1 00:00:01,760 --> 00:00:04,800 Speaker 1: Hey, Discos, need a little more Disgraceland in your life, 2 00:00:05,160 --> 00:00:08,000 Speaker 1: just to touch, to get you through. Yeah, me too. 3 00:00:08,760 --> 00:00:11,200 Speaker 1: This is the podcast that comes after the podcast. 4 00:00:11,640 --> 00:00:26,799 Speaker 2: Welcome to Disgraceland, the after Party. 5 00:00:28,440 --> 00:00:31,720 Speaker 1: Welcome to the Disgraceland bonus episode, a little thing we 6 00:00:31,880 --> 00:00:34,200 Speaker 1: like to call the after party. This is the show 7 00:00:34,240 --> 00:00:36,160 Speaker 1: after the show, the party after the party, the bridge 8 00:00:36,200 --> 00:00:38,640 Speaker 1: to get from one full episode of Disgraceland to the other. 9 00:00:38,960 --> 00:00:42,159 Speaker 1: The backyard, to dig into the dirt, our mission to 10 00:00:42,240 --> 00:00:45,040 Speaker 1: uncover the truth, to confront the myth, to reclaim the story. 11 00:00:45,080 --> 00:00:48,840 Speaker 1: On this bonus episode, we're disrupting the Grateful Dead CIA 12 00:00:49,040 --> 00:00:52,879 Speaker 1: psyop theory, previewing next week's new episode, Part two of 13 00:00:52,920 --> 00:00:56,640 Speaker 1: Our Inexcess Tale. And in the exclusive section, we dive 14 00:00:56,720 --> 00:01:00,640 Speaker 1: into Laurel Canyon pop stars in their Military Industrial Complex parents. 15 00:01:00,640 --> 00:01:04,000 Speaker 1: Plus we get into your emails, comments, dms, and as always, 16 00:01:04,040 --> 00:01:06,480 Speaker 1: a whole lot of rosie. This is the podcast for 17 00:01:06,520 --> 00:01:09,200 Speaker 1: the musically obsessed, the outsiders, the independent thinkers who know 18 00:01:09,240 --> 00:01:11,400 Speaker 1: that the best history is the history that gets buried. 19 00:01:11,640 --> 00:01:14,400 Speaker 1: Disgracelands where I tell the stories they didn't want told, 20 00:01:14,560 --> 00:01:16,800 Speaker 1: the kind you'll end up telling someone else, all Right, 21 00:01:16,840 --> 00:01:32,440 Speaker 1: Discos let's get into it. So apparently you can't spell 22 00:01:32,640 --> 00:01:40,480 Speaker 1: Jerry Garcia without Cia Garcia. Now, there are some that 23 00:01:40,600 --> 00:01:43,959 Speaker 1: will have you believe that Jerry Garcia was a knowing 24 00:01:44,120 --> 00:01:48,480 Speaker 1: participant in the federal government's covert manipulation of American youth, 25 00:01:49,360 --> 00:01:53,400 Speaker 1: and that The Grateful Dead's iconic de facto leader was 26 00:01:53,440 --> 00:01:57,000 Speaker 1: a working spy along with the band's sound man Augustus 27 00:01:57,040 --> 00:02:00,840 Speaker 1: Stanley bear Owsley, and the rest of the Dad's band members, 28 00:02:00,880 --> 00:02:05,360 Speaker 1: including Bob Weir, they were compromised supposedly as well, and 29 00:02:05,480 --> 00:02:08,520 Speaker 1: that you know this all proves that Weir's and Mickey 30 00:02:08,600 --> 00:02:12,840 Speaker 1: Hart's membership at Bohemian Grove was nothing but a malevolent 31 00:02:13,040 --> 00:02:20,120 Speaker 1: extension of the band's CIA affiliation. Wackado. No shade to 32 00:02:20,160 --> 00:02:22,360 Speaker 1: anyone who believes this, but I'm gonna tell you why 33 00:02:22,400 --> 00:02:26,079 Speaker 1: you're wrong. I don't believe this, obviously, and if you 34 00:02:26,120 --> 00:02:28,839 Speaker 1: listen to my recent episode on Bob Weir, you'll learn 35 00:02:29,080 --> 00:02:34,040 Speaker 1: exactly what I think about Bob Weir's affiliation with Bohemian Growth. However, 36 00:02:34,440 --> 00:02:36,560 Speaker 1: at the end of that episode, I put the question 37 00:02:36,680 --> 00:02:38,520 Speaker 1: to you, guys, what do you think of my assessment 38 00:02:38,720 --> 00:02:42,239 Speaker 1: of Bobby's affiliation with Bohemian grove, and some of you 39 00:02:42,400 --> 00:02:44,639 Speaker 1: do indeed believe that the Grateful Dead was far more 40 00:02:44,680 --> 00:02:48,000 Speaker 1: involved with the CIA's efforts than I do, and that 41 00:02:48,120 --> 00:02:52,000 Speaker 1: the Dead were in fact knowing participants in mk Ultra. 42 00:02:52,160 --> 00:02:55,440 Speaker 1: The CIA is psyop to counter and discredit the impact 43 00:02:55,520 --> 00:02:59,080 Speaker 1: of the hippie movement. As a quick refresher, mk Ultra 44 00:02:59,520 --> 00:03:04,160 Speaker 1: was a top secret illegal human experimentation program conducted by 45 00:03:04,200 --> 00:03:07,320 Speaker 1: the Central Intelligence Agency from nineteen fifty three through the 46 00:03:07,400 --> 00:03:11,000 Speaker 1: early nineteen seventies. It is a documented fact, guys, that 47 00:03:11,120 --> 00:03:15,720 Speaker 1: the CIA, through its mk ULTRA program used willing and 48 00:03:15,880 --> 00:03:21,400 Speaker 1: I repeat the word willing participants Americans to experiment on 49 00:03:21,760 --> 00:03:25,800 Speaker 1: with LSD and other drugs to test the drugs effectiveness 50 00:03:26,280 --> 00:03:29,840 Speaker 1: when it came to mind control basically, and many now 51 00:03:30,360 --> 00:03:35,080 Speaker 1: notable Americans signed up to be guinea pigs for this project. Okay, 52 00:03:35,160 --> 00:03:39,240 Speaker 1: Whitey Bulger when he was at Alcatraz, the unibomber ted Kazinski, 53 00:03:39,760 --> 00:03:44,280 Speaker 1: author Ken Kesey, and Grateful Dead lyricist Robert Hunter. Those 54 00:03:44,280 --> 00:03:48,800 Speaker 1: are facts. But what's less proven but believable is that 55 00:03:48,960 --> 00:03:53,240 Speaker 1: the CIA used Americans on the fringe of society, sex workers, 56 00:03:53,800 --> 00:03:57,320 Speaker 1: homeless and transient men for their drug tests as well, 57 00:03:58,120 --> 00:04:02,520 Speaker 1: supposedly discarding these individuals once their brains were properly scrambled 58 00:04:02,520 --> 00:04:06,440 Speaker 1: by the drugs and their usefulness had run its course. Okay, 59 00:04:06,560 --> 00:04:10,040 Speaker 1: and then there's the nearly proven but not totally locked 60 00:04:10,040 --> 00:04:12,840 Speaker 1: down theory that the CIA had roped in x Con 61 00:04:13,040 --> 00:04:17,200 Speaker 1: Charles Manson, roped him into their MK Ultra program, and 62 00:04:17,320 --> 00:04:19,800 Speaker 1: that they weren't only experimenting on him, but we're using 63 00:04:19,920 --> 00:04:21,960 Speaker 1: him and as wack could do hippie dippy bullshit to 64 00:04:22,000 --> 00:04:25,560 Speaker 1: discredit the hippie movement. I happened to believe this Manson theory, 65 00:04:25,600 --> 00:04:27,760 Speaker 1: or at least part of it. But what I don't 66 00:04:27,839 --> 00:04:31,440 Speaker 1: believe is that The Grateful Dead's band members were willing, 67 00:04:31,640 --> 00:04:35,640 Speaker 1: in active participants with the CIA and the CIA's the 68 00:04:35,720 --> 00:04:39,880 Speaker 1: agency's efforts in the sixties, whatever those efforts may have been, 69 00:04:40,560 --> 00:04:44,520 Speaker 1: and that the band was or is, as some have claimed, 70 00:04:44,520 --> 00:04:48,040 Speaker 1: a quote unquote ssyop. Now you can go and read it. 71 00:04:48,120 --> 00:04:51,360 Speaker 1: You can read extensively about this, You can read about 72 00:04:51,360 --> 00:04:55,760 Speaker 1: it elsewhere. Okay, there are lots of elements of this theory, 73 00:04:56,600 --> 00:05:01,200 Speaker 1: but the least batshit crazy belief fievable version of this 74 00:05:01,360 --> 00:05:07,120 Speaker 1: theory is that Robert Hunter again, the Dead's lyricists that 75 00:05:07,240 --> 00:05:10,400 Speaker 1: his participation in the acid tests, which you can hear 76 00:05:10,440 --> 00:05:13,600 Speaker 1: about in Our Grateful Dead Part one episode, proves that 77 00:05:13,720 --> 00:05:18,239 Speaker 1: the band were CIA affiliated. I can kind of see that, okay. 78 00:05:19,160 --> 00:05:22,880 Speaker 1: And again, this is the least batshit version of this 79 00:05:23,839 --> 00:05:26,279 Speaker 1: Grateful Dead as a psyop theory, which I don't believe, 80 00:05:26,400 --> 00:05:28,000 Speaker 1: by the way, I'm just giving it to you, Okay. 81 00:05:28,640 --> 00:05:32,400 Speaker 1: The theory also states that as the band matured and 82 00:05:32,520 --> 00:05:36,440 Speaker 1: their troubles with the law progress arrests on the road 83 00:05:36,920 --> 00:05:39,760 Speaker 1: fans who went missing deaths at their shows in the 84 00:05:39,839 --> 00:05:43,080 Speaker 1: nineteen seventies in the eighties, that Grateful Dead band members 85 00:05:43,120 --> 00:05:47,120 Speaker 1: became compromised and, in an attempt to keep themselves out 86 00:05:47,160 --> 00:05:51,040 Speaker 1: of jail, began working for the federal government the CIA, 87 00:05:51,839 --> 00:05:55,440 Speaker 1: using their music to affect mind control on the masses, 88 00:05:55,560 --> 00:05:59,440 Speaker 1: some sort of mass hypnosis to dumb down liberal American youth. 89 00:06:00,600 --> 00:06:04,040 Speaker 1: I find this theory to be funny as shit. Okay, wait, 90 00:06:04,160 --> 00:06:06,320 Speaker 1: I forget the best part that Bob We're Mickey Hart's 91 00:06:06,320 --> 00:06:09,560 Speaker 1: affiliation with Bohemian Gross supposedly ends up proving this conspiracy 92 00:06:09,600 --> 00:06:13,000 Speaker 1: in the end. Okay, forget about that. That's important, and 93 00:06:13,120 --> 00:06:15,360 Speaker 1: also so does the lyric from the Dead song of 94 00:06:15,440 --> 00:06:17,719 Speaker 1: us Blues, it goes Uncle Sam, That's who I am 95 00:06:17,880 --> 00:06:20,600 Speaker 1: been hanging out in a rock and roll band. These 96 00:06:20,640 --> 00:06:22,480 Speaker 1: are some of the uh this is saw, some of 97 00:06:22,560 --> 00:06:25,320 Speaker 1: the so called truth that the theorists, conspiracy theorists believe. 98 00:06:25,960 --> 00:06:28,960 Speaker 1: The more I learn about this conspiracy theory, the more 99 00:06:29,120 --> 00:06:32,080 Speaker 1: I love it, okay, and also the more I hate it. 100 00:06:32,880 --> 00:06:36,720 Speaker 1: I love it because it's so absurd that it's actually comical. 101 00:06:37,000 --> 00:06:39,040 Speaker 1: Because once you get to know the character of the 102 00:06:39,160 --> 00:06:43,560 Speaker 1: individual band members from researching them, or you know, from 103 00:06:43,760 --> 00:06:46,440 Speaker 1: diving deep into the music being a fan, whatever, it 104 00:06:46,520 --> 00:06:52,480 Speaker 1: becomes obvious that the Grateful Dead were physically, mentally, intellectually 105 00:06:52,960 --> 00:06:56,880 Speaker 1: and spiritually unable to work on any level with authority 106 00:06:56,920 --> 00:07:02,000 Speaker 1: figures of any kind. Jerry Garcia would have marched himself 107 00:07:02,120 --> 00:07:04,640 Speaker 1: off to the gallows smiling before he'd work with the 108 00:07:04,680 --> 00:07:08,400 Speaker 1: federal government on any effort to harm anyone, never mind 109 00:07:08,720 --> 00:07:12,560 Speaker 1: dead heads. On the other hand, I hate this theory 110 00:07:13,040 --> 00:07:16,800 Speaker 1: because it totally discredits the actual Grateful Dead Cia conspiracy 111 00:07:16,840 --> 00:07:19,320 Speaker 1: theory that I believe is true, and that's that the 112 00:07:19,440 --> 00:07:23,520 Speaker 1: Dead unknowingly, that the Grateful Dead unknowingly was used and 113 00:07:23,640 --> 00:07:28,120 Speaker 1: manipulated by the CIA into influencing American use through LSD proliferation, 114 00:07:29,080 --> 00:07:30,560 Speaker 1: and in a lot of ways. The result of this 115 00:07:30,760 --> 00:07:34,600 Speaker 1: was that a benevolent counterculture was created that otherwise wouldn't 116 00:07:34,600 --> 00:07:38,640 Speaker 1: have existed without the CIA's malevolent efforts. Okay, how's that 117 00:07:38,720 --> 00:07:42,360 Speaker 1: for irony? Again? More on that in episode one. And 118 00:07:42,440 --> 00:07:45,400 Speaker 1: this is the problem with conspiracy theorists. They go so 119 00:07:45,840 --> 00:07:50,360 Speaker 1: far that they discredit themselves. The less juicy version of 120 00:07:50,400 --> 00:07:53,360 Speaker 1: this theory is actually supported by the facts. The theory 121 00:07:53,400 --> 00:07:55,360 Speaker 1: that I just stated, and that I believe will one 122 00:07:55,440 --> 00:07:58,840 Speaker 1: day be proven. But to make this case, you got 123 00:07:58,920 --> 00:08:01,120 Speaker 1: to work your way through a of eye rolls that 124 00:08:01,280 --> 00:08:04,400 Speaker 1: stem from the ludicrous claims of the juicier version of 125 00:08:04,440 --> 00:08:07,520 Speaker 1: the theory. Okay, isn't it enough to believe that the 126 00:08:07,560 --> 00:08:12,320 Speaker 1: grateful dead soundman bear Owsley was a likely CIA asset 127 00:08:12,960 --> 00:08:17,400 Speaker 1: or a pawn of the CIA, and that his efforts 128 00:08:17,800 --> 00:08:20,960 Speaker 1: directly influenced the band on behalf of the agency. Do 129 00:08:21,080 --> 00:08:23,800 Speaker 1: we have to go all the way to Jerry and Bob. 130 00:08:23,840 --> 00:08:27,440 Speaker 1: We're using LSD to implant false memories into dead heads. 131 00:08:27,480 --> 00:08:31,720 Speaker 1: Man Cornell's seventy seven never happened, Man Scarlet pigonis. 132 00:08:31,320 --> 00:08:31,960 Speaker 3: Never get played. 133 00:08:32,040 --> 00:08:35,240 Speaker 1: Dude, you let the CIA stash trick you and everyone 134 00:08:35,280 --> 00:08:37,000 Speaker 1: else into thinking that there were a show that never 135 00:08:37,080 --> 00:08:40,120 Speaker 1: took place. That's a good one. Look that one up. 136 00:08:40,280 --> 00:08:43,000 Speaker 1: There's literally a theory that claims that the Dead Live 137 00:08:43,080 --> 00:08:46,800 Speaker 1: album in the show the actual show Cornell from nineteen 138 00:08:46,840 --> 00:08:52,800 Speaker 1: seventy seven. Cornell seventy seven is a theory that the 139 00:08:52,880 --> 00:08:57,200 Speaker 1: show never took place, and that the Grateful Dead, along 140 00:08:57,240 --> 00:08:59,920 Speaker 1: with the CIA, wanted to what's the term memory hole 141 00:09:00,600 --> 00:09:03,760 Speaker 1: their fans into believing that they actually attended an event 142 00:09:03,800 --> 00:09:06,599 Speaker 1: that didn't happen as a means to test out the 143 00:09:06,760 --> 00:09:10,679 Speaker 1: mind control capabilities of LSD's It's a good one. It's 144 00:09:10,720 --> 00:09:12,720 Speaker 1: a good one worth looking up again. Like I said, 145 00:09:12,760 --> 00:09:16,800 Speaker 1: but this offends me on a personal level because Cornell 146 00:09:16,840 --> 00:09:20,840 Speaker 1: seventy seven is my favorite favorite recording of any recording 147 00:09:20,880 --> 00:09:23,719 Speaker 1: of The Grateful Dead. Now, what doesn't offend me are 148 00:09:23,880 --> 00:09:28,760 Speaker 1: the rays of truth shining through all this conspiracy muck 149 00:09:29,920 --> 00:09:32,640 Speaker 1: my cynicism around the Grateful Dead MK ultra theory does 150 00:09:32,720 --> 00:09:36,839 Speaker 1: not extend to Charles Manson. Manson's relationship with the federal 151 00:09:36,920 --> 00:09:40,199 Speaker 1: government and the absolute bogus pile of lies that we 152 00:09:40,320 --> 00:09:44,120 Speaker 1: were fed about. Helter Skelter is for many reasons, much 153 00:09:44,200 --> 00:09:46,760 Speaker 1: more plausible to me, and it's occurring to me now 154 00:09:46,800 --> 00:09:48,320 Speaker 1: as I write this set. For as much as I've 155 00:09:48,360 --> 00:09:50,440 Speaker 1: written about Charles Manson here in Disgrace and I never 156 00:09:50,520 --> 00:09:53,280 Speaker 1: fully explored the MK ultra angle, and that maybe that's 157 00:09:54,160 --> 00:09:57,120 Speaker 1: that's something we should dive into somehow in an episode 158 00:09:57,200 --> 00:10:00,560 Speaker 1: or something. Another story connected to MK ultra in music 159 00:10:00,640 --> 00:10:03,319 Speaker 1: history and the Grateful Dead that I'm super interested in 160 00:10:04,080 --> 00:10:06,640 Speaker 1: is about the musicians from Laurel Canyon in the nineteen 161 00:10:06,720 --> 00:10:10,400 Speaker 1: sixties who were supposedly linked to military intelligence and used 162 00:10:10,400 --> 00:10:14,679 Speaker 1: by the CIA to discredit and control, supposedly control the 163 00:10:14,760 --> 00:10:19,559 Speaker 1: hippie movement. And these musicians, these pop stars, were the 164 00:10:19,720 --> 00:10:23,920 Speaker 1: sons and daughters of military men, the again big time 165 00:10:24,040 --> 00:10:27,120 Speaker 1: rockstars Frank Zappa, Stephen still Is, Jackson Brown more. This 166 00:10:27,280 --> 00:10:31,400 Speaker 1: theories one that has always always fascinated me. I have 167 00:10:31,600 --> 00:10:34,520 Speaker 1: never looked into it. I should, I am, I will Zeth, 168 00:10:34,559 --> 00:10:36,640 Speaker 1: and I are going to dig into the story of 169 00:10:36,720 --> 00:10:39,199 Speaker 1: more detail and the exclusive all access section of this 170 00:10:39,280 --> 00:10:41,480 Speaker 1: after party. Go to Disgrace lampod dot com to sign up. 171 00:10:41,520 --> 00:10:45,360 Speaker 1: Five bucks will unlock this exclusive content and more plus 172 00:10:45,520 --> 00:10:49,320 Speaker 1: ad free listening. All right, this whole conversation about MK, Ultra, 173 00:10:49,559 --> 00:10:51,719 Speaker 1: the CIA and the Dead. We're obviously talking about this 174 00:10:51,800 --> 00:10:54,240 Speaker 1: because of the Bob Weir episode in the Feed this week. 175 00:10:54,720 --> 00:10:57,319 Speaker 1: Check that out if you have not already, along with 176 00:10:57,440 --> 00:11:00,400 Speaker 1: our two other episodes on the Grateful Dead and for 177 00:11:00,600 --> 00:11:03,120 Speaker 1: more on the subject of the CIA munking up the 178 00:11:03,240 --> 00:11:05,439 Speaker 1: lives of our rock stars. We've got our Bob Marley 179 00:11:05,480 --> 00:11:08,319 Speaker 1: episode coming at you in our rewind slot right after 180 00:11:08,559 --> 00:11:12,079 Speaker 1: this after party next week on Tuesday, Part two of 181 00:11:12,120 --> 00:11:18,599 Speaker 1: our Inexcess story hits and look in Excess. They're not 182 00:11:18,720 --> 00:11:21,679 Speaker 1: the band that we thought they were, or at least 183 00:11:21,679 --> 00:11:24,839 Speaker 1: their origins. They're origins, you know, for a band that 184 00:11:25,120 --> 00:11:28,720 Speaker 1: sort of personified this, this sort of like pretty popstar 185 00:11:28,840 --> 00:11:33,320 Speaker 1: eighties thing they come from just you know, ultra violence. 186 00:11:33,800 --> 00:11:37,680 Speaker 1: It's incredible. The world, the scene, the Australian music scene 187 00:11:37,720 --> 00:11:39,839 Speaker 1: that these guys came from and what they became. You 188 00:11:39,960 --> 00:11:41,560 Speaker 1: kind of get it with ac DC, You're like, oh, 189 00:11:41,600 --> 00:11:43,560 Speaker 1: I get how these guys were part of a tough 190 00:11:43,640 --> 00:11:48,959 Speaker 1: scene back home. It's it's more counterintuitive. Within Excess, obviously 191 00:11:49,040 --> 00:11:52,559 Speaker 1: some incredible bands from down Under. In Excess ACDC, just 192 00:11:52,640 --> 00:11:54,360 Speaker 1: name a few, And it occurred to me that we 193 00:11:54,440 --> 00:11:56,800 Speaker 1: often limit our view of consequential rock bands to just 194 00:11:56,880 --> 00:12:00,480 Speaker 1: the United States and England. But obviously they're a great 195 00:12:00,640 --> 00:12:03,880 Speaker 1: bands from all over. So when you're listening to the 196 00:12:03,960 --> 00:12:08,040 Speaker 1: in Excess episode, be thinking about great groups from elsewhere 197 00:12:08,440 --> 00:12:11,200 Speaker 1: and get at me and let me know which international 198 00:12:11,320 --> 00:12:14,120 Speaker 1: artists bands not from the United States or from England. 199 00:12:15,120 --> 00:12:18,839 Speaker 1: Let me know which international group or musical artists you 200 00:12:19,040 --> 00:12:23,800 Speaker 1: think has had the most impact on popular culture. Is 201 00:12:23,880 --> 00:12:26,320 Speaker 1: it in Excess? Is it ACDC? Is it Bad Bunny? 202 00:12:26,960 --> 00:12:30,440 Speaker 1: Is it? I don't know? Is it I was gonna 203 00:12:30,440 --> 00:12:32,920 Speaker 1: say the undertones, but it's not the undertones? Who is it? 204 00:12:33,240 --> 00:12:36,480 Speaker 1: Neil Young from Canada? Who let me know which international 205 00:12:36,559 --> 00:12:39,600 Speaker 1: artist has influenced this the most? Let me know your thoughts. 206 00:12:39,960 --> 00:12:42,960 Speaker 1: Six one seven nine oh six six six three eight 207 00:12:43,080 --> 00:12:46,240 Speaker 1: voicemail texts at Disgrace Land pod on the socials. I'm 208 00:12:46,240 --> 00:12:48,040 Speaker 1: gonna take a quick break. I'll be back after this 209 00:12:48,440 --> 00:13:08,840 Speaker 1: with your voicemails, text dms and more. Feel Feel Feel 210 00:13:09,200 --> 00:13:12,560 Speaker 1: Feel ma he I've been walking around all week singing 211 00:13:12,640 --> 00:13:15,480 Speaker 1: that to the annoyance of my wife and kids because 212 00:13:15,480 --> 00:13:18,280 Speaker 1: I got boogie Knights on the brand, guys, because you 213 00:13:18,360 --> 00:13:21,720 Speaker 1: know what today is today or this week, i should say, 214 00:13:21,840 --> 00:13:24,560 Speaker 1: is the release of our newest episode of our new 215 00:13:24,640 --> 00:13:28,160 Speaker 1: video podcast, This Film should be Played Loud, our show 216 00:13:28,320 --> 00:13:31,040 Speaker 1: that looks at the convergence of music and film, great 217 00:13:31,120 --> 00:13:34,280 Speaker 1: soundtracks from the greatest movies, and we've got a doozy 218 00:13:34,400 --> 00:13:37,520 Speaker 1: of a release this week. Our new episode is on 219 00:13:37,679 --> 00:13:42,120 Speaker 1: the great Paul Thomas Anderson movie Boogie Nights. This was 220 00:13:42,200 --> 00:13:45,400 Speaker 1: a blast record. I learned that Zeth takes performance enhancing 221 00:13:45,480 --> 00:13:48,679 Speaker 1: drugs and that Walter Egan wasn't in Steely Dam, which 222 00:13:48,760 --> 00:13:50,839 Speaker 1: begs the question, who the hell was Walter Egan? And 223 00:13:51,000 --> 00:13:53,760 Speaker 1: Zeth learned all about the connection between Reid Rothschild and 224 00:13:53,840 --> 00:13:57,480 Speaker 1: the Rothschild's Eyes wide Huck conspiracy theory. All right, you're 225 00:13:57,480 --> 00:13:59,040 Speaker 1: not gonna want to miss this. Here's a club. 226 00:13:59,520 --> 00:14:03,199 Speaker 3: PTA worked with this music supervisor on this movie, yes, 227 00:14:03,600 --> 00:14:05,520 Speaker 3: in order to get this the way that it is. 228 00:14:05,640 --> 00:14:08,880 Speaker 3: Her name is Karen Rackman, and she kind of has 229 00:14:08,920 --> 00:14:11,599 Speaker 3: a fascinating backstory. I just wanted to get into this 230 00:14:11,679 --> 00:14:12,120 Speaker 3: for a second. 231 00:14:12,160 --> 00:14:12,280 Speaker 4: Here. 232 00:14:12,440 --> 00:14:16,800 Speaker 3: Her credits before this included she did Reservoir Dogs, pulp fiction, 233 00:14:17,600 --> 00:14:20,440 Speaker 3: Reality Bites, some other movies before she gets in here, 234 00:14:20,560 --> 00:14:23,640 Speaker 3: and her sort of origin is that Tarantino was making 235 00:14:23,680 --> 00:14:27,360 Speaker 3: Reservoir Dogs and he wrote that scene with Steelers Wheel 236 00:14:27,400 --> 00:14:28,960 Speaker 3: song and it stuck in the middle with you. He 237 00:14:29,040 --> 00:14:31,160 Speaker 3: wrote that with that song in mind, and he was 238 00:14:31,240 --> 00:14:34,040 Speaker 3: having a really hard time getting Jerry Rafferty and the 239 00:14:34,080 --> 00:14:35,920 Speaker 3: other guy to let him use the song because one 240 00:14:35,960 --> 00:14:38,920 Speaker 3: of them was hardcore Christian didn't want to end this 241 00:14:39,040 --> 00:14:41,600 Speaker 3: scene with all this violence and stuff. He meets this woman, 242 00:14:41,720 --> 00:14:44,800 Speaker 3: Karen Rackman, and she's like, hang on, I'll deal with it. 243 00:14:44,960 --> 00:14:46,840 Speaker 3: And she goes and she sweet talks to those guys, 244 00:14:47,160 --> 00:14:49,680 Speaker 3: gets them to green light the song, and Quentin Tarantino 245 00:14:49,800 --> 00:14:52,240 Speaker 3: was like, you're gonna supervise my whole movie, and then 246 00:14:52,280 --> 00:14:54,280 Speaker 3: brings her on board for pulp fiction and then she 247 00:14:54,400 --> 00:14:56,640 Speaker 3: goes onto this Where did. 248 00:14:56,680 --> 00:14:59,920 Speaker 1: Quentin Tarantino meet Karen Rackman? Do we have any idea? 249 00:15:00,280 --> 00:15:03,479 Speaker 3: I don't have any I don't have that level of information. 250 00:15:03,200 --> 00:15:05,360 Speaker 1: Because I just did a little snooping on the and 251 00:15:05,440 --> 00:15:08,320 Speaker 1: the interwebs here and you know who Karen Rackman's brother is? 252 00:15:08,720 --> 00:15:14,480 Speaker 1: Who Ricky Rackman head Banger's Ball. Yes, yes, Ricky Rackman 253 00:15:14,640 --> 00:15:16,000 Speaker 1: back on the head Bangers Ball. 254 00:15:16,040 --> 00:15:18,720 Speaker 3: It's my birthday show of Head Banger's Ball tonight. 255 00:15:18,920 --> 00:15:19,520 Speaker 5: I don't know why. 256 00:15:19,520 --> 00:15:21,920 Speaker 3: I always thought Ricky Rackman's last name was actually fake. 257 00:15:22,280 --> 00:15:23,440 Speaker 3: It sounds like a stage name. 258 00:15:23,600 --> 00:15:26,240 Speaker 1: I always thought Ricky Rackman was Casey Casey's kid, and 259 00:15:26,320 --> 00:15:29,480 Speaker 1: I'm still I'm still not convinced otherwise, because they're kind 260 00:15:29,520 --> 00:15:31,800 Speaker 1: of the same, a younger version of it. I thought 261 00:15:31,840 --> 00:15:32,480 Speaker 1: that way. Anyways. 262 00:15:32,520 --> 00:15:32,880 Speaker 3: I love that. 263 00:15:33,160 --> 00:15:35,920 Speaker 1: But yeah, Ricky Rackman's sister so pretty legendary. I mean, 264 00:15:35,960 --> 00:15:38,000 Speaker 1: come on, like what lists those movies again? That she's 265 00:15:38,000 --> 00:15:39,760 Speaker 1: a music supervisor And for those who don't know what 266 00:15:39,840 --> 00:15:43,000 Speaker 1: a music supervisor is, they're essentially the buck stops with 267 00:15:43,080 --> 00:15:45,800 Speaker 1: them on music in the film, aside from the director, 268 00:15:45,840 --> 00:15:48,160 Speaker 1: because the buck stops with the director on everything in 269 00:15:48,200 --> 00:15:50,880 Speaker 1: a film, but the music supervisor is in charge of 270 00:15:51,000 --> 00:15:54,560 Speaker 1: not only getting the soundtrack figured out and the license, 271 00:15:54,600 --> 00:15:56,720 Speaker 1: the song's license for the movie, for the needle drops, 272 00:15:57,000 --> 00:16:01,040 Speaker 1: but also handling the composer basic everything. I mean, it 273 00:16:01,160 --> 00:16:03,520 Speaker 1: didn't really start as that, but that's what it's kind 274 00:16:03,560 --> 00:16:07,760 Speaker 1: of become, right, And and it sounds like she just 275 00:16:07,880 --> 00:16:12,360 Speaker 1: kind of got pulled into this by by Tarantino and 276 00:16:12,520 --> 00:16:15,680 Speaker 1: this career just she made this happen for herself with 277 00:16:16,120 --> 00:16:18,160 Speaker 1: Reservoir Dogs, and then what was the next one? She did? 278 00:16:18,240 --> 00:16:23,560 Speaker 3: Pulp fiction, reality bites, Clueless, Get Shorty, Basketball Diaries, Romeo 279 00:16:23,600 --> 00:16:27,040 Speaker 3: and Juliet Off of Space She essentially I think you 280 00:16:27,120 --> 00:16:29,560 Speaker 3: could argue that she Yeah Boo nights. Of course, I 281 00:16:29,600 --> 00:16:32,160 Speaker 3: think you could argue that she kind of changed movie 282 00:16:32,240 --> 00:16:35,080 Speaker 3: soundtracks forever. I feel like there's a before and then 283 00:16:35,200 --> 00:16:38,760 Speaker 3: after these nineties soundtracks, don't you think. 284 00:16:38,760 --> 00:16:41,920 Speaker 1: Yeah, yeah, oh Man off of Space down. It feels 285 00:16:41,960 --> 00:16:43,840 Speaker 1: good to do gangs so good. 286 00:16:43,840 --> 00:16:46,360 Speaker 6: We gotta do that one, all. 287 00:16:46,320 --> 00:16:49,040 Speaker 1: Right, Karen Rackman, gonna pour one out for Karen Rackman. 288 00:16:49,160 --> 00:16:52,880 Speaker 1: I feel I feel I'm ashamed that I haven't ever 289 00:16:52,960 --> 00:16:55,200 Speaker 1: come across this name before. All right, guys, you want 290 00:16:55,200 --> 00:16:57,440 Speaker 1: to watch or listen to this film should be played loud. 291 00:16:57,480 --> 00:16:59,880 Speaker 1: You can do so through Patreon. Go to Disgrace Samp, 292 00:17:00,960 --> 00:17:04,080 Speaker 1: become an all access member at the sound in Fury Level, 293 00:17:04,480 --> 00:17:06,119 Speaker 1: and then jump into the chat with the rest of 294 00:17:06,200 --> 00:17:09,480 Speaker 1: us discos and let us know what you think. Or 295 00:17:09,760 --> 00:17:11,600 Speaker 1: you can just call me at six one seven nine 296 00:17:11,640 --> 00:17:15,760 Speaker 1: oh six six six three eight, just like this voicemail 297 00:17:15,880 --> 00:17:18,200 Speaker 1: from the seven to two seven, Hey, Jake. 298 00:17:18,240 --> 00:17:21,240 Speaker 4: This is Alex from the seven two seven. I've become 299 00:17:21,480 --> 00:17:25,080 Speaker 4: a fan of Mani Street Preachers in the past few years, 300 00:17:25,280 --> 00:17:27,600 Speaker 4: and I was wondering if you've ever done an episode 301 00:17:27,760 --> 00:17:31,680 Speaker 4: on the number of Manu Street Preachers that disappeared years ago. 302 00:17:32,560 --> 00:17:35,840 Speaker 4: I think it would be a really fascinating episode. Anyway, 303 00:17:36,000 --> 00:17:39,240 Speaker 4: keep it up. You're my favorite podcast. Peace Alex. 304 00:17:39,359 --> 00:17:42,879 Speaker 1: Thanks for the call. Man have not Richie Edwards as 305 00:17:42,880 --> 00:17:45,000 Speaker 1: who you're talking about from Mani Street Preachers. We got 306 00:17:45,040 --> 00:17:47,280 Speaker 1: close to doing a whole season Payne Lindsay and I. 307 00:17:48,040 --> 00:17:49,800 Speaker 1: That was going to be the season we did of 308 00:17:49,920 --> 00:17:52,920 Speaker 1: Dead and Gone, but it ended up being Grateful Dead, 309 00:17:52,960 --> 00:17:55,159 Speaker 1: and then we're thinking about it for season two. And 310 00:17:55,240 --> 00:17:59,399 Speaker 1: then I actually had talks with some studios about a 311 00:18:00,760 --> 00:18:03,960 Speaker 1: a limited television series, but it never went anywhere. So 312 00:18:04,080 --> 00:18:06,600 Speaker 1: it's kind of been on the burner here for a while. 313 00:18:07,320 --> 00:18:09,960 Speaker 1: Something we're absolutely going to get into at some point. 314 00:18:10,320 --> 00:18:14,160 Speaker 1: It's a fascinating and sad story. I should really dive 315 00:18:14,200 --> 00:18:17,560 Speaker 1: into Manic Street Preachers musically as a band I never 316 00:18:17,640 --> 00:18:20,240 Speaker 1: really have. Maybe that'll inspire motivate me, I should say, 317 00:18:20,560 --> 00:18:22,679 Speaker 1: to get into telling this story. Thanks for the call. 318 00:18:22,720 --> 00:18:26,359 Speaker 1: Appreciate you, Alex. All right, let's check out this voicemail 319 00:18:26,520 --> 00:18:29,480 Speaker 1: from the nine to one six Jay. 320 00:18:29,880 --> 00:18:33,040 Speaker 5: This is mister Taylor from Raleigh, North Carolina, and I 321 00:18:33,160 --> 00:18:35,119 Speaker 5: just finished the Media as a Potat episode and it 322 00:18:35,240 --> 00:18:37,600 Speaker 5: was great, But I was struck by the fact that 323 00:18:37,640 --> 00:18:42,040 Speaker 5: on multiple occasions you referenced me as privilege upbringing, growing 324 00:18:42,119 --> 00:18:45,280 Speaker 5: up in a penthouse overlooking Central Park, and it reminds 325 00:18:45,359 --> 00:18:48,080 Speaker 5: me from growing up in the nineties when authenticity was 326 00:18:48,160 --> 00:18:52,680 Speaker 5: often weaponized against musicians. Hip hop artists were criticized for 327 00:18:52,800 --> 00:18:55,840 Speaker 5: not being real gangsters, right, which is absurd the idea 328 00:18:55,880 --> 00:19:00,000 Speaker 5: that largely suburban white kids would regularly criticize black artists 329 00:19:00,520 --> 00:19:04,679 Speaker 5: for not being gangster enough. I remember people slamming Nirvana's 330 00:19:04,760 --> 00:19:09,760 Speaker 5: unplugged performance because Kurt used an electric guitar on the 331 00:19:09,840 --> 00:19:12,280 Speaker 5: Man who Sold the World to get that haunting Nick 332 00:19:12,400 --> 00:19:15,800 Speaker 5: Ronson sounds, And to this day I still hear people 333 00:19:15,880 --> 00:19:18,800 Speaker 5: hate on the Strokes because doing Casablanca's father was a 334 00:19:18,920 --> 00:19:22,000 Speaker 5: rich and powerful fashion executive, as though that had any 335 00:19:22,040 --> 00:19:25,159 Speaker 5: impact on the incredible music they wrote. So what is 336 00:19:25,200 --> 00:19:29,480 Speaker 5: it about music fans that we demand authenticity? Are we 337 00:19:29,680 --> 00:19:33,960 Speaker 5: asking too much of our musicians that they continue destructive behavior. 338 00:19:34,000 --> 00:19:35,920 Speaker 5: I mean, I'm sure many of us have said some 339 00:19:36,160 --> 00:19:38,800 Speaker 5: version of the old line they were better before they 340 00:19:38,840 --> 00:19:41,720 Speaker 5: got clean, as if being a junkie makes you a 341 00:19:41,760 --> 00:19:45,600 Speaker 5: better guitarist. So I mean this idea that trauma and 342 00:19:45,680 --> 00:19:48,359 Speaker 5: destructive behavior are the key themes behind this podcast. We 343 00:19:48,480 --> 00:19:51,000 Speaker 5: know that without it we wouldn't have this amazing show 344 00:19:51,160 --> 00:19:54,480 Speaker 5: and these stories. But why are music fans so critical 345 00:19:54,520 --> 00:19:58,399 Speaker 5: of musicians who aren't harnessing bill trauma? Is the music 346 00:19:58,520 --> 00:20:01,440 Speaker 5: better if it comes from people who are self destructive? 347 00:20:02,280 --> 00:20:04,840 Speaker 5: I'm just curious to hear your take on this. Appreciate 348 00:20:04,880 --> 00:20:05,960 Speaker 5: all the hard work rock. 349 00:20:05,840 --> 00:20:11,240 Speaker 1: And ROLLA hey, fantastic call, Thank you a lot to 350 00:20:11,320 --> 00:20:15,040 Speaker 1: get into. On me as a pada, and on our 351 00:20:15,160 --> 00:20:19,320 Speaker 1: mentioning of her privileged background, I hope that wasn't I 352 00:20:19,359 --> 00:20:20,800 Speaker 1: don't think you were. I don't think you took that 353 00:20:20,960 --> 00:20:24,520 Speaker 1: as we're being critical of her or claiming that she 354 00:20:24,640 --> 00:20:26,960 Speaker 1: was an authentic because of her privileged background. I just 355 00:20:27,040 --> 00:20:30,120 Speaker 1: think we was mentioned as a point of fact because 356 00:20:30,640 --> 00:20:35,160 Speaker 1: it obviously is a contrast between the life she lived 357 00:20:35,160 --> 00:20:37,800 Speaker 1: as a musician and was living as a musician and 358 00:20:38,400 --> 00:20:40,520 Speaker 1: the themes and some of the some of the themes 359 00:20:40,560 --> 00:20:43,359 Speaker 1: in her music, et cetera. You would not expect that 360 00:20:43,480 --> 00:20:46,720 Speaker 1: somebody from privilege would have that point of view. And 361 00:20:46,840 --> 00:20:48,800 Speaker 1: I think you can say the same thing about a 362 00:20:48,880 --> 00:20:52,719 Speaker 1: lot of artists, and I wasn't. We weren't discrediting her 363 00:20:52,840 --> 00:20:55,200 Speaker 1: in any way because of that. Not that I necessarily 364 00:20:55,280 --> 00:20:58,560 Speaker 1: think that was your point, but after playing the message, 365 00:20:58,560 --> 00:21:00,879 Speaker 1: I could see some people hearing it and taking that 366 00:21:01,000 --> 00:21:02,760 Speaker 1: as your point. So I just wanted to clarify that, 367 00:21:03,520 --> 00:21:05,520 Speaker 1: you know, I don't know. I don't to answer your 368 00:21:05,600 --> 00:21:11,400 Speaker 1: question about why there's such a a fervor or such, 369 00:21:11,720 --> 00:21:14,000 Speaker 1: why fans are so demanding that their artists be authentic. 370 00:21:14,600 --> 00:21:16,840 Speaker 1: I think in a lot of ways, rock and roll 371 00:21:16,960 --> 00:21:23,240 Speaker 1: is born of feral authenticity, and all the great movements 372 00:21:23,600 --> 00:21:30,000 Speaker 1: in popular music, whether it's blues, country, punk, grunge, hip hop, 373 00:21:31,080 --> 00:21:35,960 Speaker 1: there's always this hardcore authenticity at the center of it 374 00:21:36,320 --> 00:21:42,160 Speaker 1: in ways that isn't necessarily represented in other elements of society, 375 00:21:42,320 --> 00:21:49,200 Speaker 1: in Hollywood, in politics and sports, and rock and roll. 376 00:21:49,400 --> 00:21:51,360 Speaker 1: In a lot of ways, popular music, I should say, 377 00:21:51,359 --> 00:21:53,240 Speaker 1: in a lot of ways kind of cornered the market 378 00:21:53,560 --> 00:21:56,800 Speaker 1: culturally on authenticity, and I think that leads that has 379 00:21:56,880 --> 00:21:59,720 Speaker 1: led to the demand. I have never been one of 380 00:21:59,760 --> 00:22:03,720 Speaker 1: these people. I loved the Strokes when they came out, 381 00:22:04,560 --> 00:22:06,080 Speaker 1: excuse me, And I was smart enough to know that 382 00:22:06,160 --> 00:22:08,719 Speaker 1: a lot of the a lot of the DC hardcore 383 00:22:08,760 --> 00:22:10,159 Speaker 1: band's not going to name any names that I that 384 00:22:10,240 --> 00:22:12,600 Speaker 1: I was into growing up, or even some of the 385 00:22:12,640 --> 00:22:15,000 Speaker 1: New York hardcore bands, or like the Beastie Boys or whoever, 386 00:22:15,160 --> 00:22:19,920 Speaker 1: like that these guys came from families that were, you know, 387 00:22:19,960 --> 00:22:22,400 Speaker 1: of a different class than the family that I came from, 388 00:22:22,640 --> 00:22:24,800 Speaker 1: and that was part of the reason. I mean, certainly 389 00:22:24,920 --> 00:22:28,200 Speaker 1: the Beastie Boys for example, you know, if if their 390 00:22:28,280 --> 00:22:30,879 Speaker 1: parents weren't who they were, and I'm not saying that 391 00:22:31,400 --> 00:22:34,639 Speaker 1: you know their parents were truly and Casablancis's parents, but 392 00:22:35,200 --> 00:22:38,120 Speaker 1: you know I didn't. I you know, Mike D's mom 393 00:22:38,480 --> 00:22:40,879 Speaker 1: was like a famous art dealer, you know what I mean. 394 00:22:41,040 --> 00:22:46,360 Speaker 1: Like who their parents were directly impacted who the Beastie 395 00:22:46,359 --> 00:22:49,600 Speaker 1: Boys became. I'm not going to besmirch them for that 396 00:22:50,000 --> 00:22:52,920 Speaker 1: in any way, but I don't know. I hope I 397 00:22:52,960 --> 00:22:55,560 Speaker 1: answered your question on the authenticity piece. I hope I did. 398 00:22:56,600 --> 00:23:00,679 Speaker 1: I just think that historically we have look to rock 399 00:23:00,760 --> 00:23:03,600 Speaker 1: and roll with a higher standard when it comes to 400 00:23:03,760 --> 00:23:07,639 Speaker 1: the concept of authenticity, then we do other elements of 401 00:23:07,720 --> 00:23:10,760 Speaker 1: our culture, and that's why fans are so demanding of it. 402 00:23:11,200 --> 00:23:13,359 Speaker 1: Hope that answered your question. Thanks to Carlin. Appreciate it. 403 00:23:13,440 --> 00:23:17,280 Speaker 1: Keep calling back. Four eight zero writes in I received 404 00:23:17,280 --> 00:23:19,560 Speaker 1: my T shirt today. It's perfect. Thanks so much you 405 00:23:19,680 --> 00:23:21,439 Speaker 1: got it. See, guys, I told you I was going 406 00:23:21,520 --> 00:23:24,080 Speaker 1: to send those T shirts out the merch. Not everybody 407 00:23:24,119 --> 00:23:28,800 Speaker 1: got T shirts. Some people got merch stickers, pins, but yeah, 408 00:23:28,840 --> 00:23:31,359 Speaker 1: everything went out. I think I got one to mail 409 00:23:31,440 --> 00:23:34,119 Speaker 1: that I have not mailed for some reason. I can 410 00:23:34,280 --> 00:23:36,000 Speaker 1: actually remember. Oh I know why. Because I had the 411 00:23:36,080 --> 00:23:40,000 Speaker 1: wrong size and I got to get the right size 412 00:23:40,080 --> 00:23:42,760 Speaker 1: and send that out. What are these What's up with 413 00:23:42,840 --> 00:23:45,359 Speaker 1: this mercher sentergy? That's what some of you might be asking. Well, listen, 414 00:23:45,520 --> 00:23:47,879 Speaker 1: you know, leave a review of the show on Apple 415 00:23:47,960 --> 00:23:51,399 Speaker 1: Podcasts or Spotify, and you know you might get some 416 00:23:51,520 --> 00:23:54,080 Speaker 1: free merch if I happen to read your review here 417 00:23:54,160 --> 00:23:56,560 Speaker 1: on the show. We want the reviews because the reviews 418 00:23:56,600 --> 00:23:58,840 Speaker 1: help power the show. They help with discovery. I've been 419 00:23:58,880 --> 00:24:01,280 Speaker 1: saying this for years. You all know what I'm talking about. 420 00:24:02,160 --> 00:24:05,320 Speaker 1: Meek and me over on Apple podcasts, making me text 421 00:24:05,400 --> 00:24:07,800 Speaker 1: me six one seven nine oh six sixty six three eight. 422 00:24:08,040 --> 00:24:13,000 Speaker 1: We'll figure out your issue, Okay, promise. Whiskey Me zero 423 00:24:13,200 --> 00:24:16,960 Speaker 1: zero zero over on Spotify. Right's Great Podcasts. What I 424 00:24:17,080 --> 00:24:20,400 Speaker 1: hear it's like a picture that happened, like a dark cartoon, 425 00:24:20,720 --> 00:24:24,760 Speaker 1: dark and great storytelling like a dark cartoon. I love that. 426 00:24:25,600 --> 00:24:29,720 Speaker 1: I love that like a dark cartoon. Whiskey Me zero 427 00:24:29,840 --> 00:24:31,720 Speaker 1: zero zero. You're a poet. Get in touch, we'll get 428 00:24:31,800 --> 00:24:33,760 Speaker 1: some merch. Six one seven nine oh six six six 429 00:24:33,880 --> 00:24:36,520 Speaker 1: three eight. Got this text from Flow and the three 430 00:24:36,600 --> 00:24:38,520 Speaker 1: one seven, who says I would like to first thank 431 00:24:38,560 --> 00:24:40,920 Speaker 1: you sincerely for the time and research it takes to 432 00:24:41,000 --> 00:24:44,280 Speaker 1: run all your podcasts. They're enthusiastically composed, well read, and 433 00:24:44,400 --> 00:24:48,639 Speaker 1: thorough two things. When can we expect Almarsey or The 434 00:24:48,760 --> 00:24:52,600 Speaker 1: Smith's Pod. Also, you mentioned bourbons quite often. I was 435 00:24:52,680 --> 00:24:55,200 Speaker 1: merely curious if there were a few bourbons you enjoy 436 00:24:55,280 --> 00:24:57,040 Speaker 1: more than others. As a chef, I can't help a 437 00:24:57,119 --> 00:24:59,520 Speaker 1: pair of stuff together. And when I listen to Disgrace 438 00:24:59,560 --> 00:25:02,480 Speaker 1: Land and I like pairing a bourbon with mood of 439 00:25:02,560 --> 00:25:07,159 Speaker 1: whichever pod I'm sinking my ears teeth into. Thanks for 440 00:25:07,320 --> 00:25:10,720 Speaker 1: all that you do, rock a rolla. Yeah, there's a 441 00:25:10,760 --> 00:25:13,280 Speaker 1: lot of bourbons that I like. I think, you know, 442 00:25:13,480 --> 00:25:16,000 Speaker 1: if it depends on what shape my bank account's in. 443 00:25:16,119 --> 00:25:19,280 Speaker 1: But I do enjoy some Blantons, and I try to 444 00:25:19,359 --> 00:25:22,920 Speaker 1: keep at least one bottle of Blantons in my bar 445 00:25:23,119 --> 00:25:25,440 Speaker 1: here at home for when I you know, when I'm 446 00:25:25,440 --> 00:25:28,280 Speaker 1: gonna have just one bourbon, just me alone with one 447 00:25:28,359 --> 00:25:30,920 Speaker 1: drink that night, I'll go for a Blantons. I like 448 00:25:30,960 --> 00:25:33,480 Speaker 1: the knob Creek rye. Not exactly bourbon, but I like 449 00:25:33,560 --> 00:25:36,439 Speaker 1: their rye a lot. Can't go wrong with Woodford Reserve. 450 00:25:36,480 --> 00:25:38,960 Speaker 1: I know some snobs will say otherwise. In Buffalo Trace. 451 00:25:39,320 --> 00:25:44,159 Speaker 1: Buffalo Trace is a good affordable, mid mid level, affordable bourbon. 452 00:25:45,040 --> 00:25:46,720 Speaker 1: And you know, I've had some Van Winkles at my 453 00:25:46,840 --> 00:25:50,639 Speaker 1: time too, and tasty, damn tasty. So there you go. 454 00:25:50,880 --> 00:25:52,600 Speaker 1: I'd love to talk more bourbon. Anyone else want to 455 00:25:52,600 --> 00:25:54,080 Speaker 1: talk about bourbon, hit me up. I don't want to 456 00:25:54,080 --> 00:25:55,440 Speaker 1: pretend that I know a lot about it. I don't. 457 00:25:55,520 --> 00:25:58,520 Speaker 1: I basically just gave you my whole, all of my 458 00:25:58,640 --> 00:26:03,359 Speaker 1: knowledge as somebody's been done a bourbon tour before. Not 459 00:26:03,440 --> 00:26:05,600 Speaker 1: a lot of it's stuck. And you can probably guess why. 460 00:26:05,680 --> 00:26:08,080 Speaker 1: But if anyone on any of you are bourbon connoisseurs, 461 00:26:08,080 --> 00:26:10,120 Speaker 1: get in touch. I'd love to learn more from talking 462 00:26:10,119 --> 00:26:12,000 Speaker 1: to you. All about it six one seven nine oh 463 00:26:12,080 --> 00:26:15,040 Speaker 1: six six six three eight voicemail text to get in 464 00:26:15,160 --> 00:26:19,080 Speaker 1: touch at Disgrace Lampod on the Socials, Colton over on 465 00:26:19,200 --> 00:26:21,560 Speaker 1: Spotify says, let's hear about the Doors. Well, we do 466 00:26:21,720 --> 00:26:23,840 Speaker 1: have a doors episode for you, Colton, you can check 467 00:26:23,920 --> 00:26:27,600 Speaker 1: that out over on Instagram. Too Weird to Live, Too 468 00:26:27,800 --> 00:26:31,720 Speaker 1: Rare to Die comments that, Hey, Laurel Canyon, it's pretty 469 00:26:31,760 --> 00:26:35,360 Speaker 1: straightforward and that's in reference to our Bob Weird episode. 470 00:26:35,400 --> 00:26:38,080 Speaker 1: And you can hear more about Laurel Canyon in our 471 00:26:38,160 --> 00:26:40,760 Speaker 1: exclusive section of this after Party. As I mentioned before. 472 00:26:41,800 --> 00:26:45,320 Speaker 1: Moose Falcon over on Instagram as well, also writes, in 473 00:26:45,440 --> 00:26:50,080 Speaker 1: relationship to Bob Weir's Bohemian Grove affiliation, this ticked me 474 00:26:50,200 --> 00:26:53,160 Speaker 1: off like no other. Never could stomach this dude after 475 00:26:53,280 --> 00:26:56,080 Speaker 1: finding this out, and I had hundreds of hours by 476 00:26:56,119 --> 00:26:59,080 Speaker 1: this band on record the whole I'm Uncle Sam, That's 477 00:26:59,119 --> 00:27:01,240 Speaker 1: who I am. High out in a rock and roll band. 478 00:27:01,359 --> 00:27:04,800 Speaker 1: In Plain Sight, Jerry talks about working with the government 479 00:27:04,880 --> 00:27:07,480 Speaker 1: and new clippings. In the insert CD of Dix picked 480 00:27:07,560 --> 00:27:09,880 Speaker 1: seventy two from Maryland with the crab on the front, 481 00:27:10,160 --> 00:27:12,600 Speaker 1: and it just blew me away. I love Jerry and Phil, 482 00:27:12,720 --> 00:27:15,440 Speaker 1: but something about Bobby just pisses me off and I 483 00:27:15,600 --> 00:27:17,000 Speaker 1: have no control over it. 484 00:27:17,720 --> 00:27:19,359 Speaker 5: Hey, what what is this? 485 00:27:19,680 --> 00:27:22,040 Speaker 1: What is this about Jerry talking about working with the government. 486 00:27:22,280 --> 00:27:25,640 Speaker 1: Get back at me, Moose Falcon. Let me know, Marlow 487 00:27:26,080 --> 00:27:29,400 Speaker 1: underscore Stanfield four two o rights. Bobby was a great 488 00:27:29,520 --> 00:27:31,959 Speaker 1: man that did positive things to help the world. Why 489 00:27:32,040 --> 00:27:34,800 Speaker 1: are you trying to bash him? Well, you see Marlow 490 00:27:34,920 --> 00:27:38,240 Speaker 1: Stanfield four two oh. Despite your your wire reference in 491 00:27:38,320 --> 00:27:43,160 Speaker 1: your in your title, dude, I'm not bashing Bob Weir 492 00:27:43,440 --> 00:27:48,160 Speaker 1: even in the slightest. I'm asking questions. I'm curious, dude, curious. 493 00:27:49,440 --> 00:27:52,720 Speaker 1: All right, Guys at dis Gray sand Pot on the 494 00:27:52,800 --> 00:27:55,840 Speaker 1: Socialist you want to have a conversation there, I guess 495 00:27:55,960 --> 00:27:57,440 Speaker 1: we can do it there, but it's better to just 496 00:27:57,520 --> 00:27:59,960 Speaker 1: hit me up on the cell six point seven nine 497 00:28:00,160 --> 00:28:03,640 Speaker 1: six six sixty three eight voicemail and text talk about 498 00:28:03,720 --> 00:28:06,720 Speaker 1: anything you want. I'll be back after this with your emails. 499 00:28:21,000 --> 00:28:24,040 Speaker 1: Freddie Glover emails us saying hey, died too young. I've 500 00:28:24,040 --> 00:28:26,760 Speaker 1: been listening to you since you started appreciate all the 501 00:28:26,840 --> 00:28:30,000 Speaker 1: time you and the crew behind the scenes due. But anyways, 502 00:28:30,000 --> 00:28:32,960 Speaker 1: how about a Cliff Burton from Metallica episode appreciate y'all? Freddy, 503 00:28:33,080 --> 00:28:36,000 Speaker 1: my man, Freddie, Freddie. We've got a Cliff Burton from 504 00:28:36,040 --> 00:28:38,360 Speaker 1: Metallica episodes in the archive. Go check that out. You're 505 00:28:38,360 --> 00:28:41,600 Speaker 1: gonna dig it. Dan Kerns writes in with a Hall 506 00:28:41,640 --> 00:28:44,240 Speaker 1: of Fame teas Here in the email, Jake says, hey, 507 00:28:45,000 --> 00:28:47,959 Speaker 1: Dan from the eight one eight and og Disco from 508 00:28:48,080 --> 00:28:52,680 Speaker 1: drop one even through the Amazon era. Google Brian Harvey 509 00:28:52,800 --> 00:28:54,840 Speaker 1: slash House of Freaks and check out what happened to 510 00:28:54,920 --> 00:28:57,200 Speaker 1: him and his wife and two daughters. I was at 511 00:28:57,200 --> 00:28:59,760 Speaker 1: the Freak's debut LP release party in LA where they 512 00:28:59,800 --> 00:29:02,800 Speaker 1: play a scorching set, and I was hooked there from Richmond, 513 00:29:02,840 --> 00:29:05,640 Speaker 1: Virginia and came to LA like so many before and after, 514 00:29:05,680 --> 00:29:07,480 Speaker 1: they make it, and they achieved a modicum of success 515 00:29:07,520 --> 00:29:09,880 Speaker 1: and returned to Richmond, which was their goal all along, 516 00:29:10,160 --> 00:29:13,280 Speaker 1: and after some years they're playing locally. It happened. This 517 00:29:13,360 --> 00:29:17,840 Speaker 1: should spurn you to check out what happened. Fucking brutal, 518 00:29:18,000 --> 00:29:21,560 Speaker 1: br ut al all caps. The only aspect of this 519 00:29:21,640 --> 00:29:25,080 Speaker 1: story that might keep it from Disgraceland is that hof 520 00:29:25,280 --> 00:29:28,920 Speaker 1: were fairly obscure, but believe me in La they were 521 00:29:28,960 --> 00:29:33,920 Speaker 1: hot dk Dan, obscurity does not scare me. If this 522 00:29:34,120 --> 00:29:36,320 Speaker 1: is truly a compelling story, I will dig into it. 523 00:29:36,400 --> 00:29:38,720 Speaker 1: Does anyone else know about House of Freaks? Let me 524 00:29:38,840 --> 00:29:41,480 Speaker 1: know I'm gonna dig into this. I'm gonna make a 525 00:29:41,560 --> 00:29:44,600 Speaker 1: note right now because this sounds very interesting. Appreciate you 526 00:29:44,680 --> 00:29:46,760 Speaker 1: Dan six one seven nine oh sixty six six three 527 00:29:46,840 --> 00:29:50,680 Speaker 1: eight voicemail, text, or you can email me Disgrace Laandpod 528 00:29:50,760 --> 00:29:54,320 Speaker 1: at gmail dot com, send in your recommendations for future episodes, 529 00:29:54,440 --> 00:29:56,240 Speaker 1: or hit me with anything you guys want to talk about. 530 00:29:56,680 --> 00:29:58,200 Speaker 1: All right, Matt, you know what I want to talk 531 00:29:58,200 --> 00:30:03,240 Speaker 1: about this? Get ready? All right? Listen this. This is 532 00:30:03,320 --> 00:30:06,680 Speaker 1: the sixty second sports rant in Under thirty seconds sponsored 533 00:30:06,720 --> 00:30:09,440 Speaker 1: by five Hour Energy in the return of their Confetti 534 00:30:09,480 --> 00:30:12,480 Speaker 1: Craze flavor Bring Big Birthday Energy wherever you go with 535 00:30:12,560 --> 00:30:16,640 Speaker 1: this plan your Confetti Craze party at www dot five 536 00:30:16,720 --> 00:30:19,440 Speaker 1: hour Energy dot com or Amazon available now. Listen. I 537 00:30:19,560 --> 00:30:22,520 Speaker 1: heard this the other day and it upset me to no. 538 00:30:22,600 --> 00:30:26,400 Speaker 1: When do you realize that the Boston Red Sox that 539 00:30:26,480 --> 00:30:30,200 Speaker 1: their lineup going in to spring training in the twenty 540 00:30:30,360 --> 00:30:37,760 Speaker 1: twenty sixth season. Could could could include the following Roman, Anthony, 541 00:30:38,440 --> 00:30:42,680 Speaker 1: Alex Bregman, Raphael Devers. Right, all the Red Sox had 542 00:30:42,720 --> 00:30:45,880 Speaker 1: to do is basically nothing except spend a little bit 543 00:30:45,920 --> 00:30:48,240 Speaker 1: of money. And I'm not talking about Dodgers money. I'm 544 00:30:48,280 --> 00:30:51,120 Speaker 1: not talking about Mets, Mets money, Yankees money. I'm not 545 00:30:51,120 --> 00:30:54,840 Speaker 1: even talking about Blue Jays money. Just a don't trade 546 00:30:55,280 --> 00:30:59,040 Speaker 1: raffievers for basically nothing in return. Maybe instead try applying 547 00:30:59,040 --> 00:31:01,800 Speaker 1: a little humility to relationship that you messed up and 548 00:31:02,000 --> 00:31:05,280 Speaker 1: b give Alex Bregman the no trade clause that he 549 00:31:05,320 --> 00:31:09,560 Speaker 1: wanted in a competitive offer. Instead, the Red Sox have 550 00:31:09,640 --> 00:31:12,560 Speaker 1: to be too clever by half. You can't win championships 551 00:31:12,880 --> 00:31:16,520 Speaker 1: and the MLB by being too clever by half without 552 00:31:16,680 --> 00:31:19,680 Speaker 1: stacked stars in your lineup. That means you have to 553 00:31:19,760 --> 00:31:23,200 Speaker 1: spend money. You can't even compete in the postseason without 554 00:31:23,240 --> 00:31:26,880 Speaker 1: spending money. This isn't the NFL parody does not play 555 00:31:26,960 --> 00:31:32,360 Speaker 1: into it. This is gross, is what it is. It's depressing. Roman, Anthony, 556 00:31:32,680 --> 00:31:37,320 Speaker 1: Alex Bregman, Raffie Devers. Imagine that that's Manny Ramirez, David Ortiz, 557 00:31:37,440 --> 00:31:40,240 Speaker 1: Johnny damon level. It's a bum out, man, It's a 558 00:31:40,280 --> 00:31:42,040 Speaker 1: bum out that. How'd I do it? 559 00:31:42,480 --> 00:31:43,200 Speaker 6: A minute and a half? 560 00:31:43,320 --> 00:31:43,520 Speaker 5: Jake? 561 00:31:44,320 --> 00:31:47,719 Speaker 6: And since we're talking baseball, just want to say rip 562 00:31:48,200 --> 00:31:51,120 Speaker 6: to Bill Mazerowski who brought us one of the greatest 563 00:31:51,400 --> 00:31:55,040 Speaker 6: World Series moments ever in nineteen sixty The y insers 564 00:31:55,080 --> 00:31:56,360 Speaker 6: know who I'm talking about. 565 00:31:56,560 --> 00:31:59,120 Speaker 1: All right. That was the sports ran sponsored by Five 566 00:31:59,160 --> 00:32:02,440 Speaker 1: Hour Energies can Fetti Craze flavor backed by popular demand, 567 00:32:02,560 --> 00:32:05,160 Speaker 1: Confetti Craze taste like the best birthday cake ever with 568 00:32:05,280 --> 00:32:08,320 Speaker 1: its rich, buttery and vanilla flavors. Since Five Hour Energy 569 00:32:08,360 --> 00:32:11,480 Speaker 1: shots are tiny and resealable, it's easy to take that 570 00:32:11,600 --> 00:32:14,320 Speaker 1: birthday everywhere you go. Plan your Confetti Craze party at 571 00:32:14,480 --> 00:32:19,480 Speaker 1: www dot five hour Energy dot com or Amazon available now. Guys, 572 00:32:19,800 --> 00:32:23,080 Speaker 1: Hollywoodland with Zeth Lundy available wherever you get your podcasts. 573 00:32:23,120 --> 00:32:25,280 Speaker 1: Make sure you are subscribed, that is hitting the feed 574 00:32:25,440 --> 00:32:28,400 Speaker 1: three times a week, all right, especially we got Oscars 575 00:32:28,440 --> 00:32:30,400 Speaker 1: coming up. You want to vote on our oscars, our 576 00:32:30,480 --> 00:32:32,800 Speaker 1: Disgraceland Hollywoodland version of the Oscars. You gotta be a 577 00:32:32,840 --> 00:32:34,800 Speaker 1: Patreon member to do that, all right, Jump on into 578 00:32:34,840 --> 00:32:36,680 Speaker 1: the chat over there. See what we get going on. 579 00:32:37,040 --> 00:32:38,880 Speaker 1: You can vote. Matt, not sure if you want to 580 00:32:38,880 --> 00:32:41,760 Speaker 1: give an update here on results, but you know, go ahead. 581 00:32:42,280 --> 00:32:45,440 Speaker 6: Yeah, we got the polls going on Patreon. We're looking 582 00:32:45,480 --> 00:32:48,400 Speaker 6: for your votes on all six of the major categories. 583 00:32:49,080 --> 00:32:52,960 Speaker 6: Voting is open till midnight on March eighth, and you 584 00:32:53,080 --> 00:32:54,760 Speaker 6: do need to be a member of Patreon, but you 585 00:32:54,840 --> 00:32:57,920 Speaker 6: can even be a free member. So come over to Patreon, 586 00:32:58,120 --> 00:33:01,080 Speaker 6: check out what we're doing, start a free membership and 587 00:33:01,880 --> 00:33:03,000 Speaker 6: vote on the oscars. 588 00:33:03,480 --> 00:33:06,400 Speaker 1: All right, Speaking to Patreon, Speaking of the all access 589 00:33:06,480 --> 00:33:09,120 Speaker 1: portion of Disgraceland, we are going to get into our 590 00:33:09,480 --> 00:33:16,160 Speaker 1: Laurel Canyon Military Industrial Complex, pop star disinformation music history 591 00:33:16,280 --> 00:33:19,000 Speaker 1: campaign in the exclusive section of this after party where 592 00:33:19,040 --> 00:33:20,840 Speaker 1: Zeth and I will break this all down. Go to 593 00:33:20,920 --> 00:33:23,320 Speaker 1: disgracelandpod dot com to sign up to become an all 594 00:33:23,400 --> 00:33:39,760 Speaker 1: access member now so you can hear that, all right, 595 00:33:39,800 --> 00:33:43,000 Speaker 1: Welcome guys. As always mentioned a bunch of Disgraceland episodes 596 00:33:43,760 --> 00:33:45,680 Speaker 1: here in this episode, couple of Kind of Mind, the 597 00:33:45,760 --> 00:33:49,160 Speaker 1: Doors Metallica Mount have the episode information in the show notes, 598 00:33:49,200 --> 00:33:51,200 Speaker 1: so you can easily navigate your way to those episodes 599 00:33:51,200 --> 00:33:54,160 Speaker 1: should you want to listen to them. Gonna recap real quick, 600 00:33:54,160 --> 00:33:56,840 Speaker 1: all right. Number one. This week our new episode on 601 00:33:57,160 --> 00:33:59,560 Speaker 1: Bob we are part three of our Grateful Dead saga. 602 00:33:59,600 --> 00:34:01,560 Speaker 1: That's a very before you're right now. Number two get 603 00:34:01,600 --> 00:34:04,440 Speaker 1: a rewind episode coming up right after this on Bob Marley. 604 00:34:04,520 --> 00:34:07,440 Speaker 1: Next week our part two episode on in Excess. Number 605 00:34:07,440 --> 00:34:09,839 Speaker 1: four Zeth gives you those Hollywood Land and crime vibes 606 00:34:09,840 --> 00:34:12,160 Speaker 1: over in Hollywood, Alans to make sure you're subscribed. Listen 607 00:34:12,440 --> 00:34:14,480 Speaker 1: our new episode on this film should be played loud. 608 00:34:14,480 --> 00:34:18,000 Speaker 1: That's available be for you right now. We're discussing boogie Nights. 609 00:34:18,320 --> 00:34:19,920 Speaker 1: You're not gonna want to miss that. Go to disgrace 610 00:34:19,960 --> 00:34:21,759 Speaker 1: sampod dot com to sign out to become an all 611 00:34:21,880 --> 00:34:24,359 Speaker 1: Access member so you can you can watch and listen 612 00:34:24,480 --> 00:34:27,680 Speaker 1: to this film should be played loud. Number six six 613 00:34:27,719 --> 00:34:29,480 Speaker 1: one seven nine oh six six six three eight. Your 614 00:34:29,560 --> 00:34:31,600 Speaker 1: voice keeps us digging into the dark corners of music history, 615 00:34:31,640 --> 00:34:34,080 Speaker 1: So keep calling, texting with your answers to this week's 616 00:34:34,120 --> 00:34:35,600 Speaker 1: question of the week or whatever else you want to 617 00:34:35,600 --> 00:34:38,720 Speaker 1: talk about. Number seven. Don't forget discos. This isn't just content. 618 00:34:38,840 --> 00:34:41,360 Speaker 1: It's a community, a community of the obsessed, and no 619 00:34:41,440 --> 00:34:44,200 Speaker 1: one cares about music books records in the Crime and Grime. 620 00:34:44,480 --> 00:34:46,719 Speaker 1: It ties them all together, like you do. And well 621 00:34:47,080 --> 00:34:51,920 Speaker 1: that's a disgrace, all right. The CIA's favorite syop, I'm kidding. 622 00:34:52,040 --> 00:34:55,279 Speaker 1: Jerry Garcia from The Grateful Dead died on August ninth, 623 00:34:55,400 --> 00:34:57,680 Speaker 1: nineteen ninety five, and this was what America was listening 624 00:34:57,760 --> 00:35:00,959 Speaker 1: to on that day. According to the Billboard Hurts number 625 00:35:01,040 --> 00:35:05,279 Speaker 1: one Waterfalls by TLC last week one, peak position one 626 00:35:05,440 --> 00:35:09,080 Speaker 1: weeks on Chart eleven. Number two Kiss from a Rose 627 00:35:09,520 --> 00:35:14,560 Speaker 1: Seal last week to peak position two weeks on Chart nine. 628 00:35:15,000 --> 00:35:19,120 Speaker 1: Number three Bombastic in the Summertime ches last last week 629 00:35:20,080 --> 00:35:23,560 Speaker 1: peak position peak three weeks weeks on chart week's number 630 00:35:23,760 --> 00:35:29,160 Speaker 1: number four, One more Chance We stay with vig last 631 00:35:29,200 --> 00:35:34,600 Speaker 1: week five, peak position two weeks on Chart nine, Number five. 632 00:35:35,120 --> 00:35:39,719 Speaker 1: Colors of the Wind from Pocahontas Vanessa Williams last week, 633 00:35:40,719 --> 00:35:54,840 Speaker 1: peak position five weeks on shot number one. Quit talking 634 00:35:55,160 --> 00:35:56,520 Speaker 1: and start mixing.