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Speaker 1: Hey discos, you can listen to an extended version of

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Speaker 1: this after Party episode by becoming a member of Disgraceland

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Speaker 1: All Access. Just go to disgracelampod dot com slash membership

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Speaker 1: for more details and to sign up. Hey guys, welcome

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Speaker 1: to the Disgracelam podcast, which is brought to you by

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Speaker 1: Double Elvis. This week, we have a brand new episode

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Speaker 1: on Public Enemy in the Disgraceland feed, and for our

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Speaker 1: All Access members and our Patreon and Apple subscription feeds,

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Speaker 1: We've got a brand new episode today on baskyad, So

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Speaker 1: be sure to make sure you're all signed up for

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Speaker 1: our all access content either on Apple Podcasts or on

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Speaker 1: Patreon to hear those episodes and over in the Shred

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Speaker 1: with Shifty Feed, that's our show, hosted by Chris Shifflett

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Speaker 1: of The Foo Fighters. He's talking with guitarist Phil Collin

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Speaker 1: from def Leppard about def Leppard's incredible song Photograph.

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Speaker 2: Go check that out, Hey discos.

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Speaker 1: Need a little more Disgraceland in your life, just to

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Speaker 1: touch to get you through?

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Speaker 2: Yeah, me too.

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Speaker 1: This is the podcast that comes after the podcast. Welcome

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Speaker 1: to Disgraceland The after Party. Welcome to the Disgraceland bonus episode,

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Speaker 1: a little thing we'd like to call the after party.

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Speaker 1: This is the show after the show, the party after

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Speaker 1: the party, the bridge to get you from one full

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Speaker 1: episode or Disgraceland to the other, the backyard to dig

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Speaker 1: into the dirt. On this episode we are talking about

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Speaker 1: Public Enemy, the sources that we use for this Public

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Speaker 1: Enemy episode, which helped us uncover an insane story that

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Speaker 1: we weren't able to use. But you're gonna hear about

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Speaker 1: it here, and of course your voicemails, texts, dms and more,

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Speaker 1: and as always, a whole lot of rosie all right,

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Speaker 1: disc goes, let's get into it, hybrids, mashups, collaborations on

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Speaker 1: the whole. When it comes to artists we love, these

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Speaker 1: are usually positive efforts The Band and Bob Dylan's Basement tapes,

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Speaker 1: Robert de Niro and Al Pacino, and Heat, Taylor Swift

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Speaker 1: and Post Malone, I guess, but sometimes the melding of

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Speaker 1: two different artists or artistic elements is not so great.

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Speaker 1: Metallica and lou Reid come to mind, as does the

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Speaker 1: site of Mick Jagger and David Bowie dancing in the street.

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Speaker 1: But sometimes in the case of Public Enemy anyway, the

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Speaker 1: collaboration is a massive headfake. When Public Enemy and Anthrax

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Speaker 1: released their collaborative version of the pe song Bring the Noise,

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Speaker 1: if you were me seventeen years old when this happened,

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Speaker 1: the world stood still. It may seem cheesy now in retrospect,

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Speaker 1: but I am telling you back then, hearing Chuck D

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Speaker 1: rap over the massive groove that a thrash band was

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Speaker 1: providing for him, it was as if a whole new

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Speaker 1: musical dimension had been discovered. I couldn't fucking believe the

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Speaker 1: awesomeness that I was hearing rap and metal together? Are

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Speaker 1: you kidding me? Howoud no one ever thought of this before? Sure,

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Speaker 1: the Beastie Boys came close with their Slayer samples on

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Speaker 1: Licensed to Ill, but that was more of a wink

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Speaker 1: and a nod and he got run DMC with Arrowsmith

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Speaker 1: and walked this way. But honestly, that felt more like

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Speaker 1: a novelty song. Chuck D in Flavor Flave, earnestly rapping

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Speaker 1: the hard hitting lyrics of their tune Bring the Noise,

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Speaker 1: with Anthrax killing it underneath, rap and metal together for

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Speaker 1: the first time in a serious way. Sign me the

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Speaker 1: fuck up? What kind of gilded path of creative, genre

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Speaker 1: bending enlightenment. Were the nineties about to thrust upon us?

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Speaker 1: How good could the future of music be? If this

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Speaker 1: Public Enemy and Anthrax rap and metal were the vanguard.

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Speaker 1: I was pumped. This was revolutionary shit. My parents might

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Speaker 1: have had the Sixties in Motown and Crosby Stills in

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Speaker 1: fucking Nash, but I had Hank Shockley and Charlie Bonante.

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Speaker 1: So suck it, hippie. If the blues came together with

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Speaker 1: country music to create rock and roll, what were rap

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Speaker 1: in metal going to create for us? I didn't know,

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Speaker 1: but I was there for it. And then Rage against

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Speaker 1: the Machine. Okay, yeah, this, this is the shit. This

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Speaker 1: is what I'm talking about. Rage was the natural next

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Speaker 1: step from Public Enemy and Anthrax, a revolutionary combo of

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Speaker 1: genres and revolutionary lyrically, just like pe was. I could

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Speaker 1: definitely get with this. I saw Rage the first time,

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Speaker 1: the second time, the third, and probably the fourth time

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Speaker 1: that they came to Boston. I saw them open for

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Speaker 1: House of Pain that first time. House of Pain, jump around,

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Speaker 1: Guinness fights in Selthie. It's not my thing, but it

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Speaker 1: made sense. Okay, I'm not gonna love every child that

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Speaker 1: spawns from the beautiful rap metal marriage from our Public

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Speaker 1: Enemy and Anthrax, Mommy and Daddy. But okay, what's next?

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Speaker 1: Who else you got? And the next thing we got

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Speaker 1: was the Judgment Night soundtrack, Shitty movie on Paper, an

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Speaker 1: incredible sound track of rap and metal collaborations the aforementioned

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Speaker 1: House of Pain with Helmet de La Soul and teenage

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Speaker 1: fanclub Cypress Hill in Sonic Youth. But wait a minute,

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Speaker 1: this actually wasn't that good. It was more run DMC

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Speaker 1: Aerosmith schlock than the genre busting revolution that I was

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Speaker 1: waiting for post Public Enemy and Anthrax. Surely though it'd

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Speaker 1: be coming soon. This new music the second coming of culture,

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Speaker 1: defining tunes that would take the world by storm, and

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Speaker 1: that we would name organically and irreverently at a later

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Speaker 1: date of our choosing. In other words, when the musical

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Speaker 1: Messiah appears, he who shall be named will be done

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Speaker 1: so whenever the fuck we of the generation known as

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Speaker 1: Ax get around to it. And then he appeared, not

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Speaker 1: as a pure natural revolutionary progression from Public Enemy to

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Speaker 1: Rage against the Machine, but as some red hatted clown

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Speaker 1: with pussy and weed only on the brain. It was

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Speaker 1: Fred fucking of Limp Biscuit. This this, this doing it

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Speaker 1: all for the nookie bullshit was basically all we had

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Speaker 1: to show culturally. From the promise of the Public Enemy

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Speaker 1: and Anthrax collaboration, rap and metal had gone horribly wrong,

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Speaker 1: like some fucked up cannibal Frankenstein descending upon our village

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Speaker 1: to feast upon our souls. How how is this the outcome?

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Speaker 1: How did something with so much promise and so much

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Speaker 1: awesomeness produced basically garbage? The answer, I don't know. Public

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Speaker 1: Enemy and Anthrax's incredible melding of rap and metal would

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Speaker 1: bring the noise was basically just lightning in a bottle.

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Speaker 1: Those two groups were basically from the same place, and

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Speaker 1: though musically one was Venus and the other Mars rap

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Speaker 1: and metal from New York City, at that time, it

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Speaker 1: wasn't all that different. The sensibilities were very similar amongst

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Speaker 1: kids who were making that type of music, but spread

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Speaker 1: out culturally from Sir Makes a Lot all the way

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Speaker 1: to Fucking Mud Honey and back again. Things got entirely

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Speaker 1: fucked and ended with Fred Durst running the music industry

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Speaker 1: for a minute. But hey, that wasn't all that bad.

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Speaker 1: At least it resulted in some awesome Queens of the

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Speaker 1: Stone Age. But I digress. For more on Public Enemy,

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Speaker 1: you can listen to this week's Disgrace That episode on PE,

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Speaker 1: and for a taste of another bonker's collaboration, you can

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Speaker 1: listen to our All Access Members episode this week on

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Speaker 1: Basquiat to hear about, among other things, Bascot's collaboration with

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Speaker 1: Andy Warhol.

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Speaker 3: I'll be back in a flash.

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Speaker 1: All right, Let's talk for a minute about the sources

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Speaker 1: we used for this Public Enemy episode. First, I have

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Speaker 1: to mention Can't Stop, Won't Stop History of the hip

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Speaker 1: Hop Generation by Jeff Chang, and also check the Technique

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Speaker 1: liner Notes for hip Hop Junkies by Brian Coleman, two

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Speaker 1: books that any hip hop fan should have on their shelf.

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Speaker 1: These are full of a ton of history, a ton

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Speaker 1: of insight into hip hop that anytime we make an

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Speaker 1: episode on a hip hop artist, were honestly, we're cracking

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Speaker 1: these books like we did for this episode. Chuck D himself.

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Speaker 1: This is very helpful. Chuck D himself is super vocal

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Speaker 1: out there, giving lots of interviews, lots of talks, so

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Speaker 1: we used his appearances on shows like People's Party with

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Speaker 1: Tali Kuali and drink Champs to get inside his head

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Speaker 1: and formulate his point of view, which drives a lot

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Speaker 1: of this episode, which was not an easy episode to

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Speaker 1: write for a ton of different reasons. The primary biography

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Speaker 1: of the group that we used for this episode is

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Speaker 1: a book called Public Enemy Inside the Terror Dome by

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Speaker 1: Tim Grierson. This had so much information from how Chuck

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Speaker 1: d found his voice by doing an imitation of sportscaster

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Speaker 1: Marv Albert to flavor flaves, numerous run ins with the

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Speaker 1: law inside baseball stuff here too, like how You're Gonna

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Speaker 1: Get Yours to kickoff track on PE's debut albums, originally

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Speaker 1: titled You're Going to Get Yours, as in Bernard gets

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Speaker 1: the Vigilanti, the white vigil anie who shot four black

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Speaker 1: men on a New York City subway train in nineteen

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Speaker 1: eighty four, saying that they tried to rob him. It

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Speaker 1: was later, of course, found not guilty of attempted murder.

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Speaker 1: Public Enemies music was literally ripped from the headlines music.

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Speaker 1: It's part of what made it so fucking awesome. You

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Speaker 1: could feel it back then, you can feel it now

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Speaker 1: when you listen too, And we try to illustrate that

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Speaker 1: with the way that we arranged the narrative of this

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Speaker 1: episode to have Public Enemy story told in a way

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Speaker 1: that weaves these other stories about the death of aspiring

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Speaker 1: artist Michael Stewart at the hands of the New York

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Speaker 1: Transit cops. There's the secure, dramatic jail break in the

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Speaker 1: case of the Central Park five. For research on all

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Speaker 1: of those things, who went outside The Public Enemy bios

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Speaker 1: to some great articles in the New York Times and elsewhere.

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Speaker 1: But I want to know this is trying to make

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Speaker 1: this question as direct as possible. I gotta give a

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Speaker 1: little more background here. So Public Enemy to me have

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Speaker 1: always been I recognize this even at a young age.

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Speaker 1: They've always been folk music. Okay, clearly they wrapped their

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Speaker 1: hip hop I get it, and revolutionary at that, you know,

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Speaker 1: their genre defining at that, but still lyrically they are

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Speaker 1: folk music even more than an NWA. We talked a

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Speaker 1: little bit earlier about how you know, their songs were

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Speaker 1: ripped from the headlines. NWA's were more caricature based, I

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Speaker 1: think is the way to put it. Public Enemies was

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Speaker 1: just was so much more real. Their stories were so real,

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Speaker 1: so representative of what was happening culturally to the members

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Speaker 1: of that group and to their families at the time

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Speaker 1: that that music was being made in the place that

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Speaker 1: it was being made in New York in America. So

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Speaker 1: Public Enemy to me, we're always they had as much

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Speaker 1: akin to Woody Guthrie and Bob Dylan as they did

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Speaker 1: with NWA and Iced Tea, and even more so in

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Speaker 1: some ways so to me, folk music, okay, And that's

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Speaker 1: the question I want to get at. We asked a

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Speaker 1: while back. I think it was during Yeah, it was definitely.

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Speaker 1: It was during hip Hop's sort of fiftieth anniversary thing

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Speaker 1: that was going on last year. We asked what was

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Speaker 1: the greatest hip hop group of all time? And I

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Speaker 1: think we landed on NWA. Public Enemy probably a close second,

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Speaker 1: I can't remember, honestly. And instead of asking that question,

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Speaker 1: I want to ask you who is the greatest folk

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Speaker 1: artist of all time? And I don't mean Newport Folk

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Speaker 1: Festival twenty twenty four, not that there's anything wrong with that,

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Speaker 1: That's not what I'm talking about. I'm talking about which

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Speaker 1: artist was it? Chuck d Woody Guthrie, Nina Simone, Bob Dylan,

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Speaker 1: Snead O'Connor, Bob Marley, pick your poison. Who best represented

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Speaker 1: the people folk as in people, Which artist was the

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Speaker 1: wolf Blitzer of their day in the music business, out

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Speaker 1: there on the street, reflecting back to the people their

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Speaker 1: world through the music they were creating. To me, it

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Speaker 1: takes a nation of millions to hold us back. By

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Speaker 1: Public Enemy is the most compelling representation of that type

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Speaker 1: of folk music that I've ever heard. Maybe if I

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Speaker 1: was born forty years earlier, i'd say the same thing

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Speaker 1: about Woody Guthrie, or twenty years earlier i'd say the

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Speaker 1: same thing about Bob Dylan, But I wasn't. I came

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Speaker 1: of age with that Public Enemy music. So to me,

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Speaker 1: it was like, fuck, we're not hearing this shit anywhere

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Speaker 1: but here on record, and it was revolutionary, It was

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Speaker 1: awe inspiring. And I want to know from you guys,

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Speaker 1: who has done that for you? Which artist has best

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Speaker 1: represented the world at large to you in a journalistic

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Speaker 1: folk music type of way. Let me know six one

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Speaker 1: seven nine oh six six six three eight text voicemail

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Speaker 1: hit me out, just like the twoh six who called

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Speaker 1: in with this voicemail.

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Speaker 4: Here, Hey Jake, I know it's been a while to

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Speaker 4: Tony from the two five to three. Hope everything's going well. Listen.

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Speaker 5: I just got done listening to the public end of

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Speaker 5: the episode.

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Speaker 4: Man, I tell you I have it takes a nation

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Speaker 4: a million to hold us back on vinyl and I

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Speaker 4: have it on CD. But you also mentioned a group

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Speaker 4: on that episode.

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Speaker 5: And that was Milli Vanilli And I was just wondering,

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Speaker 5: is there any chance you might get a million Vanilli

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Speaker 5: episode in the future If you haven't done so, please

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Speaker 5: check out the documentary that they did on Paramount Plus.

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Speaker 6: It is La Chef's Kiss.

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Speaker 4: You have to check it out.

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Speaker 6: My brother much love from two to.

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Speaker 4: Five to three and uh yeah, I'll look forward to

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Speaker 4: hearing from it.

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Speaker 6: Also dug back into the archives and heard the Marvin

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Speaker 6: Gay episode.

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Speaker 5: Man oh man, I'm about to listen to to.

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Speaker 4: What's going on album right now? All right, big man,

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Speaker 4: I talkulater Bye.

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Speaker 1: Tony from the two five to three awesome message. Thank

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Speaker 1: you first of all, Stoke you like the Public Enemy

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Speaker 1: episode and good to hear from you again. Millie Vanilly. No,

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Speaker 1: you know I've this has been requested from way back

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Speaker 1: and I've never really never really given it any serious

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Speaker 1: consideration for an episode until the last couple of weeks.

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Speaker 1: I saw this really funny meme that sparked something in me.

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Speaker 1: There was like, ah, that'd be a cool angle into

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Speaker 1: telling them Millie Vanilly story. And it's basically Millie Vanilli

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Speaker 1: standing next to each other, those two dudes looking pissed,

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Speaker 1: and it says Millie Vanilli is standing by watching people

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Speaker 1: get famous for lip syncing on TikTok in twenty twenty three,

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Speaker 1: and I just thought, Oh, that's too good. That irony

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Speaker 1: is too good. I didn't know there was a documentary

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Speaker 1: on Paramount. I'm stoked to watch this now. Thank you

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Speaker 1: for hitping me to that, and also thanks for getting

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Speaker 1: back into the archive there with Marvin Gaye. All right

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Speaker 1: six one seven nine oh six six six three eight call,

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Speaker 1: leave me a voicemail whatever you want. This one comes

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Speaker 1: from the five six three.

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Speaker 7: Hey, Jake, this is Judy from the three nine and

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Speaker 7: Tarantino Films.

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Speaker 5: Top five.

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Speaker 6: I was with you. I was right there with you,

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Speaker 6: side by side on.

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Speaker 7: Your list until you move Jackie Brown down to five.

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Speaker 7: I get it. I understand why Reservoir Dogs is. You know,

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Speaker 7: it's undeniable, but I relate to Jackie Brown so much

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Speaker 7: more so I would have to go he fiction Jackie

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Speaker 7: Brown Once upon a Time in Hollywood read four Dogs

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Speaker 7: and I don't know, We'll just.

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Speaker 6: While a car for number five.

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Speaker 7: Whatever you want, anyone wants, I don't care.

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Speaker 1: All right, that's the five six three. Uh, Judy, I

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Speaker 1: love the love for Jackie Brown. I'm actually stoked to

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Speaker 1: hear you repping Jackie Brown because I figured I was

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Speaker 1: going to be alone in doing that. So yeah, fuck

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Speaker 1: you appreciate it. Nine to seven. Oh, let's see what

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Speaker 1: the nine seven O is saying. And we talked about

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Speaker 1: what the five greatest fight scenes were. Why did we

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Speaker 1: get into that? Was that because of Tarantino? It was

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Speaker 1: fight scenes came from Tarantino. Tarantino came from Kill Bill.

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Speaker 1: Kill Bill came from the Kobe Bryant up. So we did, okay,

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Speaker 1: this is the nine to seven oh calling.

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Speaker 6: It Hey, Jacobs Dyll and uh. Five greatest fight scenes

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Speaker 6: for me? I have to say five would be Steven

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Speaker 6: Seagal and Mark for death against the Two Twins, and

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Speaker 6: then four would it be bon Dom and Kickboxer, three

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Speaker 6: Bondam and blood Sport at the end, and two I'd

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Speaker 6: have to say Rocky three was a good one for

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Speaker 6: me when he beats clubber Lang and Number one. I

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Speaker 6: don't know if anyone has said this yet, but they

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Speaker 6: live David and Roddy Roddy Piper probably one of the

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Speaker 6: longest fight scenes, but it's also one of my favorites.

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Speaker 4: So here they are.

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Speaker 6: Thanks fucking rolling all right?

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Speaker 1: Nine to seven. Oh, you're into some deep fight scenes there.

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Speaker 1: I'll take your word for it. I haven't seen a

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Speaker 1: lot of those Rocky three of course. Amazing seven eight

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Speaker 1: one calls in, who's this? This our boy ish jake?

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Speaker 8: What up? It's your boy ish Long time, my man.

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Speaker 8: It's been hectic out there, just checking in resarding best

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Speaker 8: Hollywood fight scenes.

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Speaker 6: I got three for you.

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Speaker 8: It's pretty Brad Pitt heavy. So we'll go with Brad Pitt,

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Speaker 8: Nagelina Jolie and mister and Missus Smith. I'm gonna go

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Speaker 8: Brad Pitt and Ed Norton Fight Club, and we're gonna

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Speaker 8: go Brad Pitt and.

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Speaker 6: Some Pikey ver enuckle.

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Speaker 8: Fight in Snatch, Greg Snatch. Let me know what you think, Deuce.

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Speaker 1: Is you know ish? Good to hear your voice, man,

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Speaker 1: I hope things are evening out for you out there.

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Speaker 1: They're a little less hectic I love you know, the

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Speaker 1: concept of one of the five greatest Brad Pitt fights,

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Speaker 1: that's a whole question onto its own. I think he

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Speaker 1: knocked it down here, but I would add Brad Pitt

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Speaker 1: and Bruce Lee, or I should say Cliff. Is he Cliff? Yeah,

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Speaker 1: he's Cliff from Once upon a Time in Hollywood with

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Speaker 1: Bruce Lee. I would add that to the list, and

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Speaker 1: I'm sure we can find a fifth as well. Good call,

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Speaker 1: good calls this week, guys, good work. I want you

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Speaker 1: to call back, and I want you to tell me

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Speaker 1: who's the greatest folk artist? And you know what I

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Speaker 1: mean by my definition of folk here? Okay again, I'm

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Speaker 1: not talking, you know, just an acoustic guitar and an

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Speaker 1: open mic inside a coffee shop folk music. I'm talking

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Speaker 1: who's out there best repping the people, the folk Okay,

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Speaker 1: who's the fucking wolf Blitzer, the CNN of music in

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Speaker 1: your eyes? Who is best representing the world they come from,

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Speaker 1: the world at large, the world we see in the

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Speaker 1: world that is hidden from us. Which musician is that?

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Speaker 9: Is it?

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Speaker 1: Public enemy? Public enemy? Prompted this question. I want to

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Speaker 1: know what you guys think. Six one seven nine oh

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Speaker 1: six six six three eight voicemail and text seven to

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Speaker 1: one six texts in Hey, I don't know about the

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Speaker 1: top five fight scenes, but two of my favorite are

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Speaker 1: the Bride versus Orrin and her entire entourage and Kill

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Speaker 1: Bill and Peter versus the Chicken in Family Guy A

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Speaker 1: great one seven six one six one seven nine oh

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Speaker 1: six six six three eight. That's how you guys get

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Speaker 1: in touch with me? All right? Also at this Gray

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Speaker 1: Slam pod on the Socials, I'm gonna take a quick break,

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Speaker 1: be right back. All right, We are back. And as

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Speaker 1: I mentioned at the top of the episode, not only

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Speaker 1: do we have a new episode out this week on

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Speaker 1: Public Enemy, but we also just dropped today another brand

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Speaker 1: new episode on Basquiat. And maybe you're looking at your

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Speaker 1: feet right now going wait a minute, wait, where the

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Speaker 1: fuck is this bot.

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Speaker 2: Episode that you're speaking about.

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Speaker 1: Well, here's the deal. The way to hear this Baskeyot episode,

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Speaker 1: as well as other Disgraceland episodes that you may not

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Speaker 1: have in your regular disgrace Land feed episodes on Hunter S.

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Speaker 1: Thompson and Lane Staley, in upcoming episodes on Chris Cornell

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Speaker 1: and Waylon Jennings and more. In order to hear these episodes.

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00:20:18,240 --> 00:20:22,000
Speaker 1: You have got to become a member of Disgraceland All Access.

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00:20:22,080 --> 00:20:24,439
Speaker 1: It's super simple. Just go to disgrace lampod dot com

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00:20:24,520 --> 00:20:27,760
Speaker 1: slash membership and for just five bucks a month, even less,

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00:20:27,800 --> 00:20:29,520
Speaker 1: if you sign up for an annual membership, you will

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00:20:29,520 --> 00:20:32,800
Speaker 1: get these exclusive full episodes of Disgraceland, one of them

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00:20:32,800 --> 00:20:35,399
Speaker 1: every month, and also weekly bonus content like an extended

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Speaker 1: version of this here After Party bonus episode that you're

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Speaker 1: listening to right now. That's right, I'm gonna go a

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Speaker 1: little deeper with the All Access guys. Okay, you get

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Speaker 1: a longer bonus episode. We're gonna get into this insane

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Speaker 1: story that we weren't able to fit into the Public

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Speaker 1: Enemy episode. So you want to hear that. Just sign up,

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Speaker 1: Just sign up becoming All Access member. It's easy. You

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Speaker 1: can choose between Apple Podcasts and Patreon for your membership.

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Speaker 1: But if you choose Patreon, you can also jump into

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Speaker 1: an always on chat.

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Speaker 2: With me in fellow discos.

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Speaker 1: So to give you a little taste to what you're missing,

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Speaker 1: I got a clip for you here from the brand

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Speaker 1: new Baskeyout episode that we just dropped in the All

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Speaker 1: Access feed today to give you some context This clip

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Speaker 1: takes place early in Jean Michelle Boscaut's career, when he's

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Speaker 1: still a struggling artist, but he's already part of the

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Speaker 1: music scene, in the arts scene that's happening in New

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Speaker 1: York's Lower East Side, And by being a part of

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Speaker 1: that scene, he's just managed to snag a cameo appearance

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Speaker 1: in the music video that Debbie Harry and her van

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Speaker 1: Blondie are filming for their soon to be smash hit Rapture.

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Speaker 1: All right, take a listen, and within months, Americans were

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Speaker 1: unknowingly getting their first look at Jean Michelle on MTV,

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Speaker 1: with the Rapture video not only the first hip hop

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Speaker 1: video shown on the brand new cable channel, but one

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Speaker 1: of the videos selected for the network's first rotation block.

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Speaker 1: This was happening at the same time that Jean Michelle

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Speaker 1: was feverishly working on a dozen pieces for his first

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Speaker 1: solo gallery show. But he wasn't listening to Blondie while

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Speaker 1: he worked, and he wasn't listening to the hip hop

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Speaker 1: currently dominating his home neighborhood in Brooklyn. He was listening

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Speaker 1: to jazz, specifically to the alto saxophone of Charlie Parker.

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Speaker 1: Charlie Parker aka Bird reminded him of childhood, a scribbling

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Speaker 1: on scraps of paper while lying on the floor, his

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Speaker 1: father in an armchair, his mother smiling before her trouble

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Speaker 1: started and she was institutionalized, and before his father remarried.

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Speaker 1: Jean Michel Basquiaal left home at sixteen, but no matter

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Speaker 1: where he was sleeping or how he was scraping by,

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Speaker 1: he always found a way to listen to Bird. Jean

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Speaker 1: Michel wanted to paint the way that Charlie Parker played

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Speaker 1: the saxophone. Charlie Parker played his way, setting fire to

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Speaker 1: the rules of jazz harmony. He wove bits of melodies

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Speaker 1: from spirituals, show tunes and Stravinsky into his playing, and

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Speaker 1: then he shifted keys and bent them.

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Speaker 2: Into something new.

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Speaker 1: He played hard, and he lived hard, and he gave

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Speaker 1: everything to his art. That's the way Jean Michel would

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Speaker 1: paint Bird blue sweet, and Jean Michel had long strokes

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Speaker 1: of bright yellow acrylic across the canvas.

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Speaker 2: Bird's horn picked up its.

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Speaker 1: Pace, and Jean Michel sketched a quickyardbird on the center

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Speaker 1: of the canvas that Charlie Parker bird was wailing now

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Speaker 1: and Jean Michel felt the energy surge from the speakers

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Speaker 1: toward his canvas. He didn't think, He just let the

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Speaker 1: feelings wash over. Swirls of notes filled the studio, then

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Speaker 1: his canvas, then the whole city, all the way home

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Speaker 1: to Brooklyn. Waking the dead in Greenwood Cemetery, Jean Michel

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Speaker 1: scrawled paramoura to die across the canvas and laid down

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Speaker 1: his brush. He was finished. He called it bird on Money.

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Speaker 1: Like Charlie Parker, Jean Michel set fire to the rules.

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Speaker 1: He gave everything to his heart. He lived hard and

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Speaker 1: worked hard. It was nineteen eighty one, less than seven

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Speaker 1: months since he painted his first canvas, less than seven

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Speaker 1: years before we would paint his last. All right. That

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Speaker 1: was a clip from our other brand new episode, this

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00:24:29,920 --> 00:24:32,880
Speaker 1: weekend episode on Basquiacht, which you can hear in full

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00:24:32,920 --> 00:24:36,639
Speaker 1: by becoming a member of the Disgraceland All Access Club again.

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00:24:36,880 --> 00:24:39,440
Speaker 1: Hop on over to disgrace landpod dot com slash membership

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00:24:39,440 --> 00:24:41,720
Speaker 1: to sign up. It is quick, it is easy, and

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00:24:41,760 --> 00:24:44,440
Speaker 1: you'll be getting all this extra content we're dishing out

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00:24:44,480 --> 00:24:46,280
Speaker 1: to you on a weekly basis in no time.

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Speaker 9: Okay, okay, hang tight, I'll be back in a flash.

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Speaker 1: All right, let's recap, shall we. Number one, it's more

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Speaker 1: after party to listen to. Right now, all you gotta

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00:25:06,960 --> 00:25:09,480
Speaker 1: do is go to disgracelamdpod dot com slash membership and

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00:25:09,520 --> 00:25:11,560
Speaker 1: sign up to become an all Access member. But if

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Speaker 1: that ain't your bag, then number two right now in

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Speaker 1: your feed, this week's brand new episode on Public Enemy,

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00:25:16,240 --> 00:25:19,280
Speaker 1: plus another brand new episode on Basquiacht for all our

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00:25:19,359 --> 00:25:22,960
Speaker 1: all Access members. Number three coming tomorrow, a rewind episode

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Speaker 1: on Frank Sinatra, and one of my favorite Disgraceland episodes

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Speaker 1: of all time.

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Speaker 2: Number four.

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Speaker 1: Over in the Badlands Feed, we've got our classic two

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Speaker 1: part episode on Sharon Tate. Number five. Next week in

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Speaker 1: the Disgraceland Feed, a brand new episode on Garth Brooks.

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Speaker 1: Number six. My number is six one seven, nine oh

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Speaker 1: six six sixty three eight call me on the telephone

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Speaker 1: or text me in seven. Remember that no one cares

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Speaker 1: about the music you love more than you do, and

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Speaker 1: well that is a disgrace. And now my moment of

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Speaker 1: bliss in honor of this week's episode on Public Enemy

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Speaker 1: me reading you the Billboard Hot one hundred and the

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Speaker 1: week of February tenth, nineteen eighty seven, the week that

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Speaker 1: Public Enemy dropped their debut album, Yo Bum rushed the

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Speaker 1: show and changed hip hop.

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Speaker 2: And music forever.

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Speaker 1: Number one, Open Your Heart but Donna last week two,

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Speaker 1: peak position, one weeks on Chart ten, Number two at

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Speaker 1: this Moment, Billy Vera and the Beaters last week one,

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Speaker 1: peak physician, one weeks on Chart fourteen, number three, Living

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Speaker 1: on a Prayer bon Jovi last week nine, peak physician visition,

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Speaker 1: three weeks on Chart nine, number four, Change of Heart

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Speaker 1: last and then five last week peak position, peak position

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Speaker 1: weeks on chart, weeks on shark weeks on number five,

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Speaker 1: Can't Touch Me, I Want Through a Body Joe last

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Speaker 1: week last year peak positions number quit talking and start mixing,

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Speaker 1: Cut It