1 00:00:00,720 --> 00:00:09,719 Speaker 1: Disgraceland is a production of Double Elvis. Well It's Happened Again, 2 00:00:10,000 --> 00:00:13,200 Speaker 1: a story by a musician behaving so badly that said 3 00:00:13,240 --> 00:00:16,360 Speaker 1: behavior warranted yet another disclaimer. At the beginning of a 4 00:00:16,400 --> 00:00:20,560 Speaker 1: Disgraceland episode, Guys, I'm warning you this story is more 5 00:00:20,680 --> 00:00:22,959 Speaker 1: fed up than the gg Allen one. And speaking of 6 00:00:23,120 --> 00:00:25,160 Speaker 1: fed up, I say the word fuck a lot, as 7 00:00:25,160 --> 00:00:27,360 Speaker 1: you know. But that's not the reason the story needs 8 00:00:27,360 --> 00:00:30,960 Speaker 1: a disclaimer. This story deals with cannibalism and abuse that 9 00:00:31,080 --> 00:00:34,520 Speaker 1: is truly horrific, and for whatever reason I spare zero 10 00:00:34,720 --> 00:00:38,239 Speaker 1: gory details. Maybe because it's October and I'm feeling the 11 00:00:38,280 --> 00:00:42,000 Speaker 1: Halloween vibe. To paraphrase Ryan Adams, I've got a Halloween 12 00:00:42,040 --> 00:00:44,600 Speaker 1: head head full of tricks and treats. It leads me 13 00:00:44,680 --> 00:00:49,680 Speaker 1: through these Compton streets. What is wrong with me? Metotron? 14 00:00:59,000 --> 00:01:02,320 Speaker 1: The story about tech This rapper Big Lurch is one, 15 00:01:02,360 --> 00:01:05,280 Speaker 1: if not the most insane story you'll ever hear about 16 00:01:05,319 --> 00:01:08,840 Speaker 1: a musician. Big Lurch didn't like to just get high. 17 00:01:09,040 --> 00:01:11,800 Speaker 1: He liked to smoke from aldehyde, the chemical used to 18 00:01:11,840 --> 00:01:15,480 Speaker 1: embalm dead bodies. And Big Lurch didn't just rap about 19 00:01:15,600 --> 00:01:19,240 Speaker 1: standard hip hop culture. He rapped about serial killers. Like 20 00:01:19,319 --> 00:01:22,640 Speaker 1: Jeffrey Dahmer in horror movie villains like Jason Vorhees and 21 00:01:22,680 --> 00:01:26,440 Speaker 1: Freddy Krueger, and in the process contributed to a growing 22 00:01:26,520 --> 00:01:31,280 Speaker 1: new subgenre of hip hop called horror core. Big Lurch 23 00:01:31,440 --> 00:01:34,720 Speaker 1: was six foot seven with deep set eyes, a deep voice, 24 00:01:34,720 --> 00:01:38,679 Speaker 1: and a deep hunger for PCP. An intimidating looking dude 25 00:01:38,680 --> 00:01:41,480 Speaker 1: who grew up in the East Dallas projects but made 26 00:01:41,480 --> 00:01:44,280 Speaker 1: his name on the West Coast, first up in Oakland 27 00:01:44,440 --> 00:01:47,520 Speaker 1: and then by infiltrating the Cali g funk world of 28 00:01:47,600 --> 00:01:53,160 Speaker 1: South central Los Angeles. Lurch was paranoid, dangerous, and totally 29 00:01:53,200 --> 00:01:55,800 Speaker 1: out of his mind on drugs, to the point where 30 00:01:55,840 --> 00:02:00,160 Speaker 1: he would disappear for weeks into PCP induced comas in 31 00:02:00,240 --> 00:02:02,720 Speaker 1: a merge, with little to no memory of his time 32 00:02:02,760 --> 00:02:06,080 Speaker 1: on the drug. It's no stretch to say that rapper 33 00:02:06,120 --> 00:02:10,359 Speaker 1: Big Lurch was completely fucked up. But Big Lurch made 34 00:02:10,360 --> 00:02:14,079 Speaker 1: some great music. Actually, no, he didn't. His music was 35 00:02:14,120 --> 00:02:16,520 Speaker 1: pretty much total shit, just like the music I played 36 00:02:16,520 --> 00:02:18,280 Speaker 1: you at the top of the show, and that was 37 00:02:18,320 --> 00:02:22,280 Speaker 1: a preset loop from my melochron called Ballero Woodwind Brass 38 00:02:22,320 --> 00:02:26,720 Speaker 1: Low MK two. I played you that loop because I 39 00:02:26,760 --> 00:02:29,519 Speaker 1: can't afford the rights for Ain't It Funny? By Jennifer 40 00:02:29,600 --> 00:02:32,520 Speaker 1: Lopez and Joe Ruhle, And why would I play you 41 00:02:32,600 --> 00:02:36,680 Speaker 1: that specific slice of remixed murder incorporated on the Block Cheese? 42 00:02:36,680 --> 00:02:39,840 Speaker 1: Could I afford it? Because that was the number one 43 00:02:39,840 --> 00:02:43,119 Speaker 1: song in America on April tenth, two thousand and two, 44 00:02:43,560 --> 00:02:46,359 Speaker 1: And that was the day that rapper in Texas Boy, 45 00:02:46,680 --> 00:02:49,720 Speaker 1: Big Lurch, ran down the street naked in the middle 46 00:02:49,720 --> 00:02:53,320 Speaker 1: of the afternoon, covered in blood, chewing on his roommates 47 00:02:53,360 --> 00:02:58,440 Speaker 1: long on this episode Murder on the Block brass Ballero's 48 00:02:58,720 --> 00:03:03,600 Speaker 1: cannibalism horror chord In Big Lurch, I'm Jake Brennan, and 49 00:03:03,800 --> 00:03:32,920 Speaker 1: this is disgraceful. Big Lurch depicted his life growing up 50 00:03:32,960 --> 00:03:36,680 Speaker 1: in the East Dallas projects, slinging dope and gang banging 51 00:03:36,720 --> 00:03:39,720 Speaker 1: in his own songs, songs like Texas Boy from his 52 00:03:39,800 --> 00:03:45,360 Speaker 1: two thousand and four album It's All Bad. Big Lurch, 53 00:03:45,640 --> 00:03:49,560 Speaker 1: six foot seven and with a wild imagination, according to him, 54 00:03:49,680 --> 00:03:53,320 Speaker 1: had only two options growing up become a drug dealer 55 00:03:53,600 --> 00:03:56,720 Speaker 1: or become a rapper, which of course is total bullshit. 56 00:03:57,040 --> 00:03:58,840 Speaker 1: Lots of people grow up in the projects and live 57 00:03:58,880 --> 00:04:01,760 Speaker 1: happy lives and don't be dope dealers or hip hop stars, 58 00:04:01,760 --> 00:04:05,520 Speaker 1: But for whatever reason, when assessing his career opportunities, Big 59 00:04:05,600 --> 00:04:09,560 Speaker 1: Lurch Born and Tron Singleton believed he was limited to 60 00:04:09,600 --> 00:04:12,920 Speaker 1: either a life of crime or a life of stardom, 61 00:04:13,200 --> 00:04:15,360 Speaker 1: and given the environment he grew up in, it's hard 62 00:04:15,400 --> 00:04:18,760 Speaker 1: to blame him for this assessment. The East Dallas projects, 63 00:04:18,839 --> 00:04:22,920 Speaker 1: like most public housing projects in America, are rough tough living. 64 00:04:23,360 --> 00:04:26,599 Speaker 1: The United States Public Housing program was conceived with the 65 00:04:26,600 --> 00:04:30,000 Speaker 1: best intentions, a way to provide families at the bottom 66 00:04:30,000 --> 00:04:32,799 Speaker 1: of the economic ladder a place to live within city 67 00:04:32,839 --> 00:04:35,960 Speaker 1: limits while working the way up from poverty and into 68 00:04:36,000 --> 00:04:39,880 Speaker 1: the working and middle classes of American society. But this 69 00:04:40,000 --> 00:04:43,320 Speaker 1: did not happen. For whatever reasons, mismanagement of the federal 70 00:04:43,320 --> 00:04:46,960 Speaker 1: program at the local level, insufficient funding from Congress, a 71 00:04:47,000 --> 00:04:51,240 Speaker 1: lowering of standards for occupancy. For whatever reasons, the projects 72 00:04:51,320 --> 00:04:54,560 Speaker 1: never became the low incomestansion of upward mobility that they 73 00:04:54,560 --> 00:04:59,000 Speaker 1: were intended to be. Instead, they became areas of concentrated 74 00:04:59,040 --> 00:05:03,120 Speaker 1: poverty in America, riddled with drugs, crime, and gang violence, 75 00:05:03,520 --> 00:05:08,200 Speaker 1: and for Big Lurch, a place of bleakness. The Fraser 76 00:05:08,240 --> 00:05:12,800 Speaker 1: Courts Projects is located about five miles east of downtown Dallas, 77 00:05:13,120 --> 00:05:15,280 Speaker 1: but it might as well be a world away from 78 00:05:15,320 --> 00:05:18,159 Speaker 1: the land of tall buildings that Big Lurch raps about 79 00:05:18,200 --> 00:05:22,760 Speaker 1: in Texas. Boy Fraser Courts is a neighborhood of one story, 80 00:05:22,839 --> 00:05:27,600 Speaker 1: single family subsidized homes. The concrete landscape is weathered and 81 00:05:27,640 --> 00:05:30,760 Speaker 1: where there is grass that has overgrown and unkept, and 82 00:05:30,839 --> 00:05:33,640 Speaker 1: the area is a far cry from the Romanesque revival 83 00:05:33,800 --> 00:05:37,359 Speaker 1: architecture of the Big d but there is pride. You 84 00:05:37,400 --> 00:05:39,600 Speaker 1: get a sense of the people of these East Dallas 85 00:05:39,600 --> 00:05:43,160 Speaker 1: projects from their Facebook page, an unofficial page set up 86 00:05:43,200 --> 00:05:47,240 Speaker 1: to digitally corral and organize community interests. There are the 87 00:05:47,279 --> 00:05:50,120 Speaker 1: posts about the great time at the throwback block party, 88 00:05:50,400 --> 00:05:54,200 Speaker 1: pictures of locals canvassing for voter registration. There's a post 89 00:05:54,240 --> 00:05:56,960 Speaker 1: about the mouth watering chili cheese dog from Nothing's, and 90 00:05:57,080 --> 00:06:00,680 Speaker 1: multiple posts about chilling at home with the family. But 91 00:06:00,760 --> 00:06:03,719 Speaker 1: there is also a darker side revealed from both the 92 00:06:03,760 --> 00:06:07,800 Speaker 1: Facebook group page and from searching hashtag East Dallas Projects 93 00:06:07,800 --> 00:06:11,880 Speaker 1: on Instagram. A pitbull stares menacingly into the camera in 94 00:06:11,880 --> 00:06:15,480 Speaker 1: front of an abandoned backyard solo flex. There are photos 95 00:06:15,480 --> 00:06:18,520 Speaker 1: of AK forty seven's twelve inch stacks of one hundred 96 00:06:18,560 --> 00:06:22,760 Speaker 1: dollars bills, young kids outfitted in blood red flashing gang signs, 97 00:06:22,800 --> 00:06:25,080 Speaker 1: and a meme featuring a cute girl hanging on the 98 00:06:25,120 --> 00:06:28,320 Speaker 1: corner at night with the caption quote when you hanging 99 00:06:28,360 --> 00:06:30,240 Speaker 1: out with your hood boo and he got you on 100 00:06:30,279 --> 00:06:34,640 Speaker 1: the block where everybody be shooting unquote. Each post gives 101 00:06:34,640 --> 00:06:37,520 Speaker 1: a glimpse into real life in the East Dallas projects, 102 00:06:37,560 --> 00:06:40,960 Speaker 1: where gang life is a reality and where Big Lurge 103 00:06:41,000 --> 00:06:43,560 Speaker 1: grew up, and depending on how you look at it, 104 00:06:43,640 --> 00:06:48,839 Speaker 1: either paid tribute to or exploited in his lyrics. Exploiting 105 00:06:48,839 --> 00:06:52,720 Speaker 1: one's background for artistic means is nothing new. It's a 106 00:06:52,800 --> 00:06:57,000 Speaker 1: time honored creative tradition. In fact, it's almost expected of 107 00:06:57,120 --> 00:07:01,360 Speaker 1: artists as a way to express themselves. Where you come 108 00:07:01,360 --> 00:07:04,200 Speaker 1: from is typically a badge of honor, a hallmark of 109 00:07:04,240 --> 00:07:08,320 Speaker 1: your authenticity, and how you live your life is equally important. 110 00:07:08,600 --> 00:07:12,400 Speaker 1: Slinging dope, gangbanging, and getting fucked up are required courses 111 00:07:12,400 --> 00:07:15,600 Speaker 1: of the hip hop curriculum, and Big Lurch took the 112 00:07:15,640 --> 00:07:19,640 Speaker 1: getting fucked up part to extra credit level gin and 113 00:07:19,720 --> 00:07:24,080 Speaker 1: juice Nah, the chronic not strong enough. Big Lurch fucked 114 00:07:24,080 --> 00:07:27,160 Speaker 1: with those wet cigarettes or quote unquote smoking wet as 115 00:07:27,240 --> 00:07:30,480 Speaker 1: it was sometimes called, the practice of dipping a joint 116 00:07:30,480 --> 00:07:33,960 Speaker 1: and for malde hide before smoking. It turns out for 117 00:07:34,120 --> 00:07:38,240 Speaker 1: malde hide, the highly flammable chemical substance used by morticians 118 00:07:38,280 --> 00:07:42,000 Speaker 1: to preserve dead bodies, when saturating a joint, will get 119 00:07:42,040 --> 00:07:47,240 Speaker 1: you high as fuck and even cause psychotic reactions similar 120 00:07:47,440 --> 00:07:50,960 Speaker 1: to PCP, a drug that Big Lurch would soon find 121 00:07:50,960 --> 00:07:55,120 Speaker 1: his way to smoking regularly. And PCP can of course 122 00:07:55,360 --> 00:07:58,760 Speaker 1: kill you. You know what else can kill you? Six foot 123 00:07:58,800 --> 00:08:19,640 Speaker 1: seven psychopaths with bad drug habits. By the late nineties, 124 00:08:19,840 --> 00:08:22,840 Speaker 1: Big Lurch began making a name for himself around Dallas 125 00:08:22,840 --> 00:08:26,640 Speaker 1: as an underground rapper. Somehow he managed to grab the 126 00:08:26,680 --> 00:08:30,520 Speaker 1: attention of Oakland, California hip hop producer Rick Rock and 127 00:08:30,600 --> 00:08:34,880 Speaker 1: headed west to manifest his own destiny. Once there, he 128 00:08:35,000 --> 00:08:38,240 Speaker 1: teamed with Rock and Marvin Dooney Baby Selman to form 129 00:08:38,320 --> 00:08:42,000 Speaker 1: the group Cosmic Slop Shop and released an album called 130 00:08:42,320 --> 00:08:45,839 Speaker 1: The Family. The record failed to set the charts on fire, 131 00:08:45,920 --> 00:08:48,720 Speaker 1: but it didn't really matter. Big Lurch was now in 132 00:08:48,760 --> 00:08:52,040 Speaker 1: the game in the hip hop game in the late nineties, 133 00:08:52,320 --> 00:08:55,320 Speaker 1: was going through a bit of an identity crisis. Tupac 134 00:08:55,440 --> 00:08:58,320 Speaker 1: was dead, so was Biggie sug Knight was in jail. 135 00:08:58,800 --> 00:09:01,720 Speaker 1: Gangster rap as a geen seemed to be waning in 136 00:09:01,720 --> 00:09:05,400 Speaker 1: influence over mainstream America, and a young white kid from 137 00:09:05,440 --> 00:09:09,199 Speaker 1: Detroit had cornered the market on the charts, selling four 138 00:09:09,240 --> 00:09:13,000 Speaker 1: million copies of his Doctor dre produced debut album, The 139 00:09:13,080 --> 00:09:17,839 Speaker 1: Slim Shady LP. Eminem had captured the minds of American 140 00:09:17,880 --> 00:09:21,319 Speaker 1: youth with his new and different brand of over the top, 141 00:09:21,720 --> 00:09:26,560 Speaker 1: violent and misogynistic lyrics. This wasn't drive by some big asses. 142 00:09:26,840 --> 00:09:29,240 Speaker 1: This was fuck you, bitch, I'm gonna cut you up 143 00:09:29,240 --> 00:09:32,840 Speaker 1: and bury you so you can't see our kid. Incredibly 144 00:09:32,920 --> 00:09:37,760 Speaker 1: dark stuff and incredibly personal. Eminem's lyrics for Kim, where 145 00:09:37,760 --> 00:09:41,080 Speaker 1: he details the murder of his estranged wife in the 146 00:09:41,120 --> 00:09:44,240 Speaker 1: first person, or his lyrics for Bonnie and Clyde or 147 00:09:44,320 --> 00:09:46,520 Speaker 1: he takes a drive with his daughter to bury her 148 00:09:46,520 --> 00:09:49,800 Speaker 1: mom's body, were both examples of just how far a 149 00:09:49,880 --> 00:09:52,199 Speaker 1: hip hop had come from dealing dope on the corner. 150 00:09:52,960 --> 00:09:55,880 Speaker 1: And this was no longer street trade. This was cinematic. 151 00:09:56,120 --> 00:10:00,960 Speaker 1: This was personal and way dark, almost novelistic in a way. 152 00:10:01,040 --> 00:10:03,560 Speaker 1: Eminem's lyrics had more to do with Stephen kingbooks than 153 00:10:03,640 --> 00:10:08,280 Speaker 1: Nate dog hooks. Eminem's whole unique approach caught the attention 154 00:10:08,400 --> 00:10:10,880 Speaker 1: of not only the record buying public, but of course 155 00:10:11,320 --> 00:10:15,800 Speaker 1: of the music industry and enterprising producers and record label heads. 156 00:10:16,120 --> 00:10:18,840 Speaker 1: And this new style that Eminem was messing with was 157 00:10:18,880 --> 00:10:22,959 Speaker 1: called horror core. It had its roots in mainstream eighties 158 00:10:23,080 --> 00:10:26,600 Speaker 1: rap with djjse Jeff and the Fresh Princess A Nightmare 159 00:10:26,640 --> 00:10:29,640 Speaker 1: on My Street and was later refined by Cool Keith 160 00:10:29,679 --> 00:10:32,280 Speaker 1: and then the Ghetto Boys, and by the mid nineties, 161 00:10:32,280 --> 00:10:35,280 Speaker 1: the hip hop group the Flatliners would bring the genre 162 00:10:35,360 --> 00:10:39,400 Speaker 1: to greater prominence, along with Detroit hip hop duo Insane 163 00:10:39,400 --> 00:10:43,520 Speaker 1: Clown Posse, who no doubt had some influence on Eminem 164 00:10:43,600 --> 00:10:47,920 Speaker 1: despite their very public beef. So by the year two thousand, 165 00:10:48,200 --> 00:10:51,120 Speaker 1: horror core was a thing, and Big Lurch was listening. 166 00:10:51,720 --> 00:10:53,720 Speaker 1: That is, he was listening when he wasn't tripping out 167 00:10:53,720 --> 00:10:58,520 Speaker 1: on sherm also known as PCP and smoking formaldehyde. We'll 168 00:10:58,520 --> 00:11:14,640 Speaker 1: be right back this word word word. Lurch sat in 169 00:11:14,679 --> 00:11:17,600 Speaker 1: the studio and took in the sounds around him, banging. 170 00:11:18,280 --> 00:11:21,559 Speaker 1: These West Coast dudes knew what was up. The producer 171 00:11:21,920 --> 00:11:25,800 Speaker 1: Roger Troutman, Junior, son of legendary funk musician and founder 172 00:11:25,800 --> 00:11:29,600 Speaker 1: of Zapp, Roger Troutman Senior, who was dialing Lurch into 173 00:11:29,600 --> 00:11:33,920 Speaker 1: what he was going for musically. Lurch could feel it. Musically, 174 00:11:34,200 --> 00:11:37,360 Speaker 1: These California dudes had that West Coast five and seventies 175 00:11:37,400 --> 00:11:41,880 Speaker 1: funk influence on Locke, Zapp, the Brothers Johnson, Charles Wright, 176 00:11:41,920 --> 00:11:44,120 Speaker 1: and the Wats, one hundred and third Street rhythm band 177 00:11:44,320 --> 00:11:47,520 Speaker 1: shoogy Otis. Even the fucking Doobie Brothers sounded good coming 178 00:11:47,520 --> 00:11:50,680 Speaker 1: out of Troutman and speakers, which Doobi u B Lurch 179 00:11:50,720 --> 00:11:57,120 Speaker 1: wondered an existential question to be answered another time. Lurch 180 00:11:57,200 --> 00:11:59,480 Speaker 1: was into it all, but his mind was wandering to 181 00:11:59,559 --> 00:12:03,120 Speaker 1: a dark place. He had rented and watched Silence of 182 00:12:03,160 --> 00:12:05,720 Speaker 1: the Lambs over the weekend, and Lurch couldn't get the 183 00:12:05,760 --> 00:12:09,400 Speaker 1: movie out of his head. Hannibal, the Cannibal and what 184 00:12:09,480 --> 00:12:15,520 Speaker 1: a sick fuck imagine that eating another person. Just then, 185 00:12:15,600 --> 00:12:18,560 Speaker 1: the vibe in the studio changed. It went from West 186 00:12:18,640 --> 00:12:21,440 Speaker 1: Coast party to backstreet ominous and the time it took 187 00:12:21,520 --> 00:12:24,040 Speaker 1: war to take the Cisco Kid to the breakdown and 188 00:12:24,080 --> 00:12:27,960 Speaker 1: back again to the chorus blasting out through the studio speakers. 189 00:12:28,480 --> 00:12:30,880 Speaker 1: But had the vibe actually changed or was Lurch just 190 00:12:30,920 --> 00:12:36,199 Speaker 1: being paranoid. Some roughnecks entered the control room wearing blue crips. 191 00:12:36,960 --> 00:12:39,000 Speaker 1: Lurch rode with the bloods back in Big d and 192 00:12:39,000 --> 00:12:42,080 Speaker 1: repped red up in Oakland. The crips freaked him out. 193 00:12:42,920 --> 00:12:44,880 Speaker 1: Lurch didn't know if they were vibing him or if 194 00:12:44,880 --> 00:12:47,920 Speaker 1: the weed he was smoking had him paranoid. Either way, 195 00:12:48,400 --> 00:12:52,959 Speaker 1: shit was bad to bust the vibe. Lurch bounced out 196 00:12:52,960 --> 00:12:55,080 Speaker 1: of his seat and told Troutman to get the track ready. 197 00:12:55,480 --> 00:12:57,480 Speaker 1: He then headed into the vocal booths to jump on 198 00:12:57,520 --> 00:13:00,720 Speaker 1: the mic. The track playing back and who his phones 199 00:13:00,800 --> 00:13:04,920 Speaker 1: was hot, low, thirty, mean, but funky at the same 200 00:13:04,960 --> 00:13:09,400 Speaker 1: time quintessential g funk. Troutman knew what he was doing 201 00:13:10,040 --> 00:13:12,280 Speaker 1: when it came to putting a track together anyways, but 202 00:13:12,360 --> 00:13:14,640 Speaker 1: Lurch wasn't into the lyrics. Troutman and the scogled out 203 00:13:15,200 --> 00:13:19,120 Speaker 1: the hook, consisting of trite West Coast shoutouts, ghetto whistles 204 00:13:19,120 --> 00:13:22,040 Speaker 1: and good times, shorties on the block and steady passes, 205 00:13:22,400 --> 00:13:26,559 Speaker 1: big bouncing grills and bigger bouncing asses. Lurch wasn't buying 206 00:13:26,600 --> 00:13:29,520 Speaker 1: it and dropped the lyric sheet to the ground, and 207 00:13:29,559 --> 00:13:32,840 Speaker 1: when his qu came freestyled into the mic lines about 208 00:13:32,880 --> 00:13:36,679 Speaker 1: being a vampire and wielding a syringe with battery acid. 209 00:13:38,120 --> 00:13:41,600 Speaker 1: The fuck was this? Troutman looked at his engineer. His 210 00:13:41,720 --> 00:13:45,680 Speaker 1: engineer shrugged. Troutman stopped the tape, pushed the talkback button 211 00:13:45,720 --> 00:13:47,880 Speaker 1: on the board, and instructed Lurch to take it again, 212 00:13:47,960 --> 00:13:50,360 Speaker 1: but from the top, and this time to give him 213 00:13:50,400 --> 00:13:53,200 Speaker 1: a little intro vocal riff. He then rebounded the two 214 00:13:53,280 --> 00:13:55,959 Speaker 1: inch on the reeled real and hit record. The track 215 00:13:56,120 --> 00:14:01,000 Speaker 1: washed over Lurch in the booth. He closed eyes, thought 216 00:14:01,040 --> 00:14:04,440 Speaker 1: once again of Hannibal Lecter. His queue came and he 217 00:14:04,520 --> 00:14:08,959 Speaker 1: spat out murderous lines at name check Jason Vorhees, Freddy Krueger, 218 00:14:09,320 --> 00:14:14,040 Speaker 1: Charles Manson, and Jeffrey Dahmer. Seriously, just exactly what the 219 00:14:14,080 --> 00:14:18,200 Speaker 1: fuck was this? Troutman had no idea Lurch was one 220 00:14:18,320 --> 00:14:21,400 Speaker 1: sick bastard. He let the tape roll and grabbed all 221 00:14:21,440 --> 00:14:23,680 Speaker 1: the madness he could out of this big Texas boy 222 00:14:23,760 --> 00:14:26,760 Speaker 1: with the horror flick tongue and scary as hell baritone. 223 00:14:28,200 --> 00:14:30,480 Speaker 1: When he was done rhyming, Lurch headed back into the 224 00:14:30,520 --> 00:14:32,680 Speaker 1: control room and shot a look to the roughnecks and 225 00:14:32,720 --> 00:14:35,640 Speaker 1: blew that said be careful who you fuck with? I'm 226 00:14:35,680 --> 00:14:38,600 Speaker 1: six foot fucking seven and on some other trip entirely 227 00:14:39,320 --> 00:14:42,720 Speaker 1: Lurch bounced. He had a plane to catch back to Texas. 228 00:14:46,560 --> 00:14:48,440 Speaker 1: Big Lurch was back in the Big d for his 229 00:14:48,480 --> 00:14:51,800 Speaker 1: grandmother's funeral, high on chronic and behind the wheel of 230 00:14:51,800 --> 00:14:55,560 Speaker 1: his mother's dusty shipbox. Watching the road was a distraction 231 00:14:55,680 --> 00:14:57,760 Speaker 1: because Lurch didn't want to take his eyes off his 232 00:14:57,920 --> 00:15:02,800 Speaker 1: chick in the passenger seat. Those thighs, those bright red 233 00:15:02,840 --> 00:15:05,760 Speaker 1: bike shorts would come off quick, he thought they had to. 234 00:15:06,520 --> 00:15:09,360 Speaker 1: She was fine, she reminded, lerg to the big chick 235 00:15:09,400 --> 00:15:12,600 Speaker 1: from Salt and Peppa. Was it Peppa or AsSalt? Lurch 236 00:15:12,640 --> 00:15:15,320 Speaker 1: could never keep them straight. Spinderella was where it was 237 00:15:15,360 --> 00:15:18,280 Speaker 1: at anyway. But right now, whipping around the back streets 238 00:15:18,280 --> 00:15:21,320 Speaker 1: of the East Dallas projects, little miss off brand Peppa 239 00:15:21,360 --> 00:15:24,000 Speaker 1: would do because he could tell that she wanted him 240 00:15:24,040 --> 00:15:27,000 Speaker 1: as badly as he wanted her. He needed to keep 241 00:15:27,000 --> 00:15:30,000 Speaker 1: his eyes on the road, but couldn't. The weed made 242 00:15:30,080 --> 00:15:32,120 Speaker 1: him horny as fuck, and he'd been wanting to get 243 00:15:32,160 --> 00:15:34,840 Speaker 1: with his chick as soon as he saw now in 244 00:15:34,880 --> 00:15:38,080 Speaker 1: his mom's car, barreling around corners at a fifty mile 245 00:15:38,120 --> 00:15:40,440 Speaker 1: per hour clip through a twenty five mile per hour 246 00:15:40,480 --> 00:15:45,160 Speaker 1: residential neighborhood. Lurch could care less about maneuvering the shipbox. 247 00:15:45,880 --> 00:15:49,680 Speaker 1: He wanted to maneuver himself onto and into the young 248 00:15:49,840 --> 00:15:52,000 Speaker 1: aspiring R and b chicks sitting in the car. And 249 00:15:52,040 --> 00:15:54,800 Speaker 1: it was right and it would be sweet. He thought 250 00:15:55,560 --> 00:15:59,760 Speaker 1: he could picture her naked, the caramel skin, those. 251 00:15:59,560 --> 00:16:55,520 Speaker 2: Thighs, that hair, big assign. 252 00:16:29,040 --> 00:16:38,880 Speaker 1: Speaking to us, Skinny hind sometimes were lad a t 253 00:16:40,320 --> 00:16:44,760 Speaker 1: when the fox, here's grass comes around a lot to 254 00:16:44,840 --> 00:16:50,000 Speaker 1: help I ate his literally, Baba, but this is a 255 00:16:50,080 --> 00:16:54,560 Speaker 1: nice Big Lurch was spinning. His head hurt, his neck 256 00:16:54,760 --> 00:16:59,000 Speaker 1: kilt car accident was no joke. His broken neck meant 257 00:16:59,120 --> 00:17:03,720 Speaker 1: intense pain. PCP helped dull it. Sherm made the dreams 258 00:17:03,800 --> 00:17:08,160 Speaker 1: wild silence of the lambs, kianti and fava beans, big 259 00:17:08,320 --> 00:17:11,920 Speaker 1: bouncing grills and big bouncing asses. The coma was one 260 00:17:12,000 --> 00:17:15,399 Speaker 1: long trip, and when he awoke after the accident, the 261 00:17:15,520 --> 00:17:19,240 Speaker 1: world was one big dream state. Big Lurch moved through 262 00:17:19,320 --> 00:17:22,320 Speaker 1: it with caution and amusement. The fuck was going on? 263 00:17:23,160 --> 00:17:26,680 Speaker 1: Was he alive? Dead? Where was his hunger coming from? 264 00:17:27,480 --> 00:17:30,800 Speaker 1: He kept himself high all the time. The PCP bent 265 00:17:30,880 --> 00:17:33,360 Speaker 1: the world to his will the shirm pushed the pain 266 00:17:33,440 --> 00:17:35,119 Speaker 1: to the back of his brain and brought a new 267 00:17:35,160 --> 00:17:40,760 Speaker 1: world into focus. He thought about his rhymes, He thought 268 00:17:40,760 --> 00:17:43,359 Speaker 1: about those g funk beats, He thought about big d 269 00:17:44,200 --> 00:17:45,920 Speaker 1: What happened to the girl he was riding with? And 270 00:17:45,960 --> 00:17:49,119 Speaker 1: where was she? Where was he? The room stank like 271 00:17:49,240 --> 00:17:52,000 Speaker 1: wet dope and dried dog food, and the pit bull 272 00:17:52,160 --> 00:17:55,159 Speaker 1: was a nuisance. What's happening on in the background of 273 00:17:55,200 --> 00:17:59,000 Speaker 1: the TV all the time? The dog though, always barking, 274 00:17:59,080 --> 00:18:02,240 Speaker 1: shitting all over the place? Where is that costs Europe? 275 00:18:02,520 --> 00:18:06,399 Speaker 1: No formaldehyde, nothing of what them cigarettes with. Let's dip 276 00:18:06,480 --> 00:18:08,280 Speaker 1: them in a night quote. Let's trip the fuck out, 277 00:18:08,359 --> 00:18:10,920 Speaker 1: Let's forget the pain. Let's ride this out on twenty 278 00:18:10,960 --> 00:18:15,320 Speaker 1: four inch golddes slow, raise the hydraulics, bounce that base 279 00:18:15,560 --> 00:18:18,959 Speaker 1: those spandex bike shorts. Believe in that big ass, believe 280 00:18:19,000 --> 00:18:21,640 Speaker 1: in that big beat. The tragedy is not to die, 281 00:18:21,760 --> 00:18:25,080 Speaker 1: but to be wasted. Where's the fun in dying? A 282 00:18:25,200 --> 00:18:28,320 Speaker 1: man's gonna eat and give me that pipe again. Who's 283 00:18:28,359 --> 00:18:32,600 Speaker 1: that knocking? What's happening? I'm wearing red? Motherfucker fuck off? 284 00:18:32,960 --> 00:18:35,200 Speaker 1: You don't know who you're fucking with. Quid pro quote 285 00:18:35,320 --> 00:18:37,720 Speaker 1: my ass. Shut that dog up. I'll eat a bitch 286 00:18:37,800 --> 00:18:41,120 Speaker 1: before I fuck her in those shorts. Where's that goddamn lighter. 287 00:18:41,640 --> 00:18:43,639 Speaker 1: Ain't nothing in the world in my stomach right now. 288 00:18:43,880 --> 00:18:46,600 Speaker 1: And this ain't no disco, this ain't no fucking around 289 00:18:46,840 --> 00:18:49,800 Speaker 1: No he be gb you hear that. It's the devil. 290 00:18:50,200 --> 00:18:53,000 Speaker 1: Fuck off, Clarice, He's coming for you. I told you 291 00:18:53,359 --> 00:18:56,119 Speaker 1: this is it world gonna end. I'm riding out on 292 00:18:56,200 --> 00:18:59,520 Speaker 1: twenty four inches fourteen carrot six seven. Where the fuck 293 00:18:59,520 --> 00:19:03,119 Speaker 1: are you going, Clarice? The devil. Don't answer that or 294 00:19:03,200 --> 00:19:07,000 Speaker 1: he's myers Dommer. They shine my fucking shoes. Who are you? 295 00:19:07,640 --> 00:19:10,080 Speaker 1: You're gonna end this world? You're gonna take me out, 296 00:19:10,160 --> 00:19:13,639 Speaker 1: you blue devil. Motherfucker. Shut up when I'm talking to you, 297 00:19:14,000 --> 00:19:17,359 Speaker 1: and shut that fucking dog up. Woman. I swear to God, 298 00:19:18,000 --> 00:19:24,880 Speaker 1: sh hear that. I heard that. Tell me you didn't 299 00:19:24,920 --> 00:19:27,800 Speaker 1: fucking hear that one more time, one more fucking time, 300 00:19:27,840 --> 00:19:30,640 Speaker 1: and I swear to God. I swear to God, I'll 301 00:19:30,680 --> 00:19:33,800 Speaker 1: cut your fucking head off. Say it, say it, don't 302 00:19:33,880 --> 00:19:40,960 Speaker 1: you fucking say it? Big Lurch lost his mind. The 303 00:19:41,080 --> 00:19:44,400 Speaker 1: PCP was in control now. His eyes were like black 304 00:19:44,480 --> 00:19:48,399 Speaker 1: marbles bacont. His roommate was twenty one, stoned herself and 305 00:19:48,520 --> 00:19:52,639 Speaker 1: fucking petrified, and rightly so. Lurch was hovering above her, 306 00:19:53,000 --> 00:19:55,960 Speaker 1: an intimidating figure at almost seven feet tall, and she 307 00:19:56,040 --> 00:19:58,080 Speaker 1: didn't know what she'd done wrong or why Lurch was 308 00:19:58,160 --> 00:20:00,440 Speaker 1: so angry, and what in the hell he was ranting 309 00:20:00,520 --> 00:20:04,200 Speaker 1: about blue devils, the world ending big asses, and who 310 00:20:04,280 --> 00:20:06,680 Speaker 1: the hell was this Clarisse and what has she done 311 00:20:06,720 --> 00:20:10,199 Speaker 1: that had him so amped up? Lurch pulled her up 312 00:20:10,240 --> 00:20:12,000 Speaker 1: to her feet and got down on his knees. He 313 00:20:12,119 --> 00:20:14,399 Speaker 1: pulled her shirt up, exposing her navel, and pushed his 314 00:20:14,520 --> 00:20:17,000 Speaker 1: face to a half inch from her stomach skin. He 315 00:20:17,160 --> 00:20:19,439 Speaker 1: stared into her belly intently and yelled, I. 316 00:20:19,600 --> 00:20:20,480 Speaker 2: Know you're in there. 317 00:20:20,800 --> 00:20:25,680 Speaker 1: Your mother. Fuck the roommate. She was frozen in fear. 318 00:20:26,400 --> 00:20:29,560 Speaker 1: Her pipple chained to the bed, barked madly in the background. 319 00:20:30,440 --> 00:20:32,920 Speaker 1: Lurch stayed still on his knees and slowly arched his 320 00:20:33,040 --> 00:20:35,960 Speaker 1: head to his shoulder while continuing to stare into her belly, 321 00:20:36,359 --> 00:20:39,680 Speaker 1: looking for god knows what. His face screwed itself into 322 00:20:39,720 --> 00:20:43,320 Speaker 1: a look of amusement and then frustration. Come out of there, 323 00:20:43,720 --> 00:20:50,760 Speaker 1: come out, Come out of there, come out, fucking come out. 324 00:20:52,880 --> 00:20:55,399 Speaker 1: When nothing happened, he jumped to his feet and grabbed 325 00:20:55,400 --> 00:20:57,639 Speaker 1: her by the hair with his large mit He pulled her, 326 00:20:57,720 --> 00:21:00,560 Speaker 1: kicking and screaming, past the chain and barking pipple, and 327 00:21:00,640 --> 00:21:02,800 Speaker 1: into the kitchen. He threw her to the floor, where 328 00:21:02,840 --> 00:21:05,760 Speaker 1: she landed with a violent thud, her head bouncing off 329 00:21:05,760 --> 00:21:08,240 Speaker 1: of the linoleum. Lurch grabbed the paring knife off of 330 00:21:08,280 --> 00:21:10,159 Speaker 1: the cutting board in the counter and bounced down on 331 00:21:10,320 --> 00:21:12,879 Speaker 1: top of his rattled roommate, straddling her in place on 332 00:21:12,960 --> 00:21:15,680 Speaker 1: her back. She screamed and tried fighting him off, but 333 00:21:15,800 --> 00:21:17,719 Speaker 1: he was too big a man. He grabbed her neck 334 00:21:17,800 --> 00:21:20,560 Speaker 1: with his hand and squeezed. Looked again to her stomach 335 00:21:20,640 --> 00:21:23,960 Speaker 1: and screamed, I know you're in there. Come the fuck out, 336 00:21:24,200 --> 00:21:27,320 Speaker 1: or I'm coming in. She kicked violently, but it made 337 00:21:27,400 --> 00:21:30,520 Speaker 1: no difference. Lerchi's hand was now firmly around her throat, 338 00:21:30,680 --> 00:21:33,520 Speaker 1: cutting off her air supply. He moved the paring knife 339 00:21:33,720 --> 00:21:37,800 Speaker 1: in his right hand slowly to her stomach and applied pressure. 340 00:21:38,560 --> 00:21:43,639 Speaker 1: The blade entered with ease. Lurch sliced clockwise slowly. She 341 00:21:43,920 --> 00:21:47,080 Speaker 1: screamed in horror. Lurch squeezed her throat as hard as 342 00:21:47,160 --> 00:21:49,480 Speaker 1: he could with one hand, while continuing to move the 343 00:21:49,560 --> 00:21:52,080 Speaker 1: knife in a large circle around with his other and 344 00:21:52,320 --> 00:21:55,960 Speaker 1: into his roommate's supple stomach skin. Her body began to 345 00:21:56,000 --> 00:21:58,760 Speaker 1: go limp beneath him. The kick slowed, and her legs 346 00:21:58,840 --> 00:22:02,840 Speaker 1: fell flat. Feet twisched a bit, and her screams completely stopped. 347 00:22:03,760 --> 00:22:05,920 Speaker 1: She was either gone or had passed out. In fear 348 00:22:06,000 --> 00:22:09,960 Speaker 1: and in shocked lurch, thrust his hand into her gutted 349 00:22:09,960 --> 00:22:12,920 Speaker 1: belly and felt around for the devil. He then tore 350 00:22:13,000 --> 00:22:17,560 Speaker 1: into the rest of her torso violently, removing flesh, organs, bones, 351 00:22:17,760 --> 00:22:20,200 Speaker 1: whatever he could in search of the devil. He feared no, 352 00:22:20,320 --> 00:22:22,720 Speaker 1: the devil he knew was hiding in her belly and 353 00:22:22,800 --> 00:22:26,000 Speaker 1: had been sent there to destroy the world. His hunger 354 00:22:26,119 --> 00:22:28,720 Speaker 1: now raged inside of him. It had been days since 355 00:22:28,760 --> 00:22:31,480 Speaker 1: he'd eaten anything, and he reached up into her chest 356 00:22:31,520 --> 00:22:34,480 Speaker 1: cavity in search of her heart, but grabbed a lung instead. 357 00:22:34,960 --> 00:22:37,520 Speaker 1: He pulled hard, freeing it from his roommates in her 358 00:22:37,640 --> 00:22:40,760 Speaker 1: chest and mashing it into his mouth. He bit down, 359 00:22:41,320 --> 00:22:46,080 Speaker 1: devouring bits of the organ with total inhumanity. The piple 360 00:22:46,119 --> 00:22:49,440 Speaker 1: had stopped barking now it just looked on in horror. 361 00:22:51,960 --> 00:22:54,320 Speaker 1: Lurch stood up and looked down at the blood, completely 362 00:22:54,480 --> 00:22:56,840 Speaker 1: covering his hands and arms up to his elbows, and 363 00:22:56,920 --> 00:23:00,000 Speaker 1: splattered all over his clothes. He stripped with one hand 364 00:23:00,080 --> 00:23:02,640 Speaker 1: hand while holding tight to his roommates, half eaten lung 365 00:23:02,680 --> 00:23:06,280 Speaker 1: in his other. The devil, he thought, the devil. If 366 00:23:06,359 --> 00:23:08,960 Speaker 1: it wasn't in her, then where was it. Scared to 367 00:23:09,119 --> 00:23:12,119 Speaker 1: death and totally naked, blood on his face, arms and 368 00:23:12,240 --> 00:23:15,359 Speaker 1: chest and mouth, Big Lurch, all six feet seven inches 369 00:23:15,400 --> 00:23:17,879 Speaker 1: of him, took off out of his apartment and bounded 370 00:23:17,960 --> 00:23:21,280 Speaker 1: out to the street. He began frantically walking down Figaro, 371 00:23:21,600 --> 00:23:23,639 Speaker 1: his head on a swivel, in search of the devil 372 00:23:23,680 --> 00:23:26,240 Speaker 1: that he was convinced was sent there to destroy the world, 373 00:23:27,040 --> 00:23:29,160 Speaker 1: a plot that only he knew about and that only 374 00:23:29,240 --> 00:23:32,520 Speaker 1: he could foil. He moved and fits and starts, peering 375 00:23:32,640 --> 00:23:36,040 Speaker 1: under cars and around street corners. Onlookers couldn't believe what 376 00:23:36,160 --> 00:23:39,360 Speaker 1: they were seeing, a blood covered six foot seven madman, 377 00:23:39,480 --> 00:23:42,639 Speaker 1: shoeing feverishly on something, wandering down the street naked. At 378 00:23:42,640 --> 00:23:47,160 Speaker 1: two o'clock in the afternoon, when Big Lurch heard the silence, 379 00:23:47,200 --> 00:23:51,480 Speaker 1: he was relieved, Finally some backup. He thought the officers 380 00:23:51,480 --> 00:23:54,560 Speaker 1: were only semi shocked, and this was Los Angeles after all. 381 00:23:54,840 --> 00:23:57,320 Speaker 1: But by the time they embraced Lurch, they began to 382 00:23:57,400 --> 00:24:01,080 Speaker 1: sense that this wasn't any ordinary arrest. All Lurch could 383 00:24:01,119 --> 00:24:04,520 Speaker 1: think of was the dog back in the apartment, barking cops, 384 00:24:04,920 --> 00:24:08,040 Speaker 1: nothing but dogs themselves, Lurch thoughts, so he growled back 385 00:24:08,119 --> 00:24:12,600 Speaker 1: and began howling. He was cuffed, taken into custody, and jailed. 386 00:24:14,000 --> 00:24:16,840 Speaker 1: When he awoke behind bars two weeks later, he was 387 00:24:16,920 --> 00:24:19,240 Speaker 1: informed that he was being held on a murder charge, 388 00:24:19,560 --> 00:24:23,000 Speaker 1: and that while he'd been jailed, a medical examination had 389 00:24:23,040 --> 00:24:27,400 Speaker 1: revealed human flesh in his own stomach. Authorities had found 390 00:24:27,440 --> 00:24:31,800 Speaker 1: bits of his roommates Lung, Big Lurch and Tron Singleton 391 00:24:32,320 --> 00:24:35,520 Speaker 1: was woken from a two week PCP induced coma to 392 00:24:35,640 --> 00:24:38,280 Speaker 1: learn that not only was he a murderer, but he 393 00:24:38,400 --> 00:24:42,359 Speaker 1: was also a cannibal. Big Lurch had no recollection of 394 00:24:42,520 --> 00:24:46,320 Speaker 1: any of this. His attorney, Milton Grimes, the former Rodney 395 00:24:46,400 --> 00:24:48,840 Speaker 1: King attorney and also the owner of the record label 396 00:24:49,040 --> 00:24:52,600 Speaker 1: stress Free Records that was set to release Big Lurch's album, 397 00:24:52,880 --> 00:24:56,520 Speaker 1: The puppet Master, claimed that his client was innocent. He 398 00:24:56,760 --> 00:24:59,119 Speaker 1: wasn't a killer, He was a mixed up kid who 399 00:24:59,200 --> 00:25:02,200 Speaker 1: got caught up and drugs and couldn't possibly be responsible 400 00:25:02,280 --> 00:25:06,480 Speaker 1: for his behavior. Lurch was of unsound mind and insane 401 00:25:07,000 --> 00:25:11,280 Speaker 1: in a psychotic state from PCP. The defense fell far 402 00:25:11,440 --> 00:25:14,320 Speaker 1: short of being effective in court, and Big Lurch was 403 00:25:14,400 --> 00:25:17,640 Speaker 1: sentenced to two life sentences in New Folsome Prison from 404 00:25:17,760 --> 00:25:23,720 Speaker 1: murder and aggravated mayhem. After his conviction, Milton Grimes, his attorney, 405 00:25:23,960 --> 00:25:26,360 Speaker 1: and the owner of his record label, changed the name 406 00:25:26,400 --> 00:25:29,600 Speaker 1: of Big Lurch's debut album without his permission from the 407 00:25:29,640 --> 00:25:37,560 Speaker 1: puppet master. It's all bad, opportunistic, exploitative both Either way, 408 00:25:37,680 --> 00:25:41,359 Speaker 1: he was right the story of Big Lurch, It's All Bad. 409 00:25:42,280 --> 00:25:57,760 Speaker 1: I'm Jake Brennan and miss this Disgraceland. Disgraceland was created 410 00:25:57,800 --> 00:26:00,879 Speaker 1: by Yours Truly and is produced in partnership Double Elvis 411 00:26:01,280 --> 00:26:03,520 Speaker 1: credits for this episode can be found on the show 412 00:26:03,560 --> 00:26:07,320 Speaker 1: notes page at disgracelampod dot com. 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