 00:21:47,720 --> 00:21:50,040 Speaker 1: all the other people in the suite, were arrested and 354 00:21:50,119 --> 00:21:54,679 Speaker 1: hauled off to jail for the night. It was small 355 00:21:54,680 --> 00:21:58,000 Speaker 1: time stuff, small town stuff. Bowie had everyone bailed out, 356 00:21:58,040 --> 00:22:01,040 Speaker 1: including the partiers he didn't know, and Iggy Pop was 357 00:22:01,080 --> 00:22:04,440 Speaker 1: excited he could now buy a suit for court. Bolways 358 00:22:04,480 --> 00:22:07,560 Speaker 1: high paid, high powered lawyers eventually got the case thrown out, 359 00:22:07,760 --> 00:22:10,720 Speaker 1: and after finishing his station to station tour, he and 360 00:22:10,800 --> 00:22:14,440 Speaker 1: Iggy split for Europe Berlin to be precise, to get 361 00:22:14,480 --> 00:22:17,159 Speaker 1: down to the business of making an Iggy Pop record. 362 00:22:18,920 --> 00:22:22,160 Speaker 1: The apartment was not befitting of an international pop star 363 00:22:22,240 --> 00:22:26,159 Speaker 1: and his wild front man collaborator. It was small, bleak 364 00:22:26,240 --> 00:22:29,159 Speaker 1: and sat above an autoparts store, and there was little 365 00:22:29,160 --> 00:22:31,560 Speaker 1: to do during the day, which was great. It meant 366 00:22:31,560 --> 00:22:35,000 Speaker 1: time for making music. Nighttime on the other hand, and 367 00:22:35,080 --> 00:22:38,959 Speaker 1: Berlin in the mid seventies was another story entirely. The 368 00:22:39,000 --> 00:22:41,639 Speaker 1: post war party had never burnt out in this city, 369 00:22:41,680 --> 00:22:44,320 Speaker 1: and the bars never closed, and the women never got old, 370 00:22:44,320 --> 00:22:46,359 Speaker 1: and the drugs were never in short supply, and the 371 00:22:46,400 --> 00:22:49,440 Speaker 1: conversation was always stimulating, and the sex was always all 372 00:22:49,480 --> 00:22:52,119 Speaker 1: over the place but never stale, and the party rolled 373 00:22:52,160 --> 00:22:55,840 Speaker 1: on and on and on, night after night, except on 374 00:22:55,920 --> 00:23:01,399 Speaker 1: Thursday nights. Thursday Night for Iggy Pop and David Bowie 375 00:23:01,440 --> 00:23:03,919 Speaker 1: was TV night. It's when they hunkered down in their 376 00:23:03,960 --> 00:23:06,800 Speaker 1: apartment and watched their stories, took a night off. 377 00:23:07,240 --> 00:23:08,919 Speaker 2: Iggy fried German sausages. 378 00:23:09,000 --> 00:23:11,399 Speaker 1: They stunk up the place, something awful, but they hit 379 00:23:11,480 --> 00:23:14,679 Speaker 1: the spot. He and David sat on the floor waiting 380 00:23:14,720 --> 00:23:18,160 Speaker 1: for the US Armed Forces Network to air Starsky and Hutch. 381 00:23:18,800 --> 00:23:21,040 Speaker 1: The Buddy Cop Cereal was where it was at as 382 00:23:21,040 --> 00:23:24,320 Speaker 1: far as Iggy Pop and David Bowie were concerned. Most 383 00:23:24,320 --> 00:23:28,760 Speaker 1: televisions sucked, especially German television, but not Starsky and Hutch. 384 00:23:29,359 --> 00:23:32,919 Speaker 1: High speed chases, tight corduroys, cable knit sweaters in the summer, 385 00:23:32,960 --> 00:23:36,480 Speaker 1: and I mean, come on, Hoggy Bear. While they waited 386 00:23:36,480 --> 00:23:38,960 Speaker 1: for the broadcast, Bowie stretched out on his back on 387 00:23:39,000 --> 00:23:42,720 Speaker 1: the floor reading a dog eared copy of Dostoevskis Idiot. 388 00:23:43,240 --> 00:23:46,399 Speaker 1: Figgy sat cross legged on the floor fingering his cheap 389 00:23:46,480 --> 00:23:49,800 Speaker 1: ukulele when the TV set snapped from white noise and 390 00:23:49,880 --> 00:23:53,440 Speaker 1: static snow to technicolor and the sounds of the familiar 391 00:23:53,520 --> 00:23:57,280 Speaker 1: morse code like call signal that the American Military Network 392 00:23:57,359 --> 00:24:01,640 Speaker 1: began every broadcast. With rhythm of the call signal coming 393 00:24:01,680 --> 00:24:05,240 Speaker 1: from the television reminded Iggy of Detroit the Supremes You 394 00:24:05,280 --> 00:24:08,760 Speaker 1: Can't Harry Love. Iggy started plucking out a little riff 395 00:24:08,840 --> 00:24:11,920 Speaker 1: on his yuke to the call signal. Bowie perked up 396 00:24:12,280 --> 00:24:15,359 Speaker 1: began tapping his foot on the creaky floor, which rattled 397 00:24:15,359 --> 00:24:18,520 Speaker 1: the near empty plate of German sausage and silverware resting 398 00:24:18,520 --> 00:24:19,440 Speaker 1: on the floorboards. 399 00:24:20,200 --> 00:24:21,680 Speaker 2: Iggy began strumming his yuke. 400 00:24:22,000 --> 00:24:25,120 Speaker 1: Bowie approximated a kick and snare sound using his other 401 00:24:25,160 --> 00:24:28,840 Speaker 1: foot in his thigh body drumming. The call signal had 402 00:24:28,840 --> 00:24:32,040 Speaker 1: morphed into a full on Benny Benjamin beat. Iggy strummed 403 00:24:32,040 --> 00:24:35,520 Speaker 1: his way into a core progression. Bowie swung like a motherfucker. 404 00:24:36,040 --> 00:24:39,240 Speaker 1: Iggy was now standing up, pacing pounding on the yuke. 405 00:24:39,480 --> 00:24:48,560 Speaker 1: Bowie was yelling Jimmy, Jimmy, Jimmy Jimmy. Two were rocking 406 00:24:48,560 --> 00:24:51,639 Speaker 1: out now pard Iggy was banging on the yuke and 407 00:24:51,680 --> 00:24:56,119 Speaker 1: started improvising lyrics on the spot. Here comes Johnny Yen again, 408 00:24:56,800 --> 00:24:59,879 Speaker 1: liquor in the drugs and that's like hit the passage. 409 00:25:00,000 --> 00:25:03,480 Speaker 2: Pickens. Well, I'm just a modern guy. Of course, I've 410 00:25:03,520 --> 00:25:06,560 Speaker 2: had it in my ear before. I'm the lust for life, 411 00:25:07,000 --> 00:25:08,800 Speaker 2: the lust the Life. 412 00:25:09,800 --> 00:25:13,280 Speaker 1: They knew immediately that they were onto something. The next 413 00:25:13,320 --> 00:25:15,400 Speaker 1: day they were in the studio recording what would become 414 00:25:15,440 --> 00:25:19,720 Speaker 1: Iggy Pop's most recognizable song, lust for Life, a song 415 00:25:19,760 --> 00:25:23,200 Speaker 1: who is infectious totally swinging rhythm is owed as much 416 00:25:23,280 --> 00:25:25,800 Speaker 1: to the US Armed Forces Network as it is to 417 00:25:25,880 --> 00:25:29,480 Speaker 1: Hunt and Tony Sales. The rhythm section in Iggy's new band, 418 00:25:29,840 --> 00:25:32,639 Speaker 1: another pair of dumb dumb boys whose mad cap energy 419 00:25:32,760 --> 00:25:36,399 Speaker 1: rivaled the delinquent doom of the Ashton's from Iggy's previous band. 420 00:25:37,320 --> 00:25:40,119 Speaker 1: Hunt and Tony were the sons of Iggy's childhood TV 421 00:25:40,240 --> 00:25:43,920 Speaker 1: hero comedian Soupy Sales, and their behavior was just as 422 00:25:43,960 --> 00:25:47,320 Speaker 1: insane as their dad's. But when they got to their instruments, 423 00:25:47,520 --> 00:25:50,240 Speaker 1: the fucking around ceased, as can be heard in the 424 00:25:50,320 --> 00:25:53,800 Speaker 1: rhythm to Lust for Life. It is serious business. Real 425 00:25:53,920 --> 00:25:58,520 Speaker 1: rock and roll clowns need not apply Lust for Life. 426 00:25:58,600 --> 00:26:01,680 Speaker 1: Let off Eggy's second soul low effort that David Bowie produced, 427 00:26:01,720 --> 00:26:04,840 Speaker 1: long Player of the same name, and the album was great, 428 00:26:05,240 --> 00:26:08,160 Speaker 1: making it two creatively solid record releases in a row 429 00:26:08,240 --> 00:26:12,240 Speaker 1: by the famously inconsistent Aggy Pop after the release of 430 00:26:12,280 --> 00:26:16,000 Speaker 1: the Dostavski inspired album The Idiot, released earlier that year. 431 00:26:16,160 --> 00:26:21,000 Speaker 1: In nineteen seventy seven, Berlin was paying off. Iggy and 432 00:26:21,080 --> 00:26:25,880 Speaker 1: Bowie were on a roll creatively, if not commercially. Iggy's 433 00:26:25,880 --> 00:26:29,240 Speaker 1: records were received well critically, but compared to Bowie's record sales, 434 00:26:29,240 --> 00:26:32,080 Speaker 1: they were flops, which was ironic given that at that 435 00:26:32,280 --> 00:26:36,159 Speaker 1: exact same moment in time, there's a revolution happening in music. 436 00:26:36,920 --> 00:26:39,679 Speaker 1: In New York and in London. A young wave of 437 00:26:39,760 --> 00:26:44,720 Speaker 1: nihilistic rockers were pummeling growing audiences with fast, jagged stooges 438 00:26:44,800 --> 00:26:48,400 Speaker 1: like riffs and grabbing headlines with behavior nick directly from 439 00:26:48,440 --> 00:26:53,120 Speaker 1: the Iggy Pop playbook. The Ramone, Sex Pistols, Heartbreakers, the Clash, 440 00:26:53,320 --> 00:26:56,320 Speaker 1: Generation X and others were all making noise with a 441 00:26:56,400 --> 00:26:59,680 Speaker 1: new type of music called punk and they sounded and 442 00:27:00,000 --> 00:27:03,520 Speaker 1: a lot like the original nihilist, The free spinning Detroit 443 00:27:03,560 --> 00:27:07,120 Speaker 1: Wheel pulled up in Berlin, singing loudly and proudly about 444 00:27:07,160 --> 00:27:11,720 Speaker 1: his newfound lust for life. Some punk saw Iggy as 445 00:27:11,760 --> 00:27:14,840 Speaker 1: the musical godfather he was, but others thought he was 446 00:27:14,920 --> 00:27:19,520 Speaker 1: over the past fatigue. After taking in the opening show 447 00:27:19,560 --> 00:27:22,840 Speaker 1: to mark the release of The Idiot Heartbreaker, Johnny Thunders, 448 00:27:23,040 --> 00:27:27,239 Speaker 1: the ex New York doll, disappointingly proclaimed that Iggy had 449 00:27:27,280 --> 00:27:32,400 Speaker 1: gone cabaret. However, Iggy Pop wasn't the past. He wasn't 450 00:27:32,440 --> 00:27:34,959 Speaker 1: out of time, he wasn't too old for punk. He 451 00:27:35,040 --> 00:27:38,720 Speaker 1: was just too busy inventing post punk once again ahead 452 00:27:38,720 --> 00:27:41,720 Speaker 1: of his time. The Idiot and Lust for Life, despite 453 00:27:41,760 --> 00:27:44,760 Speaker 1: their critical failings, would go on to heavily influence the 454 00:27:44,760 --> 00:27:47,800 Speaker 1: next wave of punk artists to follow Susie and the 455 00:27:47,840 --> 00:27:51,919 Speaker 1: Banshee's Joy Division and of course Public Image Limited. But 456 00:27:52,000 --> 00:27:54,840 Speaker 1: Iggy Pop didn't know or care about any of that 457 00:27:54,920 --> 00:27:59,040 Speaker 1: at the time. He was preoccupied, per usual, with David Bowie, 458 00:27:59,240 --> 00:28:01,879 Speaker 1: who was on an epic cocaine tear at the moment, 459 00:28:02,520 --> 00:28:06,680 Speaker 1: uncharacteristically angry behind the wheel of his Mercedes and ramming 460 00:28:06,760 --> 00:28:09,480 Speaker 1: it maniacally into the rear end of a German Economy 461 00:28:09,480 --> 00:28:12,320 Speaker 1: that Bowie believed belonged to a local drug dealer who 462 00:28:12,359 --> 00:28:17,159 Speaker 1: had ripped him off. And Bowie kept ramming the gas, violently, 463 00:28:17,240 --> 00:28:20,639 Speaker 1: surging the car ahead and into the dealer's car, pushing 464 00:28:20,640 --> 00:28:23,479 Speaker 1: it up against the parking lot wall again and again 465 00:28:23,560 --> 00:28:28,480 Speaker 1: and again. Bowie's vengeance was inspired, and the dealer's car 466 00:28:28,600 --> 00:28:29,600 Speaker 1: wasn't going anywhere. 467 00:28:30,400 --> 00:28:32,840 Speaker 2: Soon enough, after he'd slowly turned. 468 00:28:32,600 --> 00:28:36,320 Speaker 1: The crooked dealer's car into an accordion, Bowie lost interest 469 00:28:36,640 --> 00:28:39,960 Speaker 1: through his Mercedes and reverse, its front end nearly totaled, 470 00:28:39,960 --> 00:28:43,880 Speaker 1: and took off for the apartment. Vengeance, no matter how 471 00:28:44,000 --> 00:28:47,440 Speaker 1: inspired at first, is always a dead end, kind of 472 00:28:47,480 --> 00:29:07,320 Speaker 1: like Berlin, Iggy and Bowie bounced. Iggy Pop's relationship with 473 00:29:07,400 --> 00:29:10,800 Speaker 1: David Bowie was and always would be solid, But by 474 00:29:10,880 --> 00:29:13,720 Speaker 1: the early eighties, Bowie was off again and on his own, 475 00:29:14,160 --> 00:29:18,640 Speaker 1: selling out stadiums, collaborating with Queen, working with Sheikhs, Nile Rogers, 476 00:29:18,640 --> 00:29:22,840 Speaker 1: and writing and releasing Stone Cold Hits, Let's Dance, Modern 477 00:29:22,880 --> 00:29:26,360 Speaker 1: Love and the Iggy Pop Pen China Girl. Bowie was 478 00:29:26,400 --> 00:29:28,760 Speaker 1: embracing his pop side, and there was no room in 479 00:29:28,800 --> 00:29:31,479 Speaker 1: this phase of his career for his old friend Iggy, 480 00:29:31,680 --> 00:29:36,520 Speaker 1: who accidentally invented punk. Iggy's career was dead. A string 481 00:29:36,560 --> 00:29:40,800 Speaker 1: of albums, New Values, Soldier and Party flopped. He was 482 00:29:40,880 --> 00:29:46,360 Speaker 1: uninspired with Blondie's Chris Stein. He produced the album Zombie Birdhouse, 483 00:29:46,600 --> 00:29:50,600 Speaker 1: an unfocused, drony stab at post punk world music mania. 484 00:29:51,240 --> 00:29:54,880 Speaker 1: Imagine Paul Simon's Graceland, produced by John Zorn and peppered 485 00:29:54,920 --> 00:29:57,520 Speaker 1: with out of tune vocals. That's kind of what Zombie 486 00:29:57,560 --> 00:30:01,960 Speaker 1: Birdhouse is. But despite its obvious failings, it is compelling. 487 00:30:02,680 --> 00:30:05,760 Speaker 1: It's the sound of Iggy pop getting closer to that line, 488 00:30:05,920 --> 00:30:09,880 Speaker 1: that demarcation that separates madness in ordinary life that so 489 00:30:09,960 --> 00:30:14,000 Speaker 1: many other artists van Go Beethoven, Sylvia Plath crossed and 490 00:30:14,080 --> 00:30:17,760 Speaker 1: never came back from. Who was Iggy kidding He could 491 00:30:17,760 --> 00:30:20,520 Speaker 1: never be like David Bowie and produced great art while 492 00:30:20,600 --> 00:30:25,800 Speaker 1: simultaneously maneuvering through the straight world ambition focus. Iggy did 493 00:30:25,800 --> 00:30:29,400 Speaker 1: not understand these things. For him, it was madness or 494 00:30:29,440 --> 00:30:32,840 Speaker 1: nothing at all. You can hear that on Zombie Birdhouse, 495 00:30:33,280 --> 00:30:36,960 Speaker 1: and perhaps sensing it himself, after the album was recorded, 496 00:30:37,240 --> 00:30:40,440 Speaker 1: Iggy decided to double down on the insanity of that record. 497 00:30:40,560 --> 00:30:43,960 Speaker 1: Sounds and seek out that line, maybe even cross it, 498 00:30:44,160 --> 00:30:48,480 Speaker 1: and see what true madness could do for one's creative spirit. So, 499 00:30:48,640 --> 00:30:52,400 Speaker 1: in search of inspiration, Iggy Pop headed to Haiti, the 500 00:30:52,520 --> 00:30:58,080 Speaker 1: land of the real zombies. Baby Doc d Vallier, Haiti's 501 00:30:58,120 --> 00:31:01,600 Speaker 1: brutal dictator and his murder is on. Tommy Coots didn't 502 00:31:01,600 --> 00:31:05,200 Speaker 1: go in for all that voodoo jive. Baby Doc's regime 503 00:31:05,280 --> 00:31:09,960 Speaker 1: outlawed the ancient practice, made it punishable by death, so naturally, 504 00:31:10,280 --> 00:31:13,880 Speaker 1: Iggy Pop needed to get in on that action. The 505 00:31:13,920 --> 00:31:18,480 Speaker 1: Porter Prince Bar was dark, the music unrecognizable, but then again, 506 00:31:18,600 --> 00:31:22,080 Speaker 1: most things for Iggy Pop and Haiti were unrecognizable. He 507 00:31:22,200 --> 00:31:25,800 Speaker 1: was blotto nearly the entire time, taking full advantage of 508 00:31:25,840 --> 00:31:28,760 Speaker 1: the permissive drug culture, living off of a two dollars 509 00:31:28,760 --> 00:31:31,560 Speaker 1: a day opium tincture from the local pharmacy that he 510 00:31:31,600 --> 00:31:36,600 Speaker 1: would mix into his pina coladas. The jukebox blasted. It 511 00:31:36,680 --> 00:31:40,320 Speaker 1: reminded him of Miles Runs the Voodoo Down. The melody 512 00:31:40,440 --> 00:31:44,760 Speaker 1: was always there, always swirling around his head. Miles's horn 513 00:31:44,800 --> 00:31:48,760 Speaker 1: went sell low and took the shape of another familiar melody, 514 00:31:49,160 --> 00:31:52,760 Speaker 1: Iggy's own, the Passenger. Iggy was out of the bar now, 515 00:31:53,000 --> 00:31:56,200 Speaker 1: in the back seat of an unrecognizable shipbox, riding through 516 00:31:56,240 --> 00:31:59,360 Speaker 1: the city's backside, seeing the stars come out of the sky, 517 00:32:00,320 --> 00:32:03,000 Speaker 1: something about some cash to some local girls to bring 518 00:32:03,040 --> 00:32:06,160 Speaker 1: him to see the priest, and the shipbox slowed to 519 00:32:06,200 --> 00:32:09,240 Speaker 1: a stop. There was a small fire, a gaggle of 520 00:32:09,320 --> 00:32:13,280 Speaker 1: locals eerily quiet. Iggy and his guide joined the larger 521 00:32:13,360 --> 00:32:21,400 Speaker 1: group under suspicious eyes. Then the drums started pounding, pounding. 522 00:32:21,880 --> 00:32:25,200 Speaker 1: The men in the group stood. Women from the shadows emerged, 523 00:32:25,440 --> 00:32:28,920 Speaker 1: most wearing little to no clothing. The drums broke into 524 00:32:28,920 --> 00:32:31,720 Speaker 1: a warp speed rhythm, and the women began their dance, 525 00:32:31,760 --> 00:32:35,480 Speaker 1: and the men began chanting. Iggy Pop could not resist. 526 00:32:35,640 --> 00:32:40,280 Speaker 1: He sprung up and joined in. Shirtless, long hair Tezoso 527 00:32:40,480 --> 00:32:43,600 Speaker 1: Idiot whispered in Creole along with the other whispers, growing 528 00:32:43,640 --> 00:32:50,200 Speaker 1: louder louder louder a chorus backtracking the Ceremoni's rhythm, Iggy vibed, 529 00:32:50,520 --> 00:32:54,200 Speaker 1: miles ran that voodoo down opium and creole Coco stirred 530 00:32:54,240 --> 00:32:57,440 Speaker 1: him closer to that line, that damned line. Was it 531 00:32:57,640 --> 00:33:00,480 Speaker 1: madness on the other side? But once in his life 532 00:33:00,480 --> 00:33:02,800 Speaker 1: it occurred to Iggy that maybe it was something else. 533 00:33:03,120 --> 00:33:07,040 Speaker 1: Maybe it wasn't madness. Maybe it was mystical, another dimension, 534 00:33:07,280 --> 00:33:12,760 Speaker 1: not death, rebirth. The syncopated drumming grew more intense. A 535 00:33:12,800 --> 00:33:17,000 Speaker 1: woman fell to the ground, gyrating, convulsing. The whispers grew louder. 536 00:33:17,240 --> 00:33:21,480 Speaker 1: A priest was suddenly present, giant headdress, bone necklace, big 537 00:33:21,600 --> 00:33:24,760 Speaker 1: big eyes, and even bigger mouth. He stepped to the 538 00:33:24,760 --> 00:33:28,520 Speaker 1: convulsing woman, raised his fist to his face, opened his palm, 539 00:33:28,600 --> 00:33:30,680 Speaker 1: and blew the dust in his hand onto the woman. 540 00:33:31,360 --> 00:33:38,880 Speaker 1: Her body stopped moving dead. Iggy Pop had found the line. 541 00:33:39,040 --> 00:33:42,440 Speaker 1: The priest hung goan was the conduit. The guy, Iggy, 542 00:33:42,680 --> 00:33:46,320 Speaker 1: the passenger, and the woman lay still, and the music 543 00:33:46,400 --> 00:33:50,840 Speaker 1: picked up. The dancing intensified, the fire roared. Iggy stopped dancing, 544 00:33:51,040 --> 00:33:52,800 Speaker 1: entranced by the priest, who held. 545 00:33:52,520 --> 00:33:54,920 Speaker 2: His gaze eye to eye all menace. 546 00:33:55,360 --> 00:33:58,200 Speaker 1: The priest raised his other hand, his fist gripped tight 547 00:33:58,320 --> 00:34:01,520 Speaker 1: around the neck, and the chicken hit the Iggy watched 548 00:34:01,520 --> 00:34:04,280 Speaker 1: the priest raise his other hand the gleam of the blade. 549 00:34:04,480 --> 00:34:07,440 Speaker 1: The chicken screamed as it was pierced just below its neck. 550 00:34:07,760 --> 00:34:10,280 Speaker 1: The blade split it right down the middle of its chest. 551 00:34:10,440 --> 00:34:14,400 Speaker 1: Blood torrented out, and the chicken flapped its right wing incessantly, 552 00:34:14,920 --> 00:34:17,560 Speaker 1: and the blood splitted out all over the priest's audience 553 00:34:17,600 --> 00:34:22,600 Speaker 1: as they danced, enraptured, held now with sacrifice. They were 554 00:34:22,640 --> 00:34:25,600 Speaker 1: connected to the other side, to the spirits, to the 555 00:34:25,640 --> 00:34:28,920 Speaker 1: mystic world, and there was no madness, there was no curse. 556 00:34:29,000 --> 00:34:33,759 Speaker 1: There was union, connection, inspiration, and that voodoo had been 557 00:34:33,800 --> 00:34:37,040 Speaker 1: run down, and for Iggy Pop that line had been 558 00:34:37,080 --> 00:34:40,560 Speaker 1: crossed finally and the result rebirth. 559 00:34:42,160 --> 00:34:43,320 Speaker 2: Upon returning from. 560 00:34:43,200 --> 00:34:47,120 Speaker 1: Haiti, Iggy's old friend David Bowie would record five more 561 00:34:47,160 --> 00:34:50,680 Speaker 1: of their co written songs from their Berlin days, resulting 562 00:34:50,760 --> 00:34:54,279 Speaker 1: finally in financial security for Iggy the artists who had 563 00:34:54,280 --> 00:34:58,160 Speaker 1: contributed so much culturally but seen so little for his efforts. 564 00:34:58,840 --> 00:35:02,800 Speaker 1: Iggy would then SASA via his musical contributions to various 565 00:35:02,840 --> 00:35:05,919 Speaker 1: films and through collaborations with Lou Reed and the sex 566 00:35:06,000 --> 00:35:10,280 Speaker 1: pistol Steve Jones. In the nineties, Iggy scored a legit 567 00:35:10,400 --> 00:35:13,600 Speaker 1: hit with his song Candy and appeared alongside Johnny Depp 568 00:35:13,600 --> 00:35:18,759 Speaker 1: and John Waters film Cry Baby and Jim Jarmush's Dead Man. Eventually, 569 00:35:19,040 --> 00:35:23,200 Speaker 1: Iggy Pop would successfully reunite and tour with both Stooges lineups, 570 00:35:23,440 --> 00:35:25,640 Speaker 1: and in two thousand and nine, the band was inducted 571 00:35:25,680 --> 00:35:29,120 Speaker 1: into the Rock and Roll Hall of Fame. At long last, 572 00:35:29,160 --> 00:35:32,360 Speaker 1: Iggy Pop had become a cultural icon and recognized the 573 00:35:32,400 --> 00:35:35,520 Speaker 1: world over as the great contributor and artist that he was. 574 00:35:36,600 --> 00:35:39,000 Speaker 1: And this is something that really happens an artist who 575 00:35:39,000 --> 00:35:41,560 Speaker 1: pushes it harder and further than anyone else, who gets 576 00:35:41,600 --> 00:35:42,120 Speaker 1: to live. 577 00:35:42,000 --> 00:35:44,160 Speaker 2: To tell, to enjoy his spoils. 578 00:35:45,040 --> 00:35:47,880 Speaker 1: Iggy Pop crossed the line and when he did, he 579 00:35:47,960 --> 00:35:49,080 Speaker 1: emerged reborn. 580 00:35:50,360 --> 00:35:53,480 Speaker 2: For him. Somehow, the madness did not consume. 581 00:35:53,160 --> 00:35:56,279 Speaker 1: Him like it did van Go Beethoven her Plath, and 582 00:35:56,360 --> 00:35:58,880 Speaker 1: the music didn't drive into it too soon grave like 583 00:35:58,920 --> 00:36:02,400 Speaker 1: it did to his brother's Ron and Scottie, his hero Miles, 584 00:36:02,440 --> 00:36:06,320 Speaker 1: and his friend David Bowie. Iggy Pop is still standing, 585 00:36:07,080 --> 00:36:26,360 Speaker 1: and I'm Jake Brennan in This is Disgraceland. Disgraceland was 586 00:36:26,400 --> 00:36:29,000 Speaker 1: created by Yours Truly and is produced in partnership with 587 00:36:29,040 --> 00:36:32,120 Speaker 1: Double Elvis. Credits for this episode can be found on 588 00:36:32,160 --> 00:36:35,759 Speaker 1: the show notes page at disgracelampod dot com. 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