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 --> 00:00:10,479 Speaker 2: Yeah, me too. This is the podcast that comes after 4 00:00:10,520 --> 00:00:11,200 Speaker 2: the podcast. 5 00:00:11,640 --> 00:00:29,320 Speaker 1: Welcome to Disgraceland, the after Party. Welcome to the Disgraceland 6 00:00:29,360 --> 00:00:32,000 Speaker 1: bonus episode, a little thing we like to call the 7 00:00:32,080 --> 00:00:34,839 Speaker 1: after party. This is the show after the show, the 8 00:00:34,840 --> 00:00:36,959 Speaker 1: party after the party, the bridge to get you from 9 00:00:36,960 --> 00:00:39,640 Speaker 1: one full episode of Disgraceland to the other, the backyard 10 00:00:39,720 --> 00:00:41,200 Speaker 1: to dig into the dirt. 11 00:00:41,640 --> 00:00:43,440 Speaker 2: On this bonus episode, we. 12 00:00:43,360 --> 00:00:47,080 Speaker 1: Are talking about this week's episode subject Martin Scorsese and 13 00:00:47,159 --> 00:00:50,320 Speaker 1: his violent fantasy and Itty Bitty Bittereditty. We are also 14 00:00:50,400 --> 00:00:53,120 Speaker 1: getting into the next two episodes hitting your feed in 15 00:00:53,159 --> 00:00:56,560 Speaker 1: honor of the upcoming Academy Awards, our classic two parter 16 00:00:56,720 --> 00:01:00,640 Speaker 1: of Marilyn Monroe, and we get into your voicemails, text emails, 17 00:01:00,680 --> 00:01:03,040 Speaker 1: and as always, a whole lot of Rosie. 18 00:01:03,040 --> 00:01:06,560 Speaker 2: Alright, disc goes, let's get into it. 19 00:01:16,440 --> 00:01:19,479 Speaker 1: Between the years twenty twenty two and twenty twenty four, 20 00:01:19,920 --> 00:01:21,520 Speaker 1: I spent a good portion of my working out put 21 00:01:21,560 --> 00:01:23,880 Speaker 1: writing a script for one of the biggest stars in 22 00:01:23,959 --> 00:01:28,520 Speaker 1: the world, in collaboration with his production team, his key 23 00:01:28,560 --> 00:01:33,040 Speaker 1: producer in partnership with a screenwriting buddy of mine. This 24 00:01:33,200 --> 00:01:36,800 Speaker 1: was a movie, a biopic, not about a rock star, 25 00:01:36,959 --> 00:01:40,920 Speaker 1: but nonetheless about a legend, someone that my buddy and 26 00:01:40,959 --> 00:01:43,840 Speaker 1: I but mainly my buddy, not me, had put all 27 00:01:43,840 --> 00:01:46,840 Speaker 1: the pieces together for including meeting with and working with 28 00:01:46,920 --> 00:01:51,320 Speaker 1: this legend's family multiple times. It was all quite heady, 29 00:01:51,880 --> 00:01:54,640 Speaker 1: and for the first six months or so it was difficult, 30 00:01:54,680 --> 00:01:58,400 Speaker 1: but nothing seemed too hard, and certainly nothing about the 31 00:01:58,400 --> 00:02:01,080 Speaker 1: project seemed impossible to despite you know, the people we 32 00:02:01,080 --> 00:02:06,320 Speaker 1: were working with and who we were writing this screenplay about. This, however, 33 00:02:06,440 --> 00:02:09,760 Speaker 1: as they say, would not last. The project, like most 34 00:02:09,800 --> 00:02:14,119 Speaker 1: film projects, crashed and burned. I was just about to say, 35 00:02:14,200 --> 00:02:16,400 Speaker 1: crashed and burned for reasons that were beyond my control. 36 00:02:16,440 --> 00:02:19,320 Speaker 1: But if I'm being honest, some of those reasons were 37 00:02:19,840 --> 00:02:23,360 Speaker 1: within my control. If only I had the insane drive 38 00:02:23,440 --> 00:02:25,960 Speaker 1: that it takes to make a movie, not to write 39 00:02:25,960 --> 00:02:29,480 Speaker 1: a movie necessarily, but to make it, to helmet, to 40 00:02:29,600 --> 00:02:32,240 Speaker 1: direct it, to see it through from the spark of 41 00:02:32,280 --> 00:02:35,600 Speaker 1: inspiration all the way to the big screen, which is 42 00:02:35,639 --> 00:02:38,679 Speaker 1: a year's long process, that whole path, through all the 43 00:02:38,720 --> 00:02:43,880 Speaker 1: painful steps in between. Throughout this year's long process of 44 00:02:44,000 --> 00:02:47,840 Speaker 1: researching and writing this screenplay that I was on. There 45 00:02:47,840 --> 00:02:52,200 Speaker 1: were lots of starts and stops. The research process was such, 46 00:02:52,240 --> 00:02:54,680 Speaker 1: you know, you can only read so much. But we 47 00:02:54,760 --> 00:02:56,120 Speaker 1: had to get in there and we had to get 48 00:02:56,120 --> 00:02:57,960 Speaker 1: our hands dirty with the family. We had to get 49 00:02:57,960 --> 00:02:59,680 Speaker 1: our hands dirty with people who knew the subject. So 50 00:02:59,680 --> 00:03:03,240 Speaker 1: we would travel, we would interview people that we would write, 51 00:03:03,240 --> 00:03:05,200 Speaker 1: we would draft, we would submit what we wrote to 52 00:03:05,280 --> 00:03:08,799 Speaker 1: our producing partner again, the main producer for the big 53 00:03:08,960 --> 00:03:11,320 Speaker 1: Hollywood star that we were writing the script for, and 54 00:03:11,320 --> 00:03:11,840 Speaker 1: then we'd have. 55 00:03:11,760 --> 00:03:14,320 Speaker 2: To wait, usually weeks before we. 56 00:03:14,320 --> 00:03:16,760 Speaker 1: Would get sometimes months action before we would get notes 57 00:03:16,800 --> 00:03:19,720 Speaker 1: back and be able to dive back into the writing. 58 00:03:20,600 --> 00:03:23,239 Speaker 1: In that in between time, I started reading books about movies. 59 00:03:23,400 --> 00:03:26,959 Speaker 1: I had no experience. I have still very little experience 60 00:03:27,000 --> 00:03:28,639 Speaker 1: at all and making film. At the time, I had 61 00:03:28,639 --> 00:03:31,639 Speaker 1: no experience in making movies, and here I was working 62 00:03:31,680 --> 00:03:36,400 Speaker 1: with these people with tons of experience, the cream of 63 00:03:36,440 --> 00:03:38,200 Speaker 1: the crop, so to speak. So I thought, hey, I 64 00:03:38,200 --> 00:03:39,840 Speaker 1: should learn a thing or two here about the world 65 00:03:39,840 --> 00:03:43,040 Speaker 1: that I'm not working in. I read two books with 66 00:03:43,080 --> 00:03:46,640 Speaker 1: Martin Scorsese, one entitled A Personal Journey through American Movies 67 00:03:46,960 --> 00:03:48,800 Speaker 1: with Martin Scorsese, which is fantastic. 68 00:03:48,800 --> 00:03:50,560 Speaker 2: If you ever see this book, just buy it. It's 69 00:03:50,600 --> 00:03:51,080 Speaker 2: so good. 70 00:03:51,760 --> 00:03:55,240 Speaker 1: It's the book I believe is just the book version 71 00:03:55,400 --> 00:03:59,160 Speaker 1: of a documentary by the same exact name, and it's 72 00:03:59,240 --> 00:04:02,800 Speaker 1: really great. It's Scorsese taking you through the history of film, 73 00:04:02,840 --> 00:04:05,560 Speaker 1: and who better a guide than Martin Scorsese. And you 74 00:04:05,600 --> 00:04:09,680 Speaker 1: can feel his passion and his enthusiasm and talking about 75 00:04:09,720 --> 00:04:15,440 Speaker 1: these these filmmakers from different eras long ago filmmakers frankly 76 00:04:15,440 --> 00:04:18,200 Speaker 1: that a lot of their movies I'd never seen. I 77 00:04:18,240 --> 00:04:19,719 Speaker 1: don't know the history of film like I know the 78 00:04:19,760 --> 00:04:23,559 Speaker 1: history of music. So this is a really fantastic book 79 00:04:23,600 --> 00:04:27,280 Speaker 1: to get into. The other Scorsese book that I read 80 00:04:27,320 --> 00:04:30,640 Speaker 1: during this time is entitled Conversations with Martin Scorsese by 81 00:04:30,720 --> 00:04:35,320 Speaker 1: Richard Schnickel, also great, but totally different. This book didn't 82 00:04:35,360 --> 00:04:37,720 Speaker 1: take me through the great films from Hollywood's past. It 83 00:04:37,760 --> 00:04:41,440 Speaker 1: took me through all of Scorsesees films with Scorsese commenting 84 00:04:41,480 --> 00:04:44,600 Speaker 1: on them. And unlike the other book, where Scorsese is 85 00:04:44,800 --> 00:04:47,760 Speaker 1: largely radiating love and affection for these films that he 86 00:04:48,360 --> 00:04:51,640 Speaker 1: revers and this book, the one that I'm now talking about, 87 00:04:51,640 --> 00:04:53,279 Speaker 1: the vibe is kind of the opposite Scarsese. 88 00:04:53,320 --> 00:04:58,200 Speaker 2: When talking about his films, he seems miserable. I'm not kidding, 89 00:04:59,279 --> 00:04:59,960 Speaker 2: I was shocked. 90 00:05:01,000 --> 00:05:02,760 Speaker 1: How would I feel if I make Good Fellas? I'd 91 00:05:02,760 --> 00:05:05,240 Speaker 1: feel like a fucking golden god. As you would as well. 92 00:05:05,279 --> 00:05:08,000 Speaker 1: That movie is incredible. It still gives me. I'm still 93 00:05:08,040 --> 00:05:09,800 Speaker 1: thrilled every time I see it, and I've seen it 94 00:05:09,800 --> 00:05:12,440 Speaker 1: well over one hundred times. But the thing I guess 95 00:05:12,480 --> 00:05:16,320 Speaker 1: that I didn't fully realize, and part of this realization 96 00:05:16,600 --> 00:05:19,720 Speaker 1: was starting to rear its ugly head to me in 97 00:05:19,760 --> 00:05:22,160 Speaker 1: real time with the film project that I was on, 98 00:05:23,040 --> 00:05:27,640 Speaker 1: was this reality that is making movies. The reality is 99 00:05:27,640 --> 00:05:30,640 Speaker 1: that it is incredibly hard to make the movie you 100 00:05:30,760 --> 00:05:34,080 Speaker 1: want to make, and Scorsese had a hard time throughout 101 00:05:34,080 --> 00:05:38,640 Speaker 1: his career on pretty much every single movie. Well after 102 00:05:38,680 --> 00:05:41,960 Speaker 1: he achieved success, even he had a very difficult time 103 00:05:42,279 --> 00:05:44,160 Speaker 1: in making the movies that he wanted to make. 104 00:05:44,560 --> 00:05:46,360 Speaker 2: And that part just blew my mind. 105 00:05:46,520 --> 00:05:49,640 Speaker 1: The fact that after Martin Scorsese made Taxi Driver and 106 00:05:49,720 --> 00:05:55,000 Speaker 1: Raging Bull and Goodfellas, that the studio executives were still 107 00:05:55,040 --> 00:05:58,040 Speaker 1: insisting things like he changed the end of The Departed. 108 00:05:58,120 --> 00:05:59,120 Speaker 2: That's mind blowing. 109 00:05:59,160 --> 00:06:02,240 Speaker 1: To me, and what is this studio executive possibly know 110 00:06:02,600 --> 00:06:06,080 Speaker 1: about ending a movie that Martin Scorsese doesn't Making big 111 00:06:06,080 --> 00:06:10,680 Speaker 1: budget Hollywood movies with big studios and a list celebrities 112 00:06:11,400 --> 00:06:16,240 Speaker 1: directing those movies, helming those movies. Making the movie you 113 00:06:16,320 --> 00:06:20,440 Speaker 1: originally signed up to make within that paradigm is, in 114 00:06:20,480 --> 00:06:23,279 Speaker 1: my opinion, no way to make a living unless you 115 00:06:23,320 --> 00:06:26,359 Speaker 1: want a boss and an ulcer in a cocaine habit 116 00:06:26,400 --> 00:06:29,640 Speaker 1: like Martin Scorsese. Ha. There's just too much money at stake. 117 00:06:30,520 --> 00:06:31,920 Speaker 1: In the case of the film we were trying to make, 118 00:06:31,920 --> 00:06:34,279 Speaker 1: we were writing it for a two hundred and fifty 119 00:06:34,279 --> 00:06:37,280 Speaker 1: million dollar budget. With that kind of money to finance 120 00:06:37,279 --> 00:06:39,280 Speaker 1: a movie production, there's going to be a lot of oversight. 121 00:06:39,320 --> 00:06:42,280 Speaker 2: Obviously I don't blame the studios for that, but with. 122 00:06:42,279 --> 00:06:44,120 Speaker 1: That oversight, there's going to be input from people who 123 00:06:44,120 --> 00:06:46,560 Speaker 1: don't share your vision but feel that they need to 124 00:06:46,640 --> 00:06:50,200 Speaker 1: do and say something to help the movie succeed. 125 00:06:50,240 --> 00:06:52,080 Speaker 2: I would feel the same way if I was a producer. 126 00:06:52,839 --> 00:06:55,520 Speaker 1: You know, the reality is a lot of times they 127 00:06:55,520 --> 00:06:59,560 Speaker 1: don't understand what you're trying to make, not not on 128 00:06:59,600 --> 00:07:02,200 Speaker 1: a person level, and that's the problem. 129 00:07:02,360 --> 00:07:04,000 Speaker 2: It's actually your problem. 130 00:07:04,040 --> 00:07:06,080 Speaker 1: If you put yourself in that situation because you took 131 00:07:06,120 --> 00:07:10,520 Speaker 1: their money and decided to make a movie for them. Okay, 132 00:07:11,000 --> 00:07:15,280 Speaker 1: what Martin Scorsese in the so called Hollywood brats, Steven Spielberg, 133 00:07:15,800 --> 00:07:19,440 Speaker 1: Brian de Palma, the guys that this last episode are disgrace. 134 00:07:19,640 --> 00:07:22,960 Speaker 1: It is about what the Hollywood brats did first, was 135 00:07:23,000 --> 00:07:26,520 Speaker 1: they took that studio money, and then they made movies 136 00:07:26,680 --> 00:07:30,760 Speaker 1: for themselves, personal movies on huge studio budgets, and they 137 00:07:30,800 --> 00:07:34,360 Speaker 1: did this at great personal cost to themselves. The battles 138 00:07:34,360 --> 00:07:36,200 Speaker 1: they had to endure to get these films made the 139 00:07:36,200 --> 00:07:39,120 Speaker 1: way they wanted to make them was huge. And there's 140 00:07:39,120 --> 00:07:41,480 Speaker 1: no better example of this than Martin Scorsese. His Movie's 141 00:07:41,480 --> 00:07:44,240 Speaker 1: almost killed him. I say all this because of this 142 00:07:44,280 --> 00:07:47,200 Speaker 1: week's full episode on Martin Scorsese and Taxi Driver, But 143 00:07:47,480 --> 00:07:49,760 Speaker 1: he went through it equally harrowing, if not more, fraud 144 00:07:49,760 --> 00:07:54,320 Speaker 1: experience getting the Last Temptation of Christ made some filmmakers, 145 00:07:54,360 --> 00:07:57,480 Speaker 1: of course, just give the studio what they want, and 146 00:07:57,520 --> 00:08:00,440 Speaker 1: what we get under this process, more often than is 147 00:08:00,640 --> 00:08:05,800 Speaker 1: just straight up garbage. Your reboots, your remakes, your Marvel movies. 148 00:08:05,920 --> 00:08:09,480 Speaker 1: Scorsese's right, these aren't films because a film to Scorsese 149 00:08:09,680 --> 00:08:12,640 Speaker 1: is personal. It's a personal vision, a POV expressed on 150 00:08:12,680 --> 00:08:15,080 Speaker 1: film through the characters up on the screen. And there's 151 00:08:15,160 --> 00:08:17,920 Speaker 1: more artistic expression, I think in a Marvel comic than 152 00:08:17,920 --> 00:08:20,160 Speaker 1: there is in a Marvel movie. This is a tangent, 153 00:08:20,160 --> 00:08:22,400 Speaker 1: though I'm not prepared to digress into at this moment, so. 154 00:08:24,120 --> 00:08:25,120 Speaker 2: I don't want to get off point. 155 00:08:25,920 --> 00:08:28,560 Speaker 1: But my point is other directors, you know, they're still 156 00:08:28,600 --> 00:08:33,160 Speaker 1: making films, personal films for sure, someone like you know, 157 00:08:33,160 --> 00:08:34,960 Speaker 1: he's an actor, but he's also a director. Someone like 158 00:08:34,960 --> 00:08:37,360 Speaker 1: Ethan Hawk comes to mind, or even Paul Schrader, who's 159 00:08:37,600 --> 00:08:40,400 Speaker 1: who wrote Taxi Driver, who's also a director and still 160 00:08:40,400 --> 00:08:41,240 Speaker 1: directing films. 161 00:08:42,480 --> 00:08:44,120 Speaker 2: These are our tours, okay. 162 00:08:44,840 --> 00:08:47,680 Speaker 1: But they've chosen now these days, to work outside of 163 00:08:47,720 --> 00:08:51,400 Speaker 1: the studio system, to make movies that are meaningful to them, 164 00:08:51,440 --> 00:08:53,880 Speaker 1: that they can express their their point of view. And 165 00:08:53,880 --> 00:08:56,959 Speaker 1: of course they're working with smaller budgets, but they are 166 00:08:56,960 --> 00:08:59,719 Speaker 1: making great movies and they're just different. They're not part 167 00:08:59,720 --> 00:09:03,160 Speaker 1: of this studio system. You also now have your anomalies 168 00:09:03,240 --> 00:09:07,120 Speaker 1: like Steven Spielberg and Quentin Tarantino who have somehow and 169 00:09:07,200 --> 00:09:09,720 Speaker 1: I think this is part of their brilliance, figured out 170 00:09:09,760 --> 00:09:11,800 Speaker 1: how to work with the studios and still get their 171 00:09:11,880 --> 00:09:16,079 Speaker 1: vision across. And you know, Tarantino talks now about how 172 00:09:16,720 --> 00:09:19,360 Speaker 1: you know, his sets are a blast to be on, 173 00:09:19,480 --> 00:09:21,280 Speaker 1: that they have fun, and he has a way of 174 00:09:21,559 --> 00:09:23,960 Speaker 1: making it work. And he certainly I believe, though I 175 00:09:24,000 --> 00:09:26,640 Speaker 1: don't have any research on this, but I'm fairly certain 176 00:09:26,720 --> 00:09:30,160 Speaker 1: the studios still have some input into the films that 177 00:09:30,200 --> 00:09:33,760 Speaker 1: he's making, despite what he would probably want you to know. 178 00:09:34,640 --> 00:09:37,240 Speaker 1: But I think, you know, he's probably figured out a 179 00:09:37,280 --> 00:09:39,280 Speaker 1: way to work with them. And like I said, there's 180 00:09:39,320 --> 00:09:41,200 Speaker 1: a skill in that, there's an art in that, and 181 00:09:41,200 --> 00:09:43,360 Speaker 1: it comes with time. And I'm sure Steven Spielberg had 182 00:09:43,480 --> 00:09:44,160 Speaker 1: mastered that. 183 00:09:44,280 --> 00:09:45,640 Speaker 2: Long, long, long ago. 184 00:09:46,520 --> 00:09:47,960 Speaker 1: And you know, you know, we're talking a lot about 185 00:09:47,960 --> 00:09:50,000 Speaker 1: Martin Scarsese, but I believe Martin Scorsese's probably at. 186 00:09:49,960 --> 00:09:50,720 Speaker 2: This point in his career too. 187 00:09:50,760 --> 00:09:52,000 Speaker 1: They leave him alone, They let him do what he 188 00:09:52,040 --> 00:09:53,079 Speaker 1: wants to do, and I think that's part of the 189 00:09:53,160 --> 00:09:55,760 Speaker 1: deals that he signs nowadays, right, it's part of what 190 00:09:55,760 --> 00:09:56,240 Speaker 1: he's going to do. 191 00:09:56,280 --> 00:09:56,880 Speaker 2: He can't touch him. 192 00:09:56,880 --> 00:09:58,679 Speaker 1: He's going to make his movie right, and he should 193 00:09:58,679 --> 00:10:01,160 Speaker 1: be given that right for sure. But still I'm sure, 194 00:10:01,200 --> 00:10:06,840 Speaker 1: there's some studio oversight on some level for Scorsese, now, Tarantino, Spielberg, even, 195 00:10:07,720 --> 00:10:09,760 Speaker 1: And like I said, there's an art to dealing with 196 00:10:09,800 --> 00:10:12,440 Speaker 1: all that. And that's just one more superpower that these 197 00:10:12,440 --> 00:10:14,400 Speaker 1: guys have that we don't that allows them to be 198 00:10:14,440 --> 00:10:17,040 Speaker 1: able to make these movies. It's not just an ability 199 00:10:17,080 --> 00:10:20,160 Speaker 1: to think out of the box and solve problems creatively, 200 00:10:20,200 --> 00:10:24,240 Speaker 1: as Scorsese does with Taxi Driver when he finds the 201 00:10:24,280 --> 00:10:27,120 Speaker 1: solution to the end of his film that's spoiler alert 202 00:10:27,120 --> 00:10:29,320 Speaker 1: if you haven't heard my episode yet of the solution 203 00:10:29,480 --> 00:10:32,400 Speaker 1: that prevents him from literally killing a studio executive. 204 00:10:32,400 --> 00:10:34,400 Speaker 2: But it's also the ability, the. 205 00:10:34,360 --> 00:10:40,400 Speaker 1: Ability to fight capital fight, fight, to push, to be 206 00:10:40,600 --> 00:10:43,920 Speaker 1: relentless in your creative pursuit, to not take no for 207 00:10:43,960 --> 00:10:47,360 Speaker 1: an answer on anything. Ever, when it comes to getting 208 00:10:48,040 --> 00:10:51,360 Speaker 1: your creative point of view across your personal story, across 209 00:10:52,040 --> 00:10:55,800 Speaker 1: on film and getting your film made, I didn't have 210 00:10:55,840 --> 00:10:57,520 Speaker 1: that fight in me, frankly, because. 211 00:10:57,600 --> 00:10:58,680 Speaker 2: I'm already in a fight. 212 00:10:59,080 --> 00:11:01,640 Speaker 1: I'm fighting daily to make sure that my podcast is 213 00:11:01,679 --> 00:11:04,880 Speaker 1: heard by as many people as possible. I'm fighting daily 214 00:11:04,920 --> 00:11:07,199 Speaker 1: to find and write the best stories that I can. 215 00:11:07,280 --> 00:11:10,160 Speaker 1: I'm fighting daily to preserve the spirit of rock and 216 00:11:10,240 --> 00:11:13,360 Speaker 1: roll alongside you guys. Martin Scorsese is about as rock 217 00:11:13,360 --> 00:11:14,040 Speaker 1: and roll as you can get. 218 00:11:14,040 --> 00:11:14,400 Speaker 2: By the way. 219 00:11:14,480 --> 00:11:16,800 Speaker 1: One of the things I've learned from researching the history 220 00:11:16,840 --> 00:11:19,440 Speaker 1: of rock and roll, and I guess just researching history 221 00:11:19,480 --> 00:11:21,960 Speaker 1: in general, is you can really only take on one 222 00:11:22,040 --> 00:11:23,760 Speaker 1: fight at a time. You don't want to be like 223 00:11:23,760 --> 00:11:25,599 Speaker 1: the Germans in World War Two. I wasn't going to 224 00:11:25,720 --> 00:11:29,160 Speaker 1: risk this for that. I wasn't going to risk the 225 00:11:29,200 --> 00:11:32,240 Speaker 1: thing I created, Disgraceland that allows me to express my 226 00:11:32,280 --> 00:11:35,040 Speaker 1: personal vision and creative point of view every week, to 227 00:11:35,120 --> 00:11:38,840 Speaker 1: collaborate with a small committee of people on a shared vision, 228 00:11:38,880 --> 00:11:41,720 Speaker 1: and to ultimately have a boss and have to beg 229 00:11:41,800 --> 00:11:45,840 Speaker 1: people even in success, for the right to work. Needless 230 00:11:45,880 --> 00:11:47,760 Speaker 1: to say, the project I was working on did not 231 00:11:48,040 --> 00:11:49,839 Speaker 1: make it onto film, but I am okay with that. 232 00:11:50,000 --> 00:11:53,439 Speaker 1: I'm not Martin Scorsese, obviously, but I am Jake Brennan. 233 00:11:53,640 --> 00:11:55,960 Speaker 1: And the story I wrote about Martin Scorsese that is 234 00:11:55,960 --> 00:11:58,320 Speaker 1: any your podcast feed right now is some of the 235 00:11:58,320 --> 00:12:00,280 Speaker 1: best writing that I've ever done, and some of the 236 00:12:00,360 --> 00:12:02,960 Speaker 1: best production we hear at Double Elvis have ever produced. 237 00:12:03,280 --> 00:12:05,680 Speaker 1: And when you hear it you'll now know why it's 238 00:12:05,679 --> 00:12:09,040 Speaker 1: so personal to me. Okay, I just wanted to let 239 00:12:09,040 --> 00:12:12,480 Speaker 1: you guys know. On Friday, Speaking of Hollywood, we are 240 00:12:12,520 --> 00:12:15,880 Speaker 1: rewinding our Marrilyn Monroe episodes in part because the oscars 241 00:12:15,880 --> 00:12:17,560 Speaker 1: are coming up, and in part because I'm hoping the 242 00:12:17,600 --> 00:12:20,600 Speaker 1: disclosure God smile upon us and drop some hot jfk 243 00:12:20,760 --> 00:12:25,800 Speaker 1: assassination file awesomeness right when I resurface these Marilyn Monroe episodes. 244 00:12:26,640 --> 00:12:28,440 Speaker 2: Though that seems like a pretty big ask. I'm not 245 00:12:28,440 --> 00:12:29,400 Speaker 2: sure that's gonna happen. 246 00:12:30,080 --> 00:12:33,560 Speaker 1: Regardless, these episodes are wildly entertaining their classics. If you 247 00:12:33,679 --> 00:12:36,560 Speaker 1: like Hollywood and you like historical conspiracy, you're gonna love 248 00:12:36,600 --> 00:12:37,960 Speaker 1: these if you haven't heard them, and if you have 249 00:12:38,040 --> 00:12:39,760 Speaker 1: heard them, you're gonna love them again when you listen 250 00:12:39,800 --> 00:12:41,960 Speaker 1: to them for the second time. These episodes, you know, 251 00:12:42,440 --> 00:12:45,440 Speaker 1: I shouldn't say conspiracy? Did I say conspiracy? Part of 252 00:12:45,480 --> 00:12:49,360 Speaker 1: me categorizes marily Monroe's story as historical conspiracy, not that 253 00:12:49,360 --> 00:12:51,080 Speaker 1: that's an actual phrase, but that's about how I think 254 00:12:51,080 --> 00:12:53,160 Speaker 1: about it in my head. But it's not conspiracy. It's 255 00:12:53,240 --> 00:12:56,680 Speaker 1: more mythology. We don't know how she died. I don't 256 00:12:56,679 --> 00:12:59,920 Speaker 1: care and the official explanation is not what happened. Okay, 257 00:13:00,160 --> 00:13:02,040 Speaker 1: you got to be I don't know, you got to 258 00:13:02,080 --> 00:13:04,680 Speaker 1: really really jump through some mental hoops to. 259 00:13:06,240 --> 00:13:08,040 Speaker 2: Go with that theory and this. 260 00:13:08,200 --> 00:13:12,160 Speaker 1: These episodes get into all three theories on her death. Okay, 261 00:13:12,679 --> 00:13:15,120 Speaker 1: So when you listen to them, or if you re listen, 262 00:13:15,600 --> 00:13:17,960 Speaker 1: maybe we'll have a new different insight in how you 263 00:13:18,000 --> 00:13:21,240 Speaker 1: think Marilyn actually died. Okay, either way, that's going to 264 00:13:21,280 --> 00:13:24,360 Speaker 1: be my question of the week for next week. When 265 00:13:24,400 --> 00:13:27,040 Speaker 1: you're listening to these episodes and contemplating the supposed release 266 00:13:27,040 --> 00:13:29,000 Speaker 1: of these JFK files, I want you to be thinking 267 00:13:29,000 --> 00:13:32,040 Speaker 1: about the likelihood that the Kennedys had anything to do 268 00:13:32,080 --> 00:13:34,120 Speaker 1: with Marilynd's death. That's going to be the question of 269 00:13:34,160 --> 00:13:35,520 Speaker 1: the week. You know, I'm not going to go out 270 00:13:35,520 --> 00:13:37,520 Speaker 1: Glenn Danzig and ask you who killed Marylyn? But I 271 00:13:37,559 --> 00:13:39,320 Speaker 1: do want to know if you guys think the Kennedy's 272 00:13:39,320 --> 00:13:40,920 Speaker 1: had anything to do with her death, hit me up, 273 00:13:40,920 --> 00:13:42,319 Speaker 1: but let me know six one seven nine oh six 274 00:13:42,320 --> 00:13:44,720 Speaker 1: six six three eight, leave voicemail or text. 275 00:13:44,840 --> 00:13:47,280 Speaker 2: And you might hear it answered in next week's after party. 276 00:13:47,320 --> 00:13:50,360 Speaker 1: All right, after these Maryland episodes, we're continuing in our 277 00:13:50,400 --> 00:13:53,120 Speaker 1: Oscar related run here with a dive into legendary Hollywood 278 00:13:53,120 --> 00:13:55,319 Speaker 1: mad man and a dude that was more rock and 279 00:13:55,400 --> 00:13:57,520 Speaker 1: roll than most rock stars ever dreamed of being. 280 00:13:57,640 --> 00:13:59,760 Speaker 2: And that's Dennis Hopper, guys. 281 00:14:00,240 --> 00:14:03,280 Speaker 1: To the end of our icon series, Dennis Hopper will 282 00:14:03,320 --> 00:14:05,640 Speaker 1: be one of the last non music related subjects released 283 00:14:05,640 --> 00:14:09,079 Speaker 1: into the Disgraceland feed, and we soon will once again 284 00:14:09,200 --> 00:14:12,080 Speaker 1: be all music in Disgraceland. I'll have news shortly on 285 00:14:12,240 --> 00:14:15,840 Speaker 1: where and when you can hear me talking Hollywood elsewhere. Okay, 286 00:14:16,160 --> 00:14:19,000 Speaker 1: I'll be back in flash with your answers to last 287 00:14:19,000 --> 00:14:20,280 Speaker 1: week's question of the week. 288 00:14:38,520 --> 00:14:38,920 Speaker 2: We are back. 289 00:14:39,000 --> 00:14:41,240 Speaker 1: Just a quick reminder to make sure you Apple podcast 290 00:14:41,280 --> 00:14:43,920 Speaker 1: listeners have auto downloads turned on so you're not missing 291 00:14:43,920 --> 00:14:47,120 Speaker 1: any episodes. Diddy Diddy Diddy, All right, Diddy Diddy Diddy. 292 00:14:47,240 --> 00:14:50,320 Speaker 1: Just thirty seconds here, real quick. After we released last 293 00:14:50,360 --> 00:14:55,440 Speaker 1: week's after Party, and I talked about Sean Colmes and 294 00:14:55,480 --> 00:14:59,720 Speaker 1: what I think is gonna happen, like speaking of thirty seconds. 295 00:14:59,720 --> 00:15:02,440 Speaker 2: About thirty seconds after that, dude's lawyer quit. 296 00:15:02,720 --> 00:15:05,280 Speaker 1: Now I don't know what happened here as far as 297 00:15:05,320 --> 00:15:07,360 Speaker 1: I can tell, nobody else knows what happened either. There's 298 00:15:07,440 --> 00:15:09,480 Speaker 1: lots of rumors on the internet, as you would expect 299 00:15:09,520 --> 00:15:12,840 Speaker 1: about why the lawyer quit, but I haven't seen anything substantial, 300 00:15:13,560 --> 00:15:15,400 Speaker 1: uh that tells us why. And I'm not going to 301 00:15:15,520 --> 00:15:18,480 Speaker 1: pretend to understand the reasoning here because I don't and 302 00:15:18,520 --> 00:15:20,960 Speaker 1: I don't think anyone but those and Diddy's inner circle 303 00:15:21,960 --> 00:15:25,280 Speaker 1: or on his legal team actually know what is going 304 00:15:25,320 --> 00:15:25,880 Speaker 1: to happen. 305 00:15:25,920 --> 00:15:26,800 Speaker 2: I don't know. I don't know. 306 00:15:26,840 --> 00:15:27,240 Speaker 3: I don't know. 307 00:15:27,280 --> 00:15:29,320 Speaker 1: We shall see, though, right, let's hope. All right, that's 308 00:15:29,320 --> 00:15:32,280 Speaker 1: my ditty update. Let's move on to the question of 309 00:15:32,600 --> 00:15:34,680 Speaker 1: the week six one seven nine oh six six six 310 00:15:34,760 --> 00:15:36,600 Speaker 1: three eight to leave me a voicemail, send me a text. 311 00:15:36,640 --> 00:15:39,560 Speaker 1: You can also reach me at to scrace lampod on Instagram, Facebook, 312 00:15:39,600 --> 00:15:43,160 Speaker 1: and X. All right, relative to this week's episode on 313 00:15:43,240 --> 00:15:46,040 Speaker 1: Martin Scorsese, we asked the question Who's who's. 314 00:15:45,760 --> 00:15:49,480 Speaker 2: On your mount rushmore of directors? Who's your favorite filmmaker? 315 00:15:49,600 --> 00:15:50,280 Speaker 2: And why? 316 00:15:50,640 --> 00:15:53,560 Speaker 1: That was the question, And we're gonna go to Justin 317 00:15:53,680 --> 00:15:55,560 Speaker 1: in the five to four to zero four an answer. 318 00:15:56,680 --> 00:16:03,440 Speaker 4: Oh, yes, mister Brannon, this is Justin. I was replying 319 00:16:03,560 --> 00:16:07,880 Speaker 4: to your question of best directors. Well, the first one 320 00:16:07,920 --> 00:16:10,760 Speaker 4: you have to look at is Sam Pack and Paul. 321 00:16:11,240 --> 00:16:14,800 Speaker 4: I mean he did The Wild Bunch and arguably we 322 00:16:14,800 --> 00:16:17,360 Speaker 4: were talking about violent movies. That's arguably we want to 323 00:16:17,360 --> 00:16:20,440 Speaker 4: the most violent movies I've ever seen. But anyway, then 324 00:16:20,560 --> 00:16:23,080 Speaker 4: he went on to do Pat Garrett Billy the Kid, 325 00:16:23,120 --> 00:16:26,400 Speaker 4: which is a great movie and a little known fact. 326 00:16:26,400 --> 00:16:28,520 Speaker 4: At the end of Pat Garrett and Billy the Kid, 327 00:16:29,320 --> 00:16:35,040 Speaker 4: when they shot the scene where Billy Ki gets shot, everybody. 328 00:16:34,560 --> 00:16:36,600 Speaker 3: Said, oh, there's no blood. 329 00:16:36,680 --> 00:16:39,440 Speaker 4: There's no blood. That's symbolic. It means he wasn't killed. 330 00:16:39,440 --> 00:16:41,920 Speaker 4: He's not dead. Sam Pack and Paul in an interview 331 00:16:42,040 --> 00:16:45,400 Speaker 4: later said no, he just forgot to set the shot up. 332 00:16:45,480 --> 00:16:47,920 Speaker 4: So they did it anyway with no blood. But anyway, 333 00:16:48,560 --> 00:16:53,880 Speaker 4: the real director for me is John Carpenter. I mean 334 00:16:54,000 --> 00:16:58,440 Speaker 4: it all started with me. It was Halloween. That movie 335 00:16:58,560 --> 00:17:00,920 Speaker 4: scared the shit out of me. And then I mean, 336 00:17:00,960 --> 00:17:04,280 Speaker 4: we get escape from New York, Big Trouble, a little China, 337 00:17:04,560 --> 00:17:09,480 Speaker 4: they live Mars. He for a brief time he was 338 00:17:09,560 --> 00:17:15,119 Speaker 4: married to Adrian Barbo. That's pretty serious. But anyway, he 339 00:17:15,200 --> 00:17:20,640 Speaker 4: also has no musical scores. I just said, John Carpenter 340 00:17:20,800 --> 00:17:24,920 Speaker 4: is my mile time favorite. But anyway, keep up good work. 341 00:17:25,080 --> 00:17:26,760 Speaker 4: Rock and rolling later. 342 00:17:27,000 --> 00:17:28,520 Speaker 2: Justin hey Man. 343 00:17:28,600 --> 00:17:32,040 Speaker 1: Really appreciate the call because I appreciate any opportunity to 344 00:17:32,080 --> 00:17:35,480 Speaker 1: talk about Pat Garrett and Billy the Kid by Sam Peckinpaw. 345 00:17:36,480 --> 00:17:38,160 Speaker 1: I have so much to say about this number one. 346 00:17:38,560 --> 00:17:40,160 Speaker 1: This is one of my favorite movies of all time, 347 00:17:40,320 --> 00:17:42,680 Speaker 1: definitely my top five. I don't know why this movie 348 00:17:42,720 --> 00:17:44,360 Speaker 1: doesn't get more heat. I don't know why people don't 349 00:17:44,359 --> 00:17:47,600 Speaker 1: talk about it more. It is incredible. Okay, maybe it's 350 00:17:47,600 --> 00:17:50,280 Speaker 1: because people don't like Westerns, but it's not. I mean, 351 00:17:50,280 --> 00:17:54,040 Speaker 1: it is a Western, it's clearly a Western. However, it's 352 00:17:54,240 --> 00:17:58,800 Speaker 1: it's more about Peck and PAW's statement on nineteen sixties 353 00:17:58,840 --> 00:18:01,639 Speaker 1: counterculture at the time that this was made. And you 354 00:18:01,680 --> 00:18:04,080 Speaker 1: got to think we're talking about the Hollywood brats before 355 00:18:04,200 --> 00:18:06,600 Speaker 1: the brats come in sort of right at the tail 356 00:18:06,720 --> 00:18:11,320 Speaker 1: end of Peck and pause kind of activity or I 357 00:18:11,320 --> 00:18:15,440 Speaker 1: guess greatness, he still chugged along in the seventies. 358 00:18:15,480 --> 00:18:17,440 Speaker 2: But this is the peak of it right here. 359 00:18:18,280 --> 00:18:20,240 Speaker 1: Go see Pack Garrett and Billy the Kid, if for 360 00:18:20,320 --> 00:18:22,480 Speaker 1: no other reason than to watch Bob Dylan in an 361 00:18:22,520 --> 00:18:24,320 Speaker 1: incredible role as Alias. 362 00:18:24,520 --> 00:18:27,080 Speaker 2: Okay, just fantastic. You know, it's funny. 363 00:18:27,119 --> 00:18:29,160 Speaker 1: I've been thinking about this movie a lot, really, really 364 00:18:29,240 --> 00:18:34,360 Speaker 1: recently because I'm rewatching Eastbounding Down, the Kenny Powers story 365 00:18:34,840 --> 00:18:38,560 Speaker 1: on HBO and Wayne Kramer from MC five does the 366 00:18:38,640 --> 00:18:41,720 Speaker 1: music for Eastbounding Down, and I'm watching it must have 367 00:18:41,800 --> 00:18:44,600 Speaker 1: been season two. I'm watching season two and I'm sitting 368 00:18:44,600 --> 00:18:47,120 Speaker 1: there and going, man, he is just ripping off Bob 369 00:18:47,200 --> 00:18:49,080 Speaker 1: Dylan from Pack Arett and Billy the Kid. Because Bob 370 00:18:49,160 --> 00:18:52,320 Speaker 1: Dylan does the soundtrack excellent soundtrack for the film Pack 371 00:18:52,400 --> 00:18:57,119 Speaker 1: Arrett and Billy the Kid. It's nineteen seventy two, I 372 00:18:57,160 --> 00:19:00,760 Speaker 1: believe seventy three for Dylan's where the Songknoking on Heaven's 373 00:19:00,760 --> 00:19:04,480 Speaker 1: Door comes from from this soundtrack, and there's a real 374 00:19:04,600 --> 00:19:07,560 Speaker 1: feel to all the Dylan songs that make up this movie. 375 00:19:08,160 --> 00:19:11,800 Speaker 1: If it feels very much this album feels like an album, 376 00:19:11,960 --> 00:19:14,040 Speaker 1: you know, and it feels very connected to this film. 377 00:19:14,440 --> 00:19:17,560 Speaker 2: It's soundtrack and when you're watching that. 378 00:19:17,440 --> 00:19:20,320 Speaker 1: I think it's the second season of Eastbounding Down, I'm 379 00:19:20,359 --> 00:19:22,760 Speaker 1: sitting there and I'm going, wow, this really he's really 380 00:19:22,840 --> 00:19:25,520 Speaker 1: ripping off Pack Garrett and Billy the Kid because it's 381 00:19:25,520 --> 00:19:27,639 Speaker 1: the Kenny Power story. At this point, He's Kenny's now 382 00:19:27,720 --> 00:19:32,120 Speaker 1: in Mexico Staging or Comeback for the Majors, and Pat 383 00:19:32,200 --> 00:19:35,760 Speaker 1: Garrett and Billy the Kid takes place in. 384 00:19:35,680 --> 00:19:36,520 Speaker 2: And around Mexico. 385 00:19:36,680 --> 00:19:39,280 Speaker 1: So I was like, yeah, Wayne Cramer's definitely seen this movie, 386 00:19:39,280 --> 00:19:40,720 Speaker 1: I think, and that's what he's going for. And Lo 387 00:19:40,880 --> 00:19:43,760 Speaker 1: and behold, at the end of the season they actually 388 00:19:43,960 --> 00:19:48,800 Speaker 1: use one of Dylan's songs from that soundtrack. So justin, 389 00:19:48,960 --> 00:19:51,919 Speaker 1: if you have not watched Eastbounding Down, just you know, 390 00:19:52,040 --> 00:19:54,639 Speaker 1: Pack Garrett and Billy the Kid aside, you need to 391 00:19:54,760 --> 00:19:55,199 Speaker 1: watch it. 392 00:19:55,760 --> 00:19:56,639 Speaker 2: You'll appreciate this. 393 00:19:56,800 --> 00:19:56,960 Speaker 3: Justin. 394 00:19:57,000 --> 00:19:59,040 Speaker 1: I actually stayed in our honeymoon. I stayed in a 395 00:19:59,119 --> 00:20:02,080 Speaker 1: cabin where Sam Peckinpo stayed in for a while. 396 00:20:02,240 --> 00:20:03,639 Speaker 2: Was actually the same cabin where. 397 00:20:03,560 --> 00:20:06,320 Speaker 1: Jack Carroac wrote Big sur A huge peck and Pop fan. 398 00:20:07,040 --> 00:20:09,600 Speaker 1: And as for John Carpenter, big fan as well, not 399 00:20:09,720 --> 00:20:12,880 Speaker 1: as big. I do this every summer. I whip out 400 00:20:12,880 --> 00:20:16,080 Speaker 1: the John Carpenter soundtrack. I'm sure you know. John Carpenter 401 00:20:16,400 --> 00:20:18,800 Speaker 1: did the music for I think all of his films, 402 00:20:20,400 --> 00:20:22,720 Speaker 1: or most of them anyways, and the soundtrack that he 403 00:20:22,840 --> 00:20:26,560 Speaker 1: did for The Fog is like, it just scares the 404 00:20:26,600 --> 00:20:28,119 Speaker 1: shit out of my kids. And I put that on 405 00:20:28,200 --> 00:20:30,160 Speaker 1: and I start talking in this spookie voice and it 406 00:20:30,200 --> 00:20:31,080 Speaker 1: gets them every time. 407 00:20:31,240 --> 00:20:32,240 Speaker 2: Thank you, John Carpenter. 408 00:20:32,880 --> 00:20:36,720 Speaker 1: All right, let's go to Adriana in the seven to six, 409 00:20:36,760 --> 00:20:38,760 Speaker 1: so she writes, and hey, the director resonates with me. 410 00:20:38,880 --> 00:20:41,200 Speaker 1: The most would have to be Quentin Tarantino. I love 411 00:20:41,240 --> 00:20:42,840 Speaker 1: how he tells the story from beginning to end, and 412 00:20:42,840 --> 00:20:44,919 Speaker 1: always re watch his movies. I'm a sucker for a 413 00:20:44,960 --> 00:20:47,040 Speaker 1: good soundtrack, and Quent and his team never miss a 414 00:20:47,040 --> 00:20:50,439 Speaker 1: beat with songs. Selection his movies transport me from my 415 00:20:50,600 --> 00:20:53,840 Speaker 1: mundane office life. I love the show and I learned 416 00:20:53,840 --> 00:20:56,080 Speaker 1: so much about some of my favorite singers and artists. 417 00:20:56,119 --> 00:20:59,080 Speaker 1: Thank you so much, Adriana. You know, Tarantino was the 418 00:20:59,119 --> 00:21:01,119 Speaker 1: lot to scorsesea thin I think a lot of modern 419 00:21:01,200 --> 00:21:03,920 Speaker 1: filmmakers do when it comes to soundtracks. Scorsese was the 420 00:21:03,960 --> 00:21:07,200 Speaker 1: first to really use rock and roll in a way, 421 00:21:07,320 --> 00:21:11,720 Speaker 1: not just just as score almost not as just needle drops, 422 00:21:11,760 --> 00:21:14,919 Speaker 1: but really to score the films. And you see that 423 00:21:14,960 --> 00:21:17,199 Speaker 1: come alive for the first time in mean streets. We 424 00:21:17,240 --> 00:21:19,560 Speaker 1: talked about it on Instagram this week with the Johnny 425 00:21:19,560 --> 00:21:22,520 Speaker 1: Boy entrance into the bar with the stones, jumping Jack, 426 00:21:22,560 --> 00:21:27,240 Speaker 1: flash plant, just incredible, incredible stuff. Thanks, Adriana. Appreciate the text, 427 00:21:27,520 --> 00:21:29,720 Speaker 1: all right. I knew this was gonna happen. I knew it. 428 00:21:29,880 --> 00:21:34,560 Speaker 1: I tried to head it off in this Scorsese episode, 429 00:21:35,080 --> 00:21:38,920 Speaker 1: and you know, I make this comment I compare filmmaking 430 00:21:39,000 --> 00:21:41,280 Speaker 1: the pain of filmmaking to the pain of giving birth, 431 00:21:42,000 --> 00:21:45,719 Speaker 1: and the seven was seven, writes in quote at the 432 00:21:45,840 --> 00:21:51,159 Speaker 1: most twenty four hours, quoting me here, and then she 433 00:21:51,240 --> 00:21:52,960 Speaker 1: goes on to just it, says. 434 00:21:52,920 --> 00:21:54,800 Speaker 2: Ha ha ha ha ha ha. 435 00:21:54,800 --> 00:21:59,680 Speaker 1: For honestly like seven lines, and then so sincerely worked 436 00:21:59,760 --> 00:22:03,840 Speaker 1: labor in delivery for years. I think the subtext here 437 00:22:04,160 --> 00:22:07,800 Speaker 1: is that I'm wrong that it's at labor. It can 438 00:22:07,840 --> 00:22:09,920 Speaker 1: be at most twenty four hours. I mean, how many 439 00:22:09,960 --> 00:22:10,760 Speaker 1: other labors are. 440 00:22:10,600 --> 00:22:12,720 Speaker 2: More than twenty four I'm opening the floodgates. I don't 441 00:22:12,720 --> 00:22:13,199 Speaker 2: mean to do so. 442 00:22:13,240 --> 00:22:15,840 Speaker 1: Look, I meant no disrespect to anyone out there who's 443 00:22:16,000 --> 00:22:18,520 Speaker 1: who's given birth for longer than twenty four hours. I 444 00:22:18,560 --> 00:22:20,800 Speaker 1: was just trying to make a point, and I wasn't 445 00:22:20,800 --> 00:22:23,080 Speaker 1: trying to, like, you know, go off on this wild tangent. 446 00:22:24,040 --> 00:22:27,159 Speaker 1: But I appreciate the levity within this text from the 447 00:22:27,200 --> 00:22:29,199 Speaker 1: seven oh seven, even though she's calling me up for it. 448 00:22:29,280 --> 00:22:31,160 Speaker 2: This one comes from the six to one OH. It says, Hey, Jake, 449 00:22:31,200 --> 00:22:32,840 Speaker 2: I was going through some photos and really. 450 00:22:34,200 --> 00:22:36,600 Speaker 1: And realized I forgot to send this from twenty twenty 451 00:22:36,640 --> 00:22:40,119 Speaker 1: four sporting my double elvis shirt at the Tiger Zoo 452 00:22:40,160 --> 00:22:45,919 Speaker 1: in Thailand. Rock a Rolla and this dude, Jonathan from 453 00:22:45,920 --> 00:22:48,040 Speaker 1: the six to one OH is just sitting there with 454 00:22:48,040 --> 00:22:51,440 Speaker 1: a tiger, big ass tiger in the double elvis shirt. 455 00:22:51,480 --> 00:22:53,840 Speaker 1: I love it. Thanks Jonathan speaking to Thailand. Do you 456 00:22:53,880 --> 00:22:56,199 Speaker 1: guys watching White Lotus new season? 457 00:22:56,440 --> 00:22:57,000 Speaker 2: What do you think? 458 00:22:57,480 --> 00:22:59,880 Speaker 1: It's kind of a slow burn. I'm here for it, though, 459 00:23:00,119 --> 00:23:03,000 Speaker 1: I'm here for anything with the Goggins. Okay, three h 460 00:23:03,080 --> 00:23:04,280 Speaker 1: two types in Hey. 461 00:23:04,400 --> 00:23:08,000 Speaker 2: When you're on your deathbed, I will be there whispering 462 00:23:08,040 --> 00:23:14,720 Speaker 2: in your ear. You can't compare Prince in MJ love it. 463 00:23:15,280 --> 00:23:17,520 Speaker 1: The Conversation that will not die. I got a couple 464 00:23:17,640 --> 00:23:20,280 Speaker 1: voicemails on this as well. Let's go to this one 465 00:23:20,280 --> 00:23:21,920 Speaker 1: from Yuri in the three one Oher. 466 00:23:22,600 --> 00:23:26,719 Speaker 3: Hey, Ja, this's Yuri from three one Ohero, just listening, 467 00:23:27,000 --> 00:23:27,800 Speaker 3: just catching up. 468 00:23:29,280 --> 00:23:29,880 Speaker 2: More than once. 469 00:23:29,920 --> 00:23:32,919 Speaker 3: I've heard you talk about Prince and Michael Jackson and 470 00:23:33,040 --> 00:23:36,359 Speaker 3: how you feel like they're I don't know. In the 471 00:23:36,400 --> 00:23:43,040 Speaker 3: same category, but they're not. They were of the same time. True, 472 00:23:43,560 --> 00:23:47,960 Speaker 3: they were icons. True, they were the first generation to 473 00:23:48,160 --> 00:23:50,639 Speaker 3: see the potential in MTV. 474 00:23:51,280 --> 00:23:52,920 Speaker 2: Also true. 475 00:23:53,040 --> 00:23:56,520 Speaker 3: But what I think where they diverge is their artistry. 476 00:23:57,240 --> 00:24:01,359 Speaker 3: Prince was an artist. He can play every instrument, and 477 00:24:01,400 --> 00:24:05,200 Speaker 3: he did on his first couple albums. He produced everything 478 00:24:05,240 --> 00:24:11,160 Speaker 3: that he did, his genre bending musical style, it really 479 00:24:11,160 --> 00:24:14,879 Speaker 3: has yet to be bibled. Michael, yes, he was a 480 00:24:14,960 --> 00:24:19,280 Speaker 3: king of pop, but he was almost born into that, 481 00:24:19,480 --> 00:24:23,600 Speaker 3: if not physically, his persona was born out of that, 482 00:24:24,359 --> 00:24:27,680 Speaker 3: out of the Jackson five, out of creating, image and branding. 483 00:24:28,320 --> 00:24:30,800 Speaker 3: And that's where I feel like Prince and Michael diverged. 484 00:24:31,640 --> 00:24:35,360 Speaker 3: Prince's image was built from his musical range and his diversity. 485 00:24:36,160 --> 00:24:39,760 Speaker 3: The fluffs and everything else came after, but that's where 486 00:24:39,760 --> 00:24:45,160 Speaker 3: it started. Michaels was a product, no one more thing. 487 00:24:46,160 --> 00:24:49,840 Speaker 3: Jake really idol saw him in Vegas like now, I 488 00:24:50,440 --> 00:24:51,920 Speaker 3: keep thinking it was a couple of years ago. 489 00:24:52,040 --> 00:24:52,920 Speaker 2: It was almost ten. 490 00:24:53,960 --> 00:24:56,720 Speaker 3: I saw I'm with my brother. I loved the show. 491 00:24:57,080 --> 00:24:59,639 Speaker 3: He was rocking at sixty at the time and he's 492 00:24:59,680 --> 00:25:03,639 Speaker 3: still seventy. Thank you love the show. 493 00:25:04,280 --> 00:25:06,399 Speaker 2: Rock and rolling all right, Juri thank you for that. 494 00:25:06,520 --> 00:25:07,520 Speaker 2: Appreciate that. Guys. 495 00:25:07,560 --> 00:25:10,399 Speaker 1: I'll keep talking Michael Jackson, Prince, as long as you 496 00:25:10,440 --> 00:25:12,280 Speaker 1: want to talk Michael Jackson, Prince. 497 00:25:12,400 --> 00:25:14,719 Speaker 2: I keep trying to get out of this conversation. I 498 00:25:14,800 --> 00:25:15,199 Speaker 2: really have. 499 00:25:15,480 --> 00:25:17,840 Speaker 1: It's been I think we're on week four right now 500 00:25:17,920 --> 00:25:22,840 Speaker 1: in the after party, and I mean, I'm sort of 501 00:25:22,880 --> 00:25:24,960 Speaker 1: not talking about it this week. I'm letting you guys 502 00:25:24,960 --> 00:25:27,960 Speaker 1: talk about it. I'm just here. I'm putting it out 503 00:25:27,960 --> 00:25:32,080 Speaker 1: in the air. If this continues next week, I'm going 504 00:25:32,119 --> 00:25:33,280 Speaker 1: to dive in even more fully. 505 00:25:33,520 --> 00:25:35,560 Speaker 2: But you know what, I'm willing. I'm not willing to 506 00:25:35,720 --> 00:25:37,080 Speaker 2: foster that. Okay. 507 00:25:37,600 --> 00:25:41,040 Speaker 1: I'm simply like Bob Dylan. I'm an antenna man. I'm 508 00:25:41,080 --> 00:25:44,480 Speaker 1: just kind of like tuned into what's happening around me. Okay, 509 00:25:44,680 --> 00:25:47,440 Speaker 1: we shall see. All right, If you guys want more 510 00:25:47,440 --> 00:25:50,080 Speaker 1: of this, keep it coming. I'll talk, Prince. We can 511 00:25:50,080 --> 00:25:52,919 Speaker 1: turn this into a Prince versus Michael Jackson podcast if 512 00:25:52,920 --> 00:25:55,680 Speaker 1: you're okay, we can't anyways, six one seven nine, It 513 00:25:55,760 --> 00:25:58,920 Speaker 1: was six six six three eight voicemail and text. Hit 514 00:25:59,000 --> 00:26:00,880 Speaker 1: me up for next week Question of the Week, which 515 00:26:00,960 --> 00:26:04,360 Speaker 1: is gonna be do you think the Kennedy's had anything 516 00:26:04,359 --> 00:26:08,280 Speaker 1: to do with Marilyn Monroe's death, and if so, point 517 00:26:08,320 --> 00:26:10,840 Speaker 1: me in the right direction, give me some research, give 518 00:26:10,840 --> 00:26:14,320 Speaker 1: me some docs to go look at. Okay, it's a big, big, 519 00:26:14,320 --> 00:26:16,760 Speaker 1: big accusation. If you're gonna think that, you gotta have 520 00:26:16,800 --> 00:26:20,280 Speaker 1: some bullets on your side, all right, pun intended. Or 521 00:26:20,320 --> 00:26:24,560 Speaker 1: you gotta have some very powerful medicine, maybe a syringe. 522 00:26:24,600 --> 00:26:25,000 Speaker 2: I don't know. 523 00:26:25,960 --> 00:26:28,080 Speaker 1: I do know that voicemail text is not the only 524 00:26:28,119 --> 00:26:29,280 Speaker 1: way to get in touch with me. And you guys 525 00:26:29,280 --> 00:26:31,000 Speaker 1: know this too. You can hit me up at Disgray 526 00:26:31,080 --> 00:26:35,560 Speaker 1: lampod on all the socials on X on Facebook, on Instagram, 527 00:26:35,880 --> 00:26:39,280 Speaker 1: Jersey Style Photography writes, Hey, this is a fantastic listen. 528 00:26:39,359 --> 00:26:42,399 Speaker 1: That's in response to the Scorsese episode that's on X 529 00:26:42,480 --> 00:26:46,920 Speaker 1: over on Instagram, Katherine Moutey moutet my saying that correctly. 530 00:26:46,960 --> 00:26:50,159 Speaker 1: She writes, in response to our Scorsese story, this is 531 00:26:50,200 --> 00:26:53,080 Speaker 1: a movie that needs to be made. Catherine, you know 532 00:26:53,160 --> 00:26:56,119 Speaker 1: I would love to turn this into a movie, but 533 00:26:56,280 --> 00:26:58,520 Speaker 1: for all the reasons I mentioned earlier in this episode, 534 00:26:58,640 --> 00:27:00,520 Speaker 1: I don't think it's in the car. It's for me 535 00:27:00,920 --> 00:27:03,040 Speaker 1: that's said, Hey, anyone wants to back up a truck? 536 00:27:03,040 --> 00:27:05,960 Speaker 1: Full of money and dump it on my head. I'm available, 537 00:27:06,240 --> 00:27:07,960 Speaker 1: or if somebody wants to, you know, clear the path 538 00:27:08,040 --> 00:27:10,359 Speaker 1: for this to be turned into a screenplay, you know 539 00:27:10,400 --> 00:27:12,600 Speaker 1: in a way that's that has a path to actually 540 00:27:12,640 --> 00:27:14,080 Speaker 1: getting madea I wouldn't. 541 00:27:13,760 --> 00:27:15,960 Speaker 2: I would, I wouldn't walk away from that. I'm just saying. 542 00:27:16,160 --> 00:27:19,960 Speaker 2: I'm just saying, take a lot. That's all okay, all right? 543 00:27:20,080 --> 00:27:21,840 Speaker 1: Six one seven nine O six sixty six three eight 544 00:27:21,920 --> 00:27:24,600 Speaker 1: voicemail and text at Disgrace lamdpod on the socials to 545 00:27:24,640 --> 00:27:27,000 Speaker 1: hit me up and take a quick break back after 546 00:27:27,040 --> 00:27:28,439 Speaker 1: this with the story of the week. Some of your 547 00:27:28,480 --> 00:27:30,320 Speaker 1: emails some reviews are also going to get into in 548 00:27:30,359 --> 00:27:33,000 Speaker 1: the bonus section of this episode. A little bit more 549 00:27:33,080 --> 00:27:37,520 Speaker 1: on our upcoming all access exclusive episode on Stevie Ray 550 00:27:37,560 --> 00:27:55,680 Speaker 1: Vaughan more after this. All right, welcome back the Disgrace Lands. 551 00:27:55,720 --> 00:27:57,800 Speaker 1: Story the Week can be any story from your rock 552 00:27:57,800 --> 00:28:00,119 Speaker 1: and roll past or from rock and roll history you 553 00:28:00,200 --> 00:28:02,439 Speaker 1: think best represents the rock and roll spirit and you 554 00:28:02,440 --> 00:28:04,240 Speaker 1: want to share with us this week's story of the week. 555 00:28:04,240 --> 00:28:05,359 Speaker 2: It comes from William's strow. 556 00:28:05,400 --> 00:28:08,000 Speaker 1: But William says, hey, Jake Bill from the two one five, 557 00:28:08,040 --> 00:28:09,919 Speaker 1: I can't believe how long it took to sink in, 558 00:28:10,040 --> 00:28:13,320 Speaker 1: But your amazing Miles Davis episode triggered a couple memories. 559 00:28:13,640 --> 00:28:16,840 Speaker 1: So where my dear friend Monty, Johnny Rotten, and Wayne 560 00:28:16,880 --> 00:28:21,439 Speaker 1: Shorter intersect. Monty's full name was Montraval Shorter. Wayne Shorter 561 00:28:21,640 --> 00:28:24,119 Speaker 1: was Monty's first cousin. He was a jazz encyclopedia. We 562 00:28:24,160 --> 00:28:25,919 Speaker 1: worked in kitchens together, so I got to hear some 563 00:28:26,000 --> 00:28:28,600 Speaker 1: amazing stories. He was quite a bit older than me, 564 00:28:28,640 --> 00:28:31,160 Speaker 1: and he had some wild experiences. He traveled a lot 565 00:28:31,400 --> 00:28:33,320 Speaker 1: and sat down in the lounge of a hotel one day. 566 00:28:33,320 --> 00:28:36,240 Speaker 1: A few minutes later, an interesting gentleman sat across from us. 567 00:28:36,480 --> 00:28:41,240 Speaker 1: They proceeded to have a lovely conversation music, jazz, current events. 568 00:28:41,560 --> 00:28:44,640 Speaker 1: The gentleman was Johnny Rotten of the sex Pistols of 569 00:28:44,680 --> 00:28:47,880 Speaker 1: Public Image Limited. The vision in my mind is of 570 00:28:47,920 --> 00:28:50,920 Speaker 1: a stone cool, elderly black man sitting with the sex 571 00:28:50,960 --> 00:28:54,040 Speaker 1: Pistols lead singer, just chopping it up. And it was 572 00:28:54,080 --> 00:28:55,920 Speaker 1: a real kick in the ass, and it still is. 573 00:28:56,040 --> 00:28:59,320 Speaker 1: Monti has since passed, but having the memory sparked made 574 00:28:59,320 --> 00:29:01,360 Speaker 1: me smile. Thanks for doing what you do. I've tried 575 00:29:01,400 --> 00:29:03,560 Speaker 1: to turn everyone I know on the disgrace. Same thanks again, 576 00:29:03,600 --> 00:29:05,120 Speaker 1: Bill in the two one five Bill and the two 577 00:29:05,200 --> 00:29:07,960 Speaker 1: one five. I love this story. I love it when 578 00:29:08,000 --> 00:29:11,160 Speaker 1: the punk rock guys mix themselves up with the jazz guys. 579 00:29:11,600 --> 00:29:14,640 Speaker 1: Of course, Iggy Pop Miles Davis were tight or not tight, 580 00:29:14,680 --> 00:29:17,200 Speaker 1: but they had they've crossed paths a few times, and 581 00:29:17,240 --> 00:29:19,840 Speaker 1: they had a mutual admiration society going on. And I 582 00:29:19,880 --> 00:29:23,640 Speaker 1: love this story about Wayne Shorter and Johnny Rotten. Johnny 583 00:29:23,680 --> 00:29:26,480 Speaker 1: Rotten might be the greatest punk rock singer of all time. 584 00:29:26,760 --> 00:29:28,360 Speaker 2: I said it. I don't care. I don't care what 585 00:29:28,400 --> 00:29:30,040 Speaker 2: anyone thinks. I think. 586 00:29:30,080 --> 00:29:32,640 Speaker 1: I believe that I think. Okay, I gotta do a 587 00:29:32,680 --> 00:29:34,040 Speaker 1: couple of reviews. You guys know the deal. You know 588 00:29:34,040 --> 00:29:35,640 Speaker 1: why I read these reviews. It's not just because I'm 589 00:29:35,680 --> 00:29:38,640 Speaker 1: a massive egomaniac. I probably am, but that's not the reason. 590 00:29:38,880 --> 00:29:39,280 Speaker 2: Okay. 591 00:29:39,320 --> 00:29:42,280 Speaker 1: The reason is I try to encourage the reviews because 592 00:29:42,320 --> 00:29:45,280 Speaker 1: the reviews encourage the algorithm to push the show to 593 00:29:45,400 --> 00:29:47,680 Speaker 1: more people. It helps with discovery. I say it every week. 594 00:29:47,680 --> 00:29:49,640 Speaker 1: I'm never gonna stop saying it. All Right, you guys 595 00:29:49,720 --> 00:29:51,760 Speaker 1: going to leave reviews on Apple podcasts, you leave them 596 00:29:51,800 --> 00:29:52,640 Speaker 1: on Spotify, and it. 597 00:29:52,600 --> 00:29:55,040 Speaker 2: Helps so Thank you very very much. I choose a 598 00:29:55,080 --> 00:29:56,920 Speaker 2: couple of those reviews every week. I read them right here. 599 00:29:56,960 --> 00:29:59,320 Speaker 1: If you hear yours read, you can hit me up 600 00:29:59,360 --> 00:30:01,640 Speaker 1: on your own and you could say, hey, you read 601 00:30:01,680 --> 00:30:03,680 Speaker 1: my review. I'm so and so, and I'll go, yeah, 602 00:30:03,720 --> 00:30:05,480 Speaker 1: I guess I did, and then I'll send you some 603 00:30:05,560 --> 00:30:07,640 Speaker 1: free merch. Whatever we get lined around the studio could 604 00:30:07,640 --> 00:30:09,520 Speaker 1: be a pin, could be a shirt. Sometimes I even 605 00:30:09,560 --> 00:30:12,400 Speaker 1: sign books. So let's see what we got here. Over 606 00:30:12,600 --> 00:30:16,760 Speaker 1: on the Apple Podcast Machine, Cindy thirteen writes, I recently 607 00:30:16,800 --> 00:30:19,920 Speaker 1: discovered your podcast. I absolutely love it. Thank you for 608 00:30:19,960 --> 00:30:23,680 Speaker 1: your contribution to my daily listening. See how easy was that, Cindy, 609 00:30:23,720 --> 00:30:25,320 Speaker 1: thank you very much. Get in touch. We'll get you 610 00:30:25,360 --> 00:30:28,200 Speaker 1: some merch. Over on the Spotify machine, Jared Ray writes, 611 00:30:28,240 --> 00:30:30,160 Speaker 1: and hey, this is my new favorite podcast. As a 612 00:30:30,240 --> 00:30:31,960 Speaker 1: matter of fact, it's so good it inspired me to 613 00:30:31,960 --> 00:30:34,240 Speaker 1: write my first review and five star rating ever. And 614 00:30:34,280 --> 00:30:36,560 Speaker 1: I've been listening to podcasts since before most people knew 615 00:30:36,560 --> 00:30:37,520 Speaker 1: what a podcast was. 616 00:30:38,000 --> 00:30:40,560 Speaker 2: Thank you, Jared, I appreciate it, really do. 617 00:30:40,720 --> 00:30:42,440 Speaker 1: Thanks for the review. Hit me up, We'll get you 618 00:30:42,440 --> 00:30:44,840 Speaker 1: some merch. Thanks for helping us grow the show. Guys, 619 00:30:45,040 --> 00:30:49,520 Speaker 1: as always, big, big, big gratitude. Listen to this this episode. 620 00:30:49,680 --> 00:30:53,400 Speaker 1: It's it's nearing its end, you know. Qq the sad, 621 00:30:54,240 --> 00:30:58,040 Speaker 1: sad closing music. Give me some sad eighties sitcom vibes, 622 00:30:58,680 --> 00:31:01,360 Speaker 1: you know what I mean, And that's sad. Eighty synth 623 00:31:01,440 --> 00:31:03,400 Speaker 1: comes in and you're a little kid. You know, it's 624 00:31:03,480 --> 00:31:06,480 Speaker 1: time for bed. That's what I'm feeling right now. It's 625 00:31:06,520 --> 00:31:08,280 Speaker 1: coming to an end. There are those of you who 626 00:31:08,280 --> 00:31:09,080 Speaker 1: will remain with. 627 00:31:09,040 --> 00:31:11,960 Speaker 2: Us in the bonus section of this All Access after 628 00:31:12,040 --> 00:31:14,680 Speaker 2: Party episode, those of you who are part of our 629 00:31:14,720 --> 00:31:18,240 Speaker 2: All Access membership club. You get a little bit more, 630 00:31:18,240 --> 00:31:18,920 Speaker 2: You get a little bit more. 631 00:31:19,000 --> 00:31:20,160 Speaker 1: This week, I'm going to give you a little more 632 00:31:20,160 --> 00:31:22,360 Speaker 1: about Stevie Yvon because this week is when our Stevie 633 00:31:22,400 --> 00:31:25,960 Speaker 1: Rayvon All Access episode comes out. Okay, last week I 634 00:31:25,960 --> 00:31:27,560 Speaker 1: gave you a story about a friend of mine who 635 00:31:27,600 --> 00:31:29,960 Speaker 1: was involved with the whole Stevie Rayvon kerfuffle. This week, 636 00:31:30,000 --> 00:31:31,080 Speaker 1: I'm going to give you a little bit more and 637 00:31:31,120 --> 00:31:33,280 Speaker 1: it's going to come up right after this real quick. 638 00:31:33,600 --> 00:31:34,800 Speaker 1: For those of you who are like, what the hell 639 00:31:34,840 --> 00:31:36,560 Speaker 1: are you talking about, Well, it's this. We do an 640 00:31:36,600 --> 00:31:39,239 Speaker 1: all access club. Okay, you pay five bucks, you get 641 00:31:39,280 --> 00:31:41,440 Speaker 1: a little bit more after Party here, okay, a little 642 00:31:41,440 --> 00:31:43,600 Speaker 1: bit bone, a little bit of a bonus section. You 643 00:31:43,640 --> 00:31:47,520 Speaker 1: get ad free listening, and you get one exclusive episode 644 00:31:47,520 --> 00:31:49,800 Speaker 1: per month. This month it's on Steve Rayvon. It's only 645 00:31:49,840 --> 00:31:52,440 Speaker 1: five bucks to join. You also get into the behind 646 00:31:52,480 --> 00:31:55,000 Speaker 1: the velvet rope, so to speak, in Patreon, where I'm 647 00:31:55,000 --> 00:31:56,800 Speaker 1: in there in the chat with all your disco is talking. 648 00:31:57,000 --> 00:31:59,000 Speaker 2: All right, we're in there. Every day I get to do. 649 00:31:59,080 --> 00:32:01,280 Speaker 1: Is go to disgrace sampod com slash membership and sign 650 00:32:01,360 --> 00:32:02,200 Speaker 1: up five bucks a month. 651 00:32:02,240 --> 00:32:03,440 Speaker 2: You know, five bucks a month. 652 00:32:03,480 --> 00:32:05,400 Speaker 1: That's cheaper than a beer, cheaper than a coffee, cheaper 653 00:32:05,400 --> 00:32:07,680 Speaker 1: than what a hot dog of Faaniway parks, cheaper than 654 00:32:07,680 --> 00:32:30,520 Speaker 1: a lot of things. Disgraceampod dot com slash membership. All right, 655 00:32:30,560 --> 00:32:34,320 Speaker 1: we are back archive episodes discussed in this year After Party. 656 00:32:34,320 --> 00:32:35,280 Speaker 2: Welcome the bonus section. 657 00:32:35,360 --> 00:32:38,640 Speaker 1: We talked about Robbie Robertson and Eric Clapton and Eddie 658 00:32:38,720 --> 00:32:41,000 Speaker 1: Van Halen and Jimmy Hendrix and David Bowie and the 659 00:32:41,080 --> 00:32:43,160 Speaker 1: Rolling Stones. And you guys are missing out, by the way, 660 00:32:43,160 --> 00:32:45,120 Speaker 1: if're not getting the all access portion of the AFRO party, 661 00:32:45,160 --> 00:32:47,280 Speaker 1: as you can hear anyway, Matt is going to have 662 00:32:47,400 --> 00:32:49,680 Speaker 1: info on all these episodes. Help you find these episodes 663 00:32:49,720 --> 00:32:52,040 Speaker 1: in our massive archive. He'll drop that info in the 664 00:32:52,080 --> 00:32:55,200 Speaker 1: show notes for you. Thank you, Matt. Let's recap. 665 00:32:55,240 --> 00:32:56,120 Speaker 2: Shall we Number one? 666 00:32:56,200 --> 00:32:58,400 Speaker 1: I want your story, Call me, text me, hit me 667 00:32:58,440 --> 00:33:00,280 Speaker 1: on the socials with your favorite story of rock and 668 00:33:00,320 --> 00:33:02,920 Speaker 1: roll animalism, a wild story about a rockstar that you're 669 00:33:02,960 --> 00:33:04,280 Speaker 1: aware of and that you want to tell. Can be 670 00:33:04,320 --> 00:33:06,880 Speaker 1: something that you've read in a history book, something that's 671 00:33:06,880 --> 00:33:08,760 Speaker 1: happened to you personally, can be anything at all. Let 672 00:33:08,800 --> 00:33:10,440 Speaker 1: me know number two right now in your feed, our 673 00:33:10,480 --> 00:33:14,200 Speaker 1: episode on Martin Scorsese and Taxi Driver. Number three coming tomorrow, 674 00:33:14,280 --> 00:33:17,280 Speaker 1: our rewind episode on Marilyn Monroe, and continuing with our 675 00:33:17,280 --> 00:33:20,840 Speaker 1: oscar team next week, you're getting a Dennis Hopper episode. 676 00:33:20,920 --> 00:33:24,160 Speaker 2: Number four. Merch winners, get in touch. You know who 677 00:33:24,160 --> 00:33:25,000 Speaker 2: you are. Number five. 678 00:33:25,280 --> 00:33:27,120 Speaker 1: Remember, no one cares about preserving the true spirit of 679 00:33:27,200 --> 00:33:28,800 Speaker 1: rock and roll more than you do. And well that's 680 00:33:28,840 --> 00:33:33,040 Speaker 1: a disgrace, all right. In honor of this week's episode subject, 681 00:33:33,040 --> 00:33:36,280 Speaker 1: Martin Scorsese, here are the Billboard charts for the day 682 00:33:36,600 --> 00:33:40,680 Speaker 1: Murty released his masterpiece Taxi Driver on February Tell can 683 00:33:40,720 --> 00:33:43,240 Speaker 1: be something that you've read in a history book, something 684 00:33:43,240 --> 00:33:45,120 Speaker 1: that's happened to you personally, can be anything at all. 685 00:33:45,160 --> 00:33:46,760 Speaker 1: Let me know number two right now in your feed, 686 00:33:46,800 --> 00:33:49,840 Speaker 1: our episode on Martin Scorsese and Taxi Driver, number three 687 00:33:49,960 --> 00:33:53,440 Speaker 1: coming tomorrow, our rewind episode on Marilyn Monroe, and continuing 688 00:33:53,440 --> 00:33:56,080 Speaker 1: with our Oscar team next week, You're getting a Dennis 689 00:33:56,440 --> 00:34:00,000 Speaker 1: Hopper episode. Number four, merch Winners, get in touch. 690 00:34:00,240 --> 00:34:01,480 Speaker 2: You know who you are. Number five. 691 00:34:01,800 --> 00:34:03,600 Speaker 1: Remember, no one cares about preserving the true spirit of 692 00:34:03,680 --> 00:34:05,280 Speaker 1: rock and roll more than you do. And well that's 693 00:34:05,320 --> 00:34:09,560 Speaker 1: a disgrace, all right. In honor of this week's episode subject, 694 00:34:09,560 --> 00:34:12,799 Speaker 1: Martin Scorsesey, here are the Billboard charts for the day 695 00:34:13,160 --> 00:34:18,000 Speaker 1: Marty released his masterpiece, Taxi Driver on February eighth, nineteen 696 00:34:18,120 --> 00:34:22,719 Speaker 1: seventy six. Number one, fifty Ways to Leave Your Lover 697 00:34:23,160 --> 00:34:28,319 Speaker 1: Paul Simon last week ten, peak position one weeks on 698 00:34:28,400 --> 00:34:33,280 Speaker 1: chart eight. Number two Love to Love You Baby Donna 699 00:34:33,320 --> 00:34:39,080 Speaker 1: Summer last week three, peak position two weeks on chart ten. 700 00:34:39,880 --> 00:34:45,040 Speaker 1: Number three You Sexy Things Hot Chocolate last week four, 701 00:34:45,520 --> 00:34:49,800 Speaker 1: peak position ten, three weeks on chart fifteen. Number seven 702 00:34:49,920 --> 00:34:54,680 Speaker 1: Hot number four, I Write the songs, very Man last 703 00:34:54,719 --> 00:35:00,000 Speaker 1: week to peak position one weeks on chart thirteen Number 704 00:35:00,120 --> 00:35:05,280 Speaker 1: Fust sing a song past, Win, Take five, SISI, Last Years, Seconds, 705 00:35:05,320 --> 00:35:08,400 Speaker 1: Take Eat Positions five weeks Chops. 706 00:35:09,960 --> 00:35:17,080 Speaker 2: Six, Quit talking and start mixing. 707 00:35:17,320 --> 00:35:17,560 Speaker 4: Cult