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Speaker 1: The Seven Club is a production of I Heart Radio

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Speaker 1: and Double Elvis Media. Jim Morrison died at the age

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Speaker 1: of and he lived the life that was anything but predictable.

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Speaker 1: I can give you twenty seven reasons why that statement

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Speaker 1: is true. Fifteen would be the number of seconds that

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Speaker 1: Jim left his body on stage that he transcended himself,

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Speaker 1: or so was the story that his bandmates would tell

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Speaker 1: later on. Another one would be the number of his

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Speaker 1: most valued collaborators who bailed as The Doors faced their

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Speaker 1: most prolonged crisis, leaving Jim and the boys to figure

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Speaker 1: it out on their own. Three more would be the

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Speaker 1: number of American serial killers that would bang around a

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Speaker 1: subconscious and inspire the final song on his final album.

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Speaker 1: Another one would be the number of girlfriends who would

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Speaker 1: summon him to Paris and encourage him to purchase a

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Speaker 1: one way ticket to the fabled City of Lights. And

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Speaker 1: seven would be the number of months he had left

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Speaker 1: to live when the original four members of The Doors

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Speaker 1: took the stage for the last time in New Orleans

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Speaker 1: first show that was part rockfest, part train wreck, in

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Speaker 1: part seance. On this our tenth episode of season two,

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Speaker 1: prolonged Crisis, serial Killers a rock and roll seance and

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Speaker 1: Jim Morrison lost in fantasy. I'm Jake Brennan in This

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Speaker 1: Is the Seven Clock. There were strong forces at play

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Speaker 1: in New Orleans on Saturday, December twelve, when The Doors

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Speaker 1: took the stage for the last time with their lead

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Speaker 1: singer Jim Morrison. Some of the forces were prosaic but undeniable.

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Speaker 1: The Wilton chemistry between a trio of musicians and their

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Speaker 1: malcontent frontman was right. The audience could sense it, They

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Speaker 1: could see it, feel it. Jim didn't want to be there.

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Speaker 1: In his mind, he was already elsewhere. The fantasy differed

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Speaker 1: from day to day, but it was always evolving. Anywhere

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Speaker 1: was better than where he was at. Jim's disgruntled stance

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Speaker 1: frustrated the others in the band, because musically they were

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Speaker 1: kicking ass again. Morrison Hotel had been a welcome return

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Speaker 1: to form, and now the new songs they were debuting,

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Speaker 1: songs like l a Woman and Riders on the Storm,

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Speaker 1: were even better. Rough, rollicking, tapping into late night recesses

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Speaker 1: of the American Psyche unlike they had before. If only

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Speaker 1: they could get Jim to give a ship. Jim was

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Speaker 1: still reeling from a year of chaos, the Office Party meltdown,

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Speaker 1: the Miami trial, Patricia's abortion, and wild coke fueled knights

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Speaker 1: of blood letting and sets. He no longer found solace

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Speaker 1: as the Doors front man. He had just turned twenty

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Speaker 1: seven earlier that month. There were other forces too, that

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Speaker 1: were harder to describe, harder to see, supernatural forces, deep

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Speaker 1: dark forces that were a natural consequence of tapping into

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Speaker 1: that late night voodoo. In her preview of the concert

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Speaker 1: for the State's item, Molly Chance, he described the Doors

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Speaker 1: of Music as demonic. She called it savage and a

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Speaker 1: nightmarish glimpse into the other side, and Jim gave her

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Speaker 1: some juicy quotes that backed her up. It's a recognition

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Speaker 1: of forces that rarely see the light of day, he

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Speaker 1: told her. New Orleans played host to the gathering of forces,

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Speaker 1: a city of ritual, mystery and magic. New Orleans reveled

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Speaker 1: in this kind of scene making. The scene and unseen

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Speaker 1: were palpable in New Orleans. This final show with Jim

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Speaker 1: at the Mic was at a venue called the Warehouse.

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Speaker 1: It was the popular venue in the Big Easy for

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Speaker 1: Rock show and had just opened for the first time

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Speaker 1: earlier in the year with the show by Fleetwood, Mac

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Speaker 1: and the Grateful Dead. The Infamous show were the Dead

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Speaker 1: and their entourage were busted by local fuzz for drugs.

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Speaker 1: A bus state immortalized and song lemons turned into some

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Speaker 1: strange lemonade shrip busted down on Bourbon Street, set up

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Speaker 1: like a bowling pi. For Ray, John and Robbie, it

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Speaker 1: was another show with their mood swinging rock star front man,

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Speaker 1: so they were prepared for anything. They were excited to

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Speaker 1: test out some of their new material, live songs that

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Speaker 1: they felt were pushing them in exciting new directions. Jim

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Speaker 1: on the other hand, saw faces in the crowd from

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Speaker 1: the stage, faces randomly sprinkled within the mass of Louisiana

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Speaker 1: Good Tigers. He saw Jimmy Hendrick second rolled back, his

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Speaker 1: arms folded across his chest, judging him. He saw Janice Joplin,

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Speaker 1: half empty bottle of Southern Comfort in her hand, waiting

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Speaker 1: in the wings. As always, she was ready to pounce

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Speaker 1: on jim As soon as he made the wrong move,

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Speaker 1: she pounced and waste no time bringing that bottle down

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Speaker 1: on his head, even if it meant losing the rest

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Speaker 1: of the liquor in side. But Jimmy and Janice were

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Speaker 1: both dead. He must be seeing things That New Orleans

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Speaker 1: voodoo was working a little too well. It was all

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Speaker 1: too real? Was he inside his fantasy now? Was he?

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Speaker 1: Was he on the other side, the side where Jimmy

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Speaker 1: and Janie, had Otis and Brian all spent their eternal days?

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Speaker 1: Was that side breaking through to him? Jim decided to

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Speaker 1: pull the rip cord. He needed to back away from

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Speaker 1: the faces of the craft, back away from the forces

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Speaker 1: he was laid in the set. He missed lyrics left

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Speaker 1: and right all night, missed q sometimes because he genuinely

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Speaker 1: forgot them, and other times because he just couldn't work

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Speaker 1: up the interest to go through the motions, and tried

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Speaker 1: to tell a joke, but no one in the crowd

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Speaker 1: was quite ready for Jim Morrison, the stand up comic.

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Speaker 1: The band had started noodling during the middle section of

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Speaker 1: Light My Fire. When Jim decided to sit on the

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Speaker 1: drum riser. It was hard to tell which of the

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Speaker 1: forces was steering the ship. He was spent, tired, tired

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Speaker 1: of being Jim Morrison. Along came Mr. Good Trip, looking

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Speaker 1: for a new ship. Jim sat with his head hanging

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Speaker 1: down as the group spun through the songs Labyrinthian middle section,

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Speaker 1: casting webs of oregon and guitar over the rock solid

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Speaker 1: drum pattern. He pressed his eyes into the palms of

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Speaker 1: his hands. If he pressed hard enough, maybe he could

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Speaker 1: make those spectral visions go away, the dead here among

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Speaker 1: the living, the dark coming forth into the light. Ray

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Speaker 1: hunched over his Vox Continental and Fender Rhodes piano bass,

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Speaker 1: peered over a gym from above the top rim of

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Speaker 1: his glasses. He watched as the air above Jim's body

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Speaker 1: vibrated like heat rising, and at first he thought it

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Speaker 1: had something to do with John's drum kid. He squinted

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Speaker 1: his eyes and looked harder and watched as a translucent

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Speaker 1: mass the size of Jim's body floated above where Jim

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Speaker 1: was sitting. It hovered in the air, and for a

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Speaker 1: brief moment, Ray thought that the eastern motif he was

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Speaker 1: playing with his fingers on the box Continental somehow had

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Speaker 1: something to do with it, like he was extracting something

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Speaker 1: from Jim's body. Jim sat motionless while the band wore on.

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Speaker 1: The translucent figure was gone now just about as quickly

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Speaker 1: as it had appeared, but Ray was convinced Jim had

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Speaker 1: left the stage. The body that sat there on John's

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Speaker 1: drum riser was just that, a body, a shell, a vessel.

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Speaker 1: Jim had most certainly left the building. John, on the

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Speaker 1: other hand, wasn't witnessing any out of body phenomena. He

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Speaker 1: looked down and saw his lead singer being a prima

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Speaker 1: donna pain in the balls again. John had just about

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Speaker 1: enough of Jim Sulky, and so as they approached the

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Speaker 1: return to the song's verse, John stuck his leg out

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Speaker 1: and kicked Jim's back with his foot. Jim sprung back

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Speaker 1: to life, feet back on the stage, mike stand back

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Speaker 1: in his hands. He picked up the mic stand, a

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Speaker 1: long piece of shimmer ring silver that ran down to

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Speaker 1: a circular base on the stage floor, then raised it

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Speaker 1: up to his chest, and then he brought it down.

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Speaker 1: The base of the mic stand dug into the hardwood

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Speaker 1: of the stage floor, and the audience first thought it

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Speaker 1: was a particularly loud drum hit until they saw Jim

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Speaker 1: raise the mic stand in the air again. He brought

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Speaker 1: it back down so hard this time that the hardwood

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Speaker 1: started to splinter, then three more times in quick succession,

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Speaker 1: and little pieces of the wood flew back into the

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Speaker 1: air for the forest, and the mic started to feedback

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Speaker 1: and then fell off the stand into the floor with

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Speaker 1: a thud. Jim kept slamming the stand into the stage

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Speaker 1: until he felt like he had slammed it enough, until

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Speaker 1: it had broken through, Until he had made his point,

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Speaker 1: he walked off. He was done. M Paul Rothschild bailed

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Speaker 1: first before New Orleans. Before Jim left a shattered stage

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Speaker 1: Florida's Wake. Paul Rothschild threw in the towel. He had

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Speaker 1: had enough. He had sat in the producer's chair for

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Speaker 1: every Door's album since the beginning. He had watched Jim

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Speaker 1: go from a fully committed participant to a barely there

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Speaker 1: fly on the wall. Paul was a veteran, nearly one

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Speaker 1: hundred albums produced. He had just finished recording Janice Joplin's

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Speaker 1: album Pearl, a labor of love by all involved the experience.

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Speaker 1: It was life affirming for Paul. Janice was committed, the

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Speaker 1: band was committed. Everything about it was the way a

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Speaker 1: record production should be. And now Paul had to transition

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Speaker 1: from Cloud nine with Janice to a dark cloud with Jim,

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Speaker 1: and it was a trip he didn't feel like he

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Speaker 1: could take. The making of Pearl was compounded by the

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Speaker 1: sudden and unexpected death of Janice Joplin from an apparent

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Speaker 1: heroin overdose in her hotel room in Hollywood. Paul began

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Speaker 1: to worry when she was a no show for a

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Speaker 1: vocal session. Her tour manager drove to the Landmark Motor

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Speaker 1: Hotel and found her on the floor of her room,

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Speaker 1: next to her bed. She was only twenty seven. It

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Speaker 1: had only been sixteen days since Jimmie Hendricks died in London,

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Speaker 1: and Paul was in shock. He had bonded with Janice,

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Speaker 1: believed in her believed in her music. Janice had her

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Speaker 1: own demons, though, and fought them off with her own

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Speaker 1: regiment of self medication, just like Jim Morrison. Paul drew

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Speaker 1: the parallels between the two singers, and after watching Janice

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Speaker 1: walked down the path to say destruction, he identified Jim

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Speaker 1: on the same path, headed to the same tragic fate.

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Speaker 1: The doors were far from ideal, far from perfect, but

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Speaker 1: Paul had spent most of his quote unquote production duties

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Speaker 1: as of late corralling Jim wrangling him at recording sessions.

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Speaker 1: Jim was either disinterested or drunk, sometimes both. His ongoing

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Speaker 1: desire to destroy everything was exhausting and indicative of a

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Speaker 1: desire to destroy himself. Paul didn't need a psychologist to

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Speaker 1: see that the way Jim had gained the beard he

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Speaker 1: had grown, it was like he was hiding in plain sight, disappearing,

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Speaker 1: becoming more and more like the spitting image of that

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Speaker 1: lughead Jimbo that he hung around with. Jim's voice had

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Speaker 1: dropped to a low, guttural growl. It wouldn't be much

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Speaker 1: longer before he wouldn't be able to sing at all.

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Speaker 1: Shortly after Janis had died, Paul and Jim were drinking

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Speaker 1: at a bar in Hollywood. Jim was unusually affable that

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Speaker 1: it was probably that early drunk high he got after

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Speaker 1: a few drinks before the tenth or eleventh drinks sunk

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Speaker 1: him into total darkness. He finished a point and slammed

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Speaker 1: the empty glass mug down on the sticky bar. He

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Speaker 1: slapped Paul a few times on his back. That's right,

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Speaker 1: he said to Paul Bryan, Jimmy Janice, you'd drink it

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Speaker 1: with number four Polly. And then there was the problem

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Speaker 1: with Jimbo. Jim was spending more and more time with him,

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Speaker 1: and Jimbo's influence was increasingly dark and nihilistic. Paul couldn't

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Speaker 1: do it, couldn't put on the brave face and power

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Speaker 1: through it. He wasn't going to be part of Jim

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Speaker 1: Morrison's inevitable undoing. And even if he could muster the

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Speaker 1: strength to carry on, the Doors simply weren't the band

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Speaker 1: he had fallen in love with at the beginning. Those

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Speaker 1: first three albums were great, they were unique, there was

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Speaker 1: something special there. But the Soft Parade was a dumpster fire,

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Speaker 1: and then the incident in Miami took that flaming dumpster

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Speaker 1: and dropped it into a full on circus. The band

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Speaker 1: were rehearsing new material for their sixth LP and the

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Speaker 1: Bass in of their offices on Santa Wanica Boulevard, The

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Speaker 1: Door's Workshop, they called it, and Paul tried to sort

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Speaker 1: through the material they had provided. L A Woman and

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Speaker 1: Riders on the Storm were strong songs, but the band

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Speaker 1: was off, way off, and Paul wasn't able to correct

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Speaker 1: their course. Paul took them to the studio, back to

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Speaker 1: Sunset Sound, the studio where they made their first record.

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Speaker 1: Perhaps being in a professional environment would lend some professionalism

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Speaker 1: to the whole thing. Perhaps they could recapture some of

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Speaker 1: that original magic. Paul sat at the control panel, his

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Speaker 1: trustee Jar labeled KDE, next to a Killer Destroyer, his

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Speaker 1: killer stash of killer grass. The band wasn't coming together,

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Speaker 1: and they were expecting Paul to do all the heavy

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Speaker 1: lifting for them, sort through the lumpy cold to find

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Speaker 1: a well hidden diamond. They tried another new tune, love

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Speaker 1: Her Madly, and it sounded like cocktail jazz. To Paul,

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Speaker 1: I want to be her daddy. Fuck this ship. Paul

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Speaker 1: thought the band was bored, stilted, all had taken them

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Speaker 1: as far as he could. Even the promise of a

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Speaker 1: two dollar pay day wasn't enough to keep Paul in

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Speaker 1: the producer's seat. The doors were shocked when Paul said

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Speaker 1: he was leaving. Before he walked out for good, he

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Speaker 1: told him that the only way they could get back

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Speaker 1: on track was to make the record themselves. They had

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Speaker 1: to be invested, They had to be in the driver's seat,

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Speaker 1: no more passive participation. Either they were all in it

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Speaker 1: together or they were done. And then he left and

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Speaker 1: took his Killer Destroyer with him. Paul Rothschild's departure served

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Speaker 1: as one last wake up call. The doors weren't quite

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Speaker 1: done yet. They'd hit the wall soon enough in New Orleans.

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Speaker 1: But now now they were going to listen to what

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Speaker 1: their longtime producer, confidant and honorary Fifth Door was telling them.

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Speaker 1: Do it yourselves. It happened fast. First they made sure

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Speaker 1: that Bruce Botnick, their longtime engineer, would co produce the

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Speaker 1: album with them. He agreed. Next, they decamped back to

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Speaker 1: the Door's workshop. They were going to strip it all back,

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Speaker 1: make this thing in the trenches, guerilla style, no fancy studio,

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Speaker 1: no hangers on, no distractions. They were gonna focus, do

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Speaker 1: it live, do it themselves. The Door's workshop was a

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Speaker 1: grown up tree for it. Empty bottles and magazines scattered everywhere,

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Speaker 1: large yellow glass ash tray is full of snubbed out smokes,

250
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Speaker 1: a jukebox in one corner, a pinball machine and another.

251
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Speaker 1: They sat up their instruments in the basement rehearsal room,

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Speaker 1: un movers, quilts to the walls to absorb the sound,

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Speaker 1: hun towels over the windows to keep the outside at bay,

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Speaker 1: and direct focus on each other. There would be no day,

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Speaker 1: there would be no night. There was nothing beyond that

256
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Speaker 1: basement room. Jim ripped out the door to the bathroom

257
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Speaker 1: so that he could record his vocals in the stall,

258
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Speaker 1: taking advantage of the sweet, reverberating sound of the tiles.

259
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Speaker 1: With the door gone, he could maintain visual contact with

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Speaker 1: his bandmates, and they brought in Jerry Chef fresh off

261
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Speaker 1: of Las Vegas run with the King himself, Elvis Pressley

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Speaker 1: to play bass. That hired Leon Russell's guitar player Mark

263
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Speaker 1: Benno to play rhythm guitar so that Robbie could focus

264
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Speaker 1: on leads while they captured everything is live as they could.

265
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Speaker 1: Jim was actually on time. Jim was actually focused. Jim

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Speaker 1: was actually inspired by this new role leader of a

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Speaker 1: blues band in a blacked out basement room, like a

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Speaker 1: bunch of high school kids making racket for the first

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Speaker 1: time as their parents rolled their eyes upstairs. Bruce dragged

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Speaker 1: the console over from the studio and set it up

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Speaker 1: in Bill Siddon's office on the first floor. Let's set

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Speaker 1: up was lead, the consoles, some speakers, the tape machine,

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Speaker 1: and an intercom microphone so he could communicate with the

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Speaker 1: band at the basement. For one of the biggest bands

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Speaker 1: in the world, one with unlimited resources, despite their scandals

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Speaker 1: and troubles. This was a seriously d i y leave

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Speaker 1: as back to basics as a band could get. They

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00:16:43,680 --> 00:16:46,800
Speaker 1: heated the call of their exhausted producer, pulled their ship

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Speaker 1: together and did it themselves, And it happened fast. The

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Speaker 1: majority of the sessions for the album that would become

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Speaker 1: l a Woman were tracked, and under a week the

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Speaker 1: music cooked. The title track barreled through its seven plus

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Speaker 1: minutes like Jim's Blue eighty, tearing down the one oh one,

284
00:17:02,040 --> 00:17:05,320
Speaker 1: the Changeling, and Ben Down so long were thick hunks

285
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Speaker 1: of window covered basement blues. They got weird with America

286
00:17:09,119 --> 00:17:13,640
Speaker 1: and got pretty with Hyacinth House. In hindsight, it's probably

287
00:17:13,640 --> 00:17:16,480
Speaker 1: a good thing that it all happened so fast. Any

288
00:17:16,520 --> 00:17:18,520
Speaker 1: longer in the tears and the fabric of the band

289
00:17:18,560 --> 00:17:20,640
Speaker 1: that have been mended in their time of crisis would

290
00:17:20,640 --> 00:17:24,280
Speaker 1: have split open again. It didn't take much. Soon enough,

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00:17:24,359 --> 00:17:26,399
Speaker 1: they would see that all it took was a shitty

292
00:17:26,400 --> 00:17:29,040
Speaker 1: show in New Orleans to bring them all crashing back

293
00:17:29,080 --> 00:17:31,520
Speaker 1: down to face the reality that they just weren't in

294
00:17:31,600 --> 00:17:34,200
Speaker 1: it for the long haul. The doors weren't going to

295
00:17:34,280 --> 00:17:38,880
Speaker 1: make it. They all decided to take a break out

296
00:17:38,880 --> 00:17:42,080
Speaker 1: to New Orleans. They canceled their upcoming shows at Madison

297
00:17:42,119 --> 00:17:46,640
Speaker 1: Square Garden. In January or nine, Jim started talking about

298
00:17:46,720 --> 00:17:50,080
Speaker 1: leaving the country. Pam and spent more time in Paris recently,

299
00:17:50,119 --> 00:17:52,399
Speaker 1: and she wanted him to follow her there. He'd have

300
00:17:52,520 --> 00:17:54,720
Speaker 1: to face the music soon and do his time for

301
00:17:54,760 --> 00:17:57,600
Speaker 1: the Miami incident. With things getting up at home again,

302
00:17:57,680 --> 00:18:01,000
Speaker 1: his attorney, Max Fink, told him that was a possibility

303
00:18:01,040 --> 00:18:03,880
Speaker 1: that his passport could be taken. If there was ever

304
00:18:03,920 --> 00:18:07,760
Speaker 1: a time to split, now might be it. But before

305
00:18:07,800 --> 00:18:10,240
Speaker 1: we could go anywhere, Bruce needed him back in the

306
00:18:10,280 --> 00:18:13,440
Speaker 1: studio one last time. He had to put final touches

307
00:18:13,440 --> 00:18:16,360
Speaker 1: on Riders on the Storm, one of the serious songs

308
00:18:16,359 --> 00:18:19,680
Speaker 1: in the band's catalog that drew equally from gory true

309
00:18:19,720 --> 00:18:24,240
Speaker 1: crime sprees, old Western songs, and Jim's non existent film career.

310
00:18:25,200 --> 00:18:27,560
Speaker 1: Jim met Bruce in l a, put on a pair

311
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Speaker 1: of headphones and put his lips to a microphone. One

312
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Speaker 1: last time. He went out with a whisper, We'll be

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00:18:41,320 --> 00:18:50,080
Speaker 1: right back after this word word word. Billy Cook shot

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Speaker 1: the dog. Last. He had dumped the Monster family down

315
00:18:53,480 --> 00:18:57,120
Speaker 1: a mine shaft outside of Joplin, Missouri. First, the parents

316
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Speaker 1: Carl and Thelma, and then the children. Ronald seven years old,

317
00:19:01,960 --> 00:19:06,320
Speaker 1: Gary was five, little Pamela Sue was only three. Just

318
00:19:06,520 --> 00:19:10,360
Speaker 1: moments earlier, Cook raised his thirty two caliber snubnose pistol

319
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Speaker 1: and pulled the trigger five times, and they were all dead.

320
00:19:15,320 --> 00:19:18,440
Speaker 1: Thelma had begged for her life. The tears ran down

321
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Speaker 1: her face as she begged Cook to at least spare

322
00:19:20,680 --> 00:19:23,800
Speaker 1: the lives of her children. Cook didn't care in the least.

323
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Speaker 1: He acted quick, without emotion. He told his daddy, when

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Speaker 1: he had been released from prison earlier that year, that

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Speaker 1: he was going to quote lived by the gun and

326
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Speaker 1: roam and God damn it, that's what he was gonna do.

327
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Speaker 1: People would die. He dragged the bodies from the nine

328
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Speaker 1: blue Chevy Sedan across grass and gravel and threw them

329
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Speaker 1: down the mine shaft. The dog whimpered as it followed

330
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Speaker 1: Cook to the mouth of the mine shaft. While he

331
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Speaker 1: dragged the last body over, Cook turned around slowly and

332
00:19:53,640 --> 00:19:57,040
Speaker 1: pulled the trigger a final time. The shot rang out,

333
00:19:57,640 --> 00:20:03,080
Speaker 1: empty and lonely across some unremarkable Missouri grassland. Cooked through

334
00:20:03,119 --> 00:20:05,520
Speaker 1: the dog down on top of the others, got back

335
00:20:05,520 --> 00:20:10,560
Speaker 1: in the driver's seat and hit the highway. There's a

336
00:20:10,680 --> 00:20:14,480
Speaker 1: killer on the road. His brain is squirming like a toad.

337
00:20:16,880 --> 00:20:21,119
Speaker 1: It was December. Carl Masster had been driving his family

338
00:20:21,160 --> 00:20:24,320
Speaker 1: through Oklahoma on route to New Mexico when they saw

339
00:20:24,359 --> 00:20:27,000
Speaker 1: the hitchhiker on the side of the road, riding thumb.

340
00:20:27,640 --> 00:20:31,280
Speaker 1: Mr Monsters sedan was almost at Max's capacity, the wife

341
00:20:31,280 --> 00:20:33,679
Speaker 1: of the kids, the dog, but they had room and

342
00:20:33,800 --> 00:20:36,960
Speaker 1: Mr Mosser was a neighborly guy, so he pulled over.

343
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Speaker 1: Where you aheaded? Mr Monster hollered out the window that

344
00:20:40,160 --> 00:20:44,280
Speaker 1: Thelma had just rolled down headed west. Mr was a

345
00:20:44,359 --> 00:20:47,920
Speaker 1: hitchhiker's response, the collar of his denim jacket was pulled

346
00:20:48,000 --> 00:20:50,800
Speaker 1: up to shield his neck from the wind. Of course,

347
00:20:50,880 --> 00:20:54,720
Speaker 1: the hitchhiker wasn't headed west. The hitchhiker, Billy Cook, was

348
00:20:54,760 --> 00:20:59,120
Speaker 1: headed south south of Heaven. Billy Cook had other plans,

349
00:20:59,800 --> 00:21:03,359
Speaker 1: but Lee Cook was going to kill this family. The

350
00:21:03,440 --> 00:21:06,879
Speaker 1: first thing Mr Master noticed about Cook was this deformed i.

351
00:21:07,600 --> 00:21:10,000
Speaker 1: It sagged down like someone had grabbed hold of his

352
00:21:10,040 --> 00:21:12,959
Speaker 1: face on both cheeks and pulled down on one side.

353
00:21:13,640 --> 00:21:15,960
Speaker 1: As soon as Cook climbed in the car, Mr Mosster

354
00:21:16,080 --> 00:21:19,720
Speaker 1: had a bad feeling. The next thing Mr Master noticed

355
00:21:19,720 --> 00:21:22,959
Speaker 1: where the tattooed letters on Cook's left hand. The letters

356
00:21:23,280 --> 00:21:26,920
Speaker 1: H A R D imprinted above the knuckles on each

357
00:21:26,960 --> 00:21:32,440
Speaker 1: finger L you see k imprinted below the knuckles hard luck.

358
00:21:32,960 --> 00:21:35,280
Speaker 1: The Master family was about to get a free lesson

359
00:21:35,320 --> 00:21:39,480
Speaker 1: and hard luck. Mr Mosster saw the tattoos when Cook

360
00:21:39,560 --> 00:21:41,800
Speaker 1: drew his small thirty two and pointed it to the

361
00:21:41,840 --> 00:21:44,919
Speaker 1: back of his wife Felma's head and told Monster to

362
00:21:44,960 --> 00:21:49,119
Speaker 1: turn the car around. The killer awoke it down. He

363
00:21:49,240 --> 00:21:54,320
Speaker 1: put his boots on. The children, squashed like sardines in

364
00:21:54,400 --> 00:21:56,360
Speaker 1: a can next to Cook in the back seat, try

365
00:21:56,440 --> 00:21:58,960
Speaker 1: to move their bodies as far away from the hitchhiker

366
00:21:59,000 --> 00:22:01,600
Speaker 1: as they could. The boys clung to their hop along

367
00:22:01,680 --> 00:22:05,199
Speaker 1: cassidy cowboy hats. Pamela Sue wrapped herself up in her

368
00:22:05,240 --> 00:22:09,320
Speaker 1: baby blanket and cried for seventy two hours. Cook made

369
00:22:09,320 --> 00:22:12,280
Speaker 1: the family drive a serpent team route back to Joplin,

370
00:22:12,400 --> 00:22:18,240
Speaker 1: his hometown, and they wound through Texas, Arkansas, Oklahoma, and

371
00:22:18,240 --> 00:22:22,600
Speaker 1: they reached Joplin after sundown on New Year's Day, and

372
00:22:22,720 --> 00:22:25,040
Speaker 1: almost as soon as they had crossed the city line,

373
00:22:25,040 --> 00:22:28,200
Speaker 1: a police car pass them. Thelma rode down her window

374
00:22:28,240 --> 00:22:31,199
Speaker 1: and screamed for help and Mr Masters slammed on the brakes.

375
00:22:31,400 --> 00:22:34,960
Speaker 1: The children's cries echoed their mothers. Thelma flailed her arms,

376
00:22:35,080 --> 00:22:37,040
Speaker 1: and Cook told them all to shut the funk up.

377
00:22:37,520 --> 00:22:39,840
Speaker 1: Mr Master rolled his window down and stuck his arms

378
00:22:39,840 --> 00:22:42,600
Speaker 1: out into the cold night air. Cook reminded them he

379
00:22:42,640 --> 00:22:45,639
Speaker 1: would start shooting if they didn't stop screaming and flailing about.

380
00:22:46,200 --> 00:22:49,159
Speaker 1: The police car didn't stopped, and the monsters didn't shut up,

381
00:22:49,880 --> 00:22:56,760
Speaker 1: so Billy Cook shot them all. If you give this

382
00:22:56,880 --> 00:23:03,120
Speaker 1: man a ride, sweet family, Billy Cook was never given

383
00:23:03,160 --> 00:23:05,639
Speaker 1: a chance as a child. His mother died when he

384
00:23:05,720 --> 00:23:08,679
Speaker 1: was five. Legend has it that Cook discovered her body

385
00:23:08,720 --> 00:23:11,240
Speaker 1: after she had suffered a freak accident with a hatchet

386
00:23:11,240 --> 00:23:15,520
Speaker 1: in her face. His father, an abusive boozer, drove Cook

387
00:23:15,600 --> 00:23:18,080
Speaker 1: and his seven siblings out to an abandoned mine and

388
00:23:18,200 --> 00:23:21,720
Speaker 1: left them for dead. When authorities found the children, Cook

389
00:23:21,840 --> 00:23:24,280
Speaker 1: was the only one who wasn't placed in foster care.

390
00:23:24,800 --> 00:23:27,520
Speaker 1: His temper and violent outbursts got him a one way

391
00:23:27,560 --> 00:23:31,520
Speaker 1: ticket to reform school and eventually to the Missouri State Prison.

392
00:23:31,560 --> 00:23:35,239
Speaker 1: As a teenager, they called him billycock eyed Cook due

393
00:23:35,280 --> 00:23:38,240
Speaker 1: to his right eyelid, which sagged low and wooden close

394
00:23:39,200 --> 00:23:42,560
Speaker 1: when he slept the eyelids state opened. When he was

395
00:23:42,600 --> 00:23:44,840
Speaker 1: released at the age of twenty one, he became a

396
00:23:44,960 --> 00:23:48,960
Speaker 1: drifter and headed west. First he kidnapped an auto mechanic,

397
00:23:49,000 --> 00:23:51,280
Speaker 1: and then he killed the monsters, and then he killed

398
00:23:51,320 --> 00:23:54,879
Speaker 1: again a salesman from Seattle, and then kidnapped again before

399
00:23:54,880 --> 00:23:57,520
Speaker 1: he was made in Mexico and turned over to the FBI.

400
00:23:59,080 --> 00:24:02,159
Speaker 1: When he was arrested, he said, I hate everybody's guts

401
00:24:02,440 --> 00:24:06,240
Speaker 1: and everybody hates mine. At just twenty three, he got

402
00:24:06,240 --> 00:24:11,879
Speaker 1: the gas chamber at San Quentin. Jimbo told Jim the

403
00:24:11,920 --> 00:24:15,080
Speaker 1: story of Billy Cook in his brief yet savage killing

404
00:24:15,119 --> 00:24:17,800
Speaker 1: spree one night on Venice Beach early on when the

405
00:24:17,840 --> 00:24:22,000
Speaker 1: doors first began. Jimbo was obsessed with this sort of lore,

406
00:24:22,280 --> 00:24:25,440
Speaker 1: and for Jim he found the slice of MiCab Americana

407
00:24:25,520 --> 00:24:29,720
Speaker 1: both appalling and fascinating. It resonated in similar stories of

408
00:24:29,800 --> 00:24:33,640
Speaker 1: Bonnie and Clyde, the murder of the Clutter family in Holcomb, Kansas.

409
00:24:34,359 --> 00:24:36,719
Speaker 1: The forces that rarely see the light of day, the

410
00:24:36,840 --> 00:24:40,600
Speaker 1: darkness here in the light, the other side breaking on through.

411
00:24:41,320 --> 00:24:44,560
Speaker 1: Jimbo's story kicked around in Jim's head for years. It

412
00:24:44,720 --> 00:24:47,480
Speaker 1: was there when he made Highway in an American Pastoral,

413
00:24:47,760 --> 00:24:52,360
Speaker 1: his experimental short film about a murderous hitchhiker played by Jim.

414
00:24:52,400 --> 00:24:58,439
Speaker 1: In the script, Jim's character's name is simply Billy. And

415
00:24:58,480 --> 00:25:01,480
Speaker 1: then the Manson family murder has happened, and the Zodiac

416
00:25:01,600 --> 00:25:05,680
Speaker 1: killer Jimbo's Billy cooktail kicked around some more. Jim thought

417
00:25:05,680 --> 00:25:08,480
Speaker 1: it odd that Jimbo had spent so much time with

418
00:25:08,520 --> 00:25:12,080
Speaker 1: the Wizard himself, and that Jimbo was so fascinated with

419
00:25:12,119 --> 00:25:14,600
Speaker 1: the likes of Billy Cook and here he was hanging

420
00:25:14,600 --> 00:25:17,879
Speaker 1: out and drinking beers with this generation's Billy Cooked Charles

421
00:25:17,920 --> 00:25:21,720
Speaker 1: Manson himself. Jimbo didn't speak much about Charlie after the

422
00:25:21,720 --> 00:25:24,040
Speaker 1: ship hit the fan and he and his spawn Ranch

423
00:25:24,160 --> 00:25:28,560
Speaker 1: family were arrested. And then there were Jimbo Zodiac stories,

424
00:25:28,600 --> 00:25:31,119
Speaker 1: the ones that seemed oddly familiar to some of the

425
00:25:31,160 --> 00:25:34,600
Speaker 1: news stories Jim had read about the Unknown Killers victims.

426
00:25:34,640 --> 00:25:38,520
Speaker 1: But Jimbo would always say he was just fucking with Jim.

427
00:25:38,520 --> 00:25:40,879
Speaker 1: But how should Jim explain what he saw that night

428
00:25:40,920 --> 00:25:44,720
Speaker 1: in Patricia's apartment During the hand fasting marriage ceremony, he

429
00:25:44,800 --> 00:25:48,080
Speaker 1: snapped into his own Highway killer fantasy, his own private

430
00:25:48,160 --> 00:25:51,320
Speaker 1: Zodiac moment. He was on a highway. He was the

431
00:25:51,400 --> 00:25:54,359
Speaker 1: killer on the road. His brain was squirming like a toad.

432
00:25:54,720 --> 00:25:56,800
Speaker 1: He wasn't sure that he could trust himself with what

433
00:25:56,960 --> 00:25:59,520
Speaker 1: was real and what wasn't anymore. I wasn't sure what

434
00:25:59,640 --> 00:26:03,280
Speaker 1: to believe, especially from a drunken, unreliable narrator like Jimbo.

435
00:26:03,640 --> 00:26:07,000
Speaker 1: Not the gym himself is any more reliable. He simply

436
00:26:07,000 --> 00:26:11,200
Speaker 1: couldn't exercise the Billy Cook trope from his brain. Bruce

437
00:26:11,240 --> 00:26:14,080
Speaker 1: Botanik played him Stan Jones his Ghost Riders in the

438
00:26:14,080 --> 00:26:18,200
Speaker 1: Sky one night at the studio, a Western chestnut recorded

439
00:26:18,240 --> 00:26:22,800
Speaker 1: by everyone from burl Ives to Gineatry. Immediately his brain

440
00:26:22,920 --> 00:26:25,960
Speaker 1: went to highway kidnapping and murder like it was a

441
00:26:26,000 --> 00:26:29,360
Speaker 1: Pavlovian response. If you want to save your soul from

442
00:26:29,400 --> 00:26:32,760
Speaker 1: Hella riding on our range, then cowboy change he wais

443
00:26:32,800 --> 00:26:36,680
Speaker 1: today with us, he will ride. He dumped the Billy

444
00:26:36,720 --> 00:26:39,440
Speaker 1: Cook mess from his brain once more into the lyrics

445
00:26:39,440 --> 00:26:42,240
Speaker 1: of Riders on the Storm, the creepy epic that would

446
00:26:42,280 --> 00:26:46,360
Speaker 1: close outside too, of l a woman. After New Orleans,

447
00:26:46,600 --> 00:26:49,680
Speaker 1: Jim flew back out to Los Angeles at Bruce's request

448
00:26:49,920 --> 00:26:52,960
Speaker 1: and met him at Poppy Studios, one of Motown's West

449
00:26:53,000 --> 00:26:56,159
Speaker 1: Coast studios, where Bruce was putting the finishing touches on

450
00:26:56,240 --> 00:26:58,840
Speaker 1: the l A Woman album. He needed Jim to lay

451
00:26:58,880 --> 00:27:02,160
Speaker 1: down a few final vote tracks, including a harmony vocal

452
00:27:02,200 --> 00:27:05,879
Speaker 1: on Highest House and then some atmosphere For that ominous

453
00:27:05,880 --> 00:27:09,560
Speaker 1: closing track. Jim had Bruce add the rain and thunder

454
00:27:09,640 --> 00:27:12,719
Speaker 1: sound effects which lend the songs some of its dread,

455
00:27:13,119 --> 00:27:16,040
Speaker 1: and then added in his final vocal takes on a

456
00:27:16,080 --> 00:27:20,119
Speaker 1: doors record or any record for that matter. Bruce started

457
00:27:20,160 --> 00:27:23,919
Speaker 1: the tape up. It was rolling now. Jim held his

458
00:27:24,000 --> 00:27:27,360
Speaker 1: hands tight to the headphones, cradling his ears. The rain

459
00:27:27,520 --> 00:27:30,439
Speaker 1: came in a clap of thunder, and the band playing

460
00:27:30,480 --> 00:27:34,879
Speaker 1: its slow burned down the horizon. On cue. Jim opened

461
00:27:34,920 --> 00:27:38,000
Speaker 1: his mouth and leaned into the microphone and whispered underneath

462
00:27:38,040 --> 00:27:42,040
Speaker 1: his existing lead vocal, His breath hot and his voice tattered.

463
00:27:43,600 --> 00:28:19,760
Speaker 1: Riders almost the count provided the smack. He had the

464
00:28:19,800 --> 00:28:21,879
Speaker 1: good stuff, the stuff that made the rest of the

465
00:28:21,920 --> 00:28:25,120
Speaker 1: world irrelevant, the stuff that made you forget about yesterday,

466
00:28:25,280 --> 00:28:28,320
Speaker 1: stopped worrying about tomorrow, and sink you deep into an

467
00:28:28,320 --> 00:28:33,840
Speaker 1: impossibly warm now. The skag was everywhere, an increasing number

468
00:28:33,840 --> 00:28:37,639
Speaker 1: of American Gis were returning from Vietnam with heroin addictions.

469
00:28:38,040 --> 00:28:40,800
Speaker 1: It was on the streets, in veins, up noses. It

470
00:28:40,880 --> 00:28:44,000
Speaker 1: took down Janice Joplin, and it would soon take down more.

471
00:28:46,080 --> 00:28:49,000
Speaker 1: Pamela craved it, needed it, missed it when she didn't

472
00:28:49,040 --> 00:28:51,400
Speaker 1: have it, went nuts when she couldn't get it. She

473
00:28:51,440 --> 00:28:54,200
Speaker 1: had gone full blown junkie since she had been in Paris,

474
00:28:54,240 --> 00:28:56,880
Speaker 1: where she stayed while Jim and the Doors were finishing.

475
00:28:56,880 --> 00:28:59,920
Speaker 1: All a woman, she had felt the sting of heroin,

476
00:29:00,000 --> 00:29:03,120
Speaker 1: and back in the States working handshake deals and otherwise

477
00:29:03,200 --> 00:29:07,000
Speaker 1: upscale Elien neighborhoods. While Jim was none the wiser, he

478
00:29:07,120 --> 00:29:09,600
Speaker 1: was always too stoned on his own trip to stop

479
00:29:09,600 --> 00:29:13,600
Speaker 1: and pay attention to hers. In Paris, she had quicker

480
00:29:13,640 --> 00:29:18,080
Speaker 1: and more reliable access to junk. The Count scored it

481
00:29:18,160 --> 00:29:22,000
Speaker 1: for her best, Count, Jean de Bretoi, a French aristocrat

482
00:29:22,040 --> 00:29:24,880
Speaker 1: who Pamela found herself wrapped up with every time she

483
00:29:25,000 --> 00:29:28,400
Speaker 1: was back at Paris. She had originally met the Count

484
00:29:28,400 --> 00:29:31,400
Speaker 1: in Morocco when she was buying inventory for a boutique

485
00:29:31,400 --> 00:29:34,040
Speaker 1: shop that she opened the nineteen sixty nine on Las

486
00:29:34,040 --> 00:29:37,680
Speaker 1: Sienega in l A and pedaled exotic furs, tapestries, and

487
00:29:37,760 --> 00:29:41,080
Speaker 1: sheet clothing. Jim had paid for the shop with the

488
00:29:41,160 --> 00:29:44,280
Speaker 1: royalties he made from The Strange Day's album. He wanted

489
00:29:44,280 --> 00:29:47,200
Speaker 1: to call it fucking great, but she opted for the

490
00:29:47,280 --> 00:29:51,000
Speaker 1: more subdued themis. The joke was that themas was so

491
00:29:51,080 --> 00:29:55,600
Speaker 1: exclusive that it was never actually open. Given that it

492
00:29:55,640 --> 00:29:57,880
Speaker 1: was a pet project with no real pressure to have

493
00:29:57,920 --> 00:30:00,160
Speaker 1: the regular sustaining cash flow of a reg in the

494
00:30:00,240 --> 00:30:03,120
Speaker 1: retail store, Pamela could drop out and hit the City

495
00:30:03,120 --> 00:30:05,520
Speaker 1: of Lights when she wanted to. It was there that

496
00:30:05,560 --> 00:30:08,600
Speaker 1: she could dive headfirst into her own fantasy. She was

497
00:30:08,600 --> 00:30:12,520
Speaker 1: still Jim's, but she was also temporarily not Jim's, so

498
00:30:12,560 --> 00:30:15,320
Speaker 1: she felt free to be someone else, someone who had

499
00:30:15,320 --> 00:30:18,760
Speaker 1: a Parisian tryst with her socialite drug dealing lover who

500
00:30:18,880 --> 00:30:23,000
Speaker 1: was also a count. But she was always inextricably tied

501
00:30:23,040 --> 00:30:26,560
Speaker 1: to Jim. In Paris, she went by Pamela Morrison and

502
00:30:26,600 --> 00:30:29,240
Speaker 1: the friends she hung out with newer as Jim's wife,

503
00:30:29,680 --> 00:30:32,600
Speaker 1: Jim's wife, waiting patiently for her husband to meet up

504
00:30:32,640 --> 00:30:35,760
Speaker 1: with her in the City of Lights. She had another

505
00:30:35,800 --> 00:30:39,120
Speaker 1: Paris fantasy that she'd get Jim to follow her across

506
00:30:39,200 --> 00:30:42,360
Speaker 1: the pond. She'd give up the junk. He'd stop drinking.

507
00:30:42,440 --> 00:30:44,960
Speaker 1: He'd shave his beard, comb his hair, he'd lose his

508
00:30:45,000 --> 00:30:48,920
Speaker 1: beer belly, all that bloated water weight gone. He'd dry out.

509
00:30:49,080 --> 00:30:52,440
Speaker 1: They'd stroll the foreign city hand in hand, freely. He

510
00:30:52,600 --> 00:30:55,400
Speaker 1: dropped the rock star thing, put the doors behind him.

511
00:30:55,600 --> 00:30:58,040
Speaker 1: She knew that's what he really wanted to do. Anyway

512
00:30:58,240 --> 00:31:00,800
Speaker 1: that he limped around with the band around his ankle

513
00:31:00,880 --> 00:31:03,840
Speaker 1: like a ball and chain, and he'd focus on his poetry.

514
00:31:04,840 --> 00:31:07,959
Speaker 1: It would be romantic, artistic. Jim would be like Rombeau

515
00:31:08,080 --> 00:31:12,160
Speaker 1: a Baudelaire, and Pamela will be his muse. Jim had

516
00:31:12,200 --> 00:31:15,560
Speaker 1: devoured text by Camus, Satra and Wild and in Paris

517
00:31:15,680 --> 00:31:18,040
Speaker 1: he could walk in the same steps as his literary

518
00:31:18,160 --> 00:31:22,800
Speaker 1: idols did. Marry for real. He'd cast off that faith

519
00:31:22,840 --> 00:31:25,440
Speaker 1: marriage to Patricia, and they would settle into a life

520
00:31:25,480 --> 00:31:29,360
Speaker 1: of quiet anonymity, surrounded by people who didn't speak their language.

521
00:31:29,560 --> 00:31:32,720
Speaker 1: It would be a true reinvention. They would lose themselves

522
00:31:32,800 --> 00:31:37,480
Speaker 1: once and for all, just get lost, real lost, just

523
00:31:37,680 --> 00:31:40,360
Speaker 1: like she was lost in this heroine high at the moment,

524
00:31:40,760 --> 00:31:43,480
Speaker 1: lost in the Count's two eyes, one green and one

525
00:31:43,600 --> 00:31:46,880
Speaker 1: yellow lost in his accent. The higher she got, the

526
00:31:46,960 --> 00:31:49,720
Speaker 1: more she fell under the Count's spell. She would forget

527
00:31:49,760 --> 00:31:52,120
Speaker 1: about how he'd fire off on an angry tangent and

528
00:31:52,160 --> 00:31:55,680
Speaker 1: her old sentence after sentence of incomprehensible French hadder. She

529
00:31:55,720 --> 00:31:58,560
Speaker 1: would tell him about Jim, and sometimes, as they laid

530
00:31:58,560 --> 00:32:01,560
Speaker 1: in bed together higher than the night before, he would

531
00:32:01,560 --> 00:32:04,840
Speaker 1: ask her to talk about Jim some more. He wanted stories,

532
00:32:05,080 --> 00:32:08,160
Speaker 1: he wanted to know about the doors. She would suspect

533
00:32:08,200 --> 00:32:10,320
Speaker 1: that the only reason he came around was to get

534
00:32:10,360 --> 00:32:13,760
Speaker 1: closer to Jim. That perhaps one day he'd walk into

535
00:32:13,760 --> 00:32:15,960
Speaker 1: the room at the Hotel George and the Count could

536
00:32:15,960 --> 00:32:19,120
Speaker 1: supplies dope straight to the source, straight to the rock star,

537
00:32:19,200 --> 00:32:22,360
Speaker 1: and not just the rock stars girl. The Count wanted

538
00:32:22,360 --> 00:32:24,200
Speaker 1: to be a rock star, but he had to settle

539
00:32:24,240 --> 00:32:27,240
Speaker 1: for the European drug dealer to the rock stars. He

540
00:32:27,320 --> 00:32:30,760
Speaker 1: split his time between Paris and London, or he circled

541
00:32:30,760 --> 00:32:33,720
Speaker 1: an ominous orbit around the likes of Keith Richard's Indy

542
00:32:33,840 --> 00:32:37,160
Speaker 1: to Palenberg, he provided the drugs, and the drugs paid

543
00:32:37,200 --> 00:32:40,480
Speaker 1: for his entry into lifestyles and the rich rockn rollers.

544
00:32:41,240 --> 00:32:44,480
Speaker 1: Pamela said she was thinking of asking Jimmikinn to come visit,

545
00:32:44,800 --> 00:32:48,600
Speaker 1: to stay with her in Paris, and definitely back in Hollywood.

546
00:32:48,800 --> 00:32:51,160
Speaker 1: Bruce and the gang were still mixing l a woman.

547
00:32:51,720 --> 00:32:54,120
Speaker 1: Jim didn't think it was quite ready yet. There were

548
00:32:54,160 --> 00:32:56,520
Speaker 1: still some tweaks that needed to be made to the mix,

549
00:32:56,880 --> 00:32:59,479
Speaker 1: and they all agreed, But he had more pressing matters

550
00:32:59,480 --> 00:33:01,720
Speaker 1: on his bra. He was still a free man in

551
00:33:01,800 --> 00:33:04,480
Speaker 1: Los Angeles, sall be it, a freeman on a fifty

552
00:33:04,480 --> 00:33:07,680
Speaker 1: thousand dollar bond. While his attorney, Max Fink worked on

553
00:33:07,800 --> 00:33:11,920
Speaker 1: his appeal, things weren't looking good. He'd be doing time,

554
00:33:12,040 --> 00:33:15,480
Speaker 1: for sure, hard labor. Even worse, he'd be back in Florida,

555
00:33:15,760 --> 00:33:18,240
Speaker 1: the land of his childhood that he'd worked so hard

556
00:33:18,280 --> 00:33:21,920
Speaker 1: to repress, to leave behind literally and figuratively. In the

557
00:33:22,000 --> 00:33:24,120
Speaker 1: less time he spent back in that ship hold, the

558
00:33:24,160 --> 00:33:28,840
Speaker 1: better it transcended Florida. Now it was time to transcend

559
00:33:28,840 --> 00:33:31,960
Speaker 1: the whole damn country. The rest of the Doors were

560
00:33:31,960 --> 00:33:34,480
Speaker 1: a little surprised when they heard that Jim had skipped town,

561
00:33:34,880 --> 00:33:36,880
Speaker 1: but the more they thought about it, it was another

562
00:33:36,880 --> 00:33:40,320
Speaker 1: one of Jim's impulsive decisions. That he was gone, gone

563
00:33:40,320 --> 00:33:42,400
Speaker 1: to find a lucky little lady in the city of

564
00:33:42,520 --> 00:33:47,400
Speaker 1: light just another lost Angel. On March eleventh, nineteen seventy one,

565
00:33:47,760 --> 00:33:51,160
Speaker 1: Jim Morrison stepped on a plane bound for Paris or

566
00:33:51,160 --> 00:33:53,920
Speaker 1: how long he couldn't say, long enough to get his

567
00:33:53,960 --> 00:33:58,000
Speaker 1: head right, reassess and then take it from there. He

568
00:33:58,040 --> 00:34:02,360
Speaker 1: wouldn't last through the summer. He never came back. I'm

569
00:34:02,480 --> 00:34:20,600
Speaker 1: Jake Brennan and this is the seven Clock alright. The

570
00:34:20,600 --> 00:34:23,000
Speaker 1: twenty seven Club is scored and co written by myself,

571
00:34:23,160 --> 00:34:26,120
Speaker 1: Jake Brennan. Zef Lundy is the lead writer and editor

572
00:34:26,239 --> 00:34:29,479
Speaker 1: on the show. Matt Bowden mixes the show. Additional music

573
00:34:29,520 --> 00:34:33,040
Speaker 1: and score elements by Ryan Spreaker and Henry Lenetta. The

574
00:34:33,440 --> 00:34:35,960
Speaker 1: seven Club is produced by myself for Double Elvis and

575
00:34:36,080 --> 00:34:39,839
Speaker 1: partnership with I Heart Radio. Sources for this episode are

576
00:34:39,880 --> 00:34:42,399
Speaker 1: available at Double Elvis dot com on the twenty seven

577
00:34:42,440 --> 00:34:46,640
Speaker 1: Club series page. Twenty seven Club is released weekly every Thursday.

578
00:34:46,840 --> 00:34:49,879
Speaker 1: Season one features twelve episodes on Jimmie Hendricks, which are

579
00:34:49,920 --> 00:34:52,640
Speaker 1: all available for you to binge right now whoever you

580
00:34:52,680 --> 00:34:54,759
Speaker 1: get your podcasts, and if you like what you hear,

581
00:34:54,960 --> 00:34:57,040
Speaker 1: please be sure to subscribe to the twenty seven Club

582
00:34:57,080 --> 00:34:59,520
Speaker 1: on Apple podcast to I Heart Radio, Apple, wherever you

583
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Speaker 1: get your show, and if you'd like to win a

584
00:35:01,200 --> 00:35:04,080
Speaker 1: free twenty seven Club poster designed by the man himself,

585
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Speaker 1: Nate Gonzalez, then leave a review for twenty seven Club

586
00:35:07,160 --> 00:35:11,359
Speaker 1: on Apple Podcasts or hashtag subscribe to seven Club on

587
00:35:11,400 --> 00:35:14,320
Speaker 1: social media, and we'll pick two winners each week and

588
00:35:14,400 --> 00:35:17,440
Speaker 1: announce them on the Double Elvis Instagram page that's at

589
00:35:17,480 --> 00:35:20,360
Speaker 1: Double Elvis. You're gonna want to give that a phone,

590
00:35:20,480 --> 00:35:22,280
Speaker 1: So get out there and spread the word about twenty

591
00:35:22,280 --> 00:35:24,360
Speaker 1: seven Club. And as always, you can find me blabbing

592
00:35:24,400 --> 00:35:26,920
Speaker 1: about other crazy rock stars and my other shows, disgrace

593
00:35:27,000 --> 00:35:28,919
Speaker 1: Land and Blood on the Tracks, and you can talk

594
00:35:28,920 --> 00:35:32,560
Speaker 1: to me per usual on Instagram and Twitter at disgrace Land,

595
00:35:32,640 --> 00:35:39,319
Speaker 1: Pod Rock Corolla. What's up here is