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 --> 00:00:06,640 Speaker 1: just to touch to get you through. 3 00:00:07,400 --> 00:00:08,039 Speaker 2: Yeah me too. 4 00:00:08,760 --> 00:00:12,000 Speaker 1: This is the podcast that comes after the podcast. Welcome 5 00:00:12,000 --> 00:00:30,440 Speaker 1: to Disgraceland, the after party. Welcome to the Disgraceland bonus episode, 6 00:00:30,520 --> 00:00:33,120 Speaker 1: a little thing we like to call the after party. 7 00:00:33,360 --> 00:00:35,480 Speaker 1: This is the show after the show, the party after 8 00:00:35,520 --> 00:00:37,120 Speaker 1: the party. The bridge to get you from one full 9 00:00:37,159 --> 00:00:40,400 Speaker 1: episode or Disgraceland to the other. The backyard to dig 10 00:00:40,479 --> 00:00:43,680 Speaker 1: into the dirt, our mission to uncover the truth, to 11 00:00:43,680 --> 00:00:47,320 Speaker 1: confront the myths, to reclaim the story. On this bonus episode, 12 00:00:47,520 --> 00:00:50,400 Speaker 1: we're talking about this week's full episode subject in part 13 00:00:50,440 --> 00:00:53,000 Speaker 1: two of our run DMC story getting into a jam 14 00:00:53,040 --> 00:00:57,000 Speaker 1: Master Jay. Here we're rewinding back to our Britney Spears episodes, 15 00:00:57,200 --> 00:01:00,640 Speaker 1: previewing our upcoming episode on the Temptations and the suspicious 16 00:01:00,680 --> 00:01:03,920 Speaker 1: death of Tammy Rurell, and we get into your voicemails, text, dms, 17 00:01:03,960 --> 00:01:06,679 Speaker 1: and as always a whole lot of rosie. This is 18 00:01:06,720 --> 00:01:10,160 Speaker 1: the podcast for the musically obsessed, the outsiders, the independent 19 00:01:10,200 --> 00:01:12,839 Speaker 1: diggers who know that the best history is the history 20 00:01:12,880 --> 00:01:15,200 Speaker 1: that gets buried. Disgrace Land is where I tell the 21 00:01:15,200 --> 00:01:17,319 Speaker 1: stories they didn't want told the kind you'll end up 22 00:01:17,360 --> 00:01:20,280 Speaker 1: telling to someone else. All right, disc goes, Let's get 23 00:01:20,640 --> 00:01:32,920 Speaker 1: into it. So I went to grade school in the 24 00:01:33,000 --> 00:01:35,720 Speaker 1: nineteen eighties. My high school career started in the late 25 00:01:35,720 --> 00:01:38,039 Speaker 1: eighties and ended in the early nineties. I went to 26 00:01:38,080 --> 00:01:40,880 Speaker 1: college in the nineties as well. So I'm kind of 27 00:01:40,959 --> 00:01:44,680 Speaker 1: I'm both an eighties and a nineties kid. These are 28 00:01:45,400 --> 00:01:48,280 Speaker 1: two different things. Anyone who grew up when I did, 29 00:01:48,360 --> 00:01:51,800 Speaker 1: Anyone who is gen X knows this. The eighties were 30 00:01:51,880 --> 00:01:54,480 Speaker 1: vastly different from the nineties. We went from simple minds 31 00:01:54,520 --> 00:01:58,360 Speaker 1: to oh well, whatever, never mind, from from Dayglow to flannel, 32 00:01:58,400 --> 00:02:02,200 Speaker 1: from Clever raps by sitcom dads to drive by shootings, 33 00:02:02,200 --> 00:02:05,360 Speaker 1: from pretty in Pink to pulp fiction, from Bill Cosby 34 00:02:05,400 --> 00:02:08,200 Speaker 1: to Jerry Seinfeld, from Less than Zero to High Fidelity. 35 00:02:08,240 --> 00:02:09,800 Speaker 1: And I'm just talking about the books there, not the 36 00:02:09,800 --> 00:02:13,720 Speaker 1: movies lesson Zero book to the High Fidelity book. Now, 37 00:02:13,919 --> 00:02:18,519 Speaker 1: the fashion, the music, the films, the books, the television. 38 00:02:19,040 --> 00:02:24,760 Speaker 1: The drove culture defined culture, literally changed how we looked, 39 00:02:24,800 --> 00:02:26,400 Speaker 1: how we talked, how we thought. 40 00:02:27,160 --> 00:02:27,799 Speaker 2: Think about what. 41 00:02:27,760 --> 00:02:31,240 Speaker 1: The eighties looked like and sounded like compared to what 42 00:02:31,280 --> 00:02:34,240 Speaker 1: things looked and sounded like in the nineties, it was 43 00:02:34,240 --> 00:02:37,600 Speaker 1: an entirely different world. And you can run the same 44 00:02:37,639 --> 00:02:42,080 Speaker 1: experiment with the fifties and the sixties, from rockabilly rebel 45 00:02:42,240 --> 00:02:44,760 Speaker 1: James Dean Vibes to the Summer of Love in just 46 00:02:44,840 --> 00:02:48,440 Speaker 1: ten short years. It's wild, wild difference, wild jumping culture. 47 00:02:48,680 --> 00:02:49,799 Speaker 1: And then you can do the same thing from the 48 00:02:49,880 --> 00:02:53,720 Speaker 1: Hippi Dippy Boomers to the punk Nihilis and disco Heedonis. 49 00:02:54,080 --> 00:02:55,960 Speaker 1: You know, if you go from the sixties to the seventies, 50 00:02:56,400 --> 00:02:58,359 Speaker 1: and then from the seventies to the eighties, you've got 51 00:02:58,440 --> 00:03:01,960 Speaker 1: you know, Miami Vice, Neon and Gordon Gecko, Greed and 52 00:03:02,000 --> 00:03:04,600 Speaker 1: Michael Jackson and Madonna, and then like I said, the 53 00:03:04,680 --> 00:03:07,560 Speaker 1: nineties were nothing like the eighties. So you see where 54 00:03:07,560 --> 00:03:10,160 Speaker 1: I'm coming from here. What I'm getting at from the 55 00:03:10,240 --> 00:03:16,680 Speaker 1: nineteen fifties to the nineteen nineties, each decade was wildly 56 00:03:16,720 --> 00:03:19,840 Speaker 1: different than the last. In culture. I grew up in 57 00:03:19,880 --> 00:03:21,600 Speaker 1: a time like most of you did, when there was 58 00:03:21,639 --> 00:03:25,840 Speaker 1: a cultural reset every decade. The art we consumed. It 59 00:03:25,960 --> 00:03:28,400 Speaker 1: caused us, like I said earlier, to look at things differently, 60 00:03:28,639 --> 00:03:32,120 Speaker 1: to think differently, to act differently. And then for some reason, 61 00:03:33,200 --> 00:03:38,000 Speaker 1: all that stopped. Ten years after Nirvana debuted on one 62 00:03:38,040 --> 00:03:40,280 Speaker 1: hundred and twenty minutes, an event that me and my 63 00:03:40,320 --> 00:03:43,360 Speaker 1: friends watched live breathless, like it was our own moon landing. 64 00:03:44,000 --> 00:03:48,200 Speaker 1: Just ten years after that, we got Outcast, we got Pink, 65 00:03:48,680 --> 00:03:52,200 Speaker 1: we got Britney Spears, the rise of commercial hip hop. 66 00:03:52,240 --> 00:03:56,320 Speaker 1: So different, yes, But then what what did we get 67 00:03:56,320 --> 00:03:59,760 Speaker 1: in the next decade? What's so different about two thousand 68 00:04:00,400 --> 00:04:04,200 Speaker 1: from two thousand and one? Not much, especially when you 69 00:04:04,280 --> 00:04:06,960 Speaker 1: compare it to the difference between nineteen ninety one and 70 00:04:07,080 --> 00:04:11,280 Speaker 1: nineteen eighty one, and here in twenty twenty five, it 71 00:04:11,320 --> 00:04:15,360 Speaker 1: doesn't feel all that much different from twenty fifteen. So 72 00:04:15,440 --> 00:04:19,000 Speaker 1: what happened? Why do we have seismic cultural shifts every 73 00:04:19,040 --> 00:04:21,640 Speaker 1: ten years for half a century and now we don't. 74 00:04:22,320 --> 00:04:25,320 Speaker 1: The obvious answer is the Internet, but that's only part 75 00:04:25,320 --> 00:04:29,080 Speaker 1: of it. Sure, the Internet killed the monoculture. Okay. We 76 00:04:29,160 --> 00:04:32,719 Speaker 1: all consume our content in these little, neat and tidy, 77 00:04:32,800 --> 00:04:35,920 Speaker 1: niche communities like this one, and in many ways, that's great. 78 00:04:36,000 --> 00:04:38,520 Speaker 1: It's how a music and true crime podcast, which is 79 00:04:38,520 --> 00:04:41,080 Speaker 1: its own niche, it's why we can exist and thrive. 80 00:04:41,920 --> 00:04:45,040 Speaker 1: But the downside of this niche ification, if you will, 81 00:04:45,600 --> 00:04:49,559 Speaker 1: is a vast sameness on a big mainstream cultural level. 82 00:04:49,560 --> 00:04:53,159 Speaker 1: We've got this sort of cultural mediocrity. There's a lack 83 00:04:53,200 --> 00:04:56,120 Speaker 1: of risk that you can feel with our artists, and 84 00:04:56,160 --> 00:04:59,600 Speaker 1: it has resulted in this lack of change from decade 85 00:04:59,600 --> 00:05:03,640 Speaker 1: to deck. The real villain here it's not the artists. 86 00:05:04,360 --> 00:05:08,880 Speaker 1: It's not even the Internet. It's corporatization. Okay. After the 87 00:05:08,960 --> 00:05:13,240 Speaker 1: year two thousand, American business hit a new level of maturity, 88 00:05:13,880 --> 00:05:18,640 Speaker 1: especially in the entertainment world. The entertainment business, capitalism became 89 00:05:18,720 --> 00:05:23,680 Speaker 1: more efficient, and with that efficiency came consolidation. Fewer record labels, 90 00:05:23,720 --> 00:05:28,520 Speaker 1: fewer movie studios, fewer gatekeepers with tastes, and more gatekeepers 91 00:05:28,680 --> 00:05:33,080 Speaker 1: with spreadsheets, and that means fewer opportunities for artists. And 92 00:05:33,160 --> 00:05:36,240 Speaker 1: even when artists break through, when they break these gates down, 93 00:05:36,800 --> 00:05:40,400 Speaker 1: they're pressured to keep delivering what works and to not 94 00:05:40,600 --> 00:05:44,640 Speaker 1: take creative risks. What happens when artists stopped taking risks, 95 00:05:44,839 --> 00:05:49,800 Speaker 1: The art suffers, culture suffers, we suffer. This is in 96 00:05:49,880 --> 00:05:53,760 Speaker 1: part why storytelling sort of the theme we've been discussing 97 00:05:53,760 --> 00:05:56,520 Speaker 1: over the last few after parties. This is a big 98 00:05:56,560 --> 00:06:01,120 Speaker 1: reason why storytelling feels so stale while music, film and 99 00:06:01,279 --> 00:06:05,039 Speaker 1: TV feels stuck. We now live in a subscription world. 100 00:06:05,080 --> 00:06:07,320 Speaker 1: We don't live in a broadcast world anymore. We live 101 00:06:07,360 --> 00:06:10,680 Speaker 1: in a subscription world. When people subscribe and they want 102 00:06:10,680 --> 00:06:12,640 Speaker 1: what they signed up for, they want it over and 103 00:06:12,680 --> 00:06:16,039 Speaker 1: over again. So artists double down on what's already working. 104 00:06:16,120 --> 00:06:18,719 Speaker 1: I know, I'm one of them. I get I understand 105 00:06:18,760 --> 00:06:23,120 Speaker 1: exactly how this works. But remember the Beatles didn't ask 106 00:06:23,160 --> 00:06:25,599 Speaker 1: permission to make a day in the life. David Bowie 107 00:06:25,640 --> 00:06:28,920 Speaker 1: didn't ask permission to be David Bowie, and Nirvana didn't 108 00:06:28,960 --> 00:06:32,640 Speaker 1: ask if they could scream their way into oblivion. When's 109 00:06:32,640 --> 00:06:35,400 Speaker 1: the last time we saw anything like that? When's the 110 00:06:35,440 --> 00:06:38,560 Speaker 1: last time we all saw something like that and we 111 00:06:38,560 --> 00:06:43,320 Speaker 1: were all affected by that? Maybe jay Z and Kanye, 112 00:06:43,680 --> 00:06:47,120 Speaker 1: Maybe I just don't. I don't know. I honestly think 113 00:06:47,160 --> 00:06:49,760 Speaker 1: it goes back to Kurt. Some of you are right 114 00:06:49,760 --> 00:06:54,360 Speaker 1: now thinking Taylor Swift obviously massive, success, huge, but her 115 00:06:54,440 --> 00:07:00,000 Speaker 1: influence is something like cultural decoration compared to cultural definition. 116 00:07:00,560 --> 00:07:05,240 Speaker 1: It's not transformative. It doesn't It hasn't turned us collectively 117 00:07:05,279 --> 00:07:08,800 Speaker 1: into something else. I'm not throwing shade Taylor Swift's away, 118 00:07:08,880 --> 00:07:12,800 Speaker 1: but she's not changing how people dress, or how they talk, 119 00:07:13,320 --> 00:07:15,520 Speaker 1: or how they think. The way that Kirk Cobaine did, 120 00:07:15,600 --> 00:07:19,720 Speaker 1: or even how a character like Chandler Bing did. I 121 00:07:19,760 --> 00:07:21,240 Speaker 1: don't know what this means, but I dropped my son 122 00:07:21,280 --> 00:07:24,240 Speaker 1: off at School of Rock camp this morning. Every kid, 123 00:07:24,440 --> 00:07:27,640 Speaker 1: every kid had a nineteen nineties band T shirt on Nirvana, 124 00:07:27,880 --> 00:07:30,960 Speaker 1: Green Day, Pearl Jam in nineteen eighty five. When I 125 00:07:31,000 --> 00:07:33,280 Speaker 1: was my son's age, I wasn't wearing a John Denver 126 00:07:33,360 --> 00:07:36,320 Speaker 1: shirt from nineteen seventy four. Okay, I was wearing Van 127 00:07:36,400 --> 00:07:38,560 Speaker 1: Halen and def Leppard pins on my jean jacket and 128 00:07:38,600 --> 00:07:41,480 Speaker 1: riding my BMX around. I could give a fuck what 129 00:07:41,640 --> 00:07:45,320 Speaker 1: my parents were listening to eleven years prior. Where are 130 00:07:45,360 --> 00:07:49,920 Speaker 1: the Neirvana's for the kids of my son's age? You know, 131 00:07:50,560 --> 00:07:53,760 Speaker 1: what are we doing? What are we doing? And for 132 00:07:53,880 --> 00:07:57,960 Speaker 1: us here in Disgraceland, this isn't just about music. This 133 00:07:58,040 --> 00:08:02,760 Speaker 1: is about storytelling. It's my belief that this increased corporate 134 00:08:03,080 --> 00:08:04,800 Speaker 1: atmosphere that we now live in, whatever you want to 135 00:08:04,840 --> 00:08:08,200 Speaker 1: call it, the increased corporatization, it's gutted the power of 136 00:08:08,280 --> 00:08:12,520 Speaker 1: great culture, defining film and television and just narrative in general, 137 00:08:13,200 --> 00:08:17,280 Speaker 1: not just music. However, and this is the good part. 138 00:08:17,640 --> 00:08:20,400 Speaker 1: There's a solution I'm gonna get to that. I'm gonna 139 00:08:20,440 --> 00:08:22,720 Speaker 1: get to that later in the bonus section of this episode. 140 00:08:22,920 --> 00:08:24,880 Speaker 1: And I'm gonna bring receipts, Okay, I'm gonna bring numbers, 141 00:08:24,920 --> 00:08:27,320 Speaker 1: I'm gonna bring proof. So if you've ever if you've 142 00:08:27,360 --> 00:08:29,800 Speaker 1: ever felt like I feel right now, okay, like like 143 00:08:29,920 --> 00:08:31,800 Speaker 1: culture is sort of like putting you on the pan 144 00:08:31,880 --> 00:08:34,440 Speaker 1: O mind lists, right, like, like it's forgotten about you, 145 00:08:34,960 --> 00:08:38,320 Speaker 1: that the broader mainstream culture no longer reflects what you 146 00:08:38,400 --> 00:08:41,079 Speaker 1: care about. Then you're gonna want to hear this bonus section, 147 00:08:41,280 --> 00:08:45,000 Speaker 1: all right. And this isn't about aging out of what's cool. 148 00:08:45,120 --> 00:08:48,640 Speaker 1: I don't want any of you thinking that you people 149 00:08:48,720 --> 00:08:51,840 Speaker 1: are beyond cool. You know how? I know because we 150 00:08:51,840 --> 00:08:56,160 Speaker 1: talk about some rando esoteric music history shit here and 151 00:08:56,200 --> 00:08:59,920 Speaker 1: you've been here for it for years, okay. In the 152 00:09:00,000 --> 00:09:03,200 Speaker 1: the artists that we trade on and the subject matter 153 00:09:03,280 --> 00:09:07,360 Speaker 1: that we trade in every week is far cooler than 154 00:09:07,400 --> 00:09:10,640 Speaker 1: what is being traded in in mainstream culture right now? Now? 155 00:09:10,679 --> 00:09:13,400 Speaker 1: Can you can you make that claim about the artists 156 00:09:13,480 --> 00:09:16,520 Speaker 1: and the culture that you grew up with? No, that 157 00:09:16,559 --> 00:09:20,440 Speaker 1: shit was fantastic. I know, I know, I know, I 158 00:09:20,480 --> 00:09:22,000 Speaker 1: know what I sound like. I know I'm sounding like 159 00:09:22,040 --> 00:09:24,040 Speaker 1: the old guy on the lawn telling the young kids 160 00:09:24,080 --> 00:09:26,280 Speaker 1: to get off it. But I'm not. I'm not. And again, 161 00:09:26,360 --> 00:09:29,240 Speaker 1: like I said, I'm gonna bring receipts. Okay, I'm gonna 162 00:09:29,240 --> 00:09:31,800 Speaker 1: bring them to the bonus section, all right, you know, 163 00:09:32,040 --> 00:09:33,640 Speaker 1: but you gotta be a member, okay, because I'm not 164 00:09:33,640 --> 00:09:35,760 Speaker 1: trying to be totally controlled by the corporate overlords here, 165 00:09:35,840 --> 00:09:37,640 Speaker 1: or maybe because I am just a little I don't know, 166 00:09:37,760 --> 00:09:40,120 Speaker 1: but to hear the bonus section, you got to be 167 00:09:40,160 --> 00:09:43,000 Speaker 1: an all access member of Disgraceland. Okay. You're gonna subscribe 168 00:09:43,000 --> 00:09:46,480 Speaker 1: to our little niche part of the culture. Okay, you 169 00:09:46,520 --> 00:09:48,360 Speaker 1: know how to do it. Go to disgrace slamdpod dot com, 170 00:09:48,360 --> 00:09:50,960 Speaker 1: slash membership sign up for five bucks a month, less 171 00:09:50,960 --> 00:09:53,320 Speaker 1: than the cost of Kirk Cobaine's bar of teen Spirit. 172 00:09:53,320 --> 00:09:56,000 Speaker 1: You can become a member on Apple Podcasts or Patreon. Patreon, 173 00:09:56,040 --> 00:09:57,319 Speaker 1: you can get a little bit more gonna get a 174 00:09:57,320 --> 00:09:59,640 Speaker 1: little bit more of me in the community chat and 175 00:09:59,640 --> 00:10:01,880 Speaker 1: a little bit more content per month. Again in the 176 00:10:01,880 --> 00:10:04,480 Speaker 1: bonus section, I'm digging into the real numbers here, okay. 177 00:10:04,559 --> 00:10:09,840 Speaker 1: Record sales, TV ratings, box office halls, banned books, how 178 00:10:09,880 --> 00:10:12,720 Speaker 1: pulp fiction changed everything. I'm going to prove that, yes, 179 00:10:13,040 --> 00:10:14,880 Speaker 1: this is the important part. I'm going to prove that, yes, 180 00:10:15,200 --> 00:10:18,440 Speaker 1: the shit that you love back then was better because 181 00:10:18,440 --> 00:10:21,920 Speaker 1: it had the power to actually change things, unlike what 182 00:10:22,040 --> 00:10:25,960 Speaker 1: is passing for culture these days. So if there's one 183 00:10:26,000 --> 00:10:28,079 Speaker 1: thing to take away from all of this, it's it 184 00:10:28,559 --> 00:10:31,280 Speaker 1: we don't need the corporations to tell our stories. We 185 00:10:31,320 --> 00:10:33,560 Speaker 1: can do it ourselves. I'll be back in a flash 186 00:10:33,679 --> 00:10:58,040 Speaker 1: with your voicemails and your texts, all right. This week 187 00:10:58,040 --> 00:11:01,760 Speaker 1: in Disgraceland, we brought you our Part two story are 188 00:11:01,880 --> 00:11:04,840 Speaker 1: Part two episode on Run DMC, which is really an 189 00:11:04,880 --> 00:11:08,520 Speaker 1: update episode. It's an update on the jam Master J murder. 190 00:11:09,400 --> 00:11:12,400 Speaker 1: And then this weekend we are running back our Britney 191 00:11:12,400 --> 00:11:15,600 Speaker 1: Spears Parts one and two episodes in our rewind slots. 192 00:11:15,800 --> 00:11:17,720 Speaker 1: And next week we've got our Part two episode on 193 00:11:17,720 --> 00:11:21,040 Speaker 1: the Temptations, which is really a deeper dive into the 194 00:11:21,080 --> 00:11:24,720 Speaker 1: Tammy Terrell death and the travesty that was her early 195 00:11:24,840 --> 00:11:28,840 Speaker 1: some would say suspicious demise. That's gonna be our question 196 00:11:28,880 --> 00:11:33,120 Speaker 1: of the week next week. Which musician's death is most suspicious? 197 00:11:33,160 --> 00:11:36,640 Speaker 1: Which cause of death are you calling bullshit? On six 198 00:11:36,800 --> 00:11:39,400 Speaker 1: one seven nine oh six sixty six three eight to 199 00:11:39,480 --> 00:11:42,880 Speaker 1: let me know, send me a voicemail, send me a text, 200 00:11:43,240 --> 00:11:45,640 Speaker 1: hit me up with your answers, and as you know, 201 00:11:45,920 --> 00:11:47,600 Speaker 1: we'll play what you got to say right here in 202 00:11:47,600 --> 00:11:50,439 Speaker 1: the after party with some of you anyways, And that's 203 00:11:50,440 --> 00:11:52,000 Speaker 1: what we're gonna do right now, all right. You know 204 00:11:52,040 --> 00:11:53,679 Speaker 1: where I'm at. I'm in the phone booth. It's the 205 00:11:53,720 --> 00:11:56,280 Speaker 1: one across the hall. I'm hanging on the telephone six 206 00:11:56,400 --> 00:11:58,280 Speaker 1: one seven nine six six six three eight. If you 207 00:11:58,280 --> 00:12:00,640 Speaker 1: want to chime in on anything related to disgrace that 208 00:12:01,480 --> 00:12:04,280 Speaker 1: This week's question of the Week spawned from our run 209 00:12:04,320 --> 00:12:09,400 Speaker 1: DMC episode, was which hip hop group is the greatest 210 00:12:09,520 --> 00:12:11,720 Speaker 1: of all time? Let's check in with the eight six 211 00:12:11,800 --> 00:12:14,280 Speaker 1: y five on this very question. 212 00:12:14,800 --> 00:12:19,000 Speaker 3: Hey, Jacobs Ratchett from the eight six five Most influential 213 00:12:19,200 --> 00:12:22,440 Speaker 3: hip hop group all time? Run DMC is up there, 214 00:12:22,480 --> 00:12:25,520 Speaker 3: but I've got to go with Public Enemy because when 215 00:12:25,559 --> 00:12:29,280 Speaker 3: Public Enemy came out, I believe nineteen eighty eight, then 216 00:12:29,640 --> 00:12:31,880 Speaker 3: I forgot the name of the album, but the first 217 00:12:31,880 --> 00:12:34,320 Speaker 3: couple of Public Enemy albums I was. I was in 218 00:12:34,360 --> 00:12:37,520 Speaker 3: middle school and all of a sudden, as a little 219 00:12:37,520 --> 00:12:41,640 Speaker 3: white kid in Saint Pete Florida. I'm looking at Malcolm X, 220 00:12:41,760 --> 00:12:45,679 Speaker 3: I'm looking at all the stuff that Public Aenemy was 221 00:12:45,760 --> 00:12:49,920 Speaker 3: rapping about. And so as far as influential hip hop groups, 222 00:12:49,960 --> 00:12:53,839 Speaker 3: I'd say Public Enemy because they changed the entire consciousness 223 00:12:54,360 --> 00:12:58,600 Speaker 3: of a generation of young white hip hop kids like myself. 224 00:12:59,000 --> 00:13:02,719 Speaker 3: So yeah, Public Enemy most influential hip hop roup of 225 00:13:02,760 --> 00:13:05,079 Speaker 3: all the time, and they're still doing. 226 00:13:04,840 --> 00:13:08,240 Speaker 1: It all right. Eight sixty five, I hear you, Ratchet. 227 00:13:08,720 --> 00:13:12,160 Speaker 1: First Public Enemy album was Yo Bum Rush the show. 228 00:13:12,280 --> 00:13:15,599 Speaker 1: That's number one, number two. You and I are of 229 00:13:15,640 --> 00:13:19,480 Speaker 1: the same cloth, my man, same thing for me. Not 230 00:13:19,559 --> 00:13:21,280 Speaker 1: as early as Yo Bum Rushed the show for me 231 00:13:21,320 --> 00:13:23,680 Speaker 1: though it was Nation of Millions to Hold Us Back. 232 00:13:23,760 --> 00:13:25,640 Speaker 1: That was the record that did it for me with 233 00:13:25,720 --> 00:13:28,360 Speaker 1: Public Enemy. When that came out, or when I got 234 00:13:28,400 --> 00:13:32,040 Speaker 1: my hands on it, which was probably eighty eight, would 235 00:13:32,080 --> 00:13:35,840 Speaker 1: it come out in nineteen eighty seven? Eighty eight? Dude? 236 00:13:35,880 --> 00:13:43,000 Speaker 1: I literally dressed like Chuck d purposefully, like exactly, like 237 00:13:43,200 --> 00:13:47,360 Speaker 1: exactly like Chuck def black Adidas high tops, five on 238 00:13:47,360 --> 00:13:52,440 Speaker 1: one jeans, Champion sweatshirt. I didn't rock the Pittsburgh Pirates hat. 239 00:13:52,440 --> 00:13:55,840 Speaker 1: I rocked a Mets hat instead, was and still am 240 00:13:55,960 --> 00:13:58,840 Speaker 1: a Mets fan, despite my fandom for the Boston Red Sox. 241 00:13:58,840 --> 00:13:59,920 Speaker 1: That's a whole other thing. I'm not going to go 242 00:14:00,080 --> 00:14:03,280 Speaker 1: to that here, but yeah, I hear you, Man, huge influence, 243 00:14:03,320 --> 00:14:04,960 Speaker 1: and you're right. I wasn't the only one. There were 244 00:14:04,960 --> 00:14:07,160 Speaker 1: a bunch of white kids in the suburbs taking their 245 00:14:07,280 --> 00:14:11,120 Speaker 1: cues from Public Enemy and Chuck d glorious love it. 246 00:14:11,920 --> 00:14:14,920 Speaker 1: Let's check in here with where we going. Amy in 247 00:14:14,960 --> 00:14:18,480 Speaker 1: the seven one sixth, who just texts in very plainly 248 00:14:18,480 --> 00:14:24,080 Speaker 1: put public Enemy period. Yeah. Amy, You're absolutely right. Amy. 249 00:14:25,160 --> 00:14:29,400 Speaker 1: Amy's gott an earlier text here that I missed, She says, 250 00:14:30,440 --> 00:14:32,680 Speaker 1: I know I said this in the Patreon, but I 251 00:14:32,720 --> 00:14:35,360 Speaker 1: just wanted to text and say truly how much I've 252 00:14:35,400 --> 00:14:39,080 Speaker 1: missed the podcast in your storytelling, in your voice, Lol, 253 00:14:39,240 --> 00:14:42,280 Speaker 1: why you lolling? My? What does that mean? And our 254 00:14:42,400 --> 00:14:45,280 Speaker 1: little patreon community. Well, I took a break from whatever 255 00:14:45,280 --> 00:14:46,960 Speaker 1: the fuck is going on in the world right now, 256 00:14:47,320 --> 00:14:51,360 Speaker 1: but man, what a joy to come back. Yeah, welcome back, Amy, 257 00:14:51,760 --> 00:14:53,760 Speaker 1: Happy to have you. Sorry I missed this back when 258 00:14:53,760 --> 00:14:57,600 Speaker 1: you sent it in Yike's may apology. Apologies for that, guys. 259 00:14:57,600 --> 00:14:59,760 Speaker 1: We're working on a way here at Double Elvis Head 260 00:14:59,800 --> 00:15:04,280 Speaker 1: Coach to engage with you further on the voicemails and 261 00:15:04,320 --> 00:15:05,800 Speaker 1: the text, and we've come up with something that I 262 00:15:05,800 --> 00:15:08,440 Speaker 1: think you're gonna like. I think you're gonna like it. 263 00:15:08,480 --> 00:15:10,800 Speaker 1: We're not quite ready to roll it out yet, we 264 00:15:10,840 --> 00:15:16,280 Speaker 1: haven't fully decided, but we're close and that maybe most 265 00:15:16,360 --> 00:15:18,200 Speaker 1: likely come in your way soon. If not, I'll just 266 00:15:18,320 --> 00:15:21,280 Speaker 1: pretend we never had this conversation. Six one seven nine 267 00:15:21,680 --> 00:15:23,600 Speaker 1: six six six three eight. You want to send me 268 00:15:23,600 --> 00:15:26,040 Speaker 1: a voicemail, you want to send me a text? Question 269 00:15:26,080 --> 00:15:28,160 Speaker 1: of the week coming up? I want your answers on 270 00:15:28,600 --> 00:15:33,200 Speaker 1: is gonna be? What musician's death is the most suspicious? Okay, 271 00:15:33,360 --> 00:15:35,200 Speaker 1: hit me up six one seven nine oh six sixty 272 00:15:35,240 --> 00:15:37,400 Speaker 1: six three eight voicemail and text. You can also hit 273 00:15:37,440 --> 00:15:42,560 Speaker 1: me up at Disgrace lampod on Instagram, TikTok x Facebook. 274 00:15:43,000 --> 00:15:47,120 Speaker 1: Speaking to Instagram, Madam Dos m A D A M E. 275 00:15:47,600 --> 00:15:52,440 Speaker 1: Dos das rights and relationship to the run DMC episode 276 00:15:52,480 --> 00:15:56,280 Speaker 1: that we just released. Madam Dos writes, this update was 277 00:15:56,320 --> 00:16:00,600 Speaker 1: a masterclass in storytelling. Unfortunately, it's a common tepe from 278 00:16:00,600 --> 00:16:04,200 Speaker 1: what I've observed growing up, and I absolutely hate all 279 00:16:04,240 --> 00:16:06,720 Speaker 1: caps that it happened to Jay. Thank you for being 280 00:16:06,760 --> 00:16:11,280 Speaker 1: his voice and also the voice of the witnesses slash victims. 281 00:16:11,840 --> 00:16:18,440 Speaker 1: Appreciate this message, Madam Das. This story was a tricky one. 282 00:16:18,520 --> 00:16:20,560 Speaker 1: It was a tough one. Jam Master J was obviously 283 00:16:21,120 --> 00:16:24,080 Speaker 1: already dead when we released our first episode on run 284 00:16:24,160 --> 00:16:28,040 Speaker 1: DMC about four years ago, now something like that, and 285 00:16:28,400 --> 00:16:30,720 Speaker 1: we didn't have a lot of the details on his 286 00:16:30,920 --> 00:16:34,040 Speaker 1: death at that time. There's a lot of smoke, a 287 00:16:34,040 --> 00:16:37,040 Speaker 1: lot of smoke, and I had suspicions, but I didn't 288 00:16:37,040 --> 00:16:39,080 Speaker 1: want to fully go there, and it took a while 289 00:16:39,160 --> 00:16:41,640 Speaker 1: for all that information to become publicly available for us 290 00:16:41,640 --> 00:16:43,600 Speaker 1: to get. Once it did, we decided we're going to 291 00:16:43,600 --> 00:16:45,720 Speaker 1: do part two and I'm happy that people responded to it. 292 00:16:45,760 --> 00:16:47,760 Speaker 1: So if you haven't heard the run DMC episode, go 293 00:16:47,840 --> 00:16:50,720 Speaker 1: check that out. Is pretty much a jam Master J episode, 294 00:16:50,760 --> 00:16:54,120 Speaker 1: just like the upcoming Temptations episode is pretty much Tammy 295 00:16:54,200 --> 00:16:58,240 Speaker 1: Terrell episode. Motown fans will know what I'm talking about. 296 00:16:58,400 --> 00:17:00,520 Speaker 1: This is a fantastic story. I can't wait for you 297 00:17:00,600 --> 00:17:02,760 Speaker 1: guys to hear it. Six one seven nine oh six 298 00:17:02,840 --> 00:17:07,320 Speaker 1: six six three eight voicemail and text me after you 299 00:17:07,400 --> 00:17:11,159 Speaker 1: do listen and let me know your thoughts. Also, I 300 00:17:11,200 --> 00:17:13,960 Speaker 1: want to know from you, as always, what stories have 301 00:17:14,040 --> 00:17:17,120 Speaker 1: been buried that need to be told. Dig, baby, dig, 302 00:17:17,160 --> 00:17:21,159 Speaker 1: all right, your voice helps uncover what gets buried. Your voice, 303 00:17:21,560 --> 00:17:25,000 Speaker 1: your takes, your messages, they push me to propel me 304 00:17:25,320 --> 00:17:28,040 Speaker 1: into the dark corners of music history. So keep them coming, 305 00:17:28,160 --> 00:17:30,080 Speaker 1: all right. It's an important part of the show. It's 306 00:17:30,080 --> 00:17:32,400 Speaker 1: an important part of what we do here. Quickt way 307 00:17:32,400 --> 00:17:35,160 Speaker 1: to get my attention these days is the telephone six 308 00:17:35,240 --> 00:17:38,919 Speaker 1: one seven, nine oh six sixty six three eight voicemail text. 309 00:17:39,080 --> 00:17:55,320 Speaker 2: I'll be back in a flash. 310 00:17:56,119 --> 00:17:58,439 Speaker 1: All right, we are back. Apple podcast listeners, make sure 311 00:17:58,480 --> 00:18:01,199 Speaker 1: you have auto downloads turned on so Disgraceland finds you 312 00:18:01,240 --> 00:18:04,040 Speaker 1: wherever you are at every single morning, so you don't 313 00:18:04,040 --> 00:18:07,160 Speaker 1: miss a beat. Listen. It's the sports rant section here. 314 00:18:07,160 --> 00:18:09,560 Speaker 1: Gonna make this one quick, okay, because I don't I 315 00:18:09,600 --> 00:18:11,679 Speaker 1: don't have enough to rant about. The Red Sox are 316 00:18:11,720 --> 00:18:14,920 Speaker 1: on a freaking tear. Seven in a row, seven wins 317 00:18:14,920 --> 00:18:17,439 Speaker 1: in a row. We're in second place. We're coming up 318 00:18:17,480 --> 00:18:20,080 Speaker 1: strong behind Toronto. I don't believe in Toronto. I don't 319 00:18:20,080 --> 00:18:22,359 Speaker 1: worried about Toronto. We're ahead of the Yankees. That's all 320 00:18:22,400 --> 00:18:24,240 Speaker 1: that matters. I don't know that this is gonna last. 321 00:18:24,800 --> 00:18:26,840 Speaker 1: I don't think the Yankees. The Yankees don't feel like 322 00:18:26,840 --> 00:18:29,600 Speaker 1: a third place team to me. Okay, so we shall see, 323 00:18:30,080 --> 00:18:32,800 Speaker 1: we shall see. But there's been a vibe shift in 324 00:18:32,880 --> 00:18:35,240 Speaker 1: the Al East, at least you have to admit that. 325 00:18:36,040 --> 00:18:38,280 Speaker 1: And maybe that's because there's been a shift in our 326 00:18:38,320 --> 00:18:41,320 Speaker 1: sponsorship here for this Sports Rant segment. Okay, we got 327 00:18:41,359 --> 00:18:44,000 Speaker 1: five Hour Energy as our sponsor as always and we 328 00:18:44,040 --> 00:18:46,800 Speaker 1: are super grateful. But this week I've got a new 329 00:18:46,800 --> 00:18:48,720 Speaker 1: five Hour Energy product to tell you about the Sports 330 00:18:48,760 --> 00:18:52,320 Speaker 1: Rant and sponsored by five Hour Energies new Confetti Craze Flavor. 331 00:18:52,520 --> 00:18:54,960 Speaker 1: It tastes just like birthday cake with a vanilla and 332 00:18:55,000 --> 00:19:00,520 Speaker 1: buttery flavor to let you be unapologetically extra and unstoppably energize. 333 00:19:00,720 --> 00:19:04,320 Speaker 1: Head to your local retailer www. Dot five hour Energy 334 00:19:04,359 --> 00:19:07,919 Speaker 1: dot com or Amazon to order yours today. Listen, I 335 00:19:08,040 --> 00:19:09,240 Speaker 1: know a bunch of you are out there on the 336 00:19:09,320 --> 00:19:12,040 Speaker 1: highway right now. Drive and listen into Disgraceland. I know 337 00:19:12,080 --> 00:19:14,240 Speaker 1: I got a bunch of truckers who are Disgraceland fans. 338 00:19:14,480 --> 00:19:16,800 Speaker 1: I know you drink the five Hour Energy, get that 339 00:19:16,920 --> 00:19:20,240 Speaker 1: new Confetti Craze flavor, and I'm Matt, Yes, Jake, give 340 00:19:20,240 --> 00:19:23,760 Speaker 1: me the buzzer beater for the rant here. All right, Okay, 341 00:19:24,320 --> 00:19:26,080 Speaker 1: I have a lot of people in my life. I'm 342 00:19:26,080 --> 00:19:28,720 Speaker 1: not going to name any names, but there's one old 343 00:19:28,720 --> 00:19:32,399 Speaker 1: head in particular who is way down on baseball for 344 00:19:32,480 --> 00:19:38,000 Speaker 1: reasons that I believe are nonsensical and sort of outdated. Okay, 345 00:19:38,040 --> 00:19:41,920 Speaker 1: baseball is exciting as hell right now, and it's been 346 00:19:42,240 --> 00:19:44,679 Speaker 1: that way this year. Last year. When did they put 347 00:19:44,720 --> 00:19:47,119 Speaker 1: the new rules in beginning of last year? Was at it? 348 00:19:48,040 --> 00:19:50,920 Speaker 1: The new rules, you cannot deny, have made the game 349 00:19:51,640 --> 00:19:55,439 Speaker 1: more watchable, more exciting. But I gotta say, you know, 350 00:19:55,480 --> 00:19:58,320 Speaker 1: I teach my kids to never say the word hate, 351 00:19:58,960 --> 00:20:02,800 Speaker 1: but I hate the extra innings rule. Okay, with the 352 00:20:02,880 --> 00:20:04,600 Speaker 1: dude at the start of the top of the tenth 353 00:20:04,640 --> 00:20:07,000 Speaker 1: inning on second base, it reminds me of like kickball 354 00:20:07,040 --> 00:20:09,720 Speaker 1: in seventh grade gym class when mister BONNCEI knows it 355 00:20:09,720 --> 00:20:11,640 Speaker 1: he's only got like five minutes before he's gonna get 356 00:20:11,640 --> 00:20:14,560 Speaker 1: you showered and changed, and then before the bell rings 357 00:20:14,560 --> 00:20:16,119 Speaker 1: and you gotta go back to class, so he sticks 358 00:20:16,119 --> 00:20:18,880 Speaker 1: some rando at second just so someone can win the game. 359 00:20:18,960 --> 00:20:22,280 Speaker 1: I hate it. I hate that. That's professional sports right now. 360 00:20:22,640 --> 00:20:25,480 Speaker 1: It drives me crazy. I do not like it. I 361 00:20:25,560 --> 00:20:27,800 Speaker 1: like most of the other rules, most of them anyway, 362 00:20:27,880 --> 00:20:30,680 Speaker 1: pitchclock especially, but this one can't abide. The dude does 363 00:20:30,720 --> 00:20:33,359 Speaker 1: not abide. That said, if it helps the Red Sox 364 00:20:33,400 --> 00:20:35,440 Speaker 1: win in October, I'll be celebrating with a Five Hour 365 00:20:35,560 --> 00:20:40,080 Speaker 1: Energy Confetti Craze Flavor, Matt, How did I do well, Jake? 366 00:20:40,600 --> 00:20:43,720 Speaker 4: Those new rules have certainly sped things up in baseball, 367 00:20:43,760 --> 00:20:46,679 Speaker 4: but unfortunately they slowed you down a little bit. Today 368 00:20:47,400 --> 00:20:53,200 Speaker 4: we were at one sixteen, so we got some work 369 00:20:53,200 --> 00:20:53,479 Speaker 4: to do. 370 00:20:53,760 --> 00:20:56,280 Speaker 2: All right. Well, you know, better luck next week. 371 00:20:57,080 --> 00:20:58,800 Speaker 4: And I just want to go on the record here 372 00:20:58,840 --> 00:21:01,760 Speaker 4: that I agree with you on the extra innings rule. 373 00:21:01,960 --> 00:21:02,440 Speaker 2: Not a fan. 374 00:21:03,480 --> 00:21:06,840 Speaker 1: And that was the sports ran sponsored by Five Hour Energies. 375 00:21:06,920 --> 00:21:09,879 Speaker 1: New Confetti Craze Flavor Unleash your party vibes with as 376 00:21:09,920 --> 00:21:12,320 Speaker 1: much caffeine as your favorite twelve Honce Fancy coffee, but 377 00:21:12,359 --> 00:21:16,360 Speaker 1: with zero sugar and zero crash. Available in stores on 378 00:21:16,480 --> 00:21:20,359 Speaker 1: Amazon or at www. Dot five hour Energy dot com. 379 00:21:20,359 --> 00:21:23,800 Speaker 1: All Right, discos, great Hollywood Land episode, if I do 380 00:21:23,880 --> 00:21:27,080 Speaker 1: say so myself, for all y'all this week. This one 381 00:21:27,520 --> 00:21:33,600 Speaker 1: on the Inimitable Joan Crawford I was super caffeinated during 382 00:21:33,640 --> 00:21:36,560 Speaker 1: the taping of the Rap Party, Matt, give us a 383 00:21:36,560 --> 00:21:38,080 Speaker 1: little taste. 384 00:21:38,880 --> 00:21:41,960 Speaker 5: Espresso has never been appealing to me because I like 385 00:21:42,000 --> 00:21:44,359 Speaker 5: to enjoy. Part of the coffee experience for me is 386 00:21:44,359 --> 00:21:47,280 Speaker 5: the length of time that it takes to drink the 387 00:21:47,320 --> 00:21:50,359 Speaker 5: coffee right and espresso. I look at it and I'm like, 388 00:21:50,480 --> 00:21:52,440 Speaker 5: that's gonna be over in like thirty seconds, and that's 389 00:21:52,440 --> 00:21:52,919 Speaker 5: no fun. 390 00:21:53,160 --> 00:21:56,560 Speaker 1: Here's what I'm learning about me. I'm a caffeine fan, 391 00:21:56,880 --> 00:22:01,440 Speaker 1: not just a coffee fan. Because I go nows first thing, 392 00:22:01,800 --> 00:22:07,960 Speaker 1: tea second thing Americano, third espresso. I reverse the intensity 393 00:22:08,040 --> 00:22:10,600 Speaker 1: throughout the morning and then it's like, by the time 394 00:22:10,600 --> 00:22:11,920 Speaker 1: I sit down front of the mic with you, I'm 395 00:22:12,000 --> 00:22:14,800 Speaker 1: fucking a rocket ship looking to fucking blast off. 396 00:22:15,920 --> 00:22:19,080 Speaker 5: Okay, here's our highly caffeinated look at this week in 397 00:22:19,240 --> 00:22:23,879 Speaker 5: Hollywood Land. Jake, what music recks inspired by Joan Crawford 398 00:22:23,960 --> 00:22:24,920 Speaker 5: do you have for us today? 399 00:22:25,400 --> 00:22:25,920 Speaker 3: Woooo? 400 00:22:26,640 --> 00:22:31,199 Speaker 1: This one is testing the limits of my what's the 401 00:22:31,240 --> 00:22:35,680 Speaker 1: hot hopskip and jump referential treatment that we give these things? Okay, 402 00:22:35,680 --> 00:22:39,679 Speaker 1: so Joan kraw kraw I thought Crawfish, all right, then 403 00:22:39,720 --> 00:22:41,640 Speaker 1: I thought of the Great Louisiana rock and roll artist 404 00:22:41,680 --> 00:22:43,600 Speaker 1: ceci Adcock. You ever hear a Cecadcock. 405 00:22:44,720 --> 00:22:46,400 Speaker 5: I feel like I've seen the name before in my life, 406 00:22:46,400 --> 00:22:47,040 Speaker 5: but I don't know. 407 00:22:47,359 --> 00:22:49,600 Speaker 1: Incredible. This is one of those dudes. Put up this 408 00:22:49,640 --> 00:22:53,320 Speaker 1: record in nineteen ninety four, self titled on Island Records, 409 00:22:53,600 --> 00:22:56,520 Speaker 1: produced I believe by Denny Cordell who did the early 410 00:22:56,640 --> 00:23:00,359 Speaker 1: Petty Stuff and Leon Russell. That record. I had that 411 00:23:00,400 --> 00:23:03,000 Speaker 1: record when it came out. It is amazing. I still 412 00:23:03,000 --> 00:23:05,000 Speaker 1: have it on CD somewhere. You can't get it. It's 413 00:23:05,000 --> 00:23:08,040 Speaker 1: not on Spotify. It's phenomenal. Later in my career as 414 00:23:08,040 --> 00:23:11,000 Speaker 1: a musician, I ended up touring in Europe with ccii 415 00:23:11,160 --> 00:23:13,359 Speaker 1: Cock and about ten years later in two thousand and four, 416 00:23:13,760 --> 00:23:15,639 Speaker 1: and he was He was one of the most American 417 00:23:15,760 --> 00:23:18,720 Speaker 1: characters I ever met. We kind of became friends a 418 00:23:18,760 --> 00:23:23,160 Speaker 1: little bit, but he's a he's a recluse's he's off 419 00:23:23,200 --> 00:23:25,520 Speaker 1: the grid. I don't know what the dude's doing, but 420 00:23:25,840 --> 00:23:27,720 Speaker 1: for those who are interested. In two thousand and four, 421 00:23:27,760 --> 00:23:29,920 Speaker 1: he put out a record on YEP Rock, which is 422 00:23:29,960 --> 00:23:31,480 Speaker 1: the label I was signed to, and the record is 423 00:23:31,480 --> 00:23:34,720 Speaker 1: called Lafaette Marquis and it is amazing. It is incredible. 424 00:23:34,760 --> 00:23:37,840 Speaker 1: Not as good as this debut album, but it is incredible, 425 00:23:37,880 --> 00:23:41,080 Speaker 1: So check out CCII Cock Lafayette, Marquis. The only time 426 00:23:41,119 --> 00:23:45,280 Speaker 1: I've ever eaten crawfish was with CCII Cock in Lafayette, 427 00:23:45,280 --> 00:23:49,160 Speaker 1: actually Lafayette, Louisiana. The funnest day of my life might 428 00:23:49,200 --> 00:23:51,959 Speaker 1: have been with him in Louisiana, one of them, pre marriage, 429 00:23:52,000 --> 00:23:55,360 Speaker 1: pre kids, careful there, yeah, yeah, no, no for real, 430 00:23:55,480 --> 00:23:58,080 Speaker 1: but it was like I wouldn't have fun doing that 431 00:23:58,160 --> 00:24:01,080 Speaker 1: now is also my point. The amount of alcohol that 432 00:24:01,160 --> 00:24:02,879 Speaker 1: was involved, but it was just it was just the 433 00:24:02,880 --> 00:24:05,480 Speaker 1: blast in Louisiana they do. I don't know if it's 434 00:24:05,480 --> 00:24:07,679 Speaker 1: a Southern thing, but it was explained to me that 435 00:24:07,760 --> 00:24:10,760 Speaker 1: like the big party day down there was Sundays because 436 00:24:10,760 --> 00:24:15,000 Speaker 1: it's so church oriented and and everybody parties together. There's 437 00:24:15,000 --> 00:24:18,320 Speaker 1: no generation gap. You go to church and then after 438 00:24:18,440 --> 00:24:21,840 Speaker 1: church the party starts and you party throughout the night 439 00:24:22,320 --> 00:24:25,680 Speaker 1: and there's zytacal music and the whole thing, and it's 440 00:24:25,760 --> 00:24:27,960 Speaker 1: just and he took us to one of these like 441 00:24:28,160 --> 00:24:30,840 Speaker 1: dance halls and where we had it was just unbelievable. 442 00:24:30,840 --> 00:24:32,320 Speaker 1: I'm pretty sure you stuff with my girlfriend at the 443 00:24:32,320 --> 00:24:34,200 Speaker 1: time that night, but I don't blame him for it. Anyways, 444 00:24:34,359 --> 00:24:39,159 Speaker 1: The next thing I go from, go from Joan craw Firth, 445 00:24:40,240 --> 00:24:42,359 Speaker 1: All right, just goes. Make sure you are subscribed to 446 00:24:42,440 --> 00:24:45,879 Speaker 1: Hollywood Land. So you're getting our swing at Hollywood in 447 00:24:45,920 --> 00:24:48,960 Speaker 1: True Crime every week. Get our full episodes, you get 448 00:24:48,960 --> 00:24:51,439 Speaker 1: our bonus episodes. You get stories like no other on 449 00:24:51,560 --> 00:24:54,320 Speaker 1: Jack Nicholson, on Robin Williams, on Marilyn Monroe, and on 450 00:24:54,440 --> 00:24:59,359 Speaker 1: so many more. But back to Disgraceland, the matter at hand, 451 00:25:00,400 --> 00:25:03,439 Speaker 1: Disgraceland right here. You know what we're for, You know 452 00:25:03,480 --> 00:25:05,800 Speaker 1: what this is all all about. This is for the obsessed, 453 00:25:06,160 --> 00:25:09,640 Speaker 1: the overlooked, the outsiders. If that's you, then you're one 454 00:25:09,680 --> 00:25:14,760 Speaker 1: of us, and you're right where you belong. But by chance, 455 00:25:15,840 --> 00:25:17,840 Speaker 1: if you want a little more, you want a little 456 00:25:17,880 --> 00:25:20,280 Speaker 1: more storytelling, You want the buried stuff. You want the 457 00:25:20,320 --> 00:25:23,280 Speaker 1: stories that chasm and the powers of be are too 458 00:25:23,320 --> 00:25:27,280 Speaker 1: scared to tell. If you want revelation, you want reckoning, 459 00:25:27,400 --> 00:25:31,880 Speaker 1: reclamation and disgraceland. All access is for you, just five 460 00:25:31,880 --> 00:25:33,600 Speaker 1: bucks a month, for less than the cost of like 461 00:25:33,640 --> 00:25:36,160 Speaker 1: I said earlier, Kurk Cobaine's private stash of teen spirit 462 00:25:36,200 --> 00:25:39,000 Speaker 1: de ordorant. For just five bucks, you get the episodes 463 00:25:39,080 --> 00:25:41,920 Speaker 1: they couldn't fit into the main feed, and more storytelling 464 00:25:42,440 --> 00:25:45,840 Speaker 1: why the content and culture that you grew up consuming 465 00:25:46,119 --> 00:25:49,200 Speaker 1: is was way cooler than whatever it is we're sledging 466 00:25:49,200 --> 00:25:51,720 Speaker 1: through right now. That's what we're diving into in the 467 00:25:51,760 --> 00:25:54,280 Speaker 1: next exclusive section of the after Party coming up just 468 00:25:54,320 --> 00:25:55,880 Speaker 1: after this. But if that ain't your thing, no sweat, 469 00:25:55,920 --> 00:25:58,840 Speaker 1: You're also going to get ad free Disgraceland in Hollywood 470 00:25:58,880 --> 00:26:02,040 Speaker 1: lamb bonus full upisode every month, and access to me 471 00:26:02,240 --> 00:26:04,840 Speaker 1: and your fellow disco is in the private community chat 472 00:26:04,920 --> 00:26:07,679 Speaker 1: on Patreon. So if you're truly obsessed like me, go 473 00:26:07,720 --> 00:26:12,560 Speaker 1: to www dot disgracelandpod dot com slash membership join the 474 00:26:12,640 --> 00:26:15,600 Speaker 1: All Access crew today and you will find that this 475 00:26:15,680 --> 00:26:18,960 Speaker 1: isn't just content, guys, it's a community and you belong here. 476 00:26:33,400 --> 00:26:36,840 Speaker 1: All right, Welcome back and thank you for joining me here. 477 00:26:37,000 --> 00:26:40,639 Speaker 1: In another After Party episode, we talked today some artists 478 00:26:40,640 --> 00:26:46,080 Speaker 1: we mentioned Taylor Swift, Nirvana public Enemy, Matthew Perry. Matt's 479 00:26:46,119 --> 00:26:50,840 Speaker 1: going to have the show notes for those episodes. Matt's 480 00:26:50,880 --> 00:26:54,560 Speaker 1: gonna have the episode notes for those those stories in 481 00:26:54,600 --> 00:26:58,359 Speaker 1: the show notes of this here episode, so you can easily. Finally, 482 00:26:58,359 --> 00:27:01,159 Speaker 1: you want to hear that Matthew Perry episode for you 483 00:27:01,240 --> 00:27:04,399 Speaker 1: might be like, why why is Matthew Perry episode of Disgrace, 484 00:27:04,440 --> 00:27:06,240 Speaker 1: And well, once upon a time, if you knew here, 485 00:27:07,119 --> 00:27:10,640 Speaker 1: we experimented with doing some non musical subjects in Disgraceland 486 00:27:10,640 --> 00:27:13,440 Speaker 1: and Matthew Perry was one of them. Still in the feed, 487 00:27:13,480 --> 00:27:15,959 Speaker 1: will eventually be in Hollywood Land before and we're one 488 00:27:16,000 --> 00:27:18,280 Speaker 1: of the only ones left in Disgraceland along with Anthony 489 00:27:18,280 --> 00:27:22,600 Speaker 1: bourdin So yeah, and that Matthew Perry wants a banger, 490 00:27:22,640 --> 00:27:27,000 Speaker 1: you're gonna want to hear it. Anyways, I gotta get going. 491 00:27:27,200 --> 00:27:31,040 Speaker 1: It's late. Matt is uh waiting patiently for me to 492 00:27:31,080 --> 00:27:33,639 Speaker 1: finish this so he can finalize it. Get it in 493 00:27:33,680 --> 00:27:35,880 Speaker 1: the feed to all y'all. I get a shut up. 494 00:27:36,040 --> 00:27:39,440 Speaker 1: I'm gonna recap Real Quick Number one, this week's full 495 00:27:39,480 --> 00:27:43,000 Speaker 1: episode on Run DMC. Part two on Run DMC, I 496 00:27:43,040 --> 00:27:45,000 Speaker 1: should say is live and waiting for you right now. 497 00:27:45,080 --> 00:27:48,920 Speaker 1: Number two. Rewind episodes this week Britney Spears Part one 498 00:27:48,960 --> 00:27:51,200 Speaker 1: and Part two, Number three coming up at the top 499 00:27:51,240 --> 00:27:54,919 Speaker 1: of next week, or our new part two episode on 500 00:27:54,960 --> 00:27:58,320 Speaker 1: the Temptations and the suspicious death of Tammy Terrell. Number 501 00:27:58,400 --> 00:28:01,280 Speaker 1: four over in Hollywood Land right now our episode on 502 00:28:01,359 --> 00:28:03,520 Speaker 1: Joan Crawford, and that one is a banger. Number five, 503 00:28:03,600 --> 00:28:05,560 Speaker 1: six one seven out of six, six, six three eight 504 00:28:05,880 --> 00:28:09,159 Speaker 1: voicemail text get at me that way or hit me 505 00:28:09,240 --> 00:28:13,360 Speaker 1: up at disgrace lampod on Instagram, TikTok Facebook, disgracelingpod at 506 00:28:13,400 --> 00:28:16,040 Speaker 1: gmail dot com to email me. Your voice helps uncover 507 00:28:16,119 --> 00:28:18,280 Speaker 1: what gets buried, your takes propelling into the dark corners 508 00:28:18,280 --> 00:28:20,760 Speaker 1: of music history. So keep them coming, Dig baby, Dig 509 00:28:20,800 --> 00:28:23,560 Speaker 1: now that the night is over. Number six, don't forget 510 00:28:23,560 --> 00:28:26,760 Speaker 1: disco's Like I said, this antist content. It's community, a 511 00:28:26,800 --> 00:28:30,000 Speaker 1: community of the obsessed, and no one cares about music, books, 512 00:28:30,040 --> 00:28:32,600 Speaker 1: records in the crime and grime that ties them all 513 00:28:32,640 --> 00:28:35,359 Speaker 1: together like you do. And well that's a disgrace, all right. 514 00:28:35,640 --> 00:28:38,880 Speaker 1: This week's new episode subject jam Master J from Run 515 00:28:38,960 --> 00:28:42,200 Speaker 1: DMC passed away back on October thirtieth, two thousand and two, 516 00:28:42,840 --> 00:28:45,880 Speaker 1: and here is what America was listening to on that 517 00:28:46,040 --> 00:28:52,360 Speaker 1: day according to the Billboard Charts. Number one Dilemma Nelly 518 00:28:52,640 --> 00:28:58,000 Speaker 1: featuring Kelly Rowland last week one peak position one weeks 519 00:28:58,040 --> 00:29:03,880 Speaker 1: on chart sixteen. Number two gangst eleven Eve featuring Alicia 520 00:29:03,960 --> 00:29:08,280 Speaker 1: Keys last week week three peak position under two weeks 521 00:29:08,320 --> 00:29:13,120 Speaker 1: on Chart sixty number three. A moment like this Kelly 522 00:29:13,200 --> 00:29:17,480 Speaker 1: Clark's positions last week week's to peak position one number 523 00:29:17,680 --> 00:29:22,480 Speaker 1: weeks on charts six The number four Hey Ma Camera 524 00:29:22,960 --> 00:29:28,040 Speaker 1: featuring Jewel Santana's Freaky Zeke and Toya numbers last week 525 00:29:29,000 --> 00:29:48,440 Speaker 1: peak position four weeks on chart. Quit talking and start mixing.