1 00:00:01,760 --> 00:00:04,800 Speaker 1: Hey, discos, need a little more Disgraceland in your life, 2 00:00:05,160 --> 00:00:08,039 Speaker 1: just to touch to get you through. Yeah me too. 3 00:00:08,760 --> 00:00:12,000 Speaker 1: This is the podcast. It comes after the podcast. Welcome 4 00:00:12,000 --> 00:00:31,200 Speaker 1: to Disgraceland, the after Party. Welcome to the Disgraceland bonus episode, 5 00:00:31,200 --> 00:00:33,680 Speaker 1: a little thing we like to call the after party. 6 00:00:33,720 --> 00:00:35,720 Speaker 1: This is the show after the show, the party after 7 00:00:35,720 --> 00:00:37,720 Speaker 1: the party. The bridge to get you from one full 8 00:00:37,760 --> 00:00:41,280 Speaker 1: episode of Disgraceland to the other. The back yard, to 9 00:00:41,440 --> 00:00:44,960 Speaker 1: dig into the dirt, our mission to uncover the truth, 10 00:00:45,040 --> 00:00:47,600 Speaker 1: to confront the myth, to reclaim the story. On this 11 00:00:47,680 --> 00:00:50,360 Speaker 1: bonus episode, we're giving you our thoughts on the new 12 00:00:50,520 --> 00:00:54,080 Speaker 1: epic Elvis concert film, digging into your thoughts related to 13 00:00:54,080 --> 00:00:57,320 Speaker 1: this week's new episode, Part two on in Excess, previewing 14 00:00:57,400 --> 00:01:01,040 Speaker 1: next week's story on Towns Fans. At the exclusive section, 15 00:01:01,200 --> 00:01:03,560 Speaker 1: we dive into the murder mystery at the center of 16 00:01:03,680 --> 00:01:08,440 Speaker 1: Elvis's manager's past. Plus we get into your emails, comments, dms, 17 00:01:08,480 --> 00:01:11,319 Speaker 1: and as always a whole lot of rosie. This is 18 00:01:11,360 --> 00:01:14,880 Speaker 1: the podcast for the musically obsessed, the outsiders, the independent 19 00:01:14,880 --> 00:01:17,280 Speaker 1: thinkers who know that the best history is the history 20 00:01:17,280 --> 00:01:20,319 Speaker 1: that gets buried. Disgrace Lands where I tell the stories 21 00:01:20,360 --> 00:01:22,720 Speaker 1: they didn't want told the kind you'll end up telling 22 00:01:22,760 --> 00:01:26,640 Speaker 1: someone else. All right, disc goes, Let's get into it, 23 00:01:33,640 --> 00:01:35,760 Speaker 1: all right, Welcome into the after party, guys. I'm feeling 24 00:01:35,760 --> 00:01:38,560 Speaker 1: pretty good today, and I shouldn't be. I've got a 25 00:01:38,600 --> 00:01:42,440 Speaker 1: cold second day of a pretty crappy thing going around 26 00:01:42,480 --> 00:01:44,560 Speaker 1: here that I've managed to get, probably from my kids, 27 00:01:44,600 --> 00:01:48,000 Speaker 1: and knocks me out pretty hard. Yesterday and last night 28 00:01:48,040 --> 00:01:49,840 Speaker 1: woke up feeling like crap. But I don't know. I'm 29 00:01:49,880 --> 00:01:51,960 Speaker 1: behind the mic, and you know what it is. It's 30 00:01:51,960 --> 00:01:55,280 Speaker 1: a new mic. I got a new microphone. That's what's happening. 31 00:01:55,440 --> 00:01:58,800 Speaker 1: And I feel like those of you who are actually, 32 00:01:58,920 --> 00:02:01,120 Speaker 1: I don't know, podcasters maybe, and you listen to this show, 33 00:02:01,120 --> 00:02:04,040 Speaker 1: you probably know what I'm getting at here. When you 34 00:02:04,080 --> 00:02:06,000 Speaker 1: have a new mic, I don't know, it kind of 35 00:02:06,040 --> 00:02:10,560 Speaker 1: changes everything. It's just it's changed my body posture. I 36 00:02:10,639 --> 00:02:12,480 Speaker 1: just feel good. I feel good. I always feel good 37 00:02:12,480 --> 00:02:14,560 Speaker 1: talking to you, guys, but I feel really good right now. 38 00:02:15,200 --> 00:02:17,640 Speaker 1: And despite being sick this week, I've been feeling good 39 00:02:17,880 --> 00:02:20,000 Speaker 1: ever since the weekend, at least sort of, you know, 40 00:02:20,200 --> 00:02:24,680 Speaker 1: up upstairs in my noggin, I saw the Elvis movie 41 00:02:25,120 --> 00:02:28,120 Speaker 1: over the weekend. I saw it on Saturday Night Epic 42 00:02:28,800 --> 00:02:34,720 Speaker 1: Elvis Presley in Concert by Boz Lherman. Now, I don't 43 00:02:34,720 --> 00:02:37,600 Speaker 1: know what reviews, if any, that all you guys have 44 00:02:37,680 --> 00:02:42,560 Speaker 1: seen regarding this movie, but every review that came up 45 00:02:42,760 --> 00:02:46,320 Speaker 1: my feed praised the film. And I mean, like some 46 00:02:46,600 --> 00:02:49,560 Speaker 1: incredible reviews. I'm not just talking about like official reviews. 47 00:02:49,600 --> 00:02:52,880 Speaker 1: I'm talking about like listener fans of Elvis, fans of music, history, 48 00:02:52,960 --> 00:02:56,200 Speaker 1: music fans, et cetera, just like literally being like like 49 00:02:56,400 --> 00:03:01,160 Speaker 1: people whose opinions I really treasure and value being I'm 50 00:03:01,200 --> 00:03:05,000 Speaker 1: not even watching movies anymore like that those types of reviews. 51 00:03:05,639 --> 00:03:10,080 Speaker 1: People are freaking out over this film, and that includes 52 00:03:10,120 --> 00:03:13,280 Speaker 1: the crew here at Double Elvis. After Matt saw it, 53 00:03:13,360 --> 00:03:15,840 Speaker 1: he basically demanded that Zeth and I go, so we 54 00:03:15,919 --> 00:03:20,000 Speaker 1: did separately. Zeth finished watching it just as I was 55 00:03:20,080 --> 00:03:22,440 Speaker 1: sitting down in the theater to watch it, and we 56 00:03:22,440 --> 00:03:25,240 Speaker 1: were texting each other about it. He was blown away. 57 00:03:25,840 --> 00:03:29,280 Speaker 1: I was blown away. I took my family on Saturday 58 00:03:29,360 --> 00:03:33,400 Speaker 1: night to in Imax, and I knew when I was 59 00:03:33,440 --> 00:03:35,520 Speaker 1: watching this movie it was a type of movie where 60 00:03:35,520 --> 00:03:37,760 Speaker 1: you know when you're watching it that words are not 61 00:03:37,800 --> 00:03:40,880 Speaker 1: going to be able to do justice to what you're seeing, 62 00:03:41,040 --> 00:03:44,120 Speaker 1: Like I knew that in real time. But I'm not 63 00:03:44,160 --> 00:03:45,760 Speaker 1: going to try to explain the movie and sell you 64 00:03:45,800 --> 00:03:47,240 Speaker 1: on the movie. I'm just going to give you a 65 00:03:47,240 --> 00:03:50,840 Speaker 1: couple thoughts on it. I get a little context and 66 00:03:51,080 --> 00:03:53,000 Speaker 1: how it kind of relates to what we do here 67 00:03:53,160 --> 00:03:56,200 Speaker 1: true crime in the music history. So, for those who 68 00:03:56,200 --> 00:03:58,520 Speaker 1: don't know, the New Elvis movie is a concert film. 69 00:03:58,560 --> 00:04:04,480 Speaker 1: It's by filmmaker boz Lherman, and now boz Lherman unearthed 70 00:04:04,720 --> 00:04:11,680 Speaker 1: a trove apparently of previously unseen and unheard film and 71 00:04:11,880 --> 00:04:14,800 Speaker 1: audio footage and he used it to create this film. 72 00:04:14,840 --> 00:04:19,240 Speaker 1: Now he came upon this footage, I believe, I think 73 00:04:19,279 --> 00:04:24,120 Speaker 1: this is accurate when he was researching the biopic that 74 00:04:24,240 --> 00:04:28,120 Speaker 1: he produced and directed on Elvis Presley that came out 75 00:04:28,120 --> 00:04:31,279 Speaker 1: about three or four years ago, just simply titled Elvis. 76 00:04:31,960 --> 00:04:35,120 Speaker 1: So that sort of previously never, never before seen or 77 00:04:35,200 --> 00:04:38,599 Speaker 1: heard footage is what is what makes up this film. 78 00:04:39,160 --> 00:04:44,320 Speaker 1: Now we've all seen Elvis onstage in Vegas. It's, you know, 79 00:04:44,480 --> 00:04:48,120 Speaker 1: oftentimes that portion of his career as a subject of ridicule, 80 00:04:48,839 --> 00:04:54,719 Speaker 1: and certainly some of that career, some of the Vegas efforts. 81 00:04:55,080 --> 00:04:57,360 Speaker 1: You know, it's fair to ridicule it. It's it's not 82 00:04:57,440 --> 00:04:59,800 Speaker 1: very good. But you really got to think about Elvis 83 00:04:59,839 --> 00:05:04,400 Speaker 1: in Las Vegas in sort of two time periods. There's 84 00:05:04,440 --> 00:05:07,080 Speaker 1: the early seventies and then there's the mid to late 85 00:05:07,120 --> 00:05:09,520 Speaker 1: seventies when things go off the rails. Not all of 86 00:05:09,560 --> 00:05:13,760 Speaker 1: Elvis in Las Vegas. The residency I'm talking about was bad, 87 00:05:13,920 --> 00:05:18,040 Speaker 1: was cheesy. I already knew that, but still I kind 88 00:05:18,040 --> 00:05:21,680 Speaker 1: of write off Elvis Vegas anyway. That's not what this is. 89 00:05:21,720 --> 00:05:27,040 Speaker 1: This is something completely different. This is Elvis Presley on fire, okay, 90 00:05:27,360 --> 00:05:32,200 Speaker 1: in Las Vegas. All of the megawatt star power, charisma, talent, 91 00:05:32,640 --> 00:05:38,159 Speaker 1: stage presence, the passion, everything, everything that is the best 92 00:05:38,160 --> 00:05:41,200 Speaker 1: of Elvis that you could imagine. Take that and multiply 93 00:05:41,279 --> 00:05:44,919 Speaker 1: it by ten, and that's the Elvis that is living 94 00:05:44,920 --> 00:05:47,120 Speaker 1: in this film and living in this film like I've 95 00:05:47,120 --> 00:05:49,560 Speaker 1: never seen him before, both on and off stage. The 96 00:05:49,560 --> 00:05:52,560 Speaker 1: off stage scenes when the King is rehearsing the band, 97 00:05:53,200 --> 00:05:55,919 Speaker 1: they're getting ready for their first residency. This is some 98 00:05:55,960 --> 00:05:59,159 Speaker 1: of the most interesting footage of Elvis that I've ever seen. 99 00:05:59,279 --> 00:06:01,440 Speaker 1: I've seen some of this before, but not as in 100 00:06:01,560 --> 00:06:06,599 Speaker 1: depth as this. Watching him be this goofball you know, 101 00:06:06,680 --> 00:06:09,840 Speaker 1: you feel like he's being himself in a way that 102 00:06:09,920 --> 00:06:12,359 Speaker 1: you know, he's such a huge star, always kind of 103 00:06:12,360 --> 00:06:14,040 Speaker 1: guarded with a camera in front of him, but it 104 00:06:14,160 --> 00:06:16,520 Speaker 1: really feels like the guard gets let down here. You 105 00:06:16,560 --> 00:06:18,760 Speaker 1: feel when you're watching this like you've been let into 106 00:06:18,880 --> 00:06:23,360 Speaker 1: some sort of secret club. It's it's truly revelatory. And 107 00:06:23,440 --> 00:06:26,800 Speaker 1: the film's narrative, okay, to the extent that there is one, 108 00:06:26,880 --> 00:06:31,400 Speaker 1: it's it isn't heavy handed. For the most part, Elvis 109 00:06:31,560 --> 00:06:35,040 Speaker 1: and his excellent band guys, James Burton, the guitar player, 110 00:06:35,080 --> 00:06:38,560 Speaker 1: James Burton is just playing out of his mind, out 111 00:06:38,560 --> 00:06:43,520 Speaker 1: of his mind. So good, so good. We have thought 112 00:06:44,040 --> 00:06:45,400 Speaker 1: Seth and I are going to talk more about this. 113 00:06:45,600 --> 00:06:47,839 Speaker 1: Perhaps Matt will chime in as well on the rest 114 00:06:47,839 --> 00:06:51,159 Speaker 1: of the band later on. But you can just tell 115 00:06:51,960 --> 00:06:54,080 Speaker 1: you you can just tell, as a pertains to the 116 00:06:54,160 --> 00:06:57,160 Speaker 1: narrative of this film, that that Luhrman, buzz Lerman, went 117 00:06:57,200 --> 00:06:59,159 Speaker 1: out of his way to try not to repeat himself 118 00:06:59,200 --> 00:07:02,840 Speaker 1: as a storyteller, because, like I said, he just I 119 00:07:02,880 --> 00:07:05,839 Speaker 1: think he just finished he rapped doing the Elvis biopick 120 00:07:05,880 --> 00:07:07,560 Speaker 1: and then kind of this is his next project. So 121 00:07:07,560 --> 00:07:08,960 Speaker 1: you can understand why you don't want to tell the 122 00:07:08,960 --> 00:07:12,160 Speaker 1: same story twice, even though it's a different style of storytelling. 123 00:07:12,200 --> 00:07:16,080 Speaker 1: This is a concert film. Elvis was a biopick that said. 124 00:07:16,120 --> 00:07:19,920 Speaker 1: All of that said, Colonel Tom Parker, Elvis's manager, is 125 00:07:20,120 --> 00:07:25,320 Speaker 1: subtly positioned in this concert film as the story's villain. 126 00:07:25,440 --> 00:07:28,360 Speaker 1: And for those of us who know Elvis's history, the 127 00:07:28,400 --> 00:07:31,880 Speaker 1: director here, Boz Luhrmann, draws some pretty bold lines for 128 00:07:32,000 --> 00:07:37,000 Speaker 1: us to read between as it pertains to Colonel Tom Parker. Now, 129 00:07:37,840 --> 00:07:41,520 Speaker 1: what I'm talking about is this at the time, Elvis 130 00:07:41,600 --> 00:07:44,360 Speaker 1: was one of the biggest stars on the planet when 131 00:07:44,400 --> 00:07:47,640 Speaker 1: this footage for Epic was filmed. That's the name of 132 00:07:47,640 --> 00:07:52,760 Speaker 1: the movie, Epic, Elvis Presley in concert. We're talking nineteen 133 00:07:53,040 --> 00:07:57,200 Speaker 1: seventy and nineteen seventy two. Elvis one of the biggest 134 00:07:57,200 --> 00:07:58,840 Speaker 1: stars on the planet and certainly one of the biggest 135 00:07:58,920 --> 00:08:06,840 Speaker 1: musical attractions. Yet Elvis never performed outside of the United States. 136 00:08:08,040 --> 00:08:10,880 Speaker 1: This point comes up in the film. Elvis makes it himself, 137 00:08:11,600 --> 00:08:15,440 Speaker 1: but the question of why he never did this, of 138 00:08:15,520 --> 00:08:18,239 Speaker 1: why he never performed outside the States, it's never really 139 00:08:18,280 --> 00:08:22,400 Speaker 1: asked forget about being answered, especially because it's clear that 140 00:08:22,600 --> 00:08:26,320 Speaker 1: Elvis wanted to perform internationally. Now, in the way of 141 00:08:26,320 --> 00:08:30,080 Speaker 1: an answer, all we're given is a long, semi slow 142 00:08:30,120 --> 00:08:34,920 Speaker 1: motion glance at the villainous Colonel Tom Parker. Sort of 143 00:08:34,960 --> 00:08:38,520 Speaker 1: in the context of this question of why hasn't Elvis 144 00:08:38,559 --> 00:08:42,959 Speaker 1: performed internationally? We're made to suspect that the reason Elvis 145 00:08:43,000 --> 00:08:47,600 Speaker 1: didn't tour outside of the United States is because of 146 00:08:47,760 --> 00:08:53,400 Speaker 1: the colonel. But why why wouldn't the colonel whose commission 147 00:08:53,480 --> 00:08:58,320 Speaker 1: his pay on Elvis's earnings. The colonel was getting fifty 148 00:08:58,559 --> 00:09:04,560 Speaker 1: percent of elvis earnings fifty five zero, not fifteen, which 149 00:09:04,600 --> 00:09:08,720 Speaker 1: is typical, but it's actually pretty high. Ten is the standard. 150 00:09:09,280 --> 00:09:17,600 Speaker 1: So why wouldn't Colonel Parker want his star attraction to 151 00:09:17,720 --> 00:09:22,600 Speaker 1: perform in different markets, untapped markets and create more revenue. 152 00:09:22,800 --> 00:09:29,280 Speaker 1: It doesn't make any sense. It's alluded to in this movie, 153 00:09:29,400 --> 00:09:34,320 Speaker 1: but it's not directly asked. It's definitely not answered. This again, 154 00:09:34,360 --> 00:09:38,760 Speaker 1: this makes no sense unless you know a little bit 155 00:09:38,800 --> 00:09:42,600 Speaker 1: about who Colonel Tom Parker was and what kind of 156 00:09:42,640 --> 00:09:45,680 Speaker 1: trouble he may have gotten himself into and escaped from, 157 00:09:46,080 --> 00:09:50,719 Speaker 1: allegedly in his home country of the Netherlands before immigrating 158 00:09:51,000 --> 00:09:54,880 Speaker 1: to the United States. Now I touch upon this in 159 00:09:54,920 --> 00:09:58,199 Speaker 1: my book, and there have been other writers who have 160 00:09:58,280 --> 00:10:03,000 Speaker 1: explored this theory more, but the fact that boz Lherman 161 00:10:03,200 --> 00:10:07,239 Speaker 1: hints at this in his new concert film is super 162 00:10:07,640 --> 00:10:11,400 Speaker 1: intriguing to me. It makes me think that this Colonel 163 00:10:11,400 --> 00:10:16,040 Speaker 1: Tom Parker conspiracy has more legs than some may think. Actually, 164 00:10:16,040 --> 00:10:18,199 Speaker 1: it's less of a conspiracy theory and more of a 165 00:10:18,280 --> 00:10:20,560 Speaker 1: murder mystery. Zeth and I are going to share with 166 00:10:20,600 --> 00:10:22,840 Speaker 1: you the dark true crime story at the heart of 167 00:10:22,880 --> 00:10:27,319 Speaker 1: Colonel Tom Parker's past in today's Disgraceland All Access bonus episode. 168 00:10:27,440 --> 00:10:30,199 Speaker 1: This story, this mystery, this theory about the Colonel. If 169 00:10:30,240 --> 00:10:34,200 Speaker 1: it's true, it explains why Elvis, the biggest musical attraction 170 00:10:34,320 --> 00:10:37,199 Speaker 1: on the planet, never performed outside of the United States. Okay, 171 00:10:37,320 --> 00:10:39,280 Speaker 1: go to Disgrace slandpod dot com design out to become 172 00:10:39,280 --> 00:10:42,880 Speaker 1: a disgraceand All Access member today and unlock more exclusive 173 00:10:42,960 --> 00:10:46,040 Speaker 1: content like this plus ad free listening. Speaking of performing 174 00:10:46,040 --> 00:10:49,120 Speaker 1: outside of the United States, this week's new episode a 175 00:10:49,160 --> 00:10:54,480 Speaker 1: Disgraceland is on in Excess, Part two in our Inexcess Story. 176 00:10:55,160 --> 00:10:58,200 Speaker 1: One of the reasons I wanted to tell this continuation 177 00:10:58,320 --> 00:11:02,839 Speaker 1: of the Inaxcess saga is because of the dichotomy between 178 00:11:03,440 --> 00:11:08,800 Speaker 1: the image of in Excess pretty pretty boy band, pop, 179 00:11:09,240 --> 00:11:12,880 Speaker 1: super poppy. You know, dudes like them, but of course, 180 00:11:13,040 --> 00:11:14,720 Speaker 1: you know more when I was growing up, more more 181 00:11:14,760 --> 00:11:17,040 Speaker 1: girls liked In Excess. I love In Excess, but I'm 182 00:11:17,040 --> 00:11:19,800 Speaker 1: just saying they weren't. It wasn't like Black Sabbath, you 183 00:11:19,840 --> 00:11:23,720 Speaker 1: get it. So there's the image and then there's the 184 00:11:23,720 --> 00:11:26,360 Speaker 1: reality of where they come from, which is in stark 185 00:11:26,400 --> 00:11:30,280 Speaker 1: contrast to how the band portrayed themselves, how the record 186 00:11:30,320 --> 00:11:34,000 Speaker 1: they will portrayed them, how they were promoted. They came 187 00:11:34,080 --> 00:11:41,000 Speaker 1: from just total Australian violence and mayhem, and that was 188 00:11:41,040 --> 00:11:43,320 Speaker 1: really interesting to me. We didn't really get into it 189 00:11:43,360 --> 00:11:45,040 Speaker 1: in part one, and I wanted to get into it 190 00:11:45,080 --> 00:11:47,720 Speaker 1: in part two and you can hear all about that 191 00:11:47,880 --> 00:11:52,200 Speaker 1: in this week's Disgrace An episode on In Excess Now, 192 00:11:52,240 --> 00:11:56,439 Speaker 1: we asked the question, given that in excesses from Australia, 193 00:11:56,920 --> 00:12:00,880 Speaker 1: you know, in Excess is a hugely successful band, super 194 00:12:00,880 --> 00:12:04,320 Speaker 1: influential band. When we think of rock and roll bands 195 00:12:04,320 --> 00:12:07,559 Speaker 1: that have had the most influence on culture, we think 196 00:12:07,559 --> 00:12:10,520 Speaker 1: of rock and roll bands from the United States, uh 197 00:12:10,559 --> 00:12:13,600 Speaker 1: and from the UK, from England mainly, and I just 198 00:12:14,200 --> 00:12:17,840 Speaker 1: it just occurred to me, like all these bands from Australia, 199 00:12:18,200 --> 00:12:20,880 Speaker 1: New zealand other parts of the world. So we asked 200 00:12:20,880 --> 00:12:23,839 Speaker 1: this question on the heels of the un Excess episode, 201 00:12:24,320 --> 00:12:30,040 Speaker 1: which international band has had the most influence culturally? Okay? 202 00:12:30,280 --> 00:12:33,439 Speaker 1: Is it in Excess? Is it somebody else? Is it? 203 00:12:33,600 --> 00:12:35,440 Speaker 1: Is it an Irish band, is it a is it 204 00:12:35,480 --> 00:12:36,960 Speaker 1: a band? Is it a French artist? 205 00:12:37,040 --> 00:12:37,480 Speaker 2: Who is it? 206 00:12:37,720 --> 00:12:40,760 Speaker 1: We're going to unpack that that question. We're going to 207 00:12:40,840 --> 00:12:44,000 Speaker 1: get to your answers, your voicemails and texts and the 208 00:12:44,080 --> 00:12:46,120 Speaker 1: later part of this episode. But first before we do that, 209 00:12:46,160 --> 00:12:47,720 Speaker 1: I want to tell you about the what we got, 210 00:12:47,720 --> 00:12:49,560 Speaker 1: what we got cooking here In the coming days, right 211 00:12:49,600 --> 00:12:52,600 Speaker 1: after this after party, we're gonna rewind episode on Public 212 00:12:52,679 --> 00:12:56,120 Speaker 1: Enemy and then next week, new episode, new story on 213 00:12:56,240 --> 00:13:00,760 Speaker 1: Towns van Zant. When you're listening to the townsman Zen episode, 214 00:13:01,400 --> 00:13:03,040 Speaker 1: you know Towns van Zand was one of the most 215 00:13:03,480 --> 00:13:07,439 Speaker 1: authentic songwriters to ever live. Okay, so be thinking about 216 00:13:07,440 --> 00:13:11,480 Speaker 1: which musical artists gave up the most for their art. 217 00:13:11,840 --> 00:13:16,480 Speaker 1: Towns van Zant lived just with so much authenticity. He 218 00:13:16,559 --> 00:13:21,920 Speaker 1: personified the characters in his songs. He sang of broken men, 219 00:13:22,240 --> 00:13:26,000 Speaker 1: he lived a broken life, and he died broke and 220 00:13:26,880 --> 00:13:31,720 Speaker 1: broken and busted. He wrote beautiful songs. My point is 221 00:13:32,000 --> 00:13:35,080 Speaker 1: at what cost? So when you're listening to the Towns 222 00:13:35,160 --> 00:13:38,760 Speaker 1: van zan episode, be thinking about which musical artist gave 223 00:13:38,840 --> 00:13:43,040 Speaker 1: up the most for their art? Okay, was it Towns 224 00:13:43,120 --> 00:13:46,000 Speaker 1: van Zant or was it somebody else? Let me know? 225 00:13:46,120 --> 00:13:48,720 Speaker 1: Six one seven nine oh six six six three eight 226 00:13:48,840 --> 00:13:52,480 Speaker 1: voicemail and text. Get at me. You might hear your 227 00:13:52,559 --> 00:13:56,040 Speaker 1: answer on next week's after party. We'll be back right 228 00:13:56,080 --> 00:13:59,520 Speaker 1: after this with your voicemails and texts and emails from 229 00:13:59,640 --> 00:14:01,880 Speaker 1: last week. Question of the Week. I've seen a bit. 230 00:14:20,040 --> 00:14:21,960 Speaker 1: All right, guys, we are back. Thanks for hanging with 231 00:14:22,080 --> 00:14:24,840 Speaker 1: us on today's after party. Six one seven nine oh 232 00:14:25,000 --> 00:14:28,000 Speaker 1: six six six three eight voicemail and text. You can 233 00:14:28,080 --> 00:14:31,200 Speaker 1: hit me up about anything related to music, music history, 234 00:14:31,240 --> 00:14:33,680 Speaker 1: true crime, any of the recommendations we talk about here 235 00:14:34,040 --> 00:14:36,400 Speaker 1: are questions of the week. Whatever you want to talk about. 236 00:14:36,480 --> 00:14:39,120 Speaker 1: Let's check out. Appears to be from a new caller. 237 00:14:39,160 --> 00:14:41,640 Speaker 1: This is John in the two oh three. 238 00:14:42,080 --> 00:14:46,000 Speaker 3: Hey, this is John from the two oh three. I 239 00:14:46,040 --> 00:14:51,320 Speaker 3: would love to have an episode on Willie Deaville from 240 00:14:51,360 --> 00:14:52,200 Speaker 3: Mint Deville. 241 00:14:52,760 --> 00:14:53,760 Speaker 1: I know very. 242 00:14:53,520 --> 00:14:56,360 Speaker 3: Little about him except that he had a drug problem. 243 00:14:57,320 --> 00:15:02,160 Speaker 1: What a voice. Thanks John, How correct you are. My 244 00:15:02,240 --> 00:15:06,240 Speaker 1: friend Willie Deville from minke Deeville just I know very 245 00:15:06,280 --> 00:15:08,960 Speaker 1: little about him as well, but I love him. Cadillac 246 00:15:09,040 --> 00:15:14,280 Speaker 1: Walk Baby. I kind of used that song Cadillac Walks 247 00:15:14,320 --> 00:15:16,800 Speaker 1: like a low key theme in our Elvis Presley Johnny 248 00:15:16,840 --> 00:15:20,000 Speaker 1: Ace story that we did. I don't know a lot 249 00:15:20,000 --> 00:15:23,720 Speaker 1: about Willidville either, and I like it that way. I'm 250 00:15:23,720 --> 00:15:25,800 Speaker 1: gonna put him on the list, though, and I'm gonna 251 00:15:25,800 --> 00:15:29,040 Speaker 1: look into it, because there's got to be something there, criminal, 252 00:15:29,320 --> 00:15:33,240 Speaker 1: something there away into Willie Deville's story. And as much 253 00:15:33,240 --> 00:15:34,960 Speaker 1: as I love his music, I've actually used I use 254 00:15:35,000 --> 00:15:39,080 Speaker 1: Willid Deville's music as my intro music when I brought 255 00:15:39,080 --> 00:15:41,800 Speaker 1: Disgrace into the stage a bunch of years ago. That's 256 00:15:41,800 --> 00:15:45,240 Speaker 1: how badass I think Willidville is. And uh yeah, i'mna 257 00:15:45,240 --> 00:15:46,560 Speaker 1: put him on the list. I'm gonna look into it. 258 00:15:46,600 --> 00:15:49,480 Speaker 1: Thanks John. All right, let's check out this voicemail from 259 00:15:49,640 --> 00:15:51,200 Speaker 1: the three oh three. 260 00:15:51,680 --> 00:15:54,200 Speaker 3: Hi, my name is Jay Ratruder. I'm from the Denver 261 00:15:54,360 --> 00:15:59,400 Speaker 3: area three zero three and I was listening how you 262 00:15:59,440 --> 00:16:01,880 Speaker 3: were talking soundtracks and I had to call in and 263 00:16:01,920 --> 00:16:06,680 Speaker 3: tell you about my favorite soundtrack from the eighties. It's 264 00:16:06,760 --> 00:16:09,560 Speaker 3: from To Live and Die in La by Wang Chung. 265 00:16:10,760 --> 00:16:12,880 Speaker 3: I'm such a fan of the soundtrack of the movie 266 00:16:12,880 --> 00:16:17,520 Speaker 3: that actually had to go and track down the locations. 267 00:16:17,640 --> 00:16:20,680 Speaker 3: Especially there's a big scene to the San Pedro Bridge 268 00:16:21,240 --> 00:16:23,760 Speaker 3: and there were some apartments there and kind of in 269 00:16:23,760 --> 00:16:27,320 Speaker 3: a good way, the apartments were turned down and turned 270 00:16:27,360 --> 00:16:30,520 Speaker 3: into a baseball field, a football field, and so I 271 00:16:30,560 --> 00:16:32,400 Speaker 3: got to go stand in and get a big picture 272 00:16:32,440 --> 00:16:34,800 Speaker 3: with that bridge in the background, and also track down 273 00:16:35,280 --> 00:16:38,880 Speaker 3: a couple of locations Sixth Street Bridge in La And 274 00:16:38,960 --> 00:16:41,480 Speaker 3: I did this about, I don't know five years ago, 275 00:16:42,160 --> 00:16:44,680 Speaker 3: and it was just a great time. My family was 276 00:16:44,720 --> 00:16:48,640 Speaker 3: really bored and tired of looking at bridges and locations sets, 277 00:16:48,720 --> 00:16:51,280 Speaker 3: but that's all right. I had a great time and 278 00:16:52,240 --> 00:16:55,000 Speaker 3: just a huge fan of the movie. Hope you hear 279 00:16:55,080 --> 00:16:57,120 Speaker 3: this and maybe do an episode about it. 280 00:16:58,040 --> 00:17:00,560 Speaker 1: Jay from the three h three Thanks to the oh Man. 281 00:17:00,800 --> 00:17:04,479 Speaker 1: To Live in de La that's Willem Dafoe, right, and 282 00:17:04,520 --> 00:17:09,280 Speaker 1: that's the movie that looks incredible, like in a very 283 00:17:09,359 --> 00:17:13,359 Speaker 1: kind of neon eighties way. I think I saw this 284 00:17:13,480 --> 00:17:18,120 Speaker 1: movie kind of had a half on in the background, 285 00:17:18,119 --> 00:17:20,480 Speaker 1: but didn't really get a chance to dig into it, 286 00:17:20,720 --> 00:17:23,800 Speaker 1: so I can't speak to the soundtrack. But now I 287 00:17:23,840 --> 00:17:29,359 Speaker 1: am super intrigued. And for you disco listeners to disgrace 288 00:17:29,400 --> 00:17:31,439 Speaker 1: some listeners out there, the discos who are hearing this 289 00:17:31,480 --> 00:17:33,040 Speaker 1: and going, what do you mean? Do an episode on this? 290 00:17:33,080 --> 00:17:38,560 Speaker 1: What the heck is Jay talking about? Jay's referencing our 291 00:17:38,640 --> 00:17:40,959 Speaker 1: new show. This film should be played loud. He's not 292 00:17:41,200 --> 00:17:43,840 Speaker 1: referencing Disgraceland. This film should be played loud is an 293 00:17:43,880 --> 00:17:47,560 Speaker 1: all access only exclusive video show, which you can check 294 00:17:47,600 --> 00:17:51,480 Speaker 1: out by becoming a Patreon member. And Jay, maybe we 295 00:17:51,560 --> 00:17:54,120 Speaker 1: will get into to Live and Die La. I have 296 00:17:54,200 --> 00:17:56,560 Speaker 1: to rewatch it. I'm looking forward to doing so. Thank 297 00:17:56,600 --> 00:17:59,080 Speaker 1: you for prompting me. Three ho three texts and hey, 298 00:17:59,080 --> 00:18:01,359 Speaker 1: I know you're a Stones, But the Beatles are gonna 299 00:18:01,400 --> 00:18:07,560 Speaker 1: be known like Beethoven centuries from now. Yeah maybe, I 300 00:18:07,560 --> 00:18:10,120 Speaker 1: don't know. I don't know that in the centuries centuries 301 00:18:10,119 --> 00:18:13,480 Speaker 1: from now, we'll be looking at at music through the 302 00:18:13,520 --> 00:18:19,160 Speaker 1: same lens that we now look back centuries to view 303 00:18:19,200 --> 00:18:23,560 Speaker 1: people like Beethoven. I don't know. I feel like I 304 00:18:23,600 --> 00:18:25,560 Speaker 1: have no idea. I just know it's gonna be different. 305 00:18:25,720 --> 00:18:27,159 Speaker 1: I don't know how we're gonna look at things, but 306 00:18:27,200 --> 00:18:29,360 Speaker 1: I know it's gonna be different. We were talking about 307 00:18:29,359 --> 00:18:31,399 Speaker 1: Bourbon last week. Eight O three Rights saying, hey, Bourbon, 308 00:18:31,720 --> 00:18:35,040 Speaker 1: if you haven't already, give Statesmen by Old Forester a try, 309 00:18:35,080 --> 00:18:39,080 Speaker 1: as well as Toasted by Penelope. Thank you for your 310 00:18:39,680 --> 00:18:43,000 Speaker 1: excellent recommendations here. I haven't tried either of these. I've 311 00:18:43,000 --> 00:18:47,000 Speaker 1: seen Old Forester around before. I always think of Robert Forrester. 312 00:18:47,119 --> 00:18:49,040 Speaker 1: Is that his name? The guy from Jackie Brown. I 313 00:18:49,040 --> 00:18:51,840 Speaker 1: will check that out. Thank you. Four one six Rights 314 00:18:51,840 --> 00:18:54,280 Speaker 1: saying hey, I listened to the Bob Marley episode again. 315 00:18:54,320 --> 00:18:57,800 Speaker 1: If you love the music in the myth, I highly 316 00:18:57,800 --> 00:19:00,800 Speaker 1: recommend going to Montego Bay and looking a tour with 317 00:19:00,880 --> 00:19:03,640 Speaker 1: a rasta guide to take you to the Marley estate 318 00:19:03,720 --> 00:19:06,560 Speaker 1: in the jungled mountains of Saint Anne. It's a two 319 00:19:06,600 --> 00:19:09,879 Speaker 1: hour trip and you see the real Jamaica. The estate 320 00:19:10,000 --> 00:19:12,199 Speaker 1: was his mausoleum, the museum in the house in his 321 00:19:12,280 --> 00:19:16,439 Speaker 1: bedroom where he wrote music is an epic experience. Is 322 00:19:16,480 --> 00:19:19,720 Speaker 1: a ganja tour, and they even make Ganja tea. All 323 00:19:19,720 --> 00:19:22,000 Speaker 1: the guides are a rasta. When you're back at the 324 00:19:22,000 --> 00:19:24,320 Speaker 1: resort at Montico Bay, do what I did and book 325 00:19:24,320 --> 00:19:27,600 Speaker 1: a private visit to Johnny Cash's private estate on Cinnamon Hill. 326 00:19:28,080 --> 00:19:31,080 Speaker 1: That's right, Johnny and June lived there. The Cash Museum 327 00:19:31,200 --> 00:19:34,280 Speaker 1: in Nashville is great, but the estate is truly remarkable. 328 00:19:34,400 --> 00:19:38,680 Speaker 1: Nothing is off limits. His clothes, his shoes, all the 329 00:19:38,880 --> 00:19:42,159 Speaker 1: art and memorabilia, and all of the rooms are open. 330 00:19:42,240 --> 00:19:45,080 Speaker 1: Nothing is off limits. The whole ground smells wonderful because 331 00:19:45,119 --> 00:19:47,200 Speaker 1: the scent of all spice is released every time you 332 00:19:47,280 --> 00:19:50,320 Speaker 1: crush one of the ubiquitous curled brown leaves from the trees. 333 00:19:50,359 --> 00:19:52,800 Speaker 1: They carpet the yard, and if you like music history, 334 00:19:52,880 --> 00:19:56,359 Speaker 1: Jamaica is a must go. Also they have great food. 335 00:19:56,520 --> 00:20:00,520 Speaker 1: Everything is spotlessly clean, and people are wonderful. Nothing like 336 00:20:00,560 --> 00:20:02,960 Speaker 1: getting your first album model. When you think of Jamaican 337 00:20:03,040 --> 00:20:05,960 Speaker 1: for their hospitality, rock a rolla. That's from the four 338 00:20:06,040 --> 00:20:10,560 Speaker 1: to one six four one six. Thank you. This sounds amazing. 339 00:20:10,720 --> 00:20:12,960 Speaker 1: I've never been to Jamaica and this sounds like a 340 00:20:12,960 --> 00:20:14,480 Speaker 1: reason to go. It really does. I didn't know this 341 00:20:14,560 --> 00:20:17,520 Speaker 1: was possible, especially the Johnny Cash part. We covered the 342 00:20:17,560 --> 00:20:19,760 Speaker 1: Johnny Cash place in Cinnamon Hill in our Johnny Cash 343 00:20:19,800 --> 00:20:23,119 Speaker 1: episode and the home invasion that happened there and how 344 00:20:23,160 --> 00:20:25,600 Speaker 1: Johnny wiggled his way out of that, and of course, 345 00:20:25,640 --> 00:20:27,800 Speaker 1: as you mentioned in the Bob Marley episode, we talk 346 00:20:27,880 --> 00:20:32,040 Speaker 1: about his place and what went down. There had no 347 00:20:32,160 --> 00:20:35,640 Speaker 1: idea you could visit either of these spaces. This is incredible. 348 00:20:35,680 --> 00:20:37,920 Speaker 1: Can you go to Keith Richards's place as well? That's 349 00:20:37,920 --> 00:20:41,960 Speaker 1: the question four one six. Appreciate you great message two 350 00:20:41,960 --> 00:20:43,919 Speaker 1: seven six where I said, hey, Eric, from the two 351 00:20:44,000 --> 00:20:45,920 Speaker 1: seven to six, there's a lot of meat on the 352 00:20:45,960 --> 00:20:49,359 Speaker 1: bone on the subject of Arthur Lee in Love and 353 00:20:49,440 --> 00:20:53,600 Speaker 1: the musical connections of Bobby Boucelet. I listened to weird 354 00:20:53,640 --> 00:20:56,200 Speaker 1: scenes inside the Canyon, and for anyone on the conspiracy, 355 00:20:56,240 --> 00:21:00,199 Speaker 1: it's a perfect mortar for the whole of disgraceland. We 356 00:21:00,240 --> 00:21:02,800 Speaker 1: were just talking about, as Eric mentions here later in 357 00:21:02,840 --> 00:21:06,280 Speaker 1: his text, weird scenes from the Canyon. In last week's 358 00:21:06,320 --> 00:21:09,840 Speaker 1: exclusive section of The After Party, I knew of the 359 00:21:09,880 --> 00:21:14,600 Speaker 1: Manson family member Bobby Bouselet's connection to Arthur Lee and Love. 360 00:21:14,640 --> 00:21:17,760 Speaker 1: I did not know that they turned up in this book. 361 00:21:18,520 --> 00:21:21,760 Speaker 1: More reason to read this book. Thank you. Appreciate the text. 362 00:21:22,520 --> 00:21:24,800 Speaker 1: Now to our question of the week on which artists 363 00:21:25,240 --> 00:21:30,240 Speaker 1: outside of America and England were most influential culturally Dave 364 00:21:30,240 --> 00:21:32,000 Speaker 1: writes in from the two four eight In terms of 365 00:21:32,119 --> 00:21:35,240 Speaker 1: artists from outside the US and the British Isles who 366 00:21:35,280 --> 00:21:38,680 Speaker 1: have influenced modern music the most, there's an obvious answer, 367 00:21:38,760 --> 00:21:41,480 Speaker 1: and I don't think anyone else is even close. It's 368 00:21:41,520 --> 00:21:44,119 Speaker 1: got to be craft Work. As far as influence on 369 00:21:44,119 --> 00:21:47,639 Speaker 1: the modern music world. I think possibly only the Beatles 370 00:21:48,280 --> 00:21:51,360 Speaker 1: are more of a pervasive influence. This is a really 371 00:21:51,400 --> 00:21:56,879 Speaker 1: good take. I don't know enough about craft Work to 372 00:21:57,000 --> 00:22:00,400 Speaker 1: speak to this take, except the fact craft Work obviously 373 00:22:00,440 --> 00:22:03,440 Speaker 1: started I think in like nineteen sixty nine or something 374 00:22:03,480 --> 00:22:08,000 Speaker 1: like that, nineteen seventy first electronic music. And yeah, the 375 00:22:08,040 --> 00:22:11,440 Speaker 1: influence is pretty incredible, although I don't I don't think 376 00:22:11,440 --> 00:22:14,840 Speaker 1: they would be cited by many for that influence. Great 377 00:22:15,320 --> 00:22:18,399 Speaker 1: great answer too for it. Appreciate you. Five four to 378 00:22:18,440 --> 00:22:21,360 Speaker 1: Roh rights in Hey got the package yesterday, amazing you rock. 379 00:22:21,440 --> 00:22:23,600 Speaker 1: The autograph was a nice touch. Thank you so much. 380 00:22:24,040 --> 00:22:26,160 Speaker 1: What is five four to zero talking about five four 381 00:22:26,160 --> 00:22:29,280 Speaker 1: to Zho is talking about the T shirt in a 382 00:22:29,320 --> 00:22:30,960 Speaker 1: little note that I sent the five to four to 383 00:22:31,080 --> 00:22:33,520 Speaker 1: Roh because the five four to Roh is nice enough 384 00:22:33,520 --> 00:22:36,160 Speaker 1: to leave us a review on Apple Podcasts or Spotify 385 00:22:36,160 --> 00:22:39,239 Speaker 1: I can't remember where exactly. Guys, I get asked all 386 00:22:39,240 --> 00:22:40,560 Speaker 1: the time, how can we support you? How can we 387 00:22:40,600 --> 00:22:42,400 Speaker 1: support the show? That's a very easy way. Just leave 388 00:22:42,440 --> 00:22:45,760 Speaker 1: a review. Oftentimes, if you leave a review, you will 389 00:22:45,800 --> 00:22:49,280 Speaker 1: hear your review read back to you here in the 390 00:22:49,280 --> 00:22:52,000 Speaker 1: after party. And if you do, that is a signal 391 00:22:52,040 --> 00:22:54,080 Speaker 1: to text me six one seven nine oh six six 392 00:22:54,200 --> 00:22:57,000 Speaker 1: six three eight and let me know that you heard 393 00:22:57,080 --> 00:23:00,520 Speaker 1: your review. Cite your handle so I can make sure 394 00:23:00,520 --> 00:23:03,640 Speaker 1: you're telling me the truth. And then I will send 395 00:23:03,720 --> 00:23:05,879 Speaker 1: you some merch. I don't know what it'll be. Not 396 00:23:06,000 --> 00:23:08,480 Speaker 1: everybody gets T shirts. Some people get T shirts. It's 397 00:23:08,560 --> 00:23:10,440 Speaker 1: kind of whatever I got lying around on the garage. 398 00:23:10,440 --> 00:23:12,880 Speaker 1: You know what I'm sorrying about. Aley Banie eighty eight 399 00:23:12,920 --> 00:23:16,199 Speaker 1: writes in on Apple Podcasts. Hey, I originally clicked on 400 00:23:16,240 --> 00:23:19,280 Speaker 1: this podcast because of the zombie Elvis icon. I listened 401 00:23:19,280 --> 00:23:21,520 Speaker 1: to one episode and I was hooked. I even listen 402 00:23:21,560 --> 00:23:24,399 Speaker 1: to artists I know nothing about. Great storyteller, Ali Beanie, 403 00:23:24,400 --> 00:23:26,680 Speaker 1: thank you, welcome, Welcome to the club. You are now 404 00:23:26,800 --> 00:23:29,400 Speaker 1: a disco. If you're listening to this six one seven 405 00:23:29,480 --> 00:23:31,760 Speaker 1: nine oh six six six three eight, hit me up 406 00:23:31,800 --> 00:23:33,760 Speaker 1: and I will hit you with some merch. All right, guys, 407 00:23:33,800 --> 00:23:37,520 Speaker 1: we'll be back right after this. Got a TV recommendation 408 00:23:37,600 --> 00:23:39,880 Speaker 1: for you also, gon gonna dig into some of your 409 00:23:39,960 --> 00:23:45,280 Speaker 1: emails and uh get back into the swing right after this. 410 00:23:55,800 --> 00:23:57,560 Speaker 1: All right. We haven't done recommendations in a while, so 411 00:23:57,560 --> 00:24:00,040 Speaker 1: we're gonna do one right now. I talked about this 412 00:24:00,680 --> 00:24:04,440 Speaker 1: in one of the exclusive sections of The After Party recently, 413 00:24:04,520 --> 00:24:06,800 Speaker 1: So if you've heard this already, forgive me, but I'm 414 00:24:06,800 --> 00:24:10,000 Speaker 1: going to tell I'm going to tell everybody else. For 415 00:24:10,080 --> 00:24:16,320 Speaker 1: reasons that I can't quite articulate, I, like much of America, 416 00:24:16,840 --> 00:24:22,359 Speaker 1: am currently obsessed with. Well, it's a soap opera. Really, 417 00:24:22,920 --> 00:24:29,000 Speaker 1: it's love story, the JFK JR. Carolyn Bissett Story, produced 418 00:24:29,040 --> 00:24:32,919 Speaker 1: by Ryan Murphy. I like Ryan Murphy. I'm not ashamed 419 00:24:32,920 --> 00:24:37,440 Speaker 1: to admitute I do. He just he does things differently. 420 00:24:37,720 --> 00:24:42,960 Speaker 1: He does them well. Yeah, they're sensational at times, sentimental, 421 00:24:43,520 --> 00:24:47,080 Speaker 1: overly dramatic. Sure, all those things, but all those things 422 00:24:47,160 --> 00:24:51,320 Speaker 1: at the highest possible level. Now, I started watching this 423 00:24:51,440 --> 00:24:54,639 Speaker 1: show about a week and a half ago, and I 424 00:24:54,680 --> 00:24:58,680 Speaker 1: started watching it. It had nothing to do with the fact, 425 00:24:59,000 --> 00:25:00,919 Speaker 1: I swear to God, had nothing to do with the 426 00:25:00,920 --> 00:25:05,639 Speaker 1: fact that FX bought ad Space to promote the series. 427 00:25:05,880 --> 00:25:08,240 Speaker 1: I just started watching it. I really don't know why 428 00:25:08,240 --> 00:25:10,560 Speaker 1: I started why. I mean that the cover of the thumbnail, 429 00:25:10,680 --> 00:25:14,000 Speaker 1: it just does not It's not for me. It's clearly 430 00:25:14,040 --> 00:25:16,919 Speaker 1: not built for me. But it has sucked me in. 431 00:25:17,000 --> 00:25:19,600 Speaker 1: I like the show more than my wife likes this show. 432 00:25:20,520 --> 00:25:23,960 Speaker 1: What's that tell you? I talked about this in the 433 00:25:24,000 --> 00:25:28,880 Speaker 1: exclusive section. I think the reason I'm so drawn into 434 00:25:28,920 --> 00:25:35,520 Speaker 1: this show is the music. The score is fantastic. It's incredible. 435 00:25:35,640 --> 00:25:40,320 Speaker 1: It really is great. I made a comparison to the 436 00:25:40,359 --> 00:25:44,040 Speaker 1: True Romance score. It doesn't sound like that, but it's 437 00:25:44,160 --> 00:25:47,119 Speaker 1: utilized in the same way. It's done really well. In 438 00:25:47,160 --> 00:25:49,840 Speaker 1: the time period it is just incredible. It's the nineteen nineties, 439 00:25:50,320 --> 00:25:52,760 Speaker 1: it's the early to mid and then it's a whole 440 00:25:52,800 --> 00:25:54,639 Speaker 1: it's a whole of the decade pretty much from ninety 441 00:25:54,640 --> 00:25:58,800 Speaker 1: two to ninety nine in Manhattan, a period in time 442 00:25:58,840 --> 00:26:01,240 Speaker 1: and history when I was in and a ton for 443 00:26:01,320 --> 00:26:03,960 Speaker 1: the first time, for my first time as a young man, 444 00:26:04,400 --> 00:26:09,280 Speaker 1: and yikes, it just nails it. And the nostalgia vibes 445 00:26:09,359 --> 00:26:13,800 Speaker 1: are intense. Score is great. Soundtrack is great as well. 446 00:26:13,800 --> 00:26:15,520 Speaker 1: Lo and Behold. I didn't know this until about three 447 00:26:15,600 --> 00:26:18,359 Speaker 1: days ago. I'm actually good friends with the music supervisor. 448 00:26:18,400 --> 00:26:21,399 Speaker 1: I didn't know my friend Jen had done the music 449 00:26:21,480 --> 00:26:24,760 Speaker 1: supervision for this series until I'd watched five episodes of it. 450 00:26:25,720 --> 00:26:28,760 Speaker 1: We talked about that. I blew all the smoke as 451 00:26:28,920 --> 00:26:33,360 Speaker 1: was necessary because she did a great job. Anyhow, fan 452 00:26:33,400 --> 00:26:35,800 Speaker 1: of the Kennedy's not a fan of the Kennedys, just 453 00:26:36,040 --> 00:26:39,040 Speaker 1: fan of American history, fan of fan of Manhattan in 454 00:26:39,080 --> 00:26:42,280 Speaker 1: the nineties, fan of the nineties, any of these things. 455 00:26:42,320 --> 00:26:45,680 Speaker 1: Fan of sensational storytelling done at the highest level. Fans 456 00:26:45,760 --> 00:26:49,400 Speaker 1: of Ryan Murphy, Haters of Ryan Murphy check out Love 457 00:26:49,440 --> 00:26:51,680 Speaker 1: Story on FX. I think you're gonna dig it, and 458 00:26:51,720 --> 00:26:53,680 Speaker 1: if you don't, I get it. Hit me up, tell 459 00:26:53,720 --> 00:26:55,280 Speaker 1: me what you think. Six one seven nine oh sixty 460 00:26:55,280 --> 00:26:57,880 Speaker 1: six sixty three eight voicemail on text. As it pertains 461 00:26:57,960 --> 00:27:01,639 Speaker 1: to the you know, scoring and music supervision and soundtrack 462 00:27:01,640 --> 00:27:04,520 Speaker 1: conversation that we've been having because of our new podcast, 463 00:27:04,680 --> 00:27:07,639 Speaker 1: this film should be played loud. I feel like, given 464 00:27:07,680 --> 00:27:10,040 Speaker 1: how this the music in this show is moving me, 465 00:27:10,240 --> 00:27:13,080 Speaker 1: I have to recommend it. So there you go now. 466 00:27:13,160 --> 00:27:15,040 Speaker 1: Six one seven nine oh six six six three eight 467 00:27:15,119 --> 00:27:16,920 Speaker 1: voicemail text not the only way to get in touch 468 00:27:16,960 --> 00:27:19,399 Speaker 1: with me. You can DM me at disgracelin pod and 469 00:27:19,480 --> 00:27:21,000 Speaker 1: you can send me an email. But if you want 470 00:27:21,040 --> 00:27:24,240 Speaker 1: to hit me up on X on Instagram, on TikTok, 471 00:27:24,280 --> 00:27:27,600 Speaker 1: on Facebook, you know, I just just heads up. I 472 00:27:27,720 --> 00:27:31,560 Speaker 1: You know, I'm probably on Instagram more than I am 473 00:27:31,720 --> 00:27:38,359 Speaker 1: any other social platform these days. But I kind of 474 00:27:38,359 --> 00:27:41,880 Speaker 1: go through phases where, Okay, I'm on Instagram this week, 475 00:27:41,960 --> 00:27:45,439 Speaker 1: I'm on X next week, I'm on Facebook for a 476 00:27:45,480 --> 00:27:47,879 Speaker 1: week this year. Whatever it is I try, I should 477 00:27:47,880 --> 00:27:51,120 Speaker 1: do it more balanced. I can't. I just cannot. It's 478 00:27:51,160 --> 00:27:54,840 Speaker 1: too much. It's too my one set of eyes. So 479 00:27:54,920 --> 00:27:56,720 Speaker 1: if I don't get back to you, don't hate me. 480 00:27:56,920 --> 00:28:00,840 Speaker 1: I will eventually. I try to. Anyways. On Instagram, Buck Blake, 481 00:28:00,880 --> 00:28:06,000 Speaker 1: and he writes saying, hey hate Maplethorpe. Buck is referring 482 00:28:06,400 --> 00:28:10,400 Speaker 1: referencing a photo I posted in my stories Just Kids. 483 00:28:10,440 --> 00:28:12,680 Speaker 1: I read Just Kids yesterday, the Patty Smith book about 484 00:28:12,720 --> 00:28:16,560 Speaker 1: her time coming up in Manhattan in the late sixties 485 00:28:16,720 --> 00:28:19,880 Speaker 1: early seventies and her friendship and her romance as well 486 00:28:19,880 --> 00:28:22,960 Speaker 1: with Robert Maplethorpe, who went on or Mapplethorpe. I'm hearing 487 00:28:23,000 --> 00:28:25,320 Speaker 1: a pronounce like that, now, Mapplethorpe. That sounds a little 488 00:28:25,320 --> 00:28:27,320 Speaker 1: weird to me. I've always pronounced it as Maplethorpe and 489 00:28:27,359 --> 00:28:32,479 Speaker 1: heard it that way. Anyhow, about her time in New 490 00:28:32,560 --> 00:28:34,960 Speaker 1: York Patty Smith, because we're doing a Patty Smith episode, 491 00:28:35,359 --> 00:28:39,200 Speaker 1: of course, when she's involved in friends and starts her 492 00:28:39,280 --> 00:28:42,320 Speaker 1: friendship with Maplethorpe. This is before she's famous, and it's 493 00:28:42,480 --> 00:28:44,959 Speaker 1: way before he's famous as well. She actually gets famous 494 00:28:45,000 --> 00:28:49,320 Speaker 1: before him. It's a fantastic book. And I would say 495 00:28:49,920 --> 00:28:52,000 Speaker 1: to Buck or anyone else if you're not a fan 496 00:28:52,400 --> 00:28:54,880 Speaker 1: of Mablethorpe. And I have a lot of problems with Maplethorpe, 497 00:28:54,880 --> 00:28:58,160 Speaker 1: I really do, but as an artist, as an actual artist, 498 00:28:58,440 --> 00:29:00,440 Speaker 1: the guy did something that nobody had ever done before 499 00:29:00,480 --> 00:29:04,040 Speaker 1: with photography. And despite what you think of the subject matter, 500 00:29:04,160 --> 00:29:07,280 Speaker 1: which can be challenging, it was even challenging for Patty Smith, 501 00:29:07,560 --> 00:29:09,680 Speaker 1: who I'm sure is thought of by many to be 502 00:29:10,160 --> 00:29:12,840 Speaker 1: one of the most open minded, freethinking artists in the 503 00:29:12,880 --> 00:29:16,400 Speaker 1: history of art. She still had a lot of problems 504 00:29:16,520 --> 00:29:19,719 Speaker 1: with maple Thorpe's output, and for good reason. It's very 505 00:29:19,800 --> 00:29:24,360 Speaker 1: challenging stuff, regardless if you're a fan or not. I'm 506 00:29:24,360 --> 00:29:26,840 Speaker 1: not even a big I'm not a big maple throw fan. 507 00:29:26,880 --> 00:29:29,600 Speaker 1: This book is incredible. It's great. I read it in 508 00:29:29,640 --> 00:29:32,560 Speaker 1: one day. I sat down yesterday, I got up early. 509 00:29:32,760 --> 00:29:34,560 Speaker 1: I wasn't feeling well. I woke up and I just 510 00:29:34,640 --> 00:29:37,280 Speaker 1: cracked the book and I just I was done by like, 511 00:29:38,880 --> 00:29:40,960 Speaker 1: I don't know, three o'clock, four o'clock, something like that, 512 00:29:41,360 --> 00:29:43,400 Speaker 1: maybe earlier. I haven't done that in a while. I 513 00:29:43,440 --> 00:29:47,080 Speaker 1: love when that happens. We can just tear through something. Anyhow, 514 00:29:47,600 --> 00:29:50,680 Speaker 1: am I recommending just kids? I guess I am. That's 515 00:29:50,720 --> 00:29:53,480 Speaker 1: nothing novel. It was like a National Book Award winner. 516 00:29:53,520 --> 00:29:57,240 Speaker 1: It's a very popular book, and it will serve as 517 00:29:57,720 --> 00:30:00,280 Speaker 1: one of the sources for the Patti Smith story, be 518 00:30:00,360 --> 00:30:03,240 Speaker 1: very true crimey story that's gonna be coming up in 519 00:30:03,280 --> 00:30:05,120 Speaker 1: a couple of weeks. Can't wait for you to hear that. 520 00:30:05,480 --> 00:30:08,040 Speaker 1: William Strobe on email rights to us, Hey, I immediately 521 00:30:08,120 --> 00:30:10,680 Speaker 1: went to Germany. When you pose the question about influential 522 00:30:10,720 --> 00:30:14,120 Speaker 1: bands outside the USA in Great Britain, I went to 523 00:30:14,200 --> 00:30:17,240 Speaker 1: kraft Work another craft work. I love this. It's mind 524 00:30:17,280 --> 00:30:22,120 Speaker 1: blowing to think that seventies experimental German electronica is important 525 00:30:22,520 --> 00:30:26,520 Speaker 1: for the foundation of early rap and hip hop. Africa, Bambada, Soul, 526 00:30:26,680 --> 00:30:30,000 Speaker 1: Sonic Force and others had the genius to tap into 527 00:30:30,000 --> 00:30:33,160 Speaker 1: such an unlikely musical vein. They were the complete game 528 00:30:33,240 --> 00:30:35,760 Speaker 1: changers and became part of the DNA of a new culture. 529 00:30:36,040 --> 00:30:38,640 Speaker 1: Keep up the great work. Rock a Rolla from the 530 00:30:38,640 --> 00:30:41,520 Speaker 1: two one five two one five William, thank you so much, man, 531 00:30:41,560 --> 00:30:45,280 Speaker 1: this is awesome. I love this answer. It was unexpected 532 00:30:45,320 --> 00:30:48,440 Speaker 1: and that's that's why I love it. Also, Africa Manbada 533 00:30:48,560 --> 00:30:51,479 Speaker 1: is an episode. There some dark shit there, I believe. 534 00:30:52,000 --> 00:30:52,160 Speaker 3: Hold. 535 00:30:52,200 --> 00:30:57,040 Speaker 1: I'm gonna write that down. Joshua Blevin sends me a 536 00:30:57,080 --> 00:31:00,760 Speaker 1: link here Smiley Faced Killers music link. In the interview, 537 00:31:01,280 --> 00:31:04,680 Speaker 1: starting sometime after the twenty five minute mark, he mentions 538 00:31:04,800 --> 00:31:07,920 Speaker 1: the Smiley Face Killer is an acid house symbol and 539 00:31:08,040 --> 00:31:10,440 Speaker 1: ties to the seventies music industry. Have you heard this 540 00:31:10,640 --> 00:31:13,120 Speaker 1: and please look into it. I have not heard of this, 541 00:31:13,400 --> 00:31:16,440 Speaker 1: and I have no idea what you're talking about, but 542 00:31:16,480 --> 00:31:21,800 Speaker 1: I am super intrigued Smiley Face Killers writing this one 543 00:31:21,840 --> 00:31:27,560 Speaker 1: down to If anyone knows anything about this, Smiley Face 544 00:31:27,720 --> 00:31:32,800 Speaker 1: Killer Killers Crime wants to give me a little more contact, 545 00:31:32,880 --> 00:31:35,200 Speaker 1: hit me up to Gray sand at Disgraceandpod six one 546 00:31:35,280 --> 00:31:37,800 Speaker 1: seven nine oh six six six three eight email as 547 00:31:37,840 --> 00:31:41,320 Speaker 1: Gracelandpod at gmail dot com. Now you heard me talking 548 00:31:41,320 --> 00:31:44,000 Speaker 1: about it earlier. This film should be played loud. Our 549 00:31:44,120 --> 00:31:47,280 Speaker 1: new episode is available for you to watch. What are 550 00:31:47,320 --> 00:31:50,080 Speaker 1: you waiting for? Watch? Go ahead, watch watch it. It's 551 00:31:50,120 --> 00:31:52,600 Speaker 1: on Boogie Nights. It's on the music of Boogie Knights. 552 00:31:52,640 --> 00:31:54,760 Speaker 1: I should say you are not going to be disappointed. 553 00:31:54,800 --> 00:31:57,760 Speaker 1: We played a clip from it in last week's episode 554 00:31:57,760 --> 00:32:01,000 Speaker 1: of the After Party. We dropped our first episode of 555 00:32:01,000 --> 00:32:03,920 Speaker 1: this film should be played loud in the feed. You 556 00:32:03,960 --> 00:32:07,200 Speaker 1: have no excuse, guys, you know what this is. People 557 00:32:07,200 --> 00:32:10,440 Speaker 1: are digging it. Go to disgrayslampod dot com to become 558 00:32:10,480 --> 00:32:14,200 Speaker 1: an all access members. Sign up. You'll receive awesome exclusive 559 00:32:14,240 --> 00:32:17,720 Speaker 1: content like our new podcast and of course ad free listening, 560 00:32:18,240 --> 00:32:20,040 Speaker 1: and you can become a member for you can literally 561 00:32:20,080 --> 00:32:21,960 Speaker 1: become a free member if you want, if that's your thing, 562 00:32:22,480 --> 00:32:24,200 Speaker 1: but you can become a member for as little as 563 00:32:24,280 --> 00:32:26,800 Speaker 1: a dollar. All right. We have other levels as well 564 00:32:26,840 --> 00:32:28,680 Speaker 1: that are going to unlock different types of content and 565 00:32:28,720 --> 00:32:33,120 Speaker 1: different types of value for you. Disgraysampod dot com get 566 00:32:33,160 --> 00:32:36,160 Speaker 1: all the info you need, all right. Listen, Now it's 567 00:32:36,200 --> 00:32:39,760 Speaker 1: time for the sports rant, Okay, the sixty second sports 568 00:32:39,840 --> 00:32:43,080 Speaker 1: rant and under thirty seconds sponsored by our friends at 569 00:32:43,120 --> 00:32:45,920 Speaker 1: five Hour Energy in their Fruity Rainbow Flavor. Treat your 570 00:32:45,960 --> 00:32:49,760 Speaker 1: taste buds to an explosion of fruity candyflavor with a 571 00:32:49,840 --> 00:32:53,680 Speaker 1: tasty caffeine kick. Get candy flavored chaos with Fruity Rainbow 572 00:32:53,760 --> 00:32:57,640 Speaker 1: five Hour Energy shots online at www dot five hour 573 00:32:57,800 --> 00:33:02,280 Speaker 1: energy dot com or Amazon. Listen, guys, I don't have 574 00:33:02,280 --> 00:33:04,400 Speaker 1: a lot to rant about right now. Someone emailed me 575 00:33:04,440 --> 00:33:06,280 Speaker 1: and said, I don't think you understand the concept of 576 00:33:06,320 --> 00:33:09,680 Speaker 1: a long suffering sports fan being from New England, and 577 00:33:09,720 --> 00:33:11,200 Speaker 1: you know you're right, You're right. I was being a 578 00:33:11,240 --> 00:33:12,920 Speaker 1: little facetious. There was being a little bit of a 579 00:33:12,920 --> 00:33:15,000 Speaker 1: smart guy. You know. I guess what my gripe is 580 00:33:15,120 --> 00:33:17,040 Speaker 1: right now is we're in the dead zone. I can't 581 00:33:17,040 --> 00:33:19,480 Speaker 1: get into basketball until the playoffs. You know this. I've 582 00:33:19,480 --> 00:33:22,560 Speaker 1: talked about this before. I'm a fly by night Celtics fan. 583 00:33:22,920 --> 00:33:26,160 Speaker 1: The Bruins this year, I know they're not ultimately going anywhere. 584 00:33:26,280 --> 00:33:29,200 Speaker 1: Despite flashes of playing well, they're hard to get into. 585 00:33:29,920 --> 00:33:30,200 Speaker 3: You know. 586 00:33:30,360 --> 00:33:34,640 Speaker 1: My reasons for being dismayed with the Boston Red Sox 587 00:33:35,160 --> 00:33:39,720 Speaker 1: and we are a long way from football season, so 588 00:33:40,560 --> 00:33:42,000 Speaker 1: I mean, I'm like, what am I doing? What am 589 00:33:42,040 --> 00:33:43,800 Speaker 1: I gonna do? I watched Slapshot again the other night, 590 00:33:43,840 --> 00:33:45,840 Speaker 1: which I typically do around this time of year because 591 00:33:45,840 --> 00:33:48,000 Speaker 1: it is probably the best sports film of all time. 592 00:33:48,760 --> 00:33:50,520 Speaker 1: But I have to say this is gonna be less 593 00:33:50,560 --> 00:33:52,480 Speaker 1: of a rant and more of a rave. I went 594 00:33:52,520 --> 00:33:54,720 Speaker 1: on a Netflix and I broke down and I started 595 00:33:54,760 --> 00:33:58,320 Speaker 1: watching The Gambler in His Cowboys, America's team. The Gambler 596 00:33:58,360 --> 00:34:01,800 Speaker 1: in His Cowboys story Jerry Jones and the Dallas Cowboys 597 00:34:01,840 --> 00:34:04,360 Speaker 1: from the nineties, and it's really a history of the 598 00:34:04,400 --> 00:34:07,360 Speaker 1: Jerry Jones era of the Cowboys, just from what he 599 00:34:07,400 --> 00:34:09,880 Speaker 1: bought the team until now. Basically, well, I haven't finished it, 600 00:34:09,920 --> 00:34:12,719 Speaker 1: but I gotta say this is the point. This is excellent. 601 00:34:13,000 --> 00:34:17,240 Speaker 1: This is excellent storytelling. I love the Cowboys. I'm happy 602 00:34:17,239 --> 00:34:20,480 Speaker 1: they're not my team, but as a casual fan Cowboys, 603 00:34:20,480 --> 00:34:21,560 Speaker 1: you gotta give it to them. They're one of the 604 00:34:21,600 --> 00:34:26,360 Speaker 1: most entertaining franchises in all of sports, both presently and historically. 605 00:34:26,440 --> 00:34:29,279 Speaker 1: So less of a rant this week, more of a 606 00:34:29,320 --> 00:34:33,000 Speaker 1: sports rave. Check out America's Team, The Gambler and His Cowboys. 607 00:34:33,000 --> 00:34:34,600 Speaker 1: If you haven't already. I think you're gonna dig it 608 00:34:34,680 --> 00:34:36,640 Speaker 1: if you're looking for some sports vives right now in 609 00:34:36,719 --> 00:34:38,960 Speaker 1: this dead zone. All right, Matt, did I get that 610 00:34:39,080 --> 00:34:41,840 Speaker 1: in under thirty seconds? I don't believe I did. Anyways, 611 00:34:41,880 --> 00:34:45,120 Speaker 1: that was the sports rant disguised as a sports rave 612 00:34:45,200 --> 00:34:48,200 Speaker 1: sponsored by Five Hour Energies Fruity Rainbow Flavor. Treat yourself 613 00:34:48,239 --> 00:34:51,640 Speaker 1: to a candy like flavor explosion and satisfy your sweet 614 00:34:51,640 --> 00:34:54,000 Speaker 1: tooth with this zero sugar treat once again. You can 615 00:34:54,000 --> 00:34:57,160 Speaker 1: get in on the candy flavored chaos online at www 616 00:34:57,280 --> 00:35:00,680 Speaker 1: dot five hour Energy dot com or Amazon today. 617 00:35:00,960 --> 00:35:15,760 Speaker 2: I will be back in a flash. 618 00:35:15,840 --> 00:35:17,520 Speaker 1: All right, we are back. Thank you for hanging out 619 00:35:17,520 --> 00:35:19,600 Speaker 1: with me and this after party. We mentioned Bob Marley. 620 00:35:19,600 --> 00:35:21,919 Speaker 1: Of course we had the rewind last week. We also 621 00:35:21,960 --> 00:35:25,880 Speaker 1: talked about Johnny Cash, Keith Richards, Elvis. I mentioned James 622 00:35:25,880 --> 00:35:28,680 Speaker 1: Burton because of Elvis Presley, but James Burton also played 623 00:35:28,719 --> 00:35:30,880 Speaker 1: with Graham Parsons. We have a great Grand Parsons episode, 624 00:35:30,920 --> 00:35:33,279 Speaker 1: got episodes on all these artists. We mentioned. Matt's going 625 00:35:33,360 --> 00:35:36,279 Speaker 1: to have the information on how you can find him 626 00:35:36,280 --> 00:35:38,839 Speaker 1: in the archive in the show notes section of this 627 00:35:39,040 --> 00:35:41,560 Speaker 1: here bonus episode all right, let's recap, shall we? This 628 00:35:41,640 --> 00:35:44,680 Speaker 1: week our new episode, part two of the in Excess Story. 629 00:35:44,840 --> 00:35:47,719 Speaker 1: Our Rewind episode coming up right after this is on 630 00:35:47,800 --> 00:35:52,200 Speaker 1: Public Enemy. Next week we are exploring the life, times, 631 00:35:52,239 --> 00:35:56,360 Speaker 1: and music of towns van Zandt As always Eth Lundy's 632 00:35:56,360 --> 00:36:00,239 Speaker 1: giving you those hollywooded true crime vibes in Hollywoodlands. Sure 633 00:36:00,239 --> 00:36:02,960 Speaker 1: you're subscribe to the Hollywood Lamb podcast wherever you get 634 00:36:02,960 --> 00:36:05,839 Speaker 1: your podcasts. This film should be played loud. Our new 635 00:36:06,000 --> 00:36:10,440 Speaker 1: episode our video podcast on Boogie Nights that's available right now. 636 00:36:10,440 --> 00:36:11,920 Speaker 1: I got to be a Patreon member to cop that. 637 00:36:12,000 --> 00:36:14,440 Speaker 1: Go to Disgrace lampod dot com to sign up six 638 00:36:14,520 --> 00:36:16,759 Speaker 1: one seven nine oh six six six three eight. Your 639 00:36:16,840 --> 00:36:19,120 Speaker 1: voice keeps us digging into the dark corners music history. 640 00:36:19,120 --> 00:36:21,799 Speaker 1: So keep calling, keep texting, keep hit me up with 641 00:36:21,840 --> 00:36:23,719 Speaker 1: your answers to this week's question of the week, or 642 00:36:23,719 --> 00:36:26,120 Speaker 1: with whatever else you want to talk about. Number seven. 643 00:36:26,200 --> 00:36:29,440 Speaker 1: Don't forget this goes. This isn't just content. It's a community, 644 00:36:29,520 --> 00:36:33,240 Speaker 1: a community of the obsessed, and no one cares about music, books, 645 00:36:33,280 --> 00:36:35,719 Speaker 1: records in the crime and grime that ties them all 646 00:36:35,760 --> 00:36:39,399 Speaker 1: together like you do. And well that's a disgrace. On 647 00:36:39,480 --> 00:36:45,080 Speaker 1: January twenty first, nineteen ninety seven, the kernel Tom Parker 648 00:36:45,480 --> 00:36:49,279 Speaker 1: passed away, and here's what America was listening to on 649 00:36:49,320 --> 00:36:55,280 Speaker 1: that day. Number one Unbreak My Heart Tony Braxton last 650 00:36:55,280 --> 00:37:01,280 Speaker 1: week one peak position one weeks on chart. Team number 651 00:37:01,280 --> 00:37:05,400 Speaker 1: two Don't Let Go, Love and Vote. Last week I 652 00:37:05,520 --> 00:37:10,879 Speaker 1: Believe peak positions two weeks on charts eleven, number three 653 00:37:11,280 --> 00:37:16,080 Speaker 1: FT I Believe I Can Fly Space Channel four last 654 00:37:16,120 --> 00:37:20,120 Speaker 1: week to peak position featuring two number five weeks on chart. 655 00:37:20,239 --> 00:37:25,920 Speaker 1: I Believe six Number four Nobody Keith Sweat featuring Athena 656 00:37:26,000 --> 00:37:30,839 Speaker 1: Cage last week for peak position three weeks on chart. 657 00:37:31,080 --> 00:37:46,480 Speaker 1: Last six number five. Quit talking and start mixing.