1 00:00:01,820 --> 00:00:04,590 Speaker 1: Hey Discos, need a little more Disgraceland in your life? 2 00:00:05,070 --> 00:00:08,050 Speaker 1: Just a touch to get you through? Yeah, me too. 3 00:00:08,780 --> 00:00:11,959 Speaker 1: This is the podcast that comes after the podcast. Welcome 4 00:00:12,000 --> 00:00:30,560 Speaker 1: to Disgraceland, the after party. Welcome to the Disgraceland bonus episode, 5 00:00:30,620 --> 00:00:32,519 Speaker 1: a little thing we like to call the after party. 6 00:00:32,560 --> 00:00:34,379 Speaker 1: This is the show after the show, the party after 7 00:00:34,400 --> 00:00:35,860 Speaker 1: the party, the bridge to get you from one full 8 00:00:35,900 --> 00:00:38,739 Speaker 1: episode of Disgraceland to the other, the backyard to dig 9 00:00:38,820 --> 00:00:41,650 Speaker 1: into the dirt. Our mission to uncover the truth, to 10 00:00:41,690 --> 00:00:44,490 Speaker 1: confront the myth, to reclaim the story on this bonus episode, 11 00:00:44,890 --> 00:00:47,550 Speaker 1: we're talking about writers and the weird shit they have 12 00:00:47,570 --> 00:00:51,280 Speaker 1: to do to be writers. Quincy Jones is loose lips 13 00:00:51,400 --> 00:00:53,380 Speaker 1: and what other bombshells that may or may not be 14 00:00:53,420 --> 00:00:55,870 Speaker 1: dropped by aging legends with nothing to lose. We're going 15 00:00:55,890 --> 00:00:58,070 Speaker 1: to get into your takes on Q's claims, plus your 16 00:00:58,090 --> 00:01:01,830 Speaker 1: favorite producers with your emails, comments, DMs, and as always, 17 00:01:01,850 --> 00:01:04,669 Speaker 1: a whole lot of Rosie. This is the podcast for 18 00:01:04,690 --> 00:01:07,170 Speaker 1: the musically obsessed, the outsiders, the independent thinkers who know 19 00:01:07,190 --> 00:01:09,270 Speaker 1: that the best history is the history that gets buried. 20 00:01:09,610 --> 00:01:11,900 Speaker 1: Disgraceland is where I tell the stories you'll end up 21 00:01:11,940 --> 00:01:15,240 Speaker 1: telling to someone else. All right, discos, let's get into it. 22 00:01:22,610 --> 00:01:25,110 Speaker 1: I found out today that I got nominated for a 23 00:01:25,330 --> 00:01:29,560 Speaker 1: Signal Award for writing the Patti Smith episode of Disgraceland. 24 00:01:29,700 --> 00:01:32,319 Speaker 1: And it got me thinking about something that I don't 25 00:01:32,620 --> 00:01:35,600 Speaker 1: really talk about very much, which is writing and how 26 00:01:35,900 --> 00:01:39,280 Speaker 1: fucking weird it is that this is what I do 27 00:01:39,640 --> 00:01:42,830 Speaker 1: for a living. In order to become a writer, I 28 00:01:42,870 --> 00:01:46,350 Speaker 1: had to become a podcaster. And now increasingly in order 29 00:01:46,650 --> 00:01:51,650 Speaker 1: to maintain my living as a podcaster and grow my business, 30 00:01:51,730 --> 00:01:56,030 Speaker 1: my podcast business, I have to become some sort of videographer, 31 00:01:56,110 --> 00:01:59,760 Speaker 1: which is fine. It's neither good nor bad. It's just weird. 32 00:01:59,800 --> 00:02:02,480 Speaker 1: Things evolve and I get it. And I'm down for 33 00:02:02,500 --> 00:02:05,520 Speaker 1: the challenge. But if you asked my high school friends 34 00:02:06,220 --> 00:02:08,619 Speaker 1: what I would be when I got older, they would 35 00:02:08,639 --> 00:02:10,680 Speaker 1: have told you I would have been a writer, which 36 00:02:10,740 --> 00:02:14,370 Speaker 1: is It's interesting to me because that's not what I 37 00:02:14,410 --> 00:02:18,510 Speaker 1: became after high school. I became a musician. And I 38 00:02:18,550 --> 00:02:21,170 Speaker 1: didn't realize it at the time, but being a musician 39 00:02:21,250 --> 00:02:23,810 Speaker 1: taught me how to write. And I don't mean just 40 00:02:24,160 --> 00:02:28,400 Speaker 1: writing songs. That absolutely helped. But it was more about 41 00:02:28,980 --> 00:02:33,560 Speaker 1: traveling the country, traveling to Europe, and just being around 42 00:02:33,680 --> 00:02:37,200 Speaker 1: so many different people and seeing different people and seeing 43 00:02:37,240 --> 00:02:40,500 Speaker 1: how they act, seeing how they think. or getting a 44 00:02:40,620 --> 00:02:43,079 Speaker 1: glimpse into how they think. And, and I really, I 45 00:02:43,800 --> 00:02:47,459 Speaker 1: really found myself becoming, you know, not, not in a 46 00:02:47,520 --> 00:02:50,810 Speaker 1: creepy way, but just like watching people constantly. I still 47 00:02:50,850 --> 00:02:53,570 Speaker 1: do it. Even to this day, I was traveling yesterday. 48 00:02:53,590 --> 00:02:56,910 Speaker 1: I was at Logan airport and, and I'm just, I 49 00:02:56,990 --> 00:02:58,530 Speaker 1: actually had this thought. I'm like, dude, you have to 50 00:02:58,590 --> 00:03:02,780 Speaker 1: stop staring at people, people watching because they're going to, 51 00:03:02,780 --> 00:03:06,780 Speaker 1: they're going to think you're fucking weird. I'm constantly, constantly 52 00:03:07,830 --> 00:03:09,570 Speaker 1: looking at people, trying to figure out what they're thinking, 53 00:03:09,610 --> 00:03:12,970 Speaker 1: where they're going, where they're coming from. And obviously that's 54 00:03:13,000 --> 00:03:17,140 Speaker 1: a very writerly thing to do. And I don't think 55 00:03:17,180 --> 00:03:18,600 Speaker 1: to do it. I never thought to do it. I 56 00:03:18,639 --> 00:03:22,260 Speaker 1: just do it. And I was thinking, you know, if 57 00:03:22,600 --> 00:03:26,360 Speaker 1: after this award was announced, I was like, you know, 58 00:03:26,400 --> 00:03:30,820 Speaker 1: I never took any writing classes. I never took one 59 00:03:30,980 --> 00:03:33,600 Speaker 1: creative writing class in my life. And if I could 60 00:03:33,639 --> 00:03:35,950 Speaker 1: go back to school, I wouldn't. I think if I... 61 00:03:36,770 --> 00:03:39,470 Speaker 1: could go back to school, I'd probably major in psychology 62 00:03:39,510 --> 00:03:43,150 Speaker 1: because I'd want to better understand how people think so 63 00:03:43,170 --> 00:03:47,110 Speaker 1: that I could become a better writer and do it 64 00:03:47,150 --> 00:03:49,610 Speaker 1: that way. I don't really think about writing. I think 65 00:03:49,630 --> 00:03:51,350 Speaker 1: about writing all the time, but I never really think 66 00:03:51,370 --> 00:03:54,360 Speaker 1: about writing mechanics. I don't think about sentence structure. I 67 00:03:54,380 --> 00:03:56,660 Speaker 1: don't think about words. I don't think about grammar. I 68 00:03:57,420 --> 00:04:03,940 Speaker 1: do think a lot about story because story is– To me, 69 00:04:04,120 --> 00:04:06,530 Speaker 1: the most important thing, you can be the greatest writer 70 00:04:06,570 --> 00:04:09,730 Speaker 1: on the planet technically, and if you can't tell a story, well, 71 00:04:10,130 --> 00:04:13,090 Speaker 1: who cares? Music taught me this. It's like you can 72 00:04:13,110 --> 00:04:17,550 Speaker 1: be the most proficient, technically astute drummer on the planet, 73 00:04:17,610 --> 00:04:19,890 Speaker 1: but if you have no feel, it doesn't matter. I 74 00:04:20,670 --> 00:04:24,970 Speaker 1: don't know. For what I do, podcasting for this delivery 75 00:04:25,010 --> 00:04:29,480 Speaker 1: vessel especially, stories are just so much more important than 76 00:04:29,500 --> 00:04:33,450 Speaker 1: the mechanics of what ends up on the page because– 77 00:04:33,850 --> 00:04:37,890 Speaker 1: There is no page. I'm not writing essays for Esquire 78 00:04:37,950 --> 00:04:42,250 Speaker 1: magazine like Norman Mailer. The Saturday Evening Post is not 79 00:04:42,290 --> 00:04:45,610 Speaker 1: paying me to write Searching Towards Bethlehem because the Saturday 80 00:04:45,650 --> 00:04:50,530 Speaker 1: Evening Post no longer exists. And if Joan Didion or 81 00:04:50,610 --> 00:04:53,860 Speaker 1: Norman Mailer were alive today, they'd be writing in some 82 00:04:54,330 --> 00:04:58,360 Speaker 1: form of new media or they'd be unemployed. And their 83 00:04:58,390 --> 00:05:01,620 Speaker 1: writing would definitely be different. It would suit whatever medium 84 00:05:01,640 --> 00:05:04,190 Speaker 1: they were writing for. And we don't know if their 85 00:05:04,210 --> 00:05:06,690 Speaker 1: writing would be better or worse. That's impossible to say. 86 00:05:06,710 --> 00:05:09,690 Speaker 1: But I do strongly believe that it would be different. 87 00:05:09,730 --> 00:05:12,540 Speaker 1: And I guess what I am saying is that I'm 88 00:05:12,570 --> 00:05:16,440 Speaker 1: grateful for this new media. Without it, I'm sure I 89 00:05:16,820 --> 00:05:19,080 Speaker 1: wouldn't have gotten through the gatekeepers and been able to 90 00:05:19,300 --> 00:05:22,000 Speaker 1: turn myself into a writer. And who knows whether or 91 00:05:22,040 --> 00:05:25,080 Speaker 1: not I would have ever found an audience, even if 92 00:05:25,120 --> 00:05:27,960 Speaker 1: I somehow did turn myself into a writer, and whether 93 00:05:27,990 --> 00:05:31,280 Speaker 1: or not you guys would have found me. We no 94 00:05:31,320 --> 00:05:33,480 Speaker 1: longer have the Saturday Evening Post. We don't even really 95 00:05:33,520 --> 00:05:37,120 Speaker 1: have Esquire magazine or any of the other great literary 96 00:05:37,240 --> 00:05:42,560 Speaker 1: outlets that could help writers make their livings. But we 97 00:05:42,620 --> 00:05:48,650 Speaker 1: do have podcasting. And I'm super grateful for that. Obviously, again, 98 00:05:48,670 --> 00:05:52,810 Speaker 1: it helped us find each other. It gave me a living, 99 00:05:53,010 --> 00:05:57,450 Speaker 1: which is unbelievable when I think about it. And now 100 00:05:57,490 --> 00:06:00,500 Speaker 1: we have things like the Signal Awards. that recognize the 101 00:06:00,560 --> 00:06:06,920 Speaker 1: work we're doing in this evolving medium, in whatever it becomes. Podcasting, 102 00:06:07,620 --> 00:06:10,630 Speaker 1: we all know, it's all turned into video somehow, gone 103 00:06:10,670 --> 00:06:13,270 Speaker 1: from audio to video. I guess it's going to be 104 00:06:13,330 --> 00:06:17,490 Speaker 1: both things, which is fine. But again, it's just cool 105 00:06:17,529 --> 00:06:23,350 Speaker 1: that we have this sort of, in our own mechanics 106 00:06:23,450 --> 00:06:26,040 Speaker 1: in this industry, our own infrastructure, things like the Signal 107 00:06:26,060 --> 00:06:29,980 Speaker 1: Awards that are recognizing the work that we're doing. because 108 00:06:30,180 --> 00:06:34,700 Speaker 1: it further cements this profession as being a real one. 109 00:06:35,370 --> 00:06:38,410 Speaker 1: The unfortunate thing, though, about being nominated for anything, it's 110 00:06:38,529 --> 00:06:42,770 Speaker 1: a double-edged sword. Like Ernest Hemingway, another dude who cashed 111 00:06:42,810 --> 00:06:46,730 Speaker 1: those fat Esquire checks, I can't stand to lose any competition. 112 00:06:47,270 --> 00:06:50,830 Speaker 1: So I'm going to ask you guys shamelessly to vote 113 00:06:51,370 --> 00:06:55,190 Speaker 1: for Disgraceland, the Signal Awards. You can grab the link. 114 00:06:55,250 --> 00:06:57,800 Speaker 1: Matt will have it in the show notes. I'll have 115 00:06:57,839 --> 00:06:59,550 Speaker 1: it on Instagram. I'm going to do a little post 116 00:06:59,610 --> 00:07:02,089 Speaker 1: about this. You'll be able to find it there. And 117 00:07:02,230 --> 00:07:04,490 Speaker 1: give us a vote so that we can keep making podcasts, 118 00:07:04,529 --> 00:07:09,730 Speaker 1: keep writing, keep coming at you weekly here in Disgraceland, 119 00:07:10,350 --> 00:07:15,270 Speaker 1: here in this fucking weird, strange little community we've carved 120 00:07:15,360 --> 00:07:18,160 Speaker 1: out on the internet. It's amazing. When I really think 121 00:07:18,220 --> 00:07:21,140 Speaker 1: about it, when I take myself out of the action 122 00:07:21,420 --> 00:07:25,080 Speaker 1: of doing this and I think about what I do 123 00:07:25,140 --> 00:07:30,760 Speaker 1: for a living... It's fucking bizarre. Music and true crime 124 00:07:30,900 --> 00:07:33,940 Speaker 1: in a whole community of listeners out there. You guys, 125 00:07:33,980 --> 00:07:37,040 Speaker 1: the discos who are here for it every single week. 126 00:07:37,080 --> 00:07:41,380 Speaker 1: It blows my mind. I'm incredibly, incredibly grateful. Thank you 127 00:07:41,440 --> 00:07:45,890 Speaker 1: so much. So I was talking earlier about Ernest Hemingway 128 00:07:46,130 --> 00:07:50,030 Speaker 1: and Norman Mailer and Joan Didion and having to have 129 00:07:50,070 --> 00:07:54,170 Speaker 1: these sort of alternate careers in order to make a 130 00:07:54,190 --> 00:07:58,060 Speaker 1: living as a writer. Not necessarily side hustle, but kind 131 00:07:58,100 --> 00:08:02,060 Speaker 1: of side hustley. Anyway, there are fascinating anecdotes about writers 132 00:08:02,900 --> 00:08:04,750 Speaker 1: and what some of them have had to do for 133 00:08:04,760 --> 00:08:08,270 Speaker 1: a living. This is kind of apropos right now because 134 00:08:08,290 --> 00:08:11,230 Speaker 1: of Tony, the film about Anthony Bourdain. Bourdain had to 135 00:08:12,110 --> 00:08:15,310 Speaker 1: become a chef, essentially, to become a writer. And then 136 00:08:15,330 --> 00:08:17,750 Speaker 1: he had to become a TV host to continue being 137 00:08:17,790 --> 00:08:21,130 Speaker 1: a writer. So this fascinates me for all the reasons 138 00:08:21,150 --> 00:08:25,950 Speaker 1: you just heard. Anyways, Zeth pulled some examples of some 139 00:08:25,990 --> 00:08:31,100 Speaker 1: truly revealing anecdotes from literary history of authors and their 140 00:08:31,150 --> 00:08:34,179 Speaker 1: side hustles, what they had to do to become writers. 141 00:08:34,200 --> 00:08:36,000 Speaker 1: We're going to get into that in the exclusive section 142 00:08:36,020 --> 00:08:39,840 Speaker 1: of this after party coming up. Go to disgracesandpod.com, sign 143 00:08:39,880 --> 00:08:43,569 Speaker 1: up to become an all-access member, and you can gain 144 00:08:43,660 --> 00:08:47,390 Speaker 1: access to that conversation and more exclusive content just like that, 145 00:08:47,450 --> 00:08:51,550 Speaker 1: plus ad-free listening. Okay, again, Quincy Jones in the feed 146 00:08:51,590 --> 00:08:54,929 Speaker 1: this week. our latest full episode of Disgraceland. Here's something 147 00:08:55,010 --> 00:08:58,890 Speaker 1: that I learned while researching this episode that maybe you knew, 148 00:08:58,970 --> 00:09:02,189 Speaker 1: maybe you didn't. And it's this, it's that before Quincy 149 00:09:02,230 --> 00:09:07,849 Speaker 1: Jones began scoring films, major motion pictures had been scored 150 00:09:08,010 --> 00:09:11,710 Speaker 1: almost exclusively by white men. Now I probably would have 151 00:09:11,770 --> 00:09:13,910 Speaker 1: assumed this if I stopped to think about it, but 152 00:09:13,950 --> 00:09:17,130 Speaker 1: I did not. Not until I got into this research 153 00:09:17,250 --> 00:09:20,440 Speaker 1: and that orchestral music, film scores during that time prior 154 00:09:20,480 --> 00:09:24,780 Speaker 1: to Quincy Jones were by design aspirational sounding. If you 155 00:09:24,800 --> 00:09:27,950 Speaker 1: drove through an American city in 1966 with your windows 156 00:09:27,990 --> 00:09:32,710 Speaker 1: down and your radio on, you'd primarily be hearing R & 157 00:09:32,210 --> 00:09:36,010 Speaker 1: B or R & B- influenced music. But if you went 158 00:09:36,030 --> 00:09:39,170 Speaker 1: to the movies, the music you'd hear accompanying the story 159 00:09:39,330 --> 00:09:43,810 Speaker 1: up on the screen would be orchestral, romantic, aspirational, more 160 00:09:43,970 --> 00:09:47,730 Speaker 1: akin to classical music than the reality happening out on 161 00:09:47,750 --> 00:09:51,460 Speaker 1: the streets. Quincy Jones was the first film composer to 162 00:09:51,540 --> 00:09:56,010 Speaker 1: introduce rhythm and blues into motion picture scoring, and thus 163 00:09:56,429 --> 00:10:01,260 Speaker 1: the first composer to implement truth into the sound. of movies. 164 00:10:02,020 --> 00:10:03,780 Speaker 1: For the first time in the history of movies, the 165 00:10:03,820 --> 00:10:06,460 Speaker 1: sound of the story sounded like what life for most 166 00:10:06,559 --> 00:10:10,890 Speaker 1: Americans actually felt like. America at its most violent with 167 00:10:10,950 --> 00:10:14,640 Speaker 1: Quincy's score for In Cold Blood. at its most racist 168 00:10:14,720 --> 00:10:17,370 Speaker 1: with Quincy Jones' score for In the Heat of the Night. 169 00:10:18,110 --> 00:10:22,390 Speaker 1: Quincy Jones made movies sound the way that America felt 170 00:10:22,590 --> 00:10:25,270 Speaker 1: at the time. Now, this is a technique that most 171 00:10:25,460 --> 00:10:29,220 Speaker 1: every notable composer after Quincy Jones has utilized in some way, 172 00:10:29,240 --> 00:10:34,459 Speaker 1: deploying reality over aspiration in film composition. And by extension, 173 00:10:34,890 --> 00:10:38,940 Speaker 1: creating a permanent record for future generations like us to 174 00:10:38,980 --> 00:10:42,380 Speaker 1: roll back the tape on to hear what America really 175 00:10:42,460 --> 00:10:47,250 Speaker 1: sounded like back then. This is fascinating to me. I mean, 176 00:10:47,270 --> 00:10:51,329 Speaker 1: this even, you know, the whole was Quincy Jones telling 177 00:10:51,370 --> 00:10:53,870 Speaker 1: the truth thing that we get into in this episode 178 00:10:54,350 --> 00:10:59,540 Speaker 1: is really just a super fascinating, interesting, dramatic way in 179 00:10:59,780 --> 00:11:02,460 Speaker 1: for me to figure out what Quincy Jones, what his 180 00:11:02,500 --> 00:11:04,120 Speaker 1: life was like, what his career was like, what it 181 00:11:04,540 --> 00:11:07,740 Speaker 1: was like, what his artistry was like. And we get 182 00:11:07,780 --> 00:11:09,680 Speaker 1: into all that. It's all at the top of your 183 00:11:09,700 --> 00:11:12,459 Speaker 1: feed right now, right before this bonus episode. Go back 184 00:11:12,500 --> 00:11:14,380 Speaker 1: and check it out if you have not. All right. 185 00:11:15,140 --> 00:11:17,900 Speaker 1: Also for that piece of the story that I just 186 00:11:17,990 --> 00:11:22,390 Speaker 1: talked about, it's totally different in the episode. Ryan Spraker, 187 00:11:22,429 --> 00:11:25,010 Speaker 1: who works for us, he scored the shit out of it. 188 00:11:25,750 --> 00:11:28,209 Speaker 1: He actually brought in the sounds of In Cold Blood 189 00:11:28,270 --> 00:11:30,679 Speaker 1: from that score, and he brought in the sounds of– 190 00:11:30,929 --> 00:11:32,709 Speaker 1: he just did a fantastic job, and Sean did a 191 00:11:32,750 --> 00:11:35,580 Speaker 1: great job mixing it as well from our team. Coming 192 00:11:35,600 --> 00:11:38,340 Speaker 1: up next week in your feed, right after this After 193 00:11:38,360 --> 00:11:42,140 Speaker 1: Party bonus episode, coming up right next, it's going to 194 00:11:42,160 --> 00:11:45,380 Speaker 1: be the Rewind episode on Sunday in our Rewind Sunday slot, 195 00:11:45,920 --> 00:11:51,280 Speaker 1: two-part episode on Nirvana. Hold on. Speaking of Sundays, my 196 00:11:51,320 --> 00:11:56,309 Speaker 1: favorite murder was on CBS Sunday Morning. This past Sunday, 197 00:11:56,330 --> 00:12:00,349 Speaker 1: I'm in my hotel room clicking around and I see 198 00:12:00,370 --> 00:12:04,270 Speaker 1: them on TV. Just incredible. So fucking cool. Check that out. 199 00:12:04,309 --> 00:12:07,579 Speaker 1: CBS Sunday Mornings, they did a big true crime piece 200 00:12:08,160 --> 00:12:10,760 Speaker 1: and they talked to Georgia and Karen. And Georgia and Karen, 201 00:12:10,800 --> 00:12:14,360 Speaker 1: of course, as always, they did a fantastic job of 202 00:12:14,500 --> 00:12:20,770 Speaker 1: eloquently talking about the tension between true crime as an 203 00:12:20,929 --> 00:12:23,490 Speaker 1: event that happens in life, in the world, crimes that 204 00:12:23,530 --> 00:12:25,910 Speaker 1: happen out there in the world and the sort of 205 00:12:25,970 --> 00:12:29,410 Speaker 1: entertainment side of it. It's really great, fascinating. And again, 206 00:12:29,429 --> 00:12:31,410 Speaker 1: they did a fantastic job. Check that out. I also 207 00:12:31,470 --> 00:12:34,260 Speaker 1: have to, since I'm shouting people out, I got to 208 00:12:34,300 --> 00:12:37,800 Speaker 1: shout out Dr. Zeth Lundy here as well, who was 209 00:12:37,880 --> 00:12:42,240 Speaker 1: featured on the BBC yesterday or this week for Stevie 210 00:12:42,260 --> 00:12:44,780 Speaker 1: Wonder's birthday. A lot of you might not know this, 211 00:12:44,880 --> 00:12:47,280 Speaker 1: but Zeth is kind of a Stevie, not kind of, 212 00:12:47,309 --> 00:12:50,220 Speaker 1: he is a Stevie Wonder authority. He wrote a book 213 00:12:50,480 --> 00:12:53,320 Speaker 1: called Songs in the Key of Life for the 33 214 00:12:53,320 --> 00:12:56,090 Speaker 1: and a third series, which is excellent. I highly recommend it. 215 00:12:56,120 --> 00:12:59,020 Speaker 1: And it was just Stevie's birthday. So the BBC, they 216 00:12:59,040 --> 00:13:01,240 Speaker 1: did something really smart. They called up the good doctor 217 00:13:01,280 --> 00:13:03,859 Speaker 1: and they got him to talk about Stevie Wonder. And 218 00:13:04,080 --> 00:13:06,160 Speaker 1: I'm not exactly sure where you can hear that, but 219 00:13:06,220 --> 00:13:08,780 Speaker 1: you know, shit's easy to find these days. Just Google it. 220 00:13:09,090 --> 00:13:11,930 Speaker 1: You'll figure it out. Seth Lundy, Stevie Wonder, BBC. You 221 00:13:11,970 --> 00:13:12,750 Speaker 1: can hear that interview. 222 00:13:13,690 --> 00:13:13,930 Speaker 2: Okay. 223 00:13:13,970 --> 00:13:17,730 Speaker 1: As I was saying, Nirvana... Coming up in our rewind slot, 224 00:13:17,970 --> 00:13:22,140 Speaker 1: Courtney Love, she didn't kill Kurt Cobain. Despite what people say, 225 00:13:22,820 --> 00:13:25,200 Speaker 1: she did not kill Kurt Cobain, but she did quite 226 00:13:25,300 --> 00:13:27,920 Speaker 1: literally save his life. And this is going to piss 227 00:13:28,120 --> 00:13:30,500 Speaker 1: a lot of people off, but I don't care, okay? 228 00:13:30,660 --> 00:13:35,650 Speaker 1: Early January 1992, Nirvana had just made their live television 229 00:13:35,670 --> 00:13:39,350 Speaker 1: debut on Saturday Night Live. And that same weekend, Nevermind 230 00:13:39,390 --> 00:13:43,290 Speaker 1: had also knocked Michael Jackson's Dangerous from the number one 231 00:13:43,350 --> 00:13:47,270 Speaker 1: slot on the Billboard charts. Now, it's in this moment 232 00:13:48,130 --> 00:13:51,860 Speaker 1: that Kurt Cobain, who was not in the mood for celebrating, 233 00:13:51,890 --> 00:13:53,680 Speaker 1: decided he wanted to do something else. He didn't want 234 00:13:53,700 --> 00:13:55,900 Speaker 1: to go to the SNL cast party. He wanted to 235 00:13:55,960 --> 00:13:58,680 Speaker 1: get high. So, he went back to his hotel and 236 00:13:58,720 --> 00:14:01,859 Speaker 1: he slammed heroin into his arm and he drifted off. Now, 237 00:14:01,900 --> 00:14:04,270 Speaker 1: later on, he began to overdose and he fell off 238 00:14:04,290 --> 00:14:06,729 Speaker 1: the bed. And the sound of him falling off the bed, 239 00:14:06,750 --> 00:14:09,710 Speaker 1: it woke Courtney Love up. She found Kurt on the floor. 240 00:14:09,809 --> 00:14:14,160 Speaker 1: His skin was green. She straddled him and pounded his 241 00:14:14,280 --> 00:14:16,990 Speaker 1: chest with her fist to get his lungs pumping. When 242 00:14:17,030 --> 00:14:19,370 Speaker 1: that didn't work, she grabbed the ice bucket from the 243 00:14:19,410 --> 00:14:23,270 Speaker 1: room service tray and began palming handfuls of ice into 244 00:14:23,310 --> 00:14:27,380 Speaker 1: her near-dead fiancé' s asshole. When that didn't revive him, she 245 00:14:27,460 --> 00:14:31,300 Speaker 1: took the Vaseline's pin off of his leather jacket, pulled 246 00:14:31,340 --> 00:14:34,080 Speaker 1: his jeans down, and began poking his testicles with it. 247 00:14:34,400 --> 00:14:38,210 Speaker 1: She then started to smack him across the face. Finally, 248 00:14:38,250 --> 00:14:40,860 Speaker 1: Kurt began to come back to life. She threw cold 249 00:14:40,920 --> 00:14:43,340 Speaker 1: water on his face, dragged him around the room, started 250 00:14:43,440 --> 00:14:46,580 Speaker 1: rotating his arms to get the blood flowing. This was 251 00:14:46,660 --> 00:14:49,760 Speaker 1: all routine to Courtney Love. She had saved Kurt Cobain's 252 00:14:49,780 --> 00:14:51,900 Speaker 1: life before. She was going to save his life again 253 00:14:52,110 --> 00:14:55,810 Speaker 1: as well. Until, of course, Kurt would make that impossible 254 00:14:55,870 --> 00:14:57,550 Speaker 1: for her to do so. If you want to know 255 00:14:57,650 --> 00:15:00,130 Speaker 1: more about Kurt Cobain, Courtney Love, and the story of Nirvana, 256 00:15:00,890 --> 00:15:04,390 Speaker 1: be sure to check out this two-part episode of Disgraceland 257 00:15:04,430 --> 00:15:07,000 Speaker 1: from our archive coming to you in the Rewind slot 258 00:15:07,130 --> 00:15:11,170 Speaker 1: in your feed this Sunday. Then following that, we've got 259 00:15:11,570 --> 00:15:14,900 Speaker 1: new content for you. As always, every week, our new episode, 260 00:15:15,320 --> 00:15:20,300 Speaker 1: this one for the Halloween season on Screamin' Jay Hawkins. Now, 261 00:15:20,340 --> 00:15:23,739 Speaker 1: some people think Screamin' Jay Hawkins was murdered. Yes, that's right. 262 00:15:24,200 --> 00:15:27,890 Speaker 1: I put a spell on you, guy. Murdered. The official 263 00:15:27,930 --> 00:15:32,410 Speaker 1: cause of Screamin' Jay Hawkins' death was organ failure following 264 00:15:32,630 --> 00:15:38,080 Speaker 1: emergency surgery to treat an aneurysm. French press gave a 265 00:15:38,260 --> 00:15:41,630 Speaker 1: slightly different cause of death. They credited his death to 266 00:15:41,730 --> 00:15:46,710 Speaker 1: intestinal blockage, which is kind of a hysterical way for 267 00:15:46,730 --> 00:15:49,830 Speaker 1: a dude who wrote a song called Constipation Blues to 268 00:15:49,870 --> 00:15:53,860 Speaker 1: go out. Now, some believe Jay Hawkins, Screamin' Jay Hawkins, 269 00:15:54,000 --> 00:15:59,120 Speaker 1: was slowly poisoned. Screamin' Jay Hawkins told his ex-wife Colette, okay, Colette, 270 00:15:59,180 --> 00:16:03,680 Speaker 1: his ex-wife, whom he remained close with. He told Colette 271 00:16:04,350 --> 00:16:06,390 Speaker 1: about his wife at the time of his death, his 272 00:16:06,490 --> 00:16:11,860 Speaker 1: current wife, a woman named Monique. Screamin' Jay told Colette 273 00:16:11,910 --> 00:16:15,200 Speaker 1: that Monique's cooking was making him sick and that he 274 00:16:15,280 --> 00:16:19,540 Speaker 1: needed help getting Monique and her family out of his life. 275 00:16:20,740 --> 00:16:25,500 Speaker 1: Let's say Screamin' Jay Hawkins, hypothetically, that he was poisoned. 276 00:16:26,280 --> 00:16:29,520 Speaker 1: Is it possible that being poisoned could have led to 277 00:16:29,570 --> 00:16:33,030 Speaker 1: intestinal blockage? Yes, it is possible. I looked it up. 278 00:16:34,770 --> 00:16:38,700 Speaker 1: Screaming Jay Hawkins was dead at age 70, and his widow, Monique, 279 00:16:38,820 --> 00:16:41,400 Speaker 1: took control of his things. At the time, she changed 280 00:16:41,420 --> 00:16:45,440 Speaker 1: the locks on their apartment door. She wouldn't allow anyone inside. 281 00:16:45,880 --> 00:16:49,940 Speaker 1: Why not? I don't know, but it's fucking weird. Just 282 00:16:50,000 --> 00:16:53,989 Speaker 1: like Screaming Jay Hawkins. Pretty fucking weird. He is the 283 00:16:54,030 --> 00:16:56,890 Speaker 1: best kind of weird. And this story, like Jay's life, 284 00:16:57,980 --> 00:17:00,140 Speaker 1: It feels too unbelievable to be real, but we are 285 00:17:00,160 --> 00:17:02,140 Speaker 1: going to find out if it is or if it 286 00:17:02,300 --> 00:17:05,520 Speaker 1: isn't in the upcoming episode of the Disgraceland podcast on 287 00:17:05,619 --> 00:17:10,180 Speaker 1: Screaming Jay Hawkins. All right. That's the Screaming Jay Hawkins episode. 288 00:17:10,200 --> 00:17:12,379 Speaker 1: When you're listening to this episode, be thinking about the 289 00:17:12,440 --> 00:17:16,389 Speaker 1: myth versus the truth of great artists, that tension that's 290 00:17:16,510 --> 00:17:18,850 Speaker 1: at the center of a lot of these Disgraceland episodes. 291 00:17:19,330 --> 00:17:21,850 Speaker 1: And let us know if you believe Screaming Jay Hawkins 292 00:17:21,950 --> 00:17:23,930 Speaker 1: was murdered. Give me a call. Send me a text. 293 00:17:24,460 --> 00:17:29,699 Speaker 1: 617-906-6638 with your answers and you might hear yourself on 294 00:17:29,760 --> 00:17:34,220 Speaker 1: next week's after party. Okay, discos, as always, we're covering 295 00:17:34,240 --> 00:17:37,180 Speaker 1: a bunch of ground here in Disgraceland. Quincy Jones, Screamin' 296 00:17:37,220 --> 00:17:40,840 Speaker 1: Jay Hawkins, Kurt and Courtney. And as always, I also 297 00:17:41,000 --> 00:17:42,850 Speaker 1: want to hear from you guys. So we're going to 298 00:17:42,869 --> 00:17:46,050 Speaker 1: be back right after this break with your voicemails, texts, DMs, emails, 299 00:17:46,330 --> 00:17:59,780 Speaker 1: and more coming up. All right, so you want to 300 00:17:59,800 --> 00:18:01,840 Speaker 1: be a rock and roll star? Then listen to hear 301 00:18:01,880 --> 00:18:03,540 Speaker 1: what I say. I'm in the phone booth. It's the 302 00:18:03,619 --> 00:18:05,570 Speaker 1: one across the hall. I don't know. I'm mixing all 303 00:18:05,609 --> 00:18:07,590 Speaker 1: my lyrics here. I don't even know what this segment 304 00:18:07,619 --> 00:18:09,330 Speaker 1: is anymore. Is it the you want to be a 305 00:18:09,369 --> 00:18:13,129 Speaker 1: rock and roll star segment? Or is it hanging on 306 00:18:13,150 --> 00:18:15,930 Speaker 1: the telephone segment? I don't know. What even are segments? 307 00:18:15,970 --> 00:18:19,429 Speaker 1: This is a podcast. This isn't a radio show. However, 308 00:18:20,630 --> 00:18:23,910 Speaker 1: like the great radio shows, we do take calls. 617-906-6638. 309 00:18:23,950 --> 00:18:29,900 Speaker 1: Voicemail and text. Now, last week's question of the week 310 00:18:29,980 --> 00:18:34,060 Speaker 1: relative to our Disgraceland episode on Quincy Jones, we asked 311 00:18:34,180 --> 00:18:38,250 Speaker 1: you if you believe Quincy Jones's claims. And we also 312 00:18:38,290 --> 00:18:41,190 Speaker 1: had a sub-question. We asked you who your favorite music 313 00:18:41,230 --> 00:18:44,429 Speaker 1: producer is. Let's go to the 201. 314 00:18:44,430 --> 00:18:48,970 Speaker 2: So the Quincy Jones episode for me was one of 315 00:18:49,020 --> 00:18:51,100 Speaker 2: your top five. I thought it was fantastic. There's a 316 00:18:51,119 --> 00:18:53,820 Speaker 2: bunch of things I didn't know about it, especially pertaining 317 00:18:53,840 --> 00:18:56,100 Speaker 2: to his early years. I think it was great. Now, 318 00:18:56,240 --> 00:19:00,700 Speaker 2: moving along. You guys have spoken, or you actually, not Seth, 319 00:19:00,740 --> 00:19:05,050 Speaker 2: have spoken a lot about the Kennedy assassination. And on 320 00:19:05,090 --> 00:19:09,109 Speaker 2: that subject, I go back to Victor Posner's excellent book, 321 00:19:09,570 --> 00:19:13,109 Speaker 2: Case Closed. I thought it was brilliant. In that book, 322 00:19:13,609 --> 00:19:17,800 Speaker 2: he makes the case that an improbable set of coincidental 323 00:19:17,840 --> 00:19:21,580 Speaker 2: circumstances led to Lee Harvey Oswald being in the Texas 324 00:19:21,619 --> 00:19:26,840 Speaker 2: Book Depository and that day and him killing Kennedy. And honestly, 325 00:19:27,480 --> 00:19:29,590 Speaker 2: I got to believe it. Now, I know you guys are, 326 00:19:29,680 --> 00:19:31,720 Speaker 2: I know you're an avid reader. I know you read 327 00:19:31,770 --> 00:19:33,290 Speaker 2: quite a bit. I don't know if you've read that 328 00:19:33,350 --> 00:19:36,510 Speaker 2: book or what your opinion of it is, but like 329 00:19:36,530 --> 00:19:38,889 Speaker 2: the title of the book, Case Closed, I kind of 330 00:19:38,910 --> 00:19:42,970 Speaker 2: think he made his point to where the only conclusion 331 00:19:43,010 --> 00:19:47,170 Speaker 2: that I could come to in my amateur sleuthish frame 332 00:19:47,210 --> 00:19:50,610 Speaker 2: of mind is that Lee Harvey Oswald killed Kennedy. and 333 00:19:50,750 --> 00:19:55,210 Speaker 2: he did it alone, without help and without persuasion, and 334 00:19:55,280 --> 00:19:58,380 Speaker 2: that's really it. But I'm just curious, did you ever 335 00:19:58,440 --> 00:20:01,820 Speaker 2: read that book, Keys Closed, by the composer? And if so, 336 00:20:01,840 --> 00:20:04,639 Speaker 2: I just want to know what your opinion is. Anyway, 337 00:20:04,940 --> 00:20:06,679 Speaker 2: I'd really appreciate it if you could answer that for me. 338 00:20:07,340 --> 00:20:09,980 Speaker 2: Love you guys. Still the only podcast that I listen to, 339 00:20:10,390 --> 00:20:13,390 Speaker 2: and I have listened to every single episode of you 340 00:20:13,410 --> 00:20:16,150 Speaker 2: guys and of Hollywoodland. Thanks so much. 341 00:20:16,250 --> 00:20:20,650 Speaker 1: Bye. Hey, fantastic call. Appreciate this. Thanks for getting in touch. 342 00:20:20,670 --> 00:20:23,580 Speaker 1: Thanks for listening. Thanks for the kind words that you said. Okay, 343 00:20:23,619 --> 00:20:26,240 Speaker 1: let's get into this. The Rosner book, Case Closed. I 344 00:20:26,340 --> 00:20:30,760 Speaker 1: have not read it, okay? but I'm interested. And, you know, 345 00:20:30,859 --> 00:20:33,960 Speaker 1: I do believe Oswald was in the book depository and 346 00:20:33,980 --> 00:20:36,600 Speaker 1: I do believe he was one of the gunmen. I 347 00:20:36,640 --> 00:20:39,000 Speaker 1: do believe he fired a shot. I'm not entirely sure 348 00:20:39,040 --> 00:20:43,160 Speaker 1: if he hit Kennedy. But here's where I depart with 349 00:20:44,750 --> 00:20:49,729 Speaker 1: the Posner case closed theory. I can't, I can't, the 350 00:20:49,790 --> 00:20:53,790 Speaker 1: single bullet thing just never, it defies logic that it 351 00:20:53,850 --> 00:20:58,750 Speaker 1: was one gunman with who killed Kennedy and, from that angle. 352 00:20:59,230 --> 00:21:01,649 Speaker 1: It just does not make sense at all. And I 353 00:21:01,710 --> 00:21:05,590 Speaker 1: do believe, I mean, I think two things can be 354 00:21:05,630 --> 00:21:07,330 Speaker 1: true at one time. At the same time, I think 355 00:21:07,630 --> 00:21:12,669 Speaker 1: that Lee Harvey Oswald could have been, could have shot Kennedy, 356 00:21:13,730 --> 00:21:17,840 Speaker 1: but I do actually believe there were others involved. And 357 00:21:18,260 --> 00:21:22,080 Speaker 1: you bring up an interesting point here with Jack Ruby. 358 00:21:22,119 --> 00:21:27,560 Speaker 1: Jack Ruby was wholly owned by the Chicago mob, like completely, completely. 359 00:21:28,880 --> 00:21:32,420 Speaker 1: The thing that I found in this Quincy Jones research, specifically, 360 00:21:33,140 --> 00:21:35,919 Speaker 1: when I got into that Giancana research, because of what 361 00:21:36,020 --> 00:21:40,100 Speaker 1: Quincy Jones said about Giancana, I uncovered the fact that 362 00:21:40,460 --> 00:21:46,639 Speaker 1: Lee Harvey Oswald, Giancana had stated to his brother, I believe, 363 00:21:47,020 --> 00:21:52,380 Speaker 1: that Lee Harvey Oswald was the nephew of a Santo 364 00:21:52,510 --> 00:21:56,820 Speaker 1: Traficante who was the New Orleans crime boss. Gangster. Not 365 00:21:56,960 --> 00:22:00,300 Speaker 1: nephew of Traficante, but of one of his guys. It's 366 00:22:00,320 --> 00:22:02,720 Speaker 1: just Oswald had so many weird connections. That's a whole 367 00:22:02,820 --> 00:22:08,510 Speaker 1: other wormhole. But I'm interested in the book and I'm 368 00:22:08,530 --> 00:22:12,170 Speaker 1: always interested in challenging what I believe here. So I 369 00:22:12,210 --> 00:22:15,590 Speaker 1: thank you for the call and stoked that another rock 370 00:22:15,609 --> 00:22:20,530 Speaker 1: star led us into this Kennedy assassination conversation. All right. 371 00:22:20,770 --> 00:22:25,330 Speaker 1: This one from the 315. on the question of greatest 372 00:22:25,510 --> 00:22:29,970 Speaker 1: music producer of all time. Jake, what's up? 373 00:22:30,020 --> 00:22:31,040 Speaker 2: Great episode. 374 00:22:31,380 --> 00:22:37,080 Speaker 1: I don't really have a favorite music producer, but you want. 375 00:22:36,940 --> 00:22:39,140 Speaker 2: To know whose music I can do without? 376 00:22:39,980 --> 00:22:44,739 Speaker 1: Drake! I've never felt so seen. I've always said that 377 00:22:44,780 --> 00:22:47,620 Speaker 1: my kid made up better songs than Drake, even when 378 00:22:47,700 --> 00:22:49,700 Speaker 1: she was three years old and farting in the tub. 379 00:22:50,480 --> 00:22:55,550 Speaker 1: Rock and rollin'. Oh, 315, you know, I want to 380 00:22:55,609 --> 00:22:58,810 Speaker 1: limit the negativity I put into the world, which is 381 00:22:58,869 --> 00:23:03,149 Speaker 1: hard with this gig. When we look critically at the 382 00:23:03,170 --> 00:23:06,800 Speaker 1: behavior of rock stars. I'm just not a Drake fan 383 00:23:06,920 --> 00:23:09,419 Speaker 1: like you. You heard what I had to say. I'm 384 00:23:09,440 --> 00:23:12,440 Speaker 1: guessing Drake or whoever produces Drake's music is not your 385 00:23:12,500 --> 00:23:15,960 Speaker 1: favorite producer of all time. All right, let's go to 386 00:23:16,020 --> 00:23:18,219 Speaker 1: Ross in the 808. What up? 387 00:23:18,520 --> 00:23:21,060 Speaker 2: Ross in the 808. 388 00:23:21,060 --> 00:23:22,310 Speaker 1: Dude, what is the end goal? 389 00:23:23,690 --> 00:23:25,430 Speaker 2: Ross, interesting theory. 390 00:23:51,980 --> 00:23:53,980 Speaker 1: Perhaps, maybe things got out of hand. Maybe they were 391 00:23:54,020 --> 00:23:56,160 Speaker 1: trying to convince him and maybe things got out of hand. 392 00:23:56,640 --> 00:23:58,640 Speaker 1: Ross is talking about Bobby Fuller, guys, from the Bobby 393 00:23:58,660 --> 00:24:03,650 Speaker 1: Fuller episode. And maybe that is how things ended. But 394 00:24:03,750 --> 00:24:07,710 Speaker 1: I don't know. That million dollar insurance policy, collecting that 395 00:24:07,770 --> 00:24:10,890 Speaker 1: when you know that your artist is no longer going 396 00:24:10,910 --> 00:24:13,530 Speaker 1: to create any more value for you and you're a 397 00:24:13,560 --> 00:24:17,139 Speaker 1: stone cold gangster, that million dollar insurance policy might be 398 00:24:17,180 --> 00:24:21,960 Speaker 1: pretty enticing. Pretty enticing motive. 413 texts us, hey, Jake Brennan, 399 00:24:22,040 --> 00:24:24,899 Speaker 1: I'm enjoying your podcast on my long commute. You're a 400 00:24:24,960 --> 00:24:28,100 Speaker 1: gifted storyteller and producer. I often find myself having to 401 00:24:28,160 --> 00:24:30,540 Speaker 1: pause your podcast and bring up a song or two 402 00:24:30,700 --> 00:24:33,620 Speaker 1: on YouTube to listen to. This morning, it was Stairway 403 00:24:33,660 --> 00:24:35,160 Speaker 1: to Heaven as I listened to part two of your 404 00:24:35,240 --> 00:24:37,570 Speaker 1: excellent Led Zeppelin story. And at the end of it, 405 00:24:37,580 --> 00:24:39,979 Speaker 1: I wondered, will there be a part three? Seems like 406 00:24:40,010 --> 00:24:42,990 Speaker 1: the story isn't quite over. You know what? With Bonham's 407 00:24:43,030 --> 00:24:45,350 Speaker 1: death and the breakup of the band, anyway, no big deal. 408 00:24:46,200 --> 00:24:48,060 Speaker 1: If not, mainly just wanted to say thanks for an 409 00:24:48,100 --> 00:24:50,470 Speaker 1: enjoyable listen. I absolutely think there's more to the Led 410 00:24:50,490 --> 00:24:54,230 Speaker 1: Zeppelin story than what we've spoken about. And perhaps we'll 411 00:24:54,250 --> 00:24:55,870 Speaker 1: get into it at some point. We have a lot 412 00:24:55,910 --> 00:24:59,210 Speaker 1: of stories to tell. And Patreon listeners, don't forget. Don't 413 00:24:59,250 --> 00:25:02,630 Speaker 1: think I've forgotten about our meetup, which we have to schedule, 414 00:25:04,080 --> 00:25:07,120 Speaker 1: where we can start to choose some of the episodes 415 00:25:07,380 --> 00:25:11,240 Speaker 1: for next year. We'll have information on that soon. Thanks 416 00:25:11,260 --> 00:25:14,390 Speaker 1: for being patient with me. That's coming. 978 says, hey, 417 00:25:14,430 --> 00:25:17,280 Speaker 1: favorite producer of all time, Andy Wallace for 40 years 418 00:25:17,340 --> 00:25:21,520 Speaker 1: between producing and mastering. He's had his fingerprints on some 419 00:25:21,580 --> 00:25:24,220 Speaker 1: of my favorite and some of the greatest records of 420 00:25:24,340 --> 00:25:26,400 Speaker 1: all time. As a kid, it felt like every time 421 00:25:26,460 --> 00:25:28,560 Speaker 1: I looked in the liner notes of a record I loved, 422 00:25:28,660 --> 00:25:32,220 Speaker 1: I saw his name. And you're absolutely right. And I 423 00:25:32,260 --> 00:25:34,899 Speaker 1: know I have as well, but I'm blanking and I 424 00:25:34,980 --> 00:25:37,729 Speaker 1: can't pull one out of the hat right now. So 425 00:25:39,030 --> 00:25:44,080 Speaker 1: I'm looking right up. Andy Wallace credits. What do we 426 00:25:44,100 --> 00:25:49,119 Speaker 1: got here? Well, Nirvana, never mind. What did he do? 427 00:25:49,220 --> 00:25:52,600 Speaker 1: Engineer that? He did not produce it. Rage Against the Machine, 428 00:25:52,820 --> 00:25:57,340 Speaker 1: self-titled debut. He mixed, never mind. I'm not sure if 429 00:25:57,359 --> 00:26:01,230 Speaker 1: he engineered it, but he mixed it. Produced Rollins Band, 430 00:26:01,330 --> 00:26:06,030 Speaker 1: End of Silence. Ned's Atomic Dustbin. Remember Ned's Atomic Dustbin? 431 00:26:06,109 --> 00:26:13,050 Speaker 1: I do. Sepultura, Bad Religion, Stranger Than Fiction, Jeff Buckley, Grace. 432 00:26:13,230 --> 00:26:16,210 Speaker 1: There we go. There's the big one. Jeff. Oh, he 433 00:26:16,930 --> 00:26:18,979 Speaker 1: did that fucking Weird Faith No More record, King for 434 00:26:19,000 --> 00:26:21,880 Speaker 1: a Day. I say weird. It's great. It is weird, 435 00:26:21,960 --> 00:26:25,740 Speaker 1: but it's great. A lot of mixing here. Anyways, Andy Wallace. 436 00:26:26,940 --> 00:26:29,440 Speaker 1: All right, guys. 617-906-6638. You want to get at me 437 00:26:29,480 --> 00:26:32,740 Speaker 1: about anything. Screamin' Jay Hawkins, especially. Do you think he 438 00:26:32,810 --> 00:26:34,369 Speaker 1: was murdered? That's going to be the question of the 439 00:26:34,390 --> 00:26:36,330 Speaker 1: week next week. Or you can get into any sort 440 00:26:36,369 --> 00:26:38,810 Speaker 1: of rock and roll mysteries, rock and roll myth stuff 441 00:26:38,830 --> 00:26:43,090 Speaker 1: you want to talk about. Anyways, get at me, 617-906-6638, 442 00:26:43,330 --> 00:26:45,820 Speaker 1: voicemail and text. Now listen, if you traced any rock 443 00:26:45,840 --> 00:26:48,120 Speaker 1: band back far enough, you are probably going to land 444 00:26:48,200 --> 00:26:50,180 Speaker 1: in the same place. It's either going to be Chuck 445 00:26:50,200 --> 00:26:52,920 Speaker 1: Berry for the riffs, Little Richard for the energy, Elvis 446 00:26:52,980 --> 00:26:55,919 Speaker 1: for his aura. And of course, the old blues guys 447 00:26:55,940 --> 00:26:59,570 Speaker 1: who gave everybody a foundation. Every family tree and rock 448 00:26:59,700 --> 00:27:03,290 Speaker 1: grows out of this soil. But there's one branch that 449 00:27:03,390 --> 00:27:05,790 Speaker 1: is a little different, and it grew out of a 450 00:27:05,930 --> 00:27:10,590 Speaker 1: drunk recording session and a coffin. Screamin' Jay Hawkins originally 451 00:27:10,650 --> 00:27:13,170 Speaker 1: planned I Put a Spell on You as a ballad. 452 00:27:13,570 --> 00:27:16,169 Speaker 1: But when it came time to record, his whole band 453 00:27:16,410 --> 00:27:20,530 Speaker 1: got shit-faced. Jay described the sound that came from it 454 00:27:20,630 --> 00:27:23,730 Speaker 1: as cannibalistic, like a man eating somebody. And it was 455 00:27:23,850 --> 00:27:27,629 Speaker 1: banned on radio stations once they released it. Despite that ban, 456 00:27:27,670 --> 00:27:31,430 Speaker 1: the record still sold over a million copies. And then 457 00:27:31,510 --> 00:27:35,189 Speaker 1: when DJ Alan Freed offered Jay $ 300 to rise out 458 00:27:35,230 --> 00:27:38,620 Speaker 1: of a coffin on stage... Jay built a whole act 459 00:27:39,060 --> 00:27:42,900 Speaker 1: around this tune with a cape, leopard skin, rubber snakes, 460 00:27:42,980 --> 00:27:46,119 Speaker 1: voodoo props, a smoking skull on a stick that he 461 00:27:46,160 --> 00:27:50,369 Speaker 1: named Henry. Alice Cooper, The Misfits, Kiss, Arthur Brown, Marilyn Manson, 462 00:27:50,390 --> 00:27:55,010 Speaker 1: Rob Zombie, Gwar, Ghost, all borrowed or borrow from Screamin' 463 00:27:55,050 --> 00:27:59,119 Speaker 1: Jay Hawkins' act from what he started way back in 464 00:27:59,130 --> 00:28:02,980 Speaker 1: the 1950s. The irony is that Jay resented the whole 465 00:28:03,060 --> 00:28:06,320 Speaker 1: shock rock thing, felt it was a gimmick, They kept 466 00:28:06,359 --> 00:28:09,410 Speaker 1: people from taking him seriously as a singer, which is 467 00:28:09,530 --> 00:28:11,870 Speaker 1: all he wanted all along, was to be taken seriously 468 00:28:11,930 --> 00:28:13,810 Speaker 1: as a singer. Dude could have been an opera singer 469 00:28:13,830 --> 00:28:17,320 Speaker 1: if he wanted to. Fascinating guy, fascinating story. That's coming 470 00:28:17,359 --> 00:28:19,500 Speaker 1: up next week in this Graceland. We're coming up right 471 00:28:19,540 --> 00:28:35,560 Speaker 1: after this with your emails and more. All right, as 472 00:28:35,640 --> 00:28:37,880 Speaker 1: I said, Screaming Jay Hawkins coming up next week, our 473 00:28:37,960 --> 00:28:41,050 Speaker 1: next new full episode. But if you want new content 474 00:28:41,110 --> 00:28:42,670 Speaker 1: right now, you can't wait. And you got to go 475 00:28:42,870 --> 00:28:44,830 Speaker 1: over to Patreon. You got to become a member. Go 476 00:28:44,850 --> 00:28:48,670 Speaker 1: to disgracelandpod.com to sign up, become an all-access member. Like 477 00:28:48,710 --> 00:28:51,130 Speaker 1: I said earlier, you're going to get that exclusive content, 478 00:28:51,170 --> 00:28:53,790 Speaker 1: like the bonus after-party conversation I got going on with 479 00:28:53,810 --> 00:28:55,780 Speaker 1: Zeth here in just a minute. But you're also going 480 00:28:55,800 --> 00:28:59,660 Speaker 1: to get access to our video podcast. This film should 481 00:28:59,700 --> 00:29:03,060 Speaker 1: be played loud in our new episode on Gross Point Blank. 482 00:29:03,120 --> 00:29:06,190 Speaker 1: We're talking about the best music. from the best movies, 483 00:29:06,450 --> 00:29:09,130 Speaker 1: and there's nowhere else you can get it besides being 484 00:29:09,210 --> 00:29:13,090 Speaker 1: part of the Disgraceland All Access community. Join your fellow discos. 485 00:29:13,470 --> 00:29:17,570 Speaker 1: Go sign up now at DisgracelandPod.com. I want to read 486 00:29:17,590 --> 00:29:23,540 Speaker 1: you an email, DisgracelandPod at gmail.com. A while back, I 487 00:29:23,560 --> 00:29:28,600 Speaker 1: was contacted by a listener named Gina, and Gina's dad 488 00:29:29,020 --> 00:29:31,460 Speaker 1: was in Bobby Fuller's band. He wasn't in the Bobby 489 00:29:31,500 --> 00:29:35,720 Speaker 1: Fuller Forum, He was in Bobby's band prior to the 490 00:29:35,740 --> 00:29:39,660 Speaker 1: Bobby Fuller Four, Mike Ciccarelli. And he turns up in 491 00:29:39,700 --> 00:29:42,860 Speaker 1: our episode. Gina had contacted me when she heard we 492 00:29:42,900 --> 00:29:46,660 Speaker 1: were doing a Bobby Fuller episode and introduced herself and 493 00:29:46,700 --> 00:29:48,910 Speaker 1: was very excited. And then I, of course, got very 494 00:29:49,170 --> 00:29:52,110 Speaker 1: nervous because I had just written about her dad. I 495 00:29:52,110 --> 00:29:54,290 Speaker 1: had already written the episode. It wasn't released yet, but 496 00:29:54,330 --> 00:29:57,650 Speaker 1: I just written about her dad. And I was fairly 497 00:29:57,710 --> 00:30:01,920 Speaker 1: certain I had it nailed down And her dad is 498 00:30:02,020 --> 00:30:05,900 Speaker 1: Mike Ciccarelli, who turns up in the episode, turns up 499 00:30:05,940 --> 00:30:08,180 Speaker 1: at the end of the episode. He kind of comes 500 00:30:08,280 --> 00:30:11,340 Speaker 1: back into Bobby's life later after the Bobby Fuller Four 501 00:30:12,340 --> 00:30:14,490 Speaker 1: moves to Los Angeles. And then, of course, they're going 502 00:30:14,510 --> 00:30:17,450 Speaker 1: to break up and Bobby's going to start this new thing. 503 00:30:17,950 --> 00:30:21,610 Speaker 1: Mike Ciccarelli heads to Los Angeles and he's the one 504 00:30:21,690 --> 00:30:24,850 Speaker 1: in that scene in the end with the other musician 505 00:30:24,870 --> 00:30:27,370 Speaker 1: whose name is escaping me at the moment, who come 506 00:30:27,570 --> 00:30:34,630 Speaker 1: upon Bobby Fuller's mother being whisked away by a man 507 00:30:34,690 --> 00:30:39,110 Speaker 1: in black. It's a very, very important part of the story. 508 00:30:40,290 --> 00:30:42,430 Speaker 1: And it's from the book, He Fought the Mob. That's 509 00:30:42,450 --> 00:30:46,360 Speaker 1: where I got that information. And it's crucial to the 510 00:30:46,410 --> 00:30:50,360 Speaker 1: theory of the mafia, the Genovese family having something to 511 00:30:50,420 --> 00:30:54,300 Speaker 1: do with Bobby Fuller's death. It's hard to draw that 512 00:30:54,400 --> 00:30:59,100 Speaker 1: line without the account from Mike Ciccarelli. And again, the 513 00:30:59,120 --> 00:31:01,340 Speaker 1: other musician whose name is escaping me at the point. 514 00:31:01,380 --> 00:31:04,620 Speaker 1: So two people. Anyways, I was real nervous about what 515 00:31:04,640 --> 00:31:06,900 Speaker 1: Gina was going to think and talk about her dad. 516 00:31:07,380 --> 00:31:08,990 Speaker 1: And she hit me up. She says, damn, you nailed it. 517 00:31:09,160 --> 00:31:11,450 Speaker 1: Thank you. So cathartic. I feel like I've been waiting 518 00:31:11,490 --> 00:31:15,370 Speaker 1: for that story most of my life. Rock-a-rola. Actually, she 519 00:31:15,410 --> 00:31:22,710 Speaker 1: says rock-a-fucking-rola. Gina Ciccarelli. Pretty cool. Thanks, Gina. I really 520 00:31:22,730 --> 00:31:25,650 Speaker 1: appreciate you getting in touch. I do. Thank you. Stay 521 00:31:25,670 --> 00:31:28,150 Speaker 1: in touch. And you guys can stay in touch too. 522 00:31:28,190 --> 00:31:37,440 Speaker 1: Disgracelandpod at gmail.com. At Disgracelandpod on the socials. Disgracelandpod at gmail.com. Yeah, 523 00:31:37,480 --> 00:31:40,160 Speaker 1: you know where to hear us. In the Disgraceland feed. 524 00:31:40,640 --> 00:31:44,260 Speaker 1: In the Hollywoodland feed. Over in Patreon. We can be 525 00:31:44,280 --> 00:31:46,500 Speaker 1: tracked down just about elsewhere. We're working on other places 526 00:31:46,540 --> 00:31:49,230 Speaker 1: right now. Okay? Just so you know. We're not stopping. 527 00:31:50,210 --> 00:31:55,410 Speaker 1: Like I said, thanks for everybody for listening. For engaging. 528 00:31:56,710 --> 00:31:59,979 Speaker 1: If you've never written to us, if you've never called us, 529 00:32:01,100 --> 00:32:04,700 Speaker 1: emailed us, now's the time. If you're just thinking like, 530 00:32:04,720 --> 00:32:07,060 Speaker 1: I always got something I want to ask, but I 531 00:32:07,080 --> 00:32:08,570 Speaker 1: don't do it. Or I get something I want to say, 532 00:32:08,610 --> 00:32:11,330 Speaker 1: but I don't do it. Now's the time. I love 533 00:32:11,510 --> 00:32:15,410 Speaker 1: everyone who consistently calls and texts and writes. Keep doing that. 534 00:32:15,470 --> 00:32:18,090 Speaker 1: Don't stop. I know there's somebody, I'm the same way. 535 00:32:18,750 --> 00:32:25,440 Speaker 1: I listen to sports radio, Boston sports radio. I never call, ever, ever. 536 00:32:25,580 --> 00:32:28,340 Speaker 1: I do text. Big Jim Murray, though, from the sports hub. 537 00:32:29,200 --> 00:32:32,320 Speaker 1: Or not text, I DM him. But I don't call. 538 00:32:32,680 --> 00:32:34,360 Speaker 1: But I know what it's like to be on the 539 00:32:34,400 --> 00:32:36,640 Speaker 1: other end. And you hear something and you're like, fire! Like, 540 00:32:37,860 --> 00:32:42,330 Speaker 1: come on, hit me. 617-906-6638. Voicemail and text. Good and bad. Okay, 541 00:32:42,370 --> 00:32:43,690 Speaker 1: I'm here for it. You might hear yourself in the 542 00:32:43,750 --> 00:32:48,230 Speaker 1: next episode of the after party. All right, as promised, 543 00:32:48,750 --> 00:32:52,690 Speaker 1: Seth and I talking about writers and the weird shit 544 00:32:52,730 --> 00:32:54,210 Speaker 1: they do to make a buck. That's coming up in 545 00:32:54,230 --> 00:32:55,770 Speaker 1: the excuses section of this after party. You're not going 546 00:32:55,790 --> 00:32:58,700 Speaker 1: to want to miss it. Go to disgracelandpod.com to sign 547 00:32:58,740 --> 00:33:01,560 Speaker 1: up to become an all-access member. All right, guys, we'll 548 00:33:01,580 --> 00:33:17,650 Speaker 1: be back right after this. All right, we are back. 549 00:33:17,910 --> 00:33:22,180 Speaker 1: Mentioned Alice Cooper, mentioned Chuck Berry. Sure, we mentioned some 550 00:33:22,240 --> 00:33:24,860 Speaker 1: other artists, but for Alice and Chuck... We're going to 551 00:33:24,880 --> 00:33:27,380 Speaker 1: have the episode information in the show notes section of 552 00:33:27,580 --> 00:33:30,900 Speaker 1: this here bonus app. Matt's going to throw that in 553 00:33:30,940 --> 00:33:32,980 Speaker 1: there for you so you can easily find your way 554 00:33:33,040 --> 00:33:36,520 Speaker 1: to Alice and Chuck. I think we're up to 289 555 00:33:36,520 --> 00:33:42,460 Speaker 1: episodes right now of Disgraceland closing in on 300. Chuck 556 00:33:42,480 --> 00:33:45,700 Speaker 1: was from season six. Alice, a couple of years ago. 557 00:33:46,650 --> 00:33:50,540 Speaker 1: Let's recap. Number one, this week, our new episode on 558 00:33:50,620 --> 00:33:53,420 Speaker 1: Quincy Jones is available right now. Number two, in the 559 00:33:53,440 --> 00:33:56,380 Speaker 1: rewind slot this weekend, our classic two-part episode on Nirvana. 560 00:33:56,400 --> 00:33:58,820 Speaker 1: Number three, next week, coming up, our new episode on 561 00:33:58,920 --> 00:34:01,080 Speaker 1: Screaming Jay Hawkins. Number four, Zeth's going to give you 562 00:34:01,120 --> 00:34:03,420 Speaker 1: those Hollywood and crime vibes in the Hollywoodland feed, so 563 00:34:03,480 --> 00:34:05,610 Speaker 1: make sure you are subscribed. I'm going to give you 564 00:34:05,630 --> 00:34:08,710 Speaker 1: my music recs in the wrap party. Screen in Room's 565 00:34:08,750 --> 00:34:10,650 Speaker 1: going to tell us all what we should be watching 566 00:34:10,670 --> 00:34:13,960 Speaker 1: this weekend. Make sure you're subscribed to Hollywoodland. Number five, 567 00:34:14,020 --> 00:34:16,839 Speaker 1: current This Film Should Be Played Loud video podcast. Our 568 00:34:16,900 --> 00:34:20,320 Speaker 1: episode on Gross Point Blank is available right now. Go 569 00:34:20,480 --> 00:34:23,500 Speaker 1: to disgracelandpod.com to sign up to become an all-access member 570 00:34:23,900 --> 00:34:28,060 Speaker 1: and unlock exclusive content just like this along with ad-free listening. 571 00:34:28,540 --> 00:34:32,110 Speaker 1: Number six, 617-906-6638. Your voice keeps us digging into the 572 00:34:32,150 --> 00:34:34,510 Speaker 1: dark corners of music history, so keep calling, keep texting 573 00:34:34,530 --> 00:34:37,050 Speaker 1: with your answers to this week's question or with whatever 574 00:34:37,090 --> 00:34:38,910 Speaker 1: else you want to talk about. Number seven, don't forget discos. 575 00:34:38,930 --> 00:34:41,590 Speaker 1: This isn't just content. It's a community, a community of 576 00:34:41,630 --> 00:34:44,340 Speaker 1: the obsessed. And no one cares about music, books, records, 577 00:34:44,380 --> 00:34:46,580 Speaker 1: and the grime and crime that ties them all together 578 00:34:46,600 --> 00:34:49,219 Speaker 1: like you do. And well, that's a disgrace. All right, 579 00:34:49,260 --> 00:34:53,299 Speaker 1: back on January 29th, 2018, Quincy Jones started making some 580 00:34:53,480 --> 00:34:57,020 Speaker 1: outrageous claims. And this is what America was listening to 581 00:34:57,200 --> 00:35:03,580 Speaker 1: on that day, according to the Billboard charts. Number one, perfect, 582 00:35:04,080 --> 00:35:10,219 Speaker 1: Ed Sheeran. Last week, one. Peak position, one. Weeks on chart, six. 583 00:35:10,940 --> 00:35:16,169 Speaker 1: Number two, Havana. Camila Cabello featuring Young Thug. Last week, two. 584 00:35:16,270 --> 00:35:22,850 Speaker 1: Peak position, two. Weeks on chart, 22. Number three, Finesse. 585 00:35:22,910 --> 00:35:28,160 Speaker 1: Bruno Mars and Cardi B. Last week, 35. Peak position, three. 586 00:35:28,200 --> 00:35:34,739 Speaker 1: Weeks on chart, two. Number four, Rockstar. Post Malone featuring 587 00:35:34,739 --> 00:35:39,320 Speaker 1: 21 Savage. Last week. Keep positions. Weeks on show. Weeks 588 00:35:39,360 --> 00:35:40,859 Speaker 1: on show. Weeks on show. Weeks on show. 589 00:35:40,960 --> 00:35:44,290 Speaker 2: Quit talking and start mixing. Cut it!