1 00:00:01,760 --> 00:00:04,800 Speaker 1: Hey, Discos, need a little more Disgraceland in your life, 2 00:00:05,160 --> 00:00:08,039 Speaker 1: just to touch to get you through. Yeah, me too. 3 00:00:08,760 --> 00:00:12,000 Speaker 1: This is the podcast that comes after the podcast. Welcome 4 00:00:12,000 --> 00:00:30,400 Speaker 1: to Disgraceland, the after party. Welcome to the Disgraceland bonus episode, 5 00:00:30,400 --> 00:00:32,879 Speaker 1: a little thing we like to call the after party. 6 00:00:32,920 --> 00:00:35,000 Speaker 1: This is the show after the show, the party after 7 00:00:35,000 --> 00:00:36,400 Speaker 1: the party of the bridge to get you from one 8 00:00:36,400 --> 00:00:39,120 Speaker 1: full episode of Disgraceland to the other, the backyard to 9 00:00:39,280 --> 00:00:42,400 Speaker 1: dig into the dirt. On this bonus episode, we are 10 00:00:42,440 --> 00:00:46,520 Speaker 1: talking about this week's full episode subject, Beastie Boys. We've 11 00:00:46,520 --> 00:00:49,560 Speaker 1: got gnarly stories of rock and roll animalism from you guys, 12 00:00:49,840 --> 00:00:52,599 Speaker 1: artists who want to control their stories and how they 13 00:00:52,640 --> 00:00:56,360 Speaker 1: do it, and well your voicemails, text DMS emails and 14 00:00:56,520 --> 00:01:00,000 Speaker 1: as always, a whole lot of rosie. All right, Discos, 15 00:00:59,760 --> 00:01:13,119 Speaker 1: let's get into it all right, big thanks to everyone 16 00:01:13,160 --> 00:01:15,520 Speaker 1: who got in touch with praise for the Basti Boys 17 00:01:15,520 --> 00:01:19,280 Speaker 1: episode that we just released. Who I had to say, 18 00:01:19,319 --> 00:01:22,800 Speaker 1: this was not an easy episode to write. It was 19 00:01:22,880 --> 00:01:25,160 Speaker 1: super hard. Actually, one of the hardest stories to tell 20 00:01:25,200 --> 00:01:28,400 Speaker 1: of all the episodes that we've done. I don't know 21 00:01:28,440 --> 00:01:30,880 Speaker 1: if you guys have seen Beastie Boys Story on Apple 22 00:01:30,920 --> 00:01:32,880 Speaker 1: TV Plus or if you've had a chance to read 23 00:01:32,880 --> 00:01:35,840 Speaker 1: Beastie Boys Book, the book Mike D and Adrock published 24 00:01:35,840 --> 00:01:38,920 Speaker 1: a couple of years ago, and the accompanying live performance. 25 00:01:39,280 --> 00:01:44,560 Speaker 1: They're both great. They're both essentially the same thing. Both stories. 26 00:01:44,640 --> 00:01:47,280 Speaker 1: The Beastie Boys Story which is again the live thing 27 00:01:47,280 --> 00:01:49,800 Speaker 1: they did for Apple, and Beastie Boys Book. They're essentially 28 00:01:49,800 --> 00:01:52,720 Speaker 1: the same story. The Apple things like an adaptation of 29 00:01:52,760 --> 00:01:55,800 Speaker 1: the book. Both great, both awesome, So if you haven't 30 00:01:55,880 --> 00:02:00,400 Speaker 1: seen it or read it, do both. Highly recommend. Calling 31 00:02:00,720 --> 00:02:05,320 Speaker 1: Beastie Boys Book a book isn't accurate because it's so 32 00:02:05,520 --> 00:02:08,640 Speaker 1: much more. This thing is like an exploding artifact of 33 00:02:08,800 --> 00:02:11,799 Speaker 1: eighties and nineties culture with the story of the Beastie 34 00:02:11,800 --> 00:02:15,200 Speaker 1: Boys weaved throughout it. It's Mike D an ad Rock 35 00:02:15,520 --> 00:02:18,280 Speaker 1: telling their story, along with contributions from friends of theirs 36 00:02:18,280 --> 00:02:21,880 Speaker 1: who are there telling added supplemental stories to fill in 37 00:02:21,880 --> 00:02:24,960 Speaker 1: the gaps, and then there's all the amazing photography and 38 00:02:25,120 --> 00:02:28,280 Speaker 1: artwork that documented the Bac Boys career that's all peppered through. 39 00:02:28,680 --> 00:02:33,040 Speaker 1: It's just truly, truly great. But the thing that's really 40 00:02:33,080 --> 00:02:36,400 Speaker 1: special about Beastie Boys Book and Beastie Boys story is 41 00:02:36,800 --> 00:02:42,760 Speaker 1: Mike d in ad Rock's storytelling. These guys are thoroughly 42 00:02:42,800 --> 00:02:45,600 Speaker 1: in command of their own voice. When they're writing, it 43 00:02:45,680 --> 00:02:51,840 Speaker 1: sounds exactly like they speak. They are natural gifted storytellers, 44 00:02:52,080 --> 00:02:55,280 Speaker 1: as you can imagine. Usually, I get an autobiography from 45 00:02:55,280 --> 00:02:58,720 Speaker 1: an artist to use for my research for a podcast episode, 46 00:02:58,720 --> 00:03:03,440 Speaker 1: and I am salivating. Autobiographies are the best, especially ones 47 00:03:03,480 --> 00:03:05,960 Speaker 1: from the artists who are active before two thousand. They 48 00:03:05,960 --> 00:03:09,799 Speaker 1: tend to feature the musician flexing, either overtly or low 49 00:03:09,840 --> 00:03:13,160 Speaker 1: key flexing all their shitty behavior, I should say, trying 50 00:03:13,200 --> 00:03:16,240 Speaker 1: to live up to their rock and roll behavior. The 51 00:03:16,320 --> 00:03:20,440 Speaker 1: Beasties are, of course too classy for that. They acknowledge 52 00:03:20,840 --> 00:03:24,280 Speaker 1: their shitty behavior generally speaking, and they have pretty much 53 00:03:24,520 --> 00:03:28,560 Speaker 1: complete humility about it and are sincerely contrite, and thus 54 00:03:28,919 --> 00:03:32,360 Speaker 1: they absolve themselves pretty good. So it's hard to find 55 00:03:32,360 --> 00:03:34,440 Speaker 1: those moments in their story where I could be like, guys, 56 00:03:34,440 --> 00:03:36,840 Speaker 1: can you believe these fuckers admitted to adopting their fourteen 57 00:03:36,880 --> 00:03:39,160 Speaker 1: year old girlfriends? Their holy shit, Miked was in a 58 00:03:39,160 --> 00:03:41,760 Speaker 1: threesome with Sam the Butcher and Alice from the Brady Bunch. 59 00:03:42,040 --> 00:03:43,600 Speaker 1: None of that kind of stuff is in the book. 60 00:03:44,080 --> 00:03:47,400 Speaker 1: Now you read like you know, the Rick James autobiography. 61 00:03:47,480 --> 00:03:50,400 Speaker 1: That's a different story. Okay, not to say that there 62 00:03:50,480 --> 00:03:53,760 Speaker 1: aren't wild stories in Beastie Boys book. That there are, 63 00:03:54,160 --> 00:03:57,480 Speaker 1: but nothing really rises to the level of crime. So 64 00:03:58,200 --> 00:04:01,560 Speaker 1: for the London crime wave and the Columbus George obscenity 65 00:04:01,680 --> 00:04:03,600 Speaker 1: charges that are in the episode, all that stuff, I 66 00:04:03,640 --> 00:04:05,720 Speaker 1: had to go outside the book to find that information. 67 00:04:05,760 --> 00:04:09,480 Speaker 1: But that that wasn't really the problem. The problem is 68 00:04:09,480 --> 00:04:11,960 Speaker 1: that of all the incredible stories in the book that 69 00:04:12,120 --> 00:04:16,599 Speaker 1: make up the Beastie Boys backstory, their upbringing, their rise 70 00:04:16,760 --> 00:04:20,920 Speaker 1: to fame, Mike d and Ad Rock tell their story 71 00:04:20,960 --> 00:04:25,239 Speaker 1: better than anyone else could ever possibly tell their story, 72 00:04:25,600 --> 00:04:27,920 Speaker 1: so it was really hard trying to find a way 73 00:04:28,279 --> 00:04:32,800 Speaker 1: to do their history justice. I spent two weeks just 74 00:04:33,560 --> 00:04:37,560 Speaker 1: gleefully researching this episode because I love this band so much, 75 00:04:37,600 --> 00:04:40,359 Speaker 1: and when I was done, I felt completely fucked. I 76 00:04:40,360 --> 00:04:42,880 Speaker 1: felt like what am I going to do now? And 77 00:04:42,920 --> 00:04:46,039 Speaker 1: thankfully there were those crime elements that I could lean into, 78 00:04:46,160 --> 00:04:48,240 Speaker 1: the crime wave, the Georgia thing I mentioned. There was 79 00:04:48,279 --> 00:04:51,200 Speaker 1: also the Liverpool riot that's in the book. I found 80 00:04:51,240 --> 00:04:54,080 Speaker 1: that Puerto Rican street gang fight story with John Joseph 81 00:04:54,080 --> 00:04:57,279 Speaker 1: and the Cromags. I found that elsewhere and I was 82 00:04:57,320 --> 00:05:00,400 Speaker 1: able to stitch together something for a narrative that I 83 00:05:00,480 --> 00:05:02,880 Speaker 1: wasn't sure was going to be compelling enough for a 84 00:05:02,920 --> 00:05:05,720 Speaker 1: podcast episode. But it seems that you guys liked it 85 00:05:05,760 --> 00:05:08,040 Speaker 1: a lot, so I am very very happy about this. 86 00:05:08,680 --> 00:05:12,839 Speaker 1: I love this band, I pretty much always have, and 87 00:05:12,920 --> 00:05:16,080 Speaker 1: I know from your feedback that that love of mine 88 00:05:16,120 --> 00:05:20,000 Speaker 1: comes across in the episode and that makes me happy. Okay, 89 00:05:20,080 --> 00:05:21,839 Speaker 1: that's all I just wanted to say that. But back 90 00:05:21,839 --> 00:05:24,520 Speaker 1: to the idea of artists telling their own story, that's 91 00:05:24,560 --> 00:05:26,960 Speaker 1: the main point. Zeth and I were talking about this 92 00:05:27,400 --> 00:05:31,360 Speaker 1: last week. Zeth works, he writes a bunch of episodes, researches, 93 00:05:31,440 --> 00:05:33,640 Speaker 1: does all kinds of stuff for Disgray Sand and we 94 00:05:33,640 --> 00:05:35,960 Speaker 1: were talking about this last week and how this relates 95 00:05:36,360 --> 00:05:39,040 Speaker 1: to what we do here in Disgraysan. The whole artists 96 00:05:39,080 --> 00:05:42,800 Speaker 1: telling their own story thing. Artists are, as you can imagine, 97 00:05:42,960 --> 00:05:45,880 Speaker 1: supremely interested. Not just the Beastie boys. Most artists who 98 00:05:45,920 --> 00:05:48,600 Speaker 1: reach a certain point in their career become very interested 99 00:05:48,600 --> 00:05:51,120 Speaker 1: in their legacies and they get real interested in the 100 00:05:51,160 --> 00:05:54,160 Speaker 1: telling of their stories. They want their story out there, 101 00:05:54,360 --> 00:05:57,880 Speaker 1: not someone else's version of their story. The Beastie Boys 102 00:05:57,880 --> 00:06:00,839 Speaker 1: story is one of three friends who loved each other 103 00:06:00,880 --> 00:06:03,479 Speaker 1: and loved great music and made great music with a 104 00:06:03,480 --> 00:06:06,000 Speaker 1: lot of love that a whole lot of other people love. 105 00:06:06,400 --> 00:06:09,080 Speaker 1: That's a beautiful story. Sure, they fucked up a lot 106 00:06:09,120 --> 00:06:11,600 Speaker 1: of kids, but they've come clean about it, so we've 107 00:06:11,640 --> 00:06:15,479 Speaker 1: forgiven them, and their honesty makes all the wild shit 108 00:06:15,760 --> 00:06:18,120 Speaker 1: that they're on record is having done easier for us 109 00:06:18,160 --> 00:06:22,200 Speaker 1: to swallow. That's the story the Beastie Boys want out there. 110 00:06:22,240 --> 00:06:24,520 Speaker 1: That's the story the Beastie Boys want us to know. 111 00:06:25,480 --> 00:06:28,200 Speaker 1: It also has the benefit of being true, so that helps. 112 00:06:28,279 --> 00:06:31,919 Speaker 1: But nevertheless, the Beastie Boys are responsible for this story 113 00:06:31,960 --> 00:06:34,480 Speaker 1: being the story. They framed this story, and they told 114 00:06:34,480 --> 00:06:36,840 Speaker 1: it perfectly, a story that very well could have been 115 00:06:36,839 --> 00:06:39,039 Speaker 1: a much different narrative. If they didn't get out ahead 116 00:06:39,040 --> 00:06:42,240 Speaker 1: of it and shape our perception of their past, their 117 00:06:42,320 --> 00:06:45,679 Speaker 1: story very well could have been something much different like story. 118 00:06:45,800 --> 00:06:49,960 Speaker 1: Three friends who are alcoholic, misogynistic homophobes invented the dreaded 119 00:06:50,080 --> 00:06:52,520 Speaker 1: rap rock genre. It gave us limp fucking biscuit, and 120 00:06:52,520 --> 00:06:55,000 Speaker 1: then made an obscure record no one bought before taking 121 00:06:55,040 --> 00:06:58,440 Speaker 1: over alternination in the nineties by appropriating black music and 122 00:06:58,440 --> 00:07:00,360 Speaker 1: then banged a lot of chicks, did a lot of drugs, 123 00:07:00,480 --> 00:07:04,440 Speaker 1: one dude died, and they faded into irrelevance. Okay, it 124 00:07:04,440 --> 00:07:06,960 Speaker 1: would take a lot of collective ignorance for that to 125 00:07:07,000 --> 00:07:09,600 Speaker 1: be the story, but it's not completely out of the 126 00:07:09,600 --> 00:07:13,080 Speaker 1: realm of possibility. With enough framing and enough sort of 127 00:07:13,080 --> 00:07:15,840 Speaker 1: readjusting of a lens, that very well could have been 128 00:07:15,880 --> 00:07:20,280 Speaker 1: the Beastie Boys story. So you can understand why Beastie Boys, 129 00:07:20,320 --> 00:07:24,400 Speaker 1: like most artists, want to control their story. They understandably 130 00:07:24,440 --> 00:07:26,640 Speaker 1: have an interest in getting the story they want to 131 00:07:26,680 --> 00:07:30,680 Speaker 1: be told about themselves to be the official narrative. Can 132 00:07:30,720 --> 00:07:35,320 Speaker 1: you blame them? I cannot, But I've seen egregious versions 133 00:07:35,360 --> 00:07:38,120 Speaker 1: of this motivation with artists in the past, Artists offering 134 00:07:38,200 --> 00:07:42,280 Speaker 1: to collaborate with their biographers so they can control their story, 135 00:07:42,720 --> 00:07:48,360 Speaker 1: catch and kill efforts, litigation, massive gazillion dollar pr efforts, 136 00:07:48,400 --> 00:07:53,080 Speaker 1: pathetic big budget Hollywood biopics that service massive whitewash campaigns, 137 00:07:53,360 --> 00:07:58,120 Speaker 1: and what happens is a very dubious version of the 138 00:07:58,240 --> 00:08:02,840 Speaker 1: artist's history then become helms the public record, the official narrative. Well, 139 00:08:03,840 --> 00:08:08,120 Speaker 1: we're here to disrupt that narrative. Now, we didn't need 140 00:08:08,160 --> 00:08:10,800 Speaker 1: to do that with the Beastie Boys, in large part 141 00:08:10,840 --> 00:08:13,840 Speaker 1: because they owned all their bullshit, like I said, which 142 00:08:13,920 --> 00:08:16,840 Speaker 1: is commendable, and they also told their story, like I 143 00:08:16,880 --> 00:08:20,040 Speaker 1: also said, better than anyone else could. The story I 144 00:08:20,120 --> 00:08:23,480 Speaker 1: told is a love story in a lot of ways. 145 00:08:23,560 --> 00:08:27,920 Speaker 1: It's about my love for this band despite their fuck ups. Okay, 146 00:08:28,280 --> 00:08:30,600 Speaker 1: And I think that resonated with some people, which is 147 00:08:30,640 --> 00:08:32,319 Speaker 1: awesome and I'm happy. But I didn't know it was 148 00:08:32,360 --> 00:08:33,840 Speaker 1: going to work. I was going to resonate, and I'm 149 00:08:33,840 --> 00:08:36,959 Speaker 1: happy it did. Okay, But again back to the artist 150 00:08:37,080 --> 00:08:40,600 Speaker 1: controlling their story and the more egregious versions of this, 151 00:08:40,760 --> 00:08:43,719 Speaker 1: not the Beastie Boys version of this. Okay, consider this. 152 00:08:43,840 --> 00:08:46,880 Speaker 1: Last week I noticed a comment on one of our 153 00:08:46,920 --> 00:08:49,840 Speaker 1: episodes on Spotify where a listener claimed I was lying 154 00:08:49,880 --> 00:08:53,120 Speaker 1: about an anecdote in one of our Beatles episodes. It's 155 00:08:53,120 --> 00:08:56,199 Speaker 1: the story of a maid in one of the hotels 156 00:08:56,240 --> 00:08:58,760 Speaker 1: they were staying in on tour being slashed by a 157 00:08:58,840 --> 00:09:02,760 Speaker 1: crazy fan. Stabbed. So we dove back into the research. 158 00:09:03,120 --> 00:09:05,000 Speaker 1: I wanted to see where I got this info. That 159 00:09:05,080 --> 00:09:08,360 Speaker 1: episode originally came out years ago. I don't you know, 160 00:09:08,400 --> 00:09:11,439 Speaker 1: we obviously traffic in a lot of information. I didn't 161 00:09:11,440 --> 00:09:13,880 Speaker 1: know exactly where that came from, but I knew I 162 00:09:13,880 --> 00:09:15,719 Speaker 1: didn't make it up, so we went back in to 163 00:09:15,800 --> 00:09:18,520 Speaker 1: check it out. It came from a book written about 164 00:09:18,520 --> 00:09:21,280 Speaker 1: the Beatles by Peter Brown, who's the band's press agent, 165 00:09:21,360 --> 00:09:25,280 Speaker 1: essentially their publicist. The book was written after the Beatles 166 00:09:25,280 --> 00:09:29,280 Speaker 1: broke up. This part of Peter Brown's story also featured 167 00:09:29,320 --> 00:09:33,640 Speaker 1: an anecdote that I incorporated into my story about having 168 00:09:33,679 --> 00:09:36,800 Speaker 1: something to do with Japanese assassins wanting to kill the Beatles. Now, 169 00:09:36,840 --> 00:09:40,439 Speaker 1: Peter Brown was there for both events. Now, I don't 170 00:09:40,440 --> 00:09:43,320 Speaker 1: know if he was actually, you know, physically, and I 171 00:09:43,360 --> 00:09:46,439 Speaker 1: believe the mad thing happened in Houston, and the assassin thing, 172 00:09:46,480 --> 00:09:48,040 Speaker 1: like I said, happened in Japan. I'm not sure if 173 00:09:48,080 --> 00:09:54,400 Speaker 1: he was actually physically there. I presume he was, but 174 00:09:54,480 --> 00:09:56,600 Speaker 1: he was definitely part of the Beatles camp at that time. 175 00:09:57,360 --> 00:10:01,199 Speaker 1: So he recounts these stories in his book, Great book. 176 00:10:01,800 --> 00:10:05,000 Speaker 1: Then I recounted the stories in our podcast episodes on 177 00:10:05,080 --> 00:10:07,840 Speaker 1: the Beatles, and I did this to disrupt the narrative 178 00:10:07,840 --> 00:10:10,720 Speaker 1: that the Beatles stopped touring because they got too big 179 00:10:10,760 --> 00:10:12,760 Speaker 1: and the fans were too loud and they could no 180 00:10:12,800 --> 00:10:15,679 Speaker 1: longer hear themselves playing over the screaming and touring and 181 00:10:15,800 --> 00:10:19,959 Speaker 1: become creatively unsatisfying. Now, of course that's part of the story, sure, 182 00:10:20,000 --> 00:10:22,839 Speaker 1: but Peter Brown's stories are part of the story as well. 183 00:10:23,600 --> 00:10:28,880 Speaker 1: The Beatles were freaked out, they were scared to play live, okay, 184 00:10:29,360 --> 00:10:31,920 Speaker 1: and you can understand why I would be too. There's 185 00:10:31,920 --> 00:10:35,400 Speaker 1: no shame in that, and that is more interesting to 186 00:10:35,440 --> 00:10:37,960 Speaker 1: me than the official narrative that the Beatles put out 187 00:10:38,000 --> 00:10:40,360 Speaker 1: there back in the sixties and then cemented into the 188 00:10:40,480 --> 00:10:43,840 Speaker 1: historical record when they released their anthology documentary back in 189 00:10:43,840 --> 00:10:48,520 Speaker 1: the nineteen nineties. The Beatles Documentary became the Beatles' story. 190 00:10:48,600 --> 00:10:51,600 Speaker 1: Anything else that came after it, or hasn't been sanctioned 191 00:10:51,600 --> 00:10:56,160 Speaker 1: by the band, anything else that doesn't meet that criteria. 192 00:10:56,200 --> 00:10:58,840 Speaker 1: It is deemed to be heretical by most casual music fans. 193 00:11:00,400 --> 00:11:02,280 Speaker 1: A guy who was there at the time, like I said, 194 00:11:02,280 --> 00:11:05,880 Speaker 1: A guy who has zero incentive or had zero incentive 195 00:11:05,920 --> 00:11:08,400 Speaker 1: to lie, A guy in fact, who was incentivized to 196 00:11:08,440 --> 00:11:12,320 Speaker 1: do the opposite for fear of losing his credibility. Publicists 197 00:11:12,320 --> 00:11:16,600 Speaker 1: need credibility, They need it to work to thrive. This 198 00:11:16,679 --> 00:11:21,720 Speaker 1: guy's story is discarded from history, while Paul McCartney's whitewashed true, 199 00:11:21,960 --> 00:11:25,640 Speaker 1: whitewashed story, but true story, sure, but not the whole 200 00:11:25,679 --> 00:11:30,760 Speaker 1: story is regarded as absolute gospel. If you go outside 201 00:11:30,840 --> 00:11:34,160 Speaker 1: the lines of that narrative, people call bullshit. This to 202 00:11:34,200 --> 00:11:38,480 Speaker 1: me is ridiculous. I've researched enough artists in my life 203 00:11:38,559 --> 00:11:42,839 Speaker 1: to know that the past is hazy at best. Oftentimes 204 00:11:42,840 --> 00:11:45,280 Speaker 1: most times, actually the artist version of went down is 205 00:11:45,440 --> 00:11:49,400 Speaker 1: far from the whole story. Those weird little anecdotes, Peter 206 00:11:49,480 --> 00:11:53,480 Speaker 1: Brown's Japanese assassins, The Village Voice is archived record of 207 00:11:53,520 --> 00:11:57,320 Speaker 1: ad Rock and MCA's offensive comments that I put in 208 00:11:57,360 --> 00:12:01,600 Speaker 1: my episode that weren't in Beast Boys. Those are the 209 00:12:01,640 --> 00:12:05,600 Speaker 1: stories that not only disrupt the narratives, but that preserve 210 00:12:05,960 --> 00:12:08,840 Speaker 1: the real history, or for our purposes here, preserve the 211 00:12:08,880 --> 00:12:11,679 Speaker 1: real spirit of rock and roll, or of twentieth century music, 212 00:12:11,720 --> 00:12:15,760 Speaker 1: for better or for worse, warts and all all the grime, 213 00:12:15,960 --> 00:12:18,680 Speaker 1: all the crime. It's all there. You just gotta look 214 00:12:18,720 --> 00:12:21,360 Speaker 1: for it and have an open mind and not blindly 215 00:12:21,400 --> 00:12:24,680 Speaker 1: accept the spoon fed narrative, even if that narrative is 216 00:12:24,720 --> 00:12:28,360 Speaker 1: from an artist that we love so speaking, of the Beatles, 217 00:12:28,640 --> 00:12:32,400 Speaker 1: both those Beatles episodes Parts one and Part two, story 218 00:12:32,440 --> 00:12:36,000 Speaker 1: of their come up, story of Beatlemania, but also the 219 00:12:36,040 --> 00:12:41,440 Speaker 1: story of drug smuggling, tax fraud, Like I said, assassins, assaults. 220 00:12:41,600 --> 00:12:44,200 Speaker 1: All of that is coming in this week's rewind slots 221 00:12:44,240 --> 00:12:46,719 Speaker 1: on Friday and Saturday. Next up in your feed. It's 222 00:12:46,760 --> 00:12:48,559 Speaker 1: going to be a Beatles weekend to cap off a 223 00:12:48,559 --> 00:12:51,320 Speaker 1: Beastie Boys week that we are having. Check these episodes 224 00:12:51,320 --> 00:12:53,280 Speaker 1: out if you haven't already, and if you have, give 225 00:12:53,320 --> 00:12:55,680 Speaker 1: them another listen for these stories that disrupt the narrative. 226 00:12:56,080 --> 00:12:59,840 Speaker 1: Next week. Okay, finally, speaking of disrupting the narrative, speaking 227 00:12:59,840 --> 00:13:03,840 Speaker 1: of heretical thinking. Next week, our Blink one eighty two 228 00:13:03,880 --> 00:13:07,280 Speaker 1: episode is coming out. I am pumped for this one. 229 00:13:07,360 --> 00:13:10,480 Speaker 1: All right. If any of you know Tom DeLong, and 230 00:13:10,559 --> 00:13:12,440 Speaker 1: I'm sure that some of you out there listening, do 231 00:13:13,280 --> 00:13:16,000 Speaker 1: get in touch with me on Instagram or email or wherever. 232 00:13:16,080 --> 00:13:18,280 Speaker 1: I'd like to get Tom to come on the episode, 233 00:13:18,400 --> 00:13:20,880 Speaker 1: to come talk to us on the after party. All right. 234 00:13:22,120 --> 00:13:24,760 Speaker 1: This episode, the Blink one eighty two disgrace Land episode, 235 00:13:24,800 --> 00:13:28,120 Speaker 1: was supposed to come out in November. We made a 236 00:13:28,160 --> 00:13:32,360 Speaker 1: little video documentary to accompany the podcast episode which some 237 00:13:32,400 --> 00:13:35,600 Speaker 1: of you, the Patreon All Access members, you've already you've 238 00:13:35,600 --> 00:13:37,640 Speaker 1: already heard this story. You've seen this story. I should say, 239 00:13:37,679 --> 00:13:40,600 Speaker 1: we're releasing it in podcasts form next week with the 240 00:13:40,640 --> 00:13:43,240 Speaker 1: whole sound design. It'll be it'll be different than what 241 00:13:43,280 --> 00:13:45,319 Speaker 1: you saw slightly. It'll be the same story, it'll be 242 00:13:45,320 --> 00:13:48,960 Speaker 1: a different production, if that makes sense. Anyways, this podcast 243 00:13:49,000 --> 00:13:51,560 Speaker 1: episode was supposed to come out I believe in November, 244 00:13:51,559 --> 00:13:56,160 Speaker 1: early November, but uh, that release got pushed because of 245 00:13:56,240 --> 00:13:59,280 Speaker 1: the hurricane. So now this episode is coming next week, 246 00:14:00,080 --> 00:14:04,760 Speaker 1: and I feel this might be divine intervention because it 247 00:14:04,760 --> 00:14:07,680 Speaker 1: feels like some big UAP disclosure might be happening between 248 00:14:07,720 --> 00:14:10,160 Speaker 1: now and the release of this Blink one eighty two 249 00:14:10,240 --> 00:14:13,480 Speaker 1: episode on Tuesday, at least, if you believe UFO Twitter, 250 00:14:13,600 --> 00:14:17,719 Speaker 1: UAP Twitter. Everybody's freaking out. They think something's coming now 251 00:14:17,720 --> 00:14:20,720 Speaker 1: the Trump's in office, they think something's coming soon. We 252 00:14:20,840 --> 00:14:23,800 Speaker 1: shall see. I'm not convinced. I'm not convinced, but if 253 00:14:23,840 --> 00:14:27,440 Speaker 1: it does happen, I'm gonna be freaked out. I tell 254 00:14:27,440 --> 00:14:28,920 Speaker 1: you that right now. So hold on to your hats, 255 00:14:28,920 --> 00:14:31,240 Speaker 1: boys and girls, when you're listening to this Blink one 256 00:14:31,240 --> 00:14:33,200 Speaker 1: eighty two episode. I want you to be thinking about 257 00:14:33,200 --> 00:14:36,240 Speaker 1: the existence of NHI non human intelligence, and I want 258 00:14:36,280 --> 00:14:39,160 Speaker 1: to know if you believe Tom's assertion that aliens exist. 259 00:14:39,520 --> 00:14:41,280 Speaker 1: You're gonna hear it. You might, you might be already 260 00:14:41,400 --> 00:14:44,760 Speaker 1: rolling your eyes, don't, Okay, I'm gonna I'm gonna lay 261 00:14:45,080 --> 00:14:48,920 Speaker 1: some real facts on you about Tom Delong's efforts. Yes, 262 00:14:49,000 --> 00:14:52,320 Speaker 1: the Blink one eighty two guy, Yes, the Dick Joke guy. Yes, 263 00:14:52,480 --> 00:14:55,200 Speaker 1: that Tom DeLong. Okay, So I want to know after 264 00:14:55,280 --> 00:14:58,200 Speaker 1: you listen to the episode, do you believe non human 265 00:14:58,280 --> 00:15:02,880 Speaker 1: intelligence exists? Sub question? Every time I do that, every 266 00:15:02,880 --> 00:15:06,320 Speaker 1: time I say subquestion side note, I think of I 267 00:15:06,400 --> 00:15:10,160 Speaker 1: think at Jack Black and high fidelity asking questions about music. 268 00:15:11,600 --> 00:15:15,840 Speaker 1: Sub question are you experienced? Have you ever been experienced? 269 00:15:16,200 --> 00:15:20,720 Speaker 1: Says something anomalous in the skies ever appeared for you? 270 00:15:21,280 --> 00:15:25,120 Speaker 1: Have you ever been touched? Have you ever been contacted? Okay, 271 00:15:25,280 --> 00:15:27,240 Speaker 1: I'm saying all this, I swear to God with a 272 00:15:27,280 --> 00:15:32,080 Speaker 1: straight face. All right, I am open minded. Okay, If 273 00:15:32,080 --> 00:15:34,760 Speaker 1: you have been, then you know that they say that 274 00:15:34,800 --> 00:15:38,320 Speaker 1: those who have experiences have multiple So if you've had one, 275 00:15:38,400 --> 00:15:40,920 Speaker 1: if you've had two, whatever it is, I want to 276 00:15:40,920 --> 00:15:44,360 Speaker 1: know hit me up. Let me know whether you believe 277 00:15:44,400 --> 00:15:47,360 Speaker 1: Tom and why, whether you think Tom was right and 278 00:15:47,400 --> 00:15:50,360 Speaker 1: why and sub question. Like I said, if you've had 279 00:15:50,600 --> 00:15:54,640 Speaker 1: UFO UAP experience, NHI experience, I want to hear about it. 280 00:15:54,680 --> 00:15:57,160 Speaker 1: The creepier the better. Six one seven nine oh six 281 00:15:57,240 --> 00:16:00,040 Speaker 1: six six three eight at Disgrace Lampod on the so 282 00:16:00,520 --> 00:16:04,600 Speaker 1: Disgrace Lampod at gmail dot com. I'll be back right 283 00:16:04,640 --> 00:16:07,240 Speaker 1: after this with your calls, text and DMS on last 284 00:16:07,240 --> 00:16:27,840 Speaker 1: week's question of the Week. All right, guys, just a 285 00:16:27,880 --> 00:16:30,880 Speaker 1: reminder to make sure you Apple podcast listeners have auto 286 00:16:30,960 --> 00:16:34,480 Speaker 1: downloads turned on. Okay, make sure you're not missing any 287 00:16:34,480 --> 00:16:37,720 Speaker 1: Disgrace Land episodes, especially you new new Disgrace LAMD listeners. 288 00:16:37,760 --> 00:16:40,920 Speaker 1: Get those auto downloads turned on on Apple podcasts so 289 00:16:41,200 --> 00:16:42,720 Speaker 1: you know how to get in touch with me. Six 290 00:16:42,800 --> 00:16:44,880 Speaker 1: one seven nine oh six six six three eight to 291 00:16:44,960 --> 00:16:47,720 Speaker 1: leave a voicemail, send me a text. Let's check out 292 00:16:47,760 --> 00:16:50,000 Speaker 1: this voicemail from Heidi in the eight three eight. 293 00:16:50,920 --> 00:16:56,040 Speaker 2: Hey Jake, it's height again. I probably should have waited 294 00:16:56,120 --> 00:17:00,440 Speaker 2: like an hour after listening to the VAT Boys episode. 295 00:17:00,280 --> 00:17:04,479 Speaker 3: Before I called, because I was like overstimulated and who 296 00:17:04,520 --> 00:17:05,040 Speaker 3: were excited? 297 00:17:05,080 --> 00:17:08,800 Speaker 2: Because you did a fucking fantastic job. I loved the 298 00:17:08,840 --> 00:17:11,560 Speaker 2: way he told their story. It brought back a lot 299 00:17:11,560 --> 00:17:14,800 Speaker 2: of memories to me because I'm an old school hardcore 300 00:17:15,040 --> 00:17:20,120 Speaker 2: punk rock kid. I came from the Leinhatte Valley in Pennsylvania, 301 00:17:20,119 --> 00:17:21,840 Speaker 2: but I spent a lot of time in the Lower 302 00:17:21,880 --> 00:17:24,880 Speaker 2: East Side growing up. I was at pretty much every 303 00:17:25,080 --> 00:17:28,679 Speaker 2: Sunday Matt Days. And then when you talked about the 304 00:17:29,200 --> 00:17:32,240 Speaker 2: one seven one Day in the Rat Cage, that brought 305 00:17:32,280 --> 00:17:35,720 Speaker 2: back so many memories. And you know, my all time 306 00:17:35,760 --> 00:17:40,040 Speaker 2: favorite Beaf albums. I actually loved Paul's boutique and I 307 00:17:40,080 --> 00:17:43,960 Speaker 2: loved Check your Head. But Yeah, you did a great 308 00:17:44,040 --> 00:17:49,360 Speaker 2: job representing all the different genres they went through. And 309 00:17:49,440 --> 00:17:53,960 Speaker 2: thank you for saying how much they sucked with fighting 310 00:17:54,000 --> 00:17:56,600 Speaker 2: for your right to party, because that was just fucking horrible. 311 00:17:57,720 --> 00:18:01,080 Speaker 3: Then I got really sad. We started talking about a 312 00:18:01,359 --> 00:18:06,960 Speaker 3: Yeah and his passing away. I was just recently diagnosed 313 00:18:07,000 --> 00:18:10,439 Speaker 3: with cancer a month ago, so that hit me hard. 314 00:18:11,040 --> 00:18:14,600 Speaker 3: And he was a great man and he's a legended 315 00:18:14,720 --> 00:18:18,040 Speaker 3: to this day. So I'm going to ramble on, but hey, 316 00:18:18,080 --> 00:18:21,280 Speaker 3: I wanted to also say you should seriously think about 317 00:18:21,320 --> 00:18:23,920 Speaker 3: doing some sort of episode. 318 00:18:23,359 --> 00:18:28,800 Speaker 2: About the hardcore scene in New York, the Lower east Side. 319 00:18:30,080 --> 00:18:32,200 Speaker 2: All right, gotta go to work. 320 00:18:33,119 --> 00:18:36,199 Speaker 4: Have a great day, Heidi. 321 00:18:36,320 --> 00:18:39,479 Speaker 1: A lot in that text there, First and foremost, I 322 00:18:39,480 --> 00:18:43,400 Speaker 1: hope you're doing okay. I I hope your your fight 323 00:18:43,640 --> 00:18:46,440 Speaker 1: is going in the direction that you wanted to do. 324 00:18:46,480 --> 00:18:48,000 Speaker 1: Just know that I'm thinking of you, and I'm sure 325 00:18:48,000 --> 00:18:49,959 Speaker 1: everybody listening to this right now I was thinking of you. 326 00:18:50,400 --> 00:18:52,879 Speaker 1: So I just want to wish you good luck in 327 00:18:52,960 --> 00:18:57,040 Speaker 1: the trenches there, good luck with your battle. As for 328 00:18:57,560 --> 00:19:02,640 Speaker 1: your note about a hardcore episode, I'm sure you heard 329 00:19:02,520 --> 00:19:05,240 Speaker 1: the John Joseph and the Agnostic Front and I even 330 00:19:05,280 --> 00:19:08,399 Speaker 1: managed to work in Gorilla Biscuits, not the band, but 331 00:19:08,480 --> 00:19:12,760 Speaker 1: the actual gorilla biscuit thingy thing of a jiggy into 332 00:19:12,760 --> 00:19:15,560 Speaker 1: the episode. Those are, all, of course, homage to my 333 00:19:15,640 --> 00:19:17,280 Speaker 1: love of New York hardcore. I would love to do 334 00:19:17,280 --> 00:19:21,000 Speaker 1: a New York harcore episode. Frankly, I don't know where 335 00:19:21,000 --> 00:19:24,120 Speaker 1: to start, and I don't there's a lot of beef there, 336 00:19:24,160 --> 00:19:27,040 Speaker 1: I know, and I don't want to be divisive, and 337 00:19:25,880 --> 00:19:29,680 Speaker 1: I got a lot of friends connected to that world, 338 00:19:29,680 --> 00:19:31,760 Speaker 1: and I want to piss people off. I'm very careful 339 00:19:31,760 --> 00:19:33,280 Speaker 1: when I talk about it. Let's put it that way. 340 00:19:33,359 --> 00:19:35,840 Speaker 1: So perhaps someday, if I can find the right ankle. 341 00:19:36,520 --> 00:19:39,240 Speaker 1: In the meantime, you're gonna have to just deal with me, 342 00:19:39,400 --> 00:19:42,080 Speaker 1: sort of sort of casually working in my love for 343 00:19:42,160 --> 00:19:45,120 Speaker 1: the genre into these other episodes, perhaps a Bad Brains episode. 344 00:19:45,119 --> 00:19:48,879 Speaker 1: I know they're not New York, but so they're connected enough. Anyway, 345 00:19:48,880 --> 00:19:50,600 Speaker 1: Thank you for the call, Hot, you appreciate you. All right, 346 00:19:50,680 --> 00:19:52,920 Speaker 1: Let's check out Clint in the four one two. 347 00:19:53,400 --> 00:19:56,439 Speaker 5: Hey Jay, my name is Clinton, And I would have 348 00:19:56,560 --> 00:20:00,800 Speaker 5: to say the musician that instead gotten to me the 349 00:20:00,880 --> 00:20:02,280 Speaker 5: most would. 350 00:20:02,080 --> 00:20:05,880 Speaker 4: Be Eddie Muney. Really liked Eddie Muney. He's been accused 351 00:20:05,880 --> 00:20:08,800 Speaker 4: of looking like Eddie Money. Had a drink with Eddie 352 00:20:08,800 --> 00:20:09,480 Speaker 4: Money one time. 353 00:20:09,560 --> 00:20:12,800 Speaker 3: He was a cool guy. I'm going with Eddie Money. 354 00:20:12,520 --> 00:20:15,080 Speaker 4: Bro, thanks a lot, have good night. I'm from the 355 00:20:15,119 --> 00:20:16,080 Speaker 4: four one two. 356 00:20:16,320 --> 00:20:19,520 Speaker 1: All right, Eddie Money, just like Ronnie says, love it, Clint, 357 00:20:19,600 --> 00:20:22,160 Speaker 1: be my little baby. Just love the Eddie Money love. 358 00:20:22,760 --> 00:20:24,720 Speaker 1: And I played this message because Eddie Money is just 359 00:20:24,720 --> 00:20:26,560 Speaker 1: one of those dudes who I feel like nobody talks 360 00:20:26,600 --> 00:20:29,440 Speaker 1: about enough. And Baby Hold onto Me is an incredible song. 361 00:20:29,480 --> 00:20:32,199 Speaker 1: I mean, come on, why has no one sampled that 362 00:20:32,680 --> 00:20:34,600 Speaker 1: for a hip hop song. By the way, I mean, 363 00:20:35,359 --> 00:20:36,919 Speaker 1: I shouldn't have said that. I should have done that. 364 00:20:37,640 --> 00:20:39,560 Speaker 1: Put that song on, Put baby hold onto me on 365 00:20:39,640 --> 00:20:41,600 Speaker 1: out in the backyard on a sunny day with a 366 00:20:41,640 --> 00:20:45,119 Speaker 1: cold beer, and try not to feel good. It's impossible 367 00:20:45,240 --> 00:20:47,400 Speaker 1: to do that. You're gonna feel good. All right, Thank 368 00:20:47,480 --> 00:20:48,960 Speaker 1: you Clint for reminding us of that. 369 00:20:49,600 --> 00:20:49,879 Speaker 4: All right. 370 00:20:49,880 --> 00:20:52,440 Speaker 1: I want to do one more message on last week's topic, 371 00:20:52,520 --> 00:20:54,399 Speaker 1: Bill Murray, because you guys just want to talk about 372 00:20:54,400 --> 00:20:56,760 Speaker 1: Bill Murray, and I don't blame you before putting the 373 00:20:56,800 --> 00:21:00,720 Speaker 1: Bill Murray subject to bed. This is a good said Matt. 374 00:21:00,800 --> 00:21:03,919 Speaker 1: Let's hear from Paul b in the eight four to three. 375 00:21:04,560 --> 00:21:07,360 Speaker 5: Hey Jake, it's your boy. Paul Bee from the eight 376 00:21:07,520 --> 00:21:11,640 Speaker 5: four to three Friendly neighborhood, sports therapist and personal train arms. 377 00:21:12,800 --> 00:21:14,719 Speaker 5: As usual, I've listening to your podcast in the Red 378 00:21:14,800 --> 00:21:22,200 Speaker 5: Light Therapy Machine. Barrin Murray. Well, I live in Harry 379 00:21:22,280 --> 00:21:25,040 Speaker 5: where Bill Murray lives down in South Carolina. He has 380 00:21:25,080 --> 00:21:28,760 Speaker 5: a house here in Charleston. He actually owns the local 381 00:21:28,800 --> 00:21:33,280 Speaker 5: baseball team, a minor league River Dogs. The stadium is awesome. 382 00:21:33,320 --> 00:21:37,880 Speaker 5: Been featured on Food Network several times. I've had the 383 00:21:37,880 --> 00:21:41,240 Speaker 5: privilege of meeting Bill on many occasions, drank lots of 384 00:21:41,280 --> 00:21:45,400 Speaker 5: beers with him, shared the occasional left handed cigarette. 385 00:21:47,880 --> 00:21:49,080 Speaker 4: Bill seems to be. 386 00:21:50,280 --> 00:21:53,720 Speaker 5: He's an amazing talent, no doubt. Love Bill Murray to death. 387 00:21:53,800 --> 00:21:57,040 Speaker 5: He's an awesome guy. The problem with Bill's he just 388 00:21:57,280 --> 00:22:00,639 Speaker 5: he just seems to be argumentative. Like, you know, you 389 00:22:00,720 --> 00:22:02,760 Speaker 5: might meet him at the local taco boy having some 390 00:22:02,840 --> 00:22:05,920 Speaker 5: tacos and killing out. He might follow you home to 391 00:22:05,960 --> 00:22:08,040 Speaker 5: a house party and do your dishes, you know, while 392 00:22:08,040 --> 00:22:11,240 Speaker 5: you're all party, but he'll argue with you about whether 393 00:22:11,280 --> 00:22:15,880 Speaker 5: the sky is blue, just just because. And I really 394 00:22:15,920 --> 00:22:19,240 Speaker 5: feel like that's probably if there's a flaw in his 395 00:22:19,760 --> 00:22:24,440 Speaker 5: his character, that's probably it's he can be overbearing, argumentative, 396 00:22:25,119 --> 00:22:29,360 Speaker 5: and he will have the last word. So I guess, 397 00:22:29,440 --> 00:22:35,160 Speaker 5: you know, that's kind of an asshole. But he brings 398 00:22:35,160 --> 00:22:37,600 Speaker 5: a lot of money into our economy down here, and 399 00:22:37,680 --> 00:22:40,400 Speaker 5: we love him. So he's our asshole and we love 400 00:22:40,440 --> 00:22:44,840 Speaker 5: you Bill. Thanks Jake, always a pleasure. Thanks for bringing 401 00:22:44,920 --> 00:22:49,359 Speaker 5: us the content really speeds along my workout, brother, enjoy 402 00:22:49,680 --> 00:22:51,240 Speaker 5: peace out rock a. 403 00:22:51,480 --> 00:22:55,399 Speaker 1: Roller, fascinating insight. Paul, appreciate it, you know, as you're 404 00:22:55,800 --> 00:22:57,800 Speaker 1: as I was listening to your message. You know, I 405 00:22:58,040 --> 00:23:02,159 Speaker 1: got to the word asshole before you did. But what 406 00:23:02,240 --> 00:23:04,280 Speaker 1: I love about your message is that it's honest and 407 00:23:04,320 --> 00:23:06,560 Speaker 1: it's nuanced, and we don't have a lot of that 408 00:23:06,680 --> 00:23:10,120 Speaker 1: these days. You know, people's behavior just sort of gives 409 00:23:10,160 --> 00:23:13,240 Speaker 1: them a scarlet letter and then we move on and 410 00:23:13,280 --> 00:23:14,720 Speaker 1: we don't talk about it, and we put them in 411 00:23:14,720 --> 00:23:17,360 Speaker 1: the box and that's it. And I love how you've 412 00:23:17,359 --> 00:23:20,800 Speaker 1: had firsthand experience with this guy and you have a 413 00:23:20,920 --> 00:23:24,199 Speaker 1: very nuanced assessment of him. So I thought that was 414 00:23:24,359 --> 00:23:26,920 Speaker 1: a great call on the red light therapy real quick. 415 00:23:26,960 --> 00:23:30,760 Speaker 1: I've done that before. Made me feel great. I understand 416 00:23:30,760 --> 00:23:34,159 Speaker 1: the benefits of sauna, and I do. I don't have 417 00:23:34,200 --> 00:23:35,600 Speaker 1: a sauna in my house, but I do have a 418 00:23:35,600 --> 00:23:38,280 Speaker 1: hot tub my pool jacuzzi, which I use regularly. Do 419 00:23:38,320 --> 00:23:40,600 Speaker 1: I get the same benefit from the hot tub as 420 00:23:40,600 --> 00:23:42,879 Speaker 1: I do in an actual steam sauna? Let me know, 421 00:23:43,880 --> 00:23:46,360 Speaker 1: by the way, I love that you're a stoned sports therapist. 422 00:23:46,440 --> 00:23:49,000 Speaker 1: I just wanted to say that six one seven, nine 423 00:23:49,000 --> 00:23:52,080 Speaker 1: oh six six sixty three eight voicemail and text eight 424 00:23:52,080 --> 00:23:54,160 Speaker 1: one eight right it say great episode of the Beat Boys. 425 00:23:54,240 --> 00:23:57,399 Speaker 1: Jake for the question of which musician slash musicians have 426 00:23:57,480 --> 00:24:01,000 Speaker 1: been influential to me. Well, coincidentally enough, it is the 427 00:24:01,040 --> 00:24:03,639 Speaker 1: Beastie Boys. One of the things I do is design 428 00:24:03,680 --> 00:24:05,760 Speaker 1: graphic T shirts, and I like to think that I 429 00:24:05,800 --> 00:24:07,720 Speaker 1: don't run out of ideas when designing, so a lot 430 00:24:07,720 --> 00:24:09,959 Speaker 1: of times I listened to the BC's when I'm creating, 431 00:24:10,000 --> 00:24:12,200 Speaker 1: not only because I love their music, but they're also 432 00:24:12,280 --> 00:24:16,080 Speaker 1: a constant reminder that creativity has no limit. Plus, Mike 433 00:24:16,160 --> 00:24:18,840 Speaker 1: d has one of the coolest voices and rhyme style. 434 00:24:19,080 --> 00:24:21,879 Speaker 1: The other influential artist would be Lenny Kravitz. The Mama 435 00:24:21,920 --> 00:24:23,679 Speaker 1: Said and Are You Going to Go My Way? Albums 436 00:24:23,720 --> 00:24:26,680 Speaker 1: were great, but Letty's transformation from Mama Set into are 437 00:24:26,680 --> 00:24:28,480 Speaker 1: You Going to Go My Way? Was incredible, both on 438 00:24:28,680 --> 00:24:32,960 Speaker 1: artistic and a life level. Be cool and I am out? 439 00:24:33,000 --> 00:24:35,000 Speaker 1: All right, I appreciate that. Eight poet eight thanks for 440 00:24:35,040 --> 00:24:37,640 Speaker 1: the text. All right Tony from the seven seven three 441 00:24:37,880 --> 00:24:40,320 Speaker 1: love the Bad Brains tattoo guys. Tony sent in this 442 00:24:40,320 --> 00:24:42,879 Speaker 1: tattoo and had a couple of other questions for me. Tony, 443 00:24:42,880 --> 00:24:44,919 Speaker 1: I'm gonna hit you up. You can email me on 444 00:24:45,000 --> 00:24:47,880 Speaker 1: your questions. I'll get back to you. Amazing tattoo work. 445 00:24:47,920 --> 00:24:51,040 Speaker 1: By the way four one six right saying hey, nineteen 446 00:24:51,119 --> 00:24:53,520 Speaker 1: ninety seven. Me and my girlfriend, Now why first time 447 00:24:53,520 --> 00:24:55,240 Speaker 1: together in New York City. It was a weekday. We 448 00:24:55,280 --> 00:24:57,680 Speaker 1: walked across the Brooklyn Bridge to Dumbo and then back. 449 00:24:58,000 --> 00:25:00,399 Speaker 1: Being the nineties, I had my trusting man ulta film camera. 450 00:25:00,440 --> 00:25:02,560 Speaker 1: On the way back across the Brooklyn Bridge, I realized 451 00:25:02,560 --> 00:25:04,280 Speaker 1: I was on a film. We were down near Broadway 452 00:25:04,280 --> 00:25:07,080 Speaker 1: and Chambers. I spotted a bodego with a Kodak sign 453 00:25:07,119 --> 00:25:08,480 Speaker 1: in the window on the other side of the street. 454 00:25:08,560 --> 00:25:11,080 Speaker 1: We crossed the street and there's a big gaggle of 455 00:25:11,119 --> 00:25:13,800 Speaker 1: people waiting to cross the other way. As usual, so 456 00:25:13,800 --> 00:25:15,720 Speaker 1: so many people it was hard to get through the crowd. 457 00:25:15,760 --> 00:25:17,359 Speaker 1: I guess I was in a grumpy mood because as 458 00:25:17,400 --> 00:25:19,320 Speaker 1: we were threading our way through the crowd, I said 459 00:25:19,359 --> 00:25:21,320 Speaker 1: to my girlfriend, why is it always such a pain 460 00:25:21,359 --> 00:25:24,680 Speaker 1: to try to get through? Holy shit, it's the beastly boys. 461 00:25:24,960 --> 00:25:27,280 Speaker 1: I was standing shoulder to shoulder with all three of 462 00:25:27,320 --> 00:25:30,080 Speaker 1: them waiting to cross the street. MCA and Mike D 463 00:25:30,200 --> 00:25:32,680 Speaker 1: did not even turn their heads. Ad Rock turned looked 464 00:25:32,680 --> 00:25:34,679 Speaker 1: at me, then looked my girlfriend up and down, and 465 00:25:34,720 --> 00:25:36,720 Speaker 1: then they were crossing the street. I was busy trying 466 00:25:36,760 --> 00:25:38,760 Speaker 1: to pull my rewounds pool of film back into the 467 00:25:38,800 --> 00:25:41,000 Speaker 1: camera so that I could at least get some kind 468 00:25:41,000 --> 00:25:43,639 Speaker 1: of record of this experience as they walked away, but 469 00:25:43,760 --> 00:25:46,480 Speaker 1: within a few yards, the indifferent crowd closed around them 470 00:25:46,520 --> 00:25:49,800 Speaker 1: and that was it. No picture. I don't miss the 471 00:25:49,920 --> 00:25:53,960 Speaker 1: days before iPhones from the four to one six love 472 00:25:54,000 --> 00:25:56,080 Speaker 1: it four one six. You know, it's kind of a 473 00:25:56,119 --> 00:25:59,200 Speaker 1: better story because you're a photographer and you didn't get 474 00:25:59,200 --> 00:26:03,399 Speaker 1: a picture. Okay, I do miss the days before iPhones. 475 00:26:03,480 --> 00:26:05,879 Speaker 1: I'm sure you have lots of other grave pictures of 476 00:26:05,920 --> 00:26:08,520 Speaker 1: lots of other great rock stars, and I appreciate your story, 477 00:26:08,560 --> 00:26:10,239 Speaker 1: So thanks for texting it in six one seven nine 478 00:26:10,240 --> 00:26:11,760 Speaker 1: oh six sixty six three eight. You guys want to 479 00:26:11,760 --> 00:26:13,800 Speaker 1: text me at this Gray Slam pod. You want to 480 00:26:13,840 --> 00:26:16,560 Speaker 1: hit me up on the dms, or you can get 481 00:26:16,560 --> 00:26:18,840 Speaker 1: into the comments and some of the Beastie boys content 482 00:26:18,880 --> 00:26:22,440 Speaker 1: that we are serving up on Instagram and Facebook and X. 483 00:26:23,000 --> 00:26:26,080 Speaker 1: To that point, we posted a real detailing the Mike D. 484 00:26:26,200 --> 00:26:27,960 Speaker 1: It's like an you know, sixty second version of the 485 00:26:28,000 --> 00:26:31,119 Speaker 1: Mike D story about the the London crime waves and 486 00:26:31,840 --> 00:26:36,520 Speaker 1: the crime wave and the disappearing Volkswagen hood emblem badges 487 00:26:36,600 --> 00:26:39,080 Speaker 1: that Mike d inspired with his b boy style and 488 00:26:39,119 --> 00:26:42,880 Speaker 1: that Volkswagen emblem that he used to rock and got 489 00:26:42,920 --> 00:26:45,720 Speaker 1: a lot. I'm actually surprised that how many of you 490 00:26:45,880 --> 00:26:51,080 Speaker 1: commented about having taken part in this low level criminal 491 00:26:51,080 --> 00:26:55,639 Speaker 1: behavior back in the eighties over in the UK. So 492 00:26:55,680 --> 00:26:58,520 Speaker 1: we posted that, and Drone d Love says, yep was 493 00:26:58,560 --> 00:27:00,879 Speaker 1: the whole of the UK, thir teen year old me 494 00:27:00,920 --> 00:27:04,000 Speaker 1: and my mates going wild out stealing the badges of 495 00:27:04,080 --> 00:27:06,560 Speaker 1: cars all the time. You couldn't find a Volkswagen with 496 00:27:06,560 --> 00:27:09,280 Speaker 1: a badge anywhere, so we ended up taking anything we 497 00:27:09,280 --> 00:27:12,080 Speaker 1: could find, be it a Murk or a Ford anything. 498 00:27:12,600 --> 00:27:14,000 Speaker 1: And then a lot of people chime in as well. 499 00:27:14,000 --> 00:27:17,480 Speaker 1: They got into this action. I just I didn't expect that. 500 00:27:17,480 --> 00:27:20,000 Speaker 1: That was pretty interesting. You guys are straight hoods. We 501 00:27:20,040 --> 00:27:24,800 Speaker 1: also posted this little video on the on the homage 502 00:27:24,840 --> 00:27:27,600 Speaker 1: the Beastie Boys paid in their gratitude video. The homage 503 00:27:27,640 --> 00:27:31,280 Speaker 1: they paid to Pink Floyd and the Live at POMPEII 504 00:27:31,680 --> 00:27:35,199 Speaker 1: film and got a lot of good action this this 505 00:27:35,240 --> 00:27:38,560 Speaker 1: one guy comments. Shady NYC says, hey, thanks for posting this. 506 00:27:38,680 --> 00:27:41,879 Speaker 1: I wrote the concept, directed it and I shot the 507 00:27:41,920 --> 00:27:45,280 Speaker 1: helicopter footage for the video he's talking about. Cheers, David 508 00:27:45,280 --> 00:27:49,800 Speaker 1: Perez shady, pretty frickin' awesome. Thanks David, appreciate you chiming 509 00:27:49,840 --> 00:27:52,000 Speaker 1: in all right, guys. You know that in addition to 510 00:27:52,080 --> 00:27:54,639 Speaker 1: our Question of the Week, where every week you guys 511 00:27:54,760 --> 00:27:58,639 Speaker 1: answer question relative to the artists that we've covered, the 512 00:27:58,640 --> 00:28:02,520 Speaker 1: Beastie Boys, Bill Murray, whoever, we also have the Story 513 00:28:02,560 --> 00:28:05,320 Speaker 1: of the Week where you guys can call in text 514 00:28:05,440 --> 00:28:08,400 Speaker 1: or email or DM me with your story of rock 515 00:28:08,440 --> 00:28:12,280 Speaker 1: and roll animalism, your tale of rock and roll excess. 516 00:28:12,640 --> 00:28:16,200 Speaker 1: Could be anything related to the spirit of rock and roll, 517 00:28:16,240 --> 00:28:18,600 Speaker 1: the true spirit of rock and roll. Could be something 518 00:28:18,600 --> 00:28:20,879 Speaker 1: that happened to you, could be something you heard secondhand, 519 00:28:20,920 --> 00:28:23,000 Speaker 1: could be something you read of or saw in a 520 00:28:23,040 --> 00:28:25,280 Speaker 1: movie that you're hitting the rest of us too. And this, 521 00:28:25,400 --> 00:28:27,800 Speaker 1: of course is all done as part of our ongoing 522 00:28:27,800 --> 00:28:30,359 Speaker 1: effort here in Disgraceland to preserve, like I said, the 523 00:28:30,400 --> 00:28:33,280 Speaker 1: true spirit of rock and roll, to save rock and roll, 524 00:28:33,480 --> 00:28:36,119 Speaker 1: if we may be so grand, to save rock and 525 00:28:36,200 --> 00:28:39,040 Speaker 1: roll from going the way of jazz music or the 526 00:28:39,080 --> 00:28:42,760 Speaker 1: Dodo Bird. To document this wild history so that there's 527 00:28:42,760 --> 00:28:46,400 Speaker 1: a permanent record of the wildest of these stories that 528 00:28:46,520 --> 00:28:48,640 Speaker 1: as I mentioned earlier in the show, have a tendency 529 00:28:48,640 --> 00:28:50,600 Speaker 1: to be written out of history. This is our purpose. 530 00:28:50,720 --> 00:28:52,720 Speaker 1: And this is this week's story of the Week, which 531 00:28:52,720 --> 00:28:54,800 Speaker 1: comes from Chris and the seven eight to one and 532 00:28:54,840 --> 00:28:57,120 Speaker 1: Woe Nelly. I want to warn you it's gross. 533 00:28:57,400 --> 00:29:00,440 Speaker 4: Hey, Jake Chris from the seven eight to one, following 534 00:29:00,560 --> 00:29:04,000 Speaker 4: up on a message I sent you on IG So, 535 00:29:04,920 --> 00:29:07,080 Speaker 4: back in the eighties, I was in a band, and 536 00:29:07,200 --> 00:29:10,280 Speaker 4: I was lucky enough to work with the great producer 537 00:29:10,360 --> 00:29:13,520 Speaker 4: Jimmy Miller, who did everything from Exile on Main Street, 538 00:29:13,960 --> 00:29:18,200 Speaker 4: Sticky Fingers, just the best Stones work, the Mick Taylor error. 539 00:29:18,320 --> 00:29:21,280 Speaker 4: He did tell us some great Stone stories, but I 540 00:29:21,320 --> 00:29:25,080 Speaker 4: am going to save those for another time because their 541 00:29:25,280 --> 00:29:28,160 Speaker 4: third party and I cannot validate them. But what I 542 00:29:28,200 --> 00:29:30,600 Speaker 4: can't tell you is that we were doing a recording 543 00:29:30,640 --> 00:29:34,920 Speaker 4: session at Downtown Recordings in Boston. So this is like 544 00:29:35,040 --> 00:29:39,120 Speaker 4: nineteen eighty seven ish. Jimmy does not show up for 545 00:29:39,200 --> 00:29:42,840 Speaker 4: the session. Well, when we see him later, it turns 546 00:29:42,880 --> 00:29:45,560 Speaker 4: out that he was hanging out with Johnny Thunders in 547 00:29:45,640 --> 00:29:48,640 Speaker 4: New York. What were he and Johnny Thunders doing in 548 00:29:48,680 --> 00:29:55,240 Speaker 4: New York? They were scoring heroin, so they needed to 549 00:29:55,280 --> 00:30:00,320 Speaker 4: shoot up and the only water that was available was 550 00:30:00,360 --> 00:30:04,560 Speaker 4: this puddle of water that had that film of oil 551 00:30:04,680 --> 00:30:09,880 Speaker 4: on top of it. After Jimmy letchard Johnny about how 552 00:30:09,920 --> 00:30:14,040 Speaker 4: disgusting that water was, he said, hey, are you usually 553 00:30:14,880 --> 00:30:17,080 Speaker 4: use that, you know, kind of abscesss or whatever? That 554 00:30:17,160 --> 00:30:20,400 Speaker 4: will do well. Afterwards we asked him to go, well, 555 00:30:20,440 --> 00:30:24,000 Speaker 4: what did you do? He goes, yeah, I shot up too. Thanks. 556 00:30:24,560 --> 00:30:26,240 Speaker 4: Have a great one, Chris. 557 00:30:26,280 --> 00:30:29,120 Speaker 1: This story is surprising to me or gross to me, 558 00:30:29,200 --> 00:30:34,520 Speaker 1: I should say, even by Johnny Thunder's standards, true rock 559 00:30:34,560 --> 00:30:37,760 Speaker 1: and roll animal, Johnny Thunders. Did Jimmy Miller produce some 560 00:30:37,840 --> 00:30:39,880 Speaker 1: Johnny Thunder stuff? Should know that if he did, and 561 00:30:39,920 --> 00:30:43,160 Speaker 1: I apologize if I didn't know that. It's something that 562 00:30:43,200 --> 00:30:45,480 Speaker 1: I absolutely should know. I have an actual Johnny Thunder's 563 00:30:45,520 --> 00:30:49,080 Speaker 1: tattoo for God's sake, of course, you guys, Jimmy Miller. 564 00:30:49,160 --> 00:30:52,520 Speaker 1: Chris mentions who he is. He was great Stones collaborator 565 00:30:52,640 --> 00:30:56,040 Speaker 1: around for the best of the Stones records, so no 566 00:30:56,120 --> 00:30:58,960 Speaker 1: surprise that he was working with Johnny Thunders at least 567 00:30:58,960 --> 00:31:02,440 Speaker 1: hanging around with him. Great story, Chris, and Chris, I 568 00:31:02,520 --> 00:31:04,400 Speaker 1: just want to say happy to hear you're still alive, 569 00:31:04,520 --> 00:31:07,600 Speaker 1: I mean with friends like that. Yeesh, damn man, you 570 00:31:07,640 --> 00:31:09,760 Speaker 1: are a survivor. It sounds like you must have lived 571 00:31:09,760 --> 00:31:11,840 Speaker 1: a pretty rock and roll life yourself, and happy to 572 00:31:11,880 --> 00:31:14,120 Speaker 1: have you among the living. Okay, you, guys, I want 573 00:31:14,120 --> 00:31:16,360 Speaker 1: to hear your stories of rock and roll animalism. Give 574 00:31:16,400 --> 00:31:18,880 Speaker 1: me a call six one seven nine oh six six 575 00:31:19,000 --> 00:31:23,120 Speaker 1: sixty three eight call, text dm email Disgrace lamdpod at 576 00:31:23,160 --> 00:31:24,960 Speaker 1: gmail dot com and tell me about that time that 577 00:31:25,120 --> 00:31:27,200 Speaker 1: you got arrested a lallapalooza, or about that time he 578 00:31:27,280 --> 00:31:29,440 Speaker 1: snuck out to go meet Nikki six but ended up 579 00:31:29,480 --> 00:31:31,280 Speaker 1: passing out at his roadies apartment at that time you 580 00:31:31,320 --> 00:31:32,920 Speaker 1: wait in a line all weekend to buy Alice and 581 00:31:33,000 --> 00:31:35,040 Speaker 1: Chains tickets, Or the White Stripe show you were out 582 00:31:35,080 --> 00:31:37,040 Speaker 1: where Meg brought her cat out onto the stage, or 583 00:31:37,040 --> 00:31:39,200 Speaker 1: the Killer show in Vegas where they ran out of 584 00:31:39,240 --> 00:31:42,200 Speaker 1: fourteen dollars beers. Whatever the story is, I want to 585 00:31:42,240 --> 00:31:44,920 Speaker 1: hear it. Hit me up and your story might be 586 00:31:45,040 --> 00:31:47,440 Speaker 1: the Disgrace Lands story of the week. I'll be back 587 00:31:47,480 --> 00:32:05,080 Speaker 1: in a flash with more from you. Guys. All right, guys, 588 00:32:05,120 --> 00:32:06,680 Speaker 1: we are back. You know the drill. If you want 589 00:32:06,680 --> 00:32:08,320 Speaker 1: to support the show, you can leave a review for 590 00:32:08,400 --> 00:32:10,240 Speaker 1: the show we really appreciate it. You leave that review 591 00:32:10,280 --> 00:32:13,960 Speaker 1: over on Apple Podcasts or on Spotify. The reviews help 592 00:32:14,040 --> 00:32:17,280 Speaker 1: with discovery of show. They juice the algorithm, so to speak. 593 00:32:17,600 --> 00:32:20,880 Speaker 1: And in exchange for you guys being so generous and supportive, 594 00:32:21,280 --> 00:32:24,440 Speaker 1: each week, I dip into the reviews. I know they 595 00:32:24,440 --> 00:32:26,480 Speaker 1: say you're not supposed to read your reviews, but I 596 00:32:26,560 --> 00:32:28,920 Speaker 1: read my reviews. What can I say? I dip into 597 00:32:28,920 --> 00:32:32,040 Speaker 1: them occasionally, and by occasionally I mean once a week, 598 00:32:32,280 --> 00:32:36,960 Speaker 1: and I extract one review from Apple Podcasts and one 599 00:32:36,960 --> 00:32:39,560 Speaker 1: from Spotify. Read it here, and if your review gets read, 600 00:32:39,680 --> 00:32:41,960 Speaker 1: you can take the initiative to reach out to me, 601 00:32:42,040 --> 00:32:45,680 Speaker 1: either on social media or via email. I will grab 602 00:32:45,840 --> 00:32:48,760 Speaker 1: your shirt size, because we might have some shirts lying 603 00:32:48,800 --> 00:32:51,080 Speaker 1: around and if we do, you know, in your size, 604 00:32:51,480 --> 00:32:54,240 Speaker 1: just a big if, maybe maybe you'll get a shirt. 605 00:32:54,600 --> 00:32:56,560 Speaker 1: Maybe there's no shirts in your size, Maybe you'll get 606 00:32:56,560 --> 00:32:59,560 Speaker 1: a pin. Maybe you'll get I don't know something else 607 00:32:59,600 --> 00:33:01,880 Speaker 1: that we have lying around here. That's cool. I don't 608 00:33:01,920 --> 00:33:04,640 Speaker 1: know what else we have stickers. I guess for now, 609 00:33:04,840 --> 00:33:07,280 Speaker 1: that's just our way of saying thank you, we appreciate it. 610 00:33:07,320 --> 00:33:10,600 Speaker 1: So here you go. Apple Podcasts. Ryan Redd four fifty 611 00:33:10,600 --> 00:33:12,720 Speaker 1: one writes, the show is very well written with great 612 00:33:12,760 --> 00:33:15,400 Speaker 1: delivery of the story. Everyone that asks for something new 613 00:33:15,400 --> 00:33:18,640 Speaker 1: to listen to, Disgraceland is my first option for them. 614 00:33:18,680 --> 00:33:21,520 Speaker 1: To try keep up the great work, y'all. We're going 615 00:33:21,600 --> 00:33:23,600 Speaker 1: to do that. Ryan read over on Spotify. Now I'm 616 00:33:23,640 --> 00:33:27,080 Speaker 1: reading this one here on Spotify from Tyler Hall because 617 00:33:27,080 --> 00:33:30,840 Speaker 1: he points out this this element of the episode, the 618 00:33:30,880 --> 00:33:33,920 Speaker 1: BC Ways episode that I almost didn't include. I wrote it, 619 00:33:33,960 --> 00:33:35,840 Speaker 1: I recorded it, I listened to the mix, and I 620 00:33:35,880 --> 00:33:37,960 Speaker 1: started thinking, hmm, how can I cut that out and 621 00:33:38,040 --> 00:33:41,000 Speaker 1: keep the story, keep the form, the form of the story, 622 00:33:41,040 --> 00:33:43,560 Speaker 1: the structure in place, because there's a little too personal. 623 00:33:44,080 --> 00:33:48,240 Speaker 1: And I will say that most times when I get 624 00:33:48,240 --> 00:33:51,760 Speaker 1: personal like this, y'all seem to respond in a positive way, 625 00:33:51,760 --> 00:33:53,560 Speaker 1: and I don't seem to learn that lesson. It's always 626 00:33:53,600 --> 00:33:58,040 Speaker 1: my instinct to cut it. But anyways, Tyler Hall says, Hey, Jake, 627 00:33:58,120 --> 00:34:00,400 Speaker 1: this episode is killer. I found your show towards the 628 00:34:00,520 --> 00:34:02,920 Speaker 1: end of last year and have been binging it like crazy. 629 00:34:02,960 --> 00:34:04,960 Speaker 1: The part around eighteen minutes of this episode where you 630 00:34:04,960 --> 00:34:08,440 Speaker 1: talk about your dad's record collection gave me life. I've 631 00:34:08,480 --> 00:34:10,920 Speaker 1: got two young kids and a large record collection myself 632 00:34:10,920 --> 00:34:13,000 Speaker 1: I hope they find music like that in my collection 633 00:34:13,320 --> 00:34:15,520 Speaker 1: and that they connect with it. Man, that gave me 634 00:34:15,520 --> 00:34:18,719 Speaker 1: the most wholesome feeling. Thank you for all the gnarly episodes. 635 00:34:18,760 --> 00:34:21,080 Speaker 1: You're the man, Rocke Rolla, Tyler Hall, thank you. I 636 00:34:21,120 --> 00:34:24,279 Speaker 1: appreciate that, I really do. And hit me up and 637 00:34:24,320 --> 00:34:27,760 Speaker 1: we will send some merch your way. All right, Today, 638 00:34:27,880 --> 00:34:30,480 Speaker 1: it's Thursday. It's the last Thursday of the month. You 639 00:34:30,520 --> 00:34:32,080 Speaker 1: know what that means. That means if you're an All 640 00:34:32,160 --> 00:34:36,320 Speaker 1: Access member, you're getting an extra Disgraceland episode this week, 641 00:34:36,440 --> 00:34:42,680 Speaker 1: full episode, not a bonus episode, new exclusive, scripted, fully 642 00:34:42,719 --> 00:34:46,040 Speaker 1: sound designed episode. Okay, you get one per month if 643 00:34:46,040 --> 00:34:48,880 Speaker 1: you're an All Access member. This month's All Access episode 644 00:34:49,120 --> 00:34:53,279 Speaker 1: is on the late great Towns van Zandt, one of 645 00:34:53,280 --> 00:34:57,920 Speaker 1: the greatest and to use Tyler's word, gnarliest country singers 646 00:34:58,080 --> 00:35:01,720 Speaker 1: of all time songwriters, I should say country song writers. 647 00:35:01,760 --> 00:35:04,479 Speaker 1: He's saying too. But he's you know, his his thing 648 00:35:04,560 --> 00:35:06,880 Speaker 1: was really was more his writing than his voice. Not 649 00:35:06,920 --> 00:35:08,840 Speaker 1: that his voice isn't great, it is, but he's not 650 00:35:08,880 --> 00:35:12,319 Speaker 1: George Jones Hank Williams. On the other hand. You know, 651 00:35:12,600 --> 00:35:16,319 Speaker 1: he approaches that he approaches that gets closer and that's 652 00:35:16,320 --> 00:35:18,680 Speaker 1: really what the episode is about. So if you want 653 00:35:18,680 --> 00:35:20,239 Speaker 1: to hear this episode, the only way you're gonna be 654 00:35:20,239 --> 00:35:21,880 Speaker 1: able to hear it is by becoming an All Access 655 00:35:21,880 --> 00:35:25,520 Speaker 1: member on other Apple podcasts or through our Patreon and 656 00:35:25,560 --> 00:35:30,200 Speaker 1: then you know, whatever podcast player you listen to podcasts on, right, 657 00:35:30,280 --> 00:35:33,080 Speaker 1: it'll get delivered right there, right there. Okay, you don't 658 00:35:33,120 --> 00:35:34,880 Speaker 1: have to be on a Patreon app to listen to it. 659 00:35:34,960 --> 00:35:36,560 Speaker 1: You don't have to be an Apple podcast but you 660 00:35:36,600 --> 00:35:38,520 Speaker 1: can listen in those apps if you should choose to. 661 00:35:38,600 --> 00:35:40,600 Speaker 1: It's only five bucks a month, that's it, and you 662 00:35:40,600 --> 00:35:43,280 Speaker 1: get AD free listening. Okay, you get AD free listening 663 00:35:43,320 --> 00:35:46,840 Speaker 1: as well on all episodes. And for the bonus episodes 664 00:35:46,960 --> 00:35:49,279 Speaker 1: like this one the after Party, you're going to get 665 00:35:49,520 --> 00:35:53,279 Speaker 1: an extra bonus to the bonus episode the non all 666 00:35:53,320 --> 00:35:56,239 Speaker 1: Access members will not hear, and that's coming up right 667 00:35:56,239 --> 00:35:58,480 Speaker 1: after this. Okay, So just so you know, become an 668 00:35:58,480 --> 00:36:01,560 Speaker 1: All Access member. Go to dis Gray sampod Slash membership, 669 00:36:01,800 --> 00:36:05,319 Speaker 1: sign up five bucks a month, AD free, extra episode, 670 00:36:05,800 --> 00:36:30,799 Speaker 1: extra bonus bit here in the afterparty. All right, we 671 00:36:30,840 --> 00:36:33,279 Speaker 1: are back, guys, especially for the new listeners out there. 672 00:36:33,320 --> 00:36:35,920 Speaker 1: We mentioned a bunch of artists in this episode, A 673 00:36:35,960 --> 00:36:38,880 Speaker 1: lot of them. We have episodes in our archive on Okay, 674 00:36:38,920 --> 00:36:42,920 Speaker 1: we mentioned New York Dolls, Motley Crue, Jimmy Hendrix. Anyhow, 675 00:36:42,960 --> 00:36:46,040 Speaker 1: we have episodes on all those guys in our archive, 676 00:36:46,080 --> 00:36:49,680 Speaker 1: And if you check the show notes, Matt Boden, our producer, 677 00:36:50,200 --> 00:36:53,719 Speaker 1: will make sure that there are specific episode numbers and 678 00:36:53,800 --> 00:36:56,160 Speaker 1: dates in there that'll make you be able to navigate 679 00:36:56,200 --> 00:36:59,200 Speaker 1: our massive archive of two hundred plus episodes to find 680 00:36:59,200 --> 00:37:00,640 Speaker 1: the ones that we talked to about here if you 681 00:37:00,680 --> 00:37:02,759 Speaker 1: are interested, and why wouldn't you be interested? You love 682 00:37:02,760 --> 00:37:05,040 Speaker 1: great rock and roll stories just as much as I do. 683 00:37:05,280 --> 00:37:07,840 Speaker 1: Those archive episodes are there for you. I get to 684 00:37:07,840 --> 00:37:09,400 Speaker 1: get out of here, so I just want to recap 685 00:37:09,440 --> 00:37:12,120 Speaker 1: real quick. Number one. You know this now. I want 686 00:37:12,120 --> 00:37:14,600 Speaker 1: your story. I want it every week, call me, text me, 687 00:37:14,840 --> 00:37:17,320 Speaker 1: hit me up on the socials. What is your favorite 688 00:37:17,320 --> 00:37:20,359 Speaker 1: story of rock and roll animalism as wild? A story 689 00:37:20,360 --> 00:37:22,000 Speaker 1: about a rock star that you are aware of that 690 00:37:22,040 --> 00:37:24,000 Speaker 1: you want to tell me something maybe that happened to you, 691 00:37:24,280 --> 00:37:26,320 Speaker 1: something that I should know about, even if it didn't 692 00:37:26,320 --> 00:37:28,000 Speaker 1: happen to you. Maybe you write it in a book, 693 00:37:28,040 --> 00:37:30,560 Speaker 1: maybe somebody else told you. I don't care I want 694 00:37:30,560 --> 00:37:32,799 Speaker 1: to hear it. Hit me up and you might have 695 00:37:32,880 --> 00:37:35,000 Speaker 1: the story of the week number two right now in 696 00:37:35,080 --> 00:37:39,440 Speaker 1: your feed. Our episode on Beastie Boys number three coming tomorrow. 697 00:37:39,480 --> 00:37:42,919 Speaker 1: Rewinding back to our two part Beatles episodes number four, 698 00:37:43,000 --> 00:37:44,600 Speaker 1: Merched Winners, Get in Touch, you know who you are? 699 00:37:44,680 --> 00:37:46,680 Speaker 1: Number five. Remember no one cares about preserving the true 700 00:37:46,719 --> 00:37:48,200 Speaker 1: spirit of rock and roll more than you do. And 701 00:37:48,239 --> 00:37:52,440 Speaker 1: well that's a disgrace, all right now. Adam yalk Akamca 702 00:37:52,560 --> 00:37:56,239 Speaker 1: passed away on May fourth, twenty twelve, and I miss him, 703 00:37:56,360 --> 00:37:58,920 Speaker 1: and so do you. So in honor of the gone 704 00:37:59,000 --> 00:38:02,880 Speaker 1: too soon, rate Beastie Boy, this is the Billboard charts 705 00:38:02,880 --> 00:38:08,040 Speaker 1: from the day we lost mc A. Number one, Somebody 706 00:38:08,040 --> 00:38:11,720 Speaker 1: that I used to know Gotier featuring Kimbra last week 707 00:38:12,000 --> 00:38:16,400 Speaker 1: one weeks at number one, two weeks on Chart sixteen. 708 00:38:17,080 --> 00:38:21,840 Speaker 1: Number two. We Are Young Fun featuring Janelle Monet last 709 00:38:21,840 --> 00:38:28,240 Speaker 1: week two peak position one weeks on Chart eighteen. Number three, 710 00:38:28,560 --> 00:38:33,400 Speaker 1: Pey Falls Maroon five featuring Wiz Khalifa last week not 711 00:38:33,440 --> 00:38:37,080 Speaker 1: a play position peak position five, three weeks on Churn 712 00:38:37,520 --> 00:38:41,560 Speaker 1: The one under three, Number four Boyfriend peak Justine Fibers 713 00:38:41,680 --> 00:38:46,399 Speaker 1: three last week five peak Pysition two weeks on charl 714 00:38:46,880 --> 00:38:53,640 Speaker 1: SO show number five, glad we kill last week three 715 00:38:53,760 --> 00:39:03,640 Speaker 1: positions three weeks. Quit talking and start mixing.