1 00:00:00,720 --> 00:00:06,680 Speaker 1: Disgraceland is a production of double Elvis. Wello Ghuls and Goblins, 2 00:00:06,680 --> 00:00:08,080 Speaker 1: and salutations to all. 3 00:00:08,000 --> 00:00:09,440 Speaker 2: You creepy cats and kittens. 4 00:00:09,560 --> 00:00:13,840 Speaker 1: This is a special Halloween episode of Disgraceland on the 5 00:00:13,880 --> 00:00:17,520 Speaker 1: one and only Kings and Queens of rock and roll. 6 00:00:17,560 --> 00:00:18,320 Speaker 2: The Cramps. 7 00:00:18,680 --> 00:00:21,720 Speaker 3: This is if you can try to imagine a fun, 8 00:00:21,880 --> 00:00:27,560 Speaker 3: not so serious look at sexually charged burning corpses, seventeen stories, suicides, 9 00:00:27,760 --> 00:00:32,040 Speaker 3: zombies who can't dance, human flies, and teenage werewolves. This 10 00:00:32,120 --> 00:00:35,640 Speaker 3: is not a scholarly look at the cultural significance of 11 00:00:35,720 --> 00:00:38,640 Speaker 3: Lux Interiors and Poison Ivy's musical output. 12 00:00:39,040 --> 00:00:43,159 Speaker 1: This is, like I said, nothing more than a Halloween. 13 00:00:42,720 --> 00:00:46,720 Speaker 3: Hoo inspired by the incredible music and wild career of 14 00:00:46,760 --> 00:00:49,760 Speaker 3: the original Halloween heads, The Cramps. 15 00:00:50,040 --> 00:00:51,680 Speaker 2: Hope you can dig it mellow. 16 00:00:59,000 --> 00:01:01,160 Speaker 1: This is the story of one of the greatest rock 17 00:01:01,200 --> 00:01:04,920 Speaker 1: and roll bands of all time, The Cramps, a band 18 00:01:04,959 --> 00:01:10,160 Speaker 1: who's singer Lux Interior and guitarist Poison Ivy Rorshak dedicated 19 00:01:10,160 --> 00:01:12,880 Speaker 1: their lives to the mission of saving rock and roll, 20 00:01:13,640 --> 00:01:18,039 Speaker 1: a mission that was challenged by soulless zombies, confused by 21 00:01:18,080 --> 00:01:22,240 Speaker 1: burning corpses, bled dry by a vampire, and for a 22 00:01:22,360 --> 00:01:28,399 Speaker 1: time smothered by giant radioactive cockroaches. But it's also a 23 00:01:28,440 --> 00:01:33,039 Speaker 1: story about great music, Unlike that music I played for 24 00:01:33,080 --> 00:01:36,279 Speaker 1: you at the top of the show that wasn't great music. 25 00:01:37,200 --> 00:01:40,520 Speaker 1: That was a preset loop for my melotron called Shah 26 00:01:40,720 --> 00:01:46,240 Speaker 1: Shah Shasha Tussi MK one. I played you that loop 27 00:01:46,680 --> 00:01:49,960 Speaker 1: because I can't afford the rights to shadow Dancing by 28 00:01:50,040 --> 00:01:53,800 Speaker 1: Andy Gibb. And why would I play you that specific 29 00:01:53,880 --> 00:01:58,560 Speaker 1: slice of sunken nut cheese? Could I afford it? Because 30 00:01:58,640 --> 00:02:03,160 Speaker 1: that was the number one song in America on June thirteenth, 31 00:02:03,320 --> 00:02:06,440 Speaker 1: nineteen seventy eight, and that was the day of The 32 00:02:06,480 --> 00:02:09,640 Speaker 1: Cramps played a live set at a mental institution in 33 00:02:09,680 --> 00:02:14,000 Speaker 1: northern California, creating a myth that would challenge the definition 34 00:02:14,400 --> 00:02:18,080 Speaker 1: of what it means to be rock and week on 35 00:02:18,240 --> 00:02:25,440 Speaker 1: this episode, Zombies, corpses, vampires, radioactive cockroaches, and saving rock 36 00:02:25,480 --> 00:02:31,800 Speaker 1: and roll with the Cramps. I'm Jake Brennan in this 37 00:02:31,800 --> 00:03:09,600 Speaker 1: this Disgraceland. Unless something is done, and done quickly, rock 38 00:03:09,639 --> 00:03:19,360 Speaker 1: and roll will cease to exist in a year. Forest 39 00:03:19,400 --> 00:03:24,799 Speaker 1: Lawn Memorial Park Cemetery is not your average cemetery. Located 40 00:03:24,840 --> 00:03:28,160 Speaker 1: six miles outside Hollywood, It's the eternal home to some 41 00:03:28,200 --> 00:03:32,239 Speaker 1: of the biggest names from Tinseltown's famed history. There's Sammy 42 00:03:32,320 --> 00:03:37,520 Speaker 1: Davis Junior's headstone, Sammy the known Satanist, and there's Errol 43 00:03:37,560 --> 00:03:41,240 Speaker 1: Flynn's grave. Back in the early days of Hollywood, Errol 44 00:03:41,400 --> 00:03:44,600 Speaker 1: was one of the movie business's biggest stars. He was 45 00:03:44,640 --> 00:03:48,640 Speaker 1: also a pedophile. Some believe Walt Disney is buried here. 46 00:03:49,200 --> 00:03:52,360 Speaker 1: He has a burial plot, but most believe his head 47 00:03:52,480 --> 00:03:56,360 Speaker 1: was severed from his body after death, cryogenically frozen and 48 00:03:56,440 --> 00:04:01,240 Speaker 1: stored in an undisclosed location in Disneyland. Lawn Cheney, the 49 00:04:01,240 --> 00:04:04,800 Speaker 1: Phantom of the Opera, rests anonymously in an unmarked grave, 50 00:04:05,520 --> 00:04:09,440 Speaker 1: and Lawn Cheney's son, Lawn Cheney Junior, who famously played 51 00:04:09,440 --> 00:04:14,280 Speaker 1: the werewolf in Universals nineteen forty one classic The Wolfman, Well, 52 00:04:14,880 --> 00:04:17,960 Speaker 1: his body does not rest anonymously next to his famous 53 00:04:17,960 --> 00:04:22,440 Speaker 1: fathers Old Lawn Cheney Junior donated his body to science 54 00:04:22,720 --> 00:04:27,839 Speaker 1: after drinking a pinacolata at Trader Vicks. The Cramp's Frontman, 55 00:04:27,960 --> 00:04:31,040 Speaker 1: Luck's interior and his partner not just in crime, but 56 00:04:31,120 --> 00:04:34,760 Speaker 1: in life, in love, and in art Poison Ivy the 57 00:04:34,839 --> 00:04:39,039 Speaker 1: Cramps Inimitable guitarist and for all intents and purposes, producer. 58 00:04:39,680 --> 00:04:43,799 Speaker 1: This duo knew about donating their bodies, their lives, even 59 00:04:44,240 --> 00:04:48,760 Speaker 1: to something bigger than themselves. Lux and Ivy loved each other, 60 00:04:49,279 --> 00:04:52,560 Speaker 1: but for the better part of two decades, they sacrificed 61 00:04:52,760 --> 00:04:55,240 Speaker 1: everything for the one thing in this world that they 62 00:04:55,279 --> 00:04:59,800 Speaker 1: both loved the most, rock and roll. Put more specifically, 63 00:05:00,320 --> 00:05:06,400 Speaker 1: the Cramps dedicated their lives to saving rock and roll life, 64 00:05:06,480 --> 00:05:10,360 Speaker 1: though was fleeting here in Glendale in their apartment near 65 00:05:10,400 --> 00:05:13,920 Speaker 1: the cemetery, as they carefully cruised through their well cultivated 66 00:05:13,960 --> 00:05:17,240 Speaker 1: record collection. A rock and roll archive is a dream 67 00:05:18,279 --> 00:05:22,640 Speaker 1: thousands of obscure fifties and sixties forty five's organized by 68 00:05:22,839 --> 00:05:28,719 Speaker 1: niche genre rockabilly, bop, music, beat combos, dou WoT, garage, novelty, 69 00:05:28,800 --> 00:05:31,920 Speaker 1: and surf by the likes of artists like Charlie Feathers, 70 00:05:32,000 --> 00:05:36,120 Speaker 1: Bo Diddley, the Paramounts, the Flamingos, the Sonics, the trash Men, 71 00:05:36,400 --> 00:05:41,120 Speaker 1: and Link Ray a lifetime's work of collecting. Most of 72 00:05:41,160 --> 00:05:44,599 Speaker 1: these artists were already long gone, as dead as Sammy 73 00:05:44,640 --> 00:05:48,240 Speaker 1: and Lon Cheney Junior and the rest, but their music 74 00:05:48,320 --> 00:05:51,799 Speaker 1: lived on. Rock and roll was still very much alive 75 00:05:52,279 --> 00:05:54,400 Speaker 1: as long as Lux and Ivy had something to say 76 00:05:54,440 --> 00:06:00,680 Speaker 1: about it. But death was in the air. Literally that 77 00:06:00,880 --> 00:06:06,240 Speaker 1: smell like burning tires, but with a strange sweetness to it. 78 00:06:06,360 --> 00:06:11,000 Speaker 1: Something was on fire. Ivy called the fire department, which 79 00:06:11,080 --> 00:06:15,320 Speaker 1: responded quickly and reminded Ivy and Lux ominously of how 80 00:06:15,360 --> 00:06:19,400 Speaker 1: close they lived to the cemetery. The burning smell was 81 00:06:19,480 --> 00:06:26,039 Speaker 1: the crematorium. That strange sweet scent was burning flesh. It 82 00:06:26,120 --> 00:06:31,040 Speaker 1: coated their neighborhood. Some nights brought down an eerie, depressing feeling, 83 00:06:32,440 --> 00:06:36,760 Speaker 1: but not as depressing as the television. Television used to 84 00:06:36,760 --> 00:06:40,200 Speaker 1: be hours and hours of horror movies and monster flicks, 85 00:06:40,760 --> 00:06:44,360 Speaker 1: b films that aimed their subversiveness at teenagers coming of 86 00:06:44,400 --> 00:06:48,200 Speaker 1: age in the early nineteen sixties, taking their cues from 87 00:06:48,240 --> 00:06:52,000 Speaker 1: the subversive comics of the forties and fifties, the Vaults 88 00:06:52,000 --> 00:06:55,920 Speaker 1: of Horror, and the tales from the crips. But now, 89 00:06:56,320 --> 00:07:00,159 Speaker 1: aside from the occasional off market creature double feature, the 90 00:07:00,200 --> 00:07:04,480 Speaker 1: fun and fantastical monsters were hard to come by. TV 91 00:07:04,839 --> 00:07:08,760 Speaker 1: was twenty four to seven cable news, hateful narratives spun 92 00:07:08,800 --> 00:07:11,680 Speaker 1: by squares to trick you into thinking your neighbors were 93 00:07:11,680 --> 00:07:17,400 Speaker 1: the monsters. TV was hair and makeup evangelists, hypocritically moralizing 94 00:07:17,440 --> 00:07:25,680 Speaker 1: from the pulpit. TV was the dreaded MTV. MTV music television, 95 00:07:26,240 --> 00:07:29,520 Speaker 1: a concept that started out pure back in the early eighties, 96 00:07:29,800 --> 00:07:32,640 Speaker 1: back when The Cramps were a young band, Back when 97 00:07:32,680 --> 00:07:35,520 Speaker 1: some of the Cramp's friends and quote unquote punk rock 98 00:07:35,560 --> 00:07:39,480 Speaker 1: contemporaries Blondie and The Gogs, to name a few, or 99 00:07:39,560 --> 00:07:40,960 Speaker 1: themselves young bands. 100 00:07:41,920 --> 00:07:43,920 Speaker 2: MTV helped rocket. 101 00:07:43,520 --> 00:07:47,920 Speaker 1: These bands into superstardom, but had now a decade later, 102 00:07:48,400 --> 00:07:52,520 Speaker 1: evolved or devolved, depending on your point of view, away 103 00:07:52,640 --> 00:07:55,679 Speaker 1: from the heady, avant garde fringes of the television medium 104 00:07:56,080 --> 00:08:02,160 Speaker 1: into a corporate advertising behemos. To lux that meant MTV 105 00:08:02,520 --> 00:08:06,119 Speaker 1: was dead, as dead as those bodies burning out beyond 106 00:08:06,200 --> 00:08:07,000 Speaker 1: their backyard. 107 00:08:08,200 --> 00:08:09,560 Speaker 2: MTV had nothing to. 108 00:08:09,520 --> 00:08:11,800 Speaker 1: Do anymore with the rock and rollers who came up 109 00:08:11,840 --> 00:08:16,320 Speaker 1: through the punk and new wave scenes. These days, MTV. 110 00:08:16,160 --> 00:08:18,440 Speaker 2: Truly had nothing to do with rock and roll at all. 111 00:08:19,360 --> 00:08:23,200 Speaker 1: Sure, MTV buttered its bread with rock artists, but not 112 00:08:23,280 --> 00:08:27,800 Speaker 1: with rock and roll. Rock and roll was sex. Rock 113 00:08:28,240 --> 00:08:32,640 Speaker 1: was stiff. Rock and roll, in Luxe's estimation, was meant 114 00:08:32,640 --> 00:08:38,000 Speaker 1: to horrify adults. And please teenagers. Rock was Billboard charts 115 00:08:38,040 --> 00:08:41,520 Speaker 1: and big business. Rock and roll was supposed to separate 116 00:08:41,559 --> 00:08:45,360 Speaker 1: the squares from the cool people rock bands like U 117 00:08:45,400 --> 00:08:50,000 Speaker 1: two and The Police and Genesis, bands MTV featured regularly. Now, 118 00:08:50,679 --> 00:08:54,880 Speaker 1: these bands were so square and their square minions in 119 00:08:54,920 --> 00:08:57,800 Speaker 1: the rock press called the Cramp sexist because of their 120 00:08:57,920 --> 00:09:01,400 Speaker 1: dangerous rock and roll song titles like Can Your Pussy 121 00:09:01,480 --> 00:09:04,440 Speaker 1: Do the Dog, which was ironic given that the Cramps 122 00:09:04,480 --> 00:09:08,160 Speaker 1: were the very definition of feminism, the co creation of 123 00:09:08,200 --> 00:09:11,319 Speaker 1: one of the greatest female rock and roll guitar players ever, 124 00:09:11,960 --> 00:09:15,640 Speaker 1: whose creativity shaped The Cramps into a singular and wholly 125 00:09:15,800 --> 00:09:19,280 Speaker 1: unique band within the history of rock and roll. Ken 126 00:09:19,280 --> 00:09:23,360 Speaker 1: Your Pussy Do the Dog wasn't sexist. It was rock 127 00:09:23,520 --> 00:09:27,560 Speaker 1: and roll. It was dangerous, the way rock and roll 128 00:09:27,640 --> 00:09:31,120 Speaker 1: is supposed to be, the way Iggy pop and Rufus 129 00:09:31,160 --> 00:09:33,640 Speaker 1: Thomas and Big Mama Thornton meant for it to be. 130 00:09:34,559 --> 00:09:37,520 Speaker 1: Rock and roll wasn't supposed to be. Staying on MTV 131 00:09:37,720 --> 00:09:41,720 Speaker 1: accepting a fucking award for his humanitarian efforts for saving 132 00:09:41,760 --> 00:09:47,319 Speaker 1: some goddamn rainforest, Lux turned the TV off in disgusted 133 00:09:47,360 --> 00:09:50,240 Speaker 1: and went back to his forty fives. He grabbed a 134 00:09:50,280 --> 00:09:54,360 Speaker 1: less obscure title, the Flamingos nineteen fifty nine hit I 135 00:09:54,400 --> 00:09:56,719 Speaker 1: Only Have Eyes for You and Me put it on 136 00:09:56,760 --> 00:10:01,960 Speaker 1: the turntable. The eerie u op baritone vocal behind the 137 00:10:02,080 --> 00:10:06,880 Speaker 1: duop duop chorus was dirty. It affected him like a drug, 138 00:10:07,320 --> 00:10:12,040 Speaker 1: an aphrodisiac. Actually, the trippiness of the track brought him 139 00:10:12,040 --> 00:10:16,400 Speaker 1: back back to a time when rock and roll reigned supreme, 140 00:10:17,320 --> 00:10:20,600 Speaker 1: back to his teenage delinquent days in suburban Ohio in 141 00:10:20,640 --> 00:10:29,080 Speaker 1: the early sixties. The clothes were tight and black, all black, Lux, 142 00:10:29,240 --> 00:10:32,240 Speaker 1: back before he invented the moniker Luck's interior and still 143 00:10:32,280 --> 00:10:35,959 Speaker 1: answered to his god given name, Eric Perkiser, dressed as 144 00:10:35,960 --> 00:10:39,160 Speaker 1: his older brother and his older brother's friends did, which 145 00:10:39,240 --> 00:10:41,480 Speaker 1: is to say they dressed like Marlon Brando and the 146 00:10:41,520 --> 00:10:45,959 Speaker 1: Wild One, but darker, meaner. The style had as much 147 00:10:46,000 --> 00:10:47,920 Speaker 1: to do with Brando as it did with the Brando 148 00:10:48,040 --> 00:10:51,040 Speaker 1: inspired bike gang from outer Space in the Twilight Zone 149 00:10:51,080 --> 00:10:56,040 Speaker 1: episode entitled black Leather Jackets, But even that description doesn't 150 00:10:56,120 --> 00:10:59,640 Speaker 1: quite do the look of Lux and his Hoodland friends justice. 151 00:10:59,800 --> 00:11:04,200 Speaker 1: They wore all black, no blue denim, and they blackened 152 00:11:04,240 --> 00:11:07,880 Speaker 1: their hair with thick pommade and engine grease, the drugged 153 00:11:07,880 --> 00:11:10,520 Speaker 1: out sixties and sexual freedom of the Summer of Love 154 00:11:10,600 --> 00:11:13,880 Speaker 1: hadn't yet arrived. So Lux got high at the tripped 155 00:11:13,880 --> 00:11:16,880 Speaker 1: out sounds of the Flamingos and turned on by the 156 00:11:16,880 --> 00:11:19,720 Speaker 1: girls in the dance hall. The local hop doing the 157 00:11:19,760 --> 00:11:25,400 Speaker 1: bug lucks unsteadily stood on the old wooden beer bottle box, 158 00:11:25,559 --> 00:11:28,719 Speaker 1: peering in the window. He and his hood friends were 159 00:11:28,760 --> 00:11:32,000 Speaker 1: too much trouble to be allowed into the dance case. 160 00:11:32,040 --> 00:11:34,880 Speaker 1: In point, his hoodland buddies were off behind lucks at 161 00:11:34,880 --> 00:11:37,520 Speaker 1: this moment, popping the hubcaps off the cars in the 162 00:11:37,600 --> 00:11:41,360 Speaker 1: dance hall parking lot to fence for cash. Lux didn't 163 00:11:41,400 --> 00:11:43,720 Speaker 1: care about the money. It was the thrill of it. 164 00:11:44,120 --> 00:11:48,200 Speaker 1: Stealing hubcaps was a gas but nowhere nearest thrilling as 165 00:11:48,280 --> 00:11:52,040 Speaker 1: the girls inside that dance hall right now. Just as 166 00:11:52,120 --> 00:11:54,600 Speaker 1: Lux and his friends donned the tightest clothes they could 167 00:11:54,600 --> 00:11:57,160 Speaker 1: fit into, the girls at the hop did the same. 168 00:11:57,880 --> 00:12:01,480 Speaker 1: The girls flailed around to shed wooly hit purple people eater. 169 00:12:02,160 --> 00:12:05,000 Speaker 1: The novelty song with its one long horn with one 170 00:12:05,080 --> 00:12:09,959 Speaker 1: big eyes subversively contextualized sex for horny teenage boys like Lux, 171 00:12:10,000 --> 00:12:12,600 Speaker 1: and it drove the girls in the dance all nuts 172 00:12:12,640 --> 00:12:16,520 Speaker 1: as they did the bug. The dance the bug, like 173 00:12:16,600 --> 00:12:21,520 Speaker 1: the song, was also pure sex. From Lux's estimation, these 174 00:12:21,559 --> 00:12:25,720 Speaker 1: girls writhing about their hands, feeling all over their bodies 175 00:12:25,760 --> 00:12:28,520 Speaker 1: for the figurative bug, attempting in all of their hot 176 00:12:28,600 --> 00:12:32,000 Speaker 1: vanity to locate the bug on their breasts, on their bellies, 177 00:12:32,360 --> 00:12:39,000 Speaker 1: on their thighs, searching, touching, grabbing. It drove young Lucks nuts, 178 00:12:39,760 --> 00:12:45,640 Speaker 1: pure sex, pure rock and roll, as thrilling, dangerous and 179 00:12:45,800 --> 00:12:49,040 Speaker 1: scary as the sound of the police siren coming from 180 00:12:49,080 --> 00:13:20,160 Speaker 1: behind it. Lux's car raced down the highway. He saw 181 00:13:20,160 --> 00:13:22,320 Speaker 1: our hitchhiking on the side of the road, and he 182 00:13:22,400 --> 00:13:25,400 Speaker 1: slammed on the brakes, immediately brought the car to a halt, 183 00:13:25,640 --> 00:13:29,000 Speaker 1: and then jammed the shift into a reverse, burning rubber backward, 184 00:13:29,040 --> 00:13:31,679 Speaker 1: to pick up the most beautiful woman he'd ever seen, 185 00:13:32,559 --> 00:13:36,800 Speaker 1: big hippie hair, halter top, the shortest, tightest shorts you 186 00:13:36,840 --> 00:13:42,600 Speaker 1: could imagine. Her name was Christy. Almost instantly, she loved Lux, 187 00:13:43,200 --> 00:13:45,720 Speaker 1: who was still going by the name Eric, and she 188 00:13:45,880 --> 00:13:50,240 Speaker 1: was jazzed by their immediate mutual admiration, a connection that 189 00:13:50,360 --> 00:13:53,120 Speaker 1: matched the intensity of their shared love for rock and roll. 190 00:13:54,720 --> 00:13:57,720 Speaker 1: Out west in Sacramento, where they had both escaped the 191 00:13:57,760 --> 00:14:01,439 Speaker 1: square influence of the zombie conformists. From the respective hometowns 192 00:14:01,960 --> 00:14:05,400 Speaker 1: his in Stow, Ohio, Hers and San Bernardino. There was 193 00:14:05,520 --> 00:14:08,959 Speaker 1: plenty of freedom to explore that love. It was nineteen 194 00:14:09,040 --> 00:14:13,839 Speaker 1: seventy two. The hippie movement lurched on. They ate mushrooms 195 00:14:13,920 --> 00:14:17,559 Speaker 1: and contemplated God as a Bo Diddley riff. They drank 196 00:14:17,600 --> 00:14:21,040 Speaker 1: wine and had lots of great sex, and they smoked 197 00:14:21,040 --> 00:14:23,400 Speaker 1: grass and went on a quest to find every forty 198 00:14:23,440 --> 00:14:27,080 Speaker 1: five single ever issued by Sun Records, the legendary record 199 00:14:27,120 --> 00:14:28,640 Speaker 1: label the first released. 200 00:14:28,280 --> 00:14:29,480 Speaker 2: Elvis Presley's music. 201 00:14:30,280 --> 00:14:33,840 Speaker 1: Elvis back in the Sundays was a rock and roll freaks, 202 00:14:33,880 --> 00:14:39,560 Speaker 1: freak dyed, black hair, black eyeliner, pink suits, armed with 203 00:14:39,600 --> 00:14:41,840 Speaker 1: his mama's pill prescriptions so he could get all the 204 00:14:41,880 --> 00:14:44,720 Speaker 1: session players at Sun High and therefore be allowed to 205 00:14:44,800 --> 00:14:48,840 Speaker 1: keep his annoying little teenage ass hanging around. Elvis did 206 00:14:48,840 --> 00:14:51,280 Speaker 1: what he could keep one step ahead of the zombie 207 00:14:51,280 --> 00:14:56,280 Speaker 1: norms tried to keep him down. So lux, Eric and 208 00:14:56,400 --> 00:15:01,760 Speaker 1: Christy did the same. That meant making music themselves, making 209 00:15:01,880 --> 00:15:03,080 Speaker 1: rock and roll themselves. 210 00:15:04,080 --> 00:15:05,120 Speaker 2: But there was no way. 211 00:15:04,960 --> 00:15:06,320 Speaker 1: They were going to be able to make the rock 212 00:15:06,360 --> 00:15:08,720 Speaker 1: and roll. They loved out West, in the middle of 213 00:15:08,720 --> 00:15:11,640 Speaker 1: the hippie movement, where everyone seemed to be trying so 214 00:15:11,920 --> 00:15:14,960 Speaker 1: hard to seem like they weren't trying. It was a 215 00:15:15,000 --> 00:15:17,680 Speaker 1: movement that was supposed to be above freedom, but the 216 00:15:17,760 --> 00:15:20,720 Speaker 1: now had its own set of social norms. How you 217 00:15:20,760 --> 00:15:24,880 Speaker 1: were supposed to look, talk, even think, definitely what you 218 00:15:24,920 --> 00:15:28,680 Speaker 1: could listen to. It was a movement quickly consumed by 219 00:15:28,720 --> 00:15:33,320 Speaker 1: its own kind of conformist zombies. So in nineteen seventy five, 220 00:15:34,000 --> 00:15:36,880 Speaker 1: Eric and Christy split from the coast from New York City. 221 00:15:39,000 --> 00:15:41,880 Speaker 1: All they had with them was their record collection, their 222 00:15:41,960 --> 00:15:44,840 Speaker 1: rock and roll spirit. In a name they would call 223 00:15:44,960 --> 00:15:56,640 Speaker 1: their new band, The Cramps. Hustlers, thieves, homicidal maniacs, garbage everywhere, junkies, homeless, 224 00:15:56,720 --> 00:16:00,480 Speaker 1: Vietnam vettes, eating out of trash bins, buildings on fire, 225 00:16:00,960 --> 00:16:06,120 Speaker 1: a skyrocketing crime rate, rapists lurking around dark corners, gangs 226 00:16:06,120 --> 00:16:10,280 Speaker 1: getting wild in the streets, muggers. A city on the brink. 227 00:16:11,280 --> 00:16:16,200 Speaker 1: Mid seventies, New York City was beautiful, the perfect place 228 00:16:16,240 --> 00:16:20,640 Speaker 1: to start a bare bone, sexually fueled, violently dangerous rock 229 00:16:20,680 --> 00:16:24,880 Speaker 1: and roll band. The Cramps were the mastermind creation of 230 00:16:25,080 --> 00:16:28,480 Speaker 1: Eric and Christy, who had now started introducing themselves around 231 00:16:28,520 --> 00:16:34,040 Speaker 1: town as Lux Interior in Poison Ivy Roarshack. Lux and Ivy. 232 00:16:33,800 --> 00:16:36,280 Speaker 2: Quickly hooked up with a fellow rock and roll ghoul. 233 00:16:36,240 --> 00:16:41,680 Speaker 1: Brian Gregory. Brian fashioned himself after the Rolling Stones Brian Jones, 234 00:16:41,920 --> 00:16:46,480 Speaker 1: but more like Brian Jones in nineteen seventy five, which 235 00:16:46,520 --> 00:16:52,000 Speaker 1: is to say dead Brian Jones. Brian Gregory looked deathly 236 00:16:52,440 --> 00:16:56,120 Speaker 1: and mean scary with his super high cheek bones and 237 00:16:56,200 --> 00:17:00,560 Speaker 1: deep set eyes. His polka dot guitar offset than that look, 238 00:17:00,880 --> 00:17:04,399 Speaker 1: which matched well with the Cramps drummer Brian's sister Pam, 239 00:17:04,880 --> 00:17:08,880 Speaker 1: who was quickly replaced by drummer Nick Knox, another musician 240 00:17:08,920 --> 00:17:11,400 Speaker 1: who leaned into the dark gothic side of Southern rock 241 00:17:11,440 --> 00:17:16,040 Speaker 1: and roll for fashion inspiration. Both musicians perfectly suited the 242 00:17:16,080 --> 00:17:20,200 Speaker 1: new image portrayed by Lux and Ivy. Ivy style combined 243 00:17:20,240 --> 00:17:24,119 Speaker 1: classic burlesque with the commanding presence of the Duchess, the 244 00:17:24,200 --> 00:17:28,320 Speaker 1: female guitarist who played in Bo Didley's band, and Lux 245 00:17:28,359 --> 00:17:30,920 Speaker 1: appeared as though he crawled out of your television set. 246 00:17:30,960 --> 00:17:32,680 Speaker 2: Back in nineteen fifty six. 247 00:17:32,560 --> 00:17:35,439 Speaker 1: During one of those long running horror flip marathons and 248 00:17:35,880 --> 00:17:39,240 Speaker 1: landed in the rough trade section of Manhattan's meatpacking district. 249 00:17:40,480 --> 00:17:44,080 Speaker 1: Luck stuck to his skin tight black jeans, rail thin 250 00:17:44,200 --> 00:17:47,240 Speaker 1: and tall. He seldom wore a shirt on stage, but 251 00:17:47,280 --> 00:17:51,119 Speaker 1: he did wear high heels. His hair, of course, was 252 00:17:51,280 --> 00:17:54,600 Speaker 1: dyed black and teased high to give him a Frankenstein 253 00:17:54,720 --> 00:17:59,199 Speaker 1: monster effect. The Cramps looked hillbilly and cosmopolitan at the 254 00:17:59,200 --> 00:18:06,320 Speaker 1: same time. They looked, in a word, scary, and their 255 00:18:06,400 --> 00:18:10,880 Speaker 1: music matched their look. The first recorded Cramps music, as 256 00:18:10,960 --> 00:18:14,720 Speaker 1: with most recorded Cramps music, walked a fine line just 257 00:18:14,840 --> 00:18:18,600 Speaker 1: like the bands looked in. They sounded incredibly dark but 258 00:18:18,720 --> 00:18:23,800 Speaker 1: also incredibly exciting, loose and fun. Original songs about teenage 259 00:18:23,800 --> 00:18:27,040 Speaker 1: werewolves and drug trains, and great covers by the likes 260 00:18:27,040 --> 00:18:30,399 Speaker 1: of Johnny Burnett, the Gay Lads, and too many awesome 261 00:18:30,440 --> 00:18:33,480 Speaker 1: and obscure fifties and sixties rock and roll artists to mention, 262 00:18:34,119 --> 00:18:37,000 Speaker 1: all funneled through a slap back, jungle boogie of early 263 00:18:37,080 --> 00:18:41,159 Speaker 1: rock and roll production updated for the Blank generation. The 264 00:18:41,280 --> 00:18:44,639 Speaker 1: covers were songs the Cramps made their own, songs that 265 00:18:44,760 --> 00:18:49,080 Speaker 1: indicated a unique understanding of and reverence for mysterious slices 266 00:18:49,080 --> 00:18:53,080 Speaker 1: of American music that had slipped through the cracks rockabilly 267 00:18:53,119 --> 00:18:57,800 Speaker 1: garage novelty songs that the Cramps eventually turned the burgeoning 268 00:18:57,880 --> 00:19:01,320 Speaker 1: New York punk scene onto. It was a time when 269 00:19:01,359 --> 00:19:04,879 Speaker 1: other New York bands, including Blondie, The Ramones, Television, and 270 00:19:04,920 --> 00:19:08,920 Speaker 1: the Talking Heads were creating undeniably unique takes on rock 271 00:19:08,960 --> 00:19:12,080 Speaker 1: and roll themselves. Then it was also a time when 272 00:19:12,119 --> 00:19:15,760 Speaker 1: the Cramps would create one song in particular that would 273 00:19:15,760 --> 00:19:22,120 Speaker 1: cause New York to take notice. Lux's interior walked down 274 00:19:22,200 --> 00:19:26,480 Speaker 1: the dirty Manhattan sidewalk. It was early. Unlike the rest 275 00:19:26,520 --> 00:19:28,960 Speaker 1: of the city, which was up early and headed for work, 276 00:19:29,520 --> 00:19:33,600 Speaker 1: Lux wasn't coming. He was going going home after a 277 00:19:33,640 --> 00:19:36,080 Speaker 1: long night in one of New York's rock and roll clubs. 278 00:19:36,800 --> 00:19:39,840 Speaker 1: If it was Cebegb's, Lux would likely not be in 279 00:19:39,880 --> 00:19:42,720 Speaker 1: a great mood. The crowd at Sebe's in those early 280 00:19:42,800 --> 00:19:48,600 Speaker 1: days didn't take to the Cramps, an audience of hipsters, zombies, conformists, 281 00:19:48,640 --> 00:19:50,399 Speaker 1: just the same as the hippies out west and the 282 00:19:50,440 --> 00:19:53,960 Speaker 1: squares back home. But if it was Max's Kansas City 283 00:19:53,960 --> 00:19:56,639 Speaker 1: the night before, then there was a good chance Lux 284 00:19:56,720 --> 00:19:59,600 Speaker 1: was in a better mood. But that mood was about 285 00:19:59,600 --> 00:20:05,760 Speaker 1: to change. That morning's post headline read human fly climbs Tower. 286 00:20:06,560 --> 00:20:09,840 Speaker 1: It was about some brave but clearly insane thrill seeker 287 00:20:09,880 --> 00:20:11,920 Speaker 1: who climbed all the way up one of the World 288 00:20:11,960 --> 00:20:16,560 Speaker 1: Trade Center towers scaling buildings was on the collective mine 289 00:20:16,600 --> 00:20:20,600 Speaker 1: of Manhattan. At the moment, six in the morning, Lux 290 00:20:20,760 --> 00:20:23,959 Speaker 1: was almost back in his park. The garbage trucks were 291 00:20:23,960 --> 00:20:27,760 Speaker 1: out full force. Lucks rounded the corner toward his building, 292 00:20:27,800 --> 00:20:33,879 Speaker 1: and there sirens, cops, an ambulance. Mannix frantically moving about, 293 00:20:34,320 --> 00:20:37,600 Speaker 1: a crowd of early morning gawkers, quickly passing rubberneckers, and 294 00:20:37,640 --> 00:20:40,520 Speaker 1: in the middle of the fray bloodied on the sidewalk 295 00:20:40,800 --> 00:20:44,080 Speaker 1: the mangled and contorted body of one of Lux's neighbors 296 00:20:44,280 --> 00:20:47,320 Speaker 1: who just pitched himself off the next door roof, plummeting 297 00:20:47,359 --> 00:20:51,200 Speaker 1: to his death some ten plus stories below. Having taken 298 00:20:51,320 --> 00:20:55,400 Speaker 1: all that this city could give, Lux took it as 299 00:20:55,560 --> 00:20:59,200 Speaker 1: literal inspiration from above and went to work with Ivy 300 00:20:59,280 --> 00:21:02,920 Speaker 1: on writing a new song, The Human Fly, with the 301 00:21:03,040 --> 00:21:07,320 Speaker 1: lyrics I spell it fl Y, I say buzz buzz buzz, 302 00:21:07,359 --> 00:21:11,080 Speaker 1: and it's just because cuz cuz I'm a human fly 303 00:21:11,640 --> 00:21:15,040 Speaker 1: and I don't know why. 304 00:21:14,359 --> 00:21:17,000 Speaker 2: This is six eyes. 305 00:21:18,920 --> 00:21:23,080 Speaker 1: The song was brilliant, a perfect combination of retro rock 306 00:21:23,119 --> 00:21:25,840 Speaker 1: and roll cool with its question mark in the mysterious 307 00:21:25,960 --> 00:21:30,199 Speaker 1: ninety six tiers reference and modern weirdness with Lux's novelty 308 00:21:30,280 --> 00:21:33,560 Speaker 1: Yes vocals by way of iggy pop and Charlie Feathers's 309 00:21:33,680 --> 00:21:38,679 Speaker 1: Buzz Buzz Buzz Human Flyes stood out among the Cramp songs. 310 00:21:39,280 --> 00:21:41,480 Speaker 1: The band caught the eye of the former big star 311 00:21:41,560 --> 00:21:46,200 Speaker 1: and box top songsmith from Memphis, Alex Chilton. Almost overnight, 312 00:21:46,400 --> 00:21:48,439 Speaker 1: they were on their way south to make music in 313 00:21:48,480 --> 00:21:51,560 Speaker 1: the cradle of rock and roll at Memphis's Ardent Studios, 314 00:21:51,880 --> 00:21:56,200 Speaker 1: with Chilton helming the production. The singles produced with Chilton 315 00:21:56,280 --> 00:22:00,280 Speaker 1: led to label attention from Miles Copeland, brother of Stuart Cold, 316 00:22:00,359 --> 00:22:03,119 Speaker 1: drummer for one of England's hottest up and coming bands 317 00:22:03,119 --> 00:22:07,560 Speaker 1: at the time, the Police. Miles Copeland managed The Police 318 00:22:07,600 --> 00:22:10,520 Speaker 1: and sold and distributed their music through his independent record 319 00:22:10,600 --> 00:22:15,800 Speaker 1: label IRS Records. Miles Copeland was keen on signing the Cramps. 320 00:22:16,720 --> 00:22:21,040 Speaker 1: Little did the Cramps know Miles Copeland was a vampire. 321 00:22:26,760 --> 00:22:35,879 Speaker 1: We'll be right back after this. We're We're, We're. Miles 322 00:22:35,920 --> 00:22:38,679 Speaker 1: Copeland couldn't believe the stories he was hearing about this 323 00:22:38,760 --> 00:22:42,760 Speaker 1: American band. He'd of course seen them live already. A 324 00:22:42,840 --> 00:22:45,919 Speaker 1: scorcher of a set in London, the band was at 325 00:22:45,960 --> 00:22:48,360 Speaker 1: the peak of its voodoo horror sex power in front 326 00:22:48,400 --> 00:22:50,760 Speaker 1: of a European crowd that was mad for Lux and 327 00:22:50,800 --> 00:22:56,280 Speaker 1: Ivy's brand of wild horny Americana. Lux nearly naked up 328 00:22:56,320 --> 00:23:00,000 Speaker 1: there with his leather pants sliding off of his skinny ass, 329 00:23:00,119 --> 00:23:04,240 Speaker 1: the microphone with his rockabilly hiccup, Ivy nailing every riff 330 00:23:04,280 --> 00:23:07,679 Speaker 1: with her violent cool in that thousand yard stare to 331 00:23:07,800 --> 00:23:12,320 Speaker 1: freeze any and all aspiring creeps. With Brian Gregory resurrecting 332 00:23:12,359 --> 00:23:15,600 Speaker 1: Brian Jones and Nick Knox beating the devil out of 333 00:23:15,600 --> 00:23:19,760 Speaker 1: his kit with his Dale Hawk and swampfoot, London didn't 334 00:23:19,800 --> 00:23:23,520 Speaker 1: know what hit them. The Cramps were propelled by the 335 00:23:23,560 --> 00:23:27,240 Speaker 1: adoring crowd. The adoration was a far cry from the 336 00:23:27,280 --> 00:23:30,000 Speaker 1: comatosa zombie dance of the New York hipster crowds the 337 00:23:30,040 --> 00:23:33,080 Speaker 1: band was used to, But Miles Copeland heard that the 338 00:23:33,119 --> 00:23:36,000 Speaker 1: Cramps delivered this show every night, no matter if the 339 00:23:36,040 --> 00:23:38,560 Speaker 1: audience was a packed out rock and roll star of 340 00:23:38,600 --> 00:23:41,480 Speaker 1: crowd like the one in London. Were ten scensters in 341 00:23:41,520 --> 00:23:46,160 Speaker 1: an abandoned dance hall in a Washington, DC suburb. Then 342 00:23:46,800 --> 00:23:50,119 Speaker 1: there was the story about the Cramps in the mental institution. 343 00:23:53,280 --> 00:23:56,359 Speaker 1: The Cramp's newly released single, The Human Fly caused New 344 00:23:56,440 --> 00:23:59,639 Speaker 1: York City to take notice. It got the band booked 345 00:23:59,640 --> 00:24:03,679 Speaker 1: into Seagb's and Maxis Kansas City with some regularity, but 346 00:24:03,840 --> 00:24:09,159 Speaker 1: as previously noted, those crowds were lame zombie hipsters. They 347 00:24:09,200 --> 00:24:12,720 Speaker 1: barely moved while the Cramps poured their souls out on stage. 348 00:24:13,440 --> 00:24:17,719 Speaker 1: Lux literally bled, cutting himself with broken glass, crawling across 349 00:24:17,720 --> 00:24:20,080 Speaker 1: the Florida deliver the most honest form of rock and 350 00:24:20,160 --> 00:24:23,960 Speaker 1: roll he could conjure. Ivy took a job as dominatrix 351 00:24:24,000 --> 00:24:26,520 Speaker 1: to avoid the straight world so she could make enough 352 00:24:26,560 --> 00:24:29,560 Speaker 1: cash to keep the band going, and Brian Gregory took 353 00:24:29,600 --> 00:24:32,600 Speaker 1: up heroin and plunged into drug abuse, such was his 354 00:24:32,640 --> 00:24:36,040 Speaker 1: commitment to the Brian Jones bit, while Nick Knox held 355 00:24:36,080 --> 00:24:39,920 Speaker 1: on for Dear Life. The Cramps were the real deal, 356 00:24:40,400 --> 00:24:43,119 Speaker 1: but New York City didn't appreciate them, not like they 357 00:24:43,119 --> 00:24:46,560 Speaker 1: did Television or Blondie. But while the Cramps were derided 358 00:24:46,560 --> 00:24:49,760 Speaker 1: in the New York rock press, the traveling British press 359 00:24:49,840 --> 00:24:53,680 Speaker 1: thought otherwise In a feature published by The New Musical 360 00:24:53,720 --> 00:24:57,879 Speaker 1: Express on June tenth, nineteen seventy eight, entitled Psychobilly and 361 00:24:57,960 --> 00:25:02,919 Speaker 1: Other Musical Diseasesritish journalist Paul Rimbali heap praise upon the 362 00:25:02,960 --> 00:25:06,160 Speaker 1: Cramp's unique brand of vintage, horror influenced rock and roll, 363 00:25:06,760 --> 00:25:09,800 Speaker 1: but he also noted that the Cramps are regarded as 364 00:25:09,840 --> 00:25:14,040 Speaker 1: at best a joke, at worst and artless conniving fraud. 365 00:25:15,040 --> 00:25:18,480 Speaker 1: In the process. The British press also gave the Cramps 366 00:25:18,480 --> 00:25:22,960 Speaker 1: style of music a name, Psychobilly. It was now official. 367 00:25:23,440 --> 00:25:27,080 Speaker 1: The Cramps had made something wholly unique, creating their own 368 00:25:27,160 --> 00:25:29,880 Speaker 1: subgenre of rock and roll in their quest to save 369 00:25:30,040 --> 00:25:30,640 Speaker 1: rock and roll. 370 00:25:31,320 --> 00:25:33,200 Speaker 2: It was more than anything New York. 371 00:25:32,960 --> 00:25:35,960 Speaker 1: Had given them, So the writing was on the New 372 00:25:36,080 --> 00:25:39,159 Speaker 1: York City wall for Lux and Ivy, they needed to 373 00:25:39,200 --> 00:25:43,840 Speaker 1: go west. Upon doing so, they encountered more zombies in 374 00:25:43,880 --> 00:25:48,920 Speaker 1: Los Angeles. Not hipster zombies, but hardcore authoritarians masked as 375 00:25:48,960 --> 00:25:52,720 Speaker 1: punks music fans who were actually violent and hateful at 376 00:25:52,720 --> 00:25:56,280 Speaker 1: their core. In need of a gig, the Cramps were 377 00:25:56,320 --> 00:25:59,280 Speaker 1: hipped to an institution several hours north of LA that 378 00:25:59,320 --> 00:26:04,399 Speaker 1: would allow them play and provide an enthusiastic audience. The 379 00:26:04,480 --> 00:26:10,000 Speaker 1: Camarilla State Mental Hospital in Napa, California, a mental institution, 380 00:26:10,600 --> 00:26:16,040 Speaker 1: the nuthouse. It was perfect. Lux thought, where else could 381 00:26:16,080 --> 00:26:18,119 Speaker 1: the true spirit of rock and roll be more alive 382 00:26:18,200 --> 00:26:21,000 Speaker 1: than inside the drab institutional walls of a looney bin. 383 00:26:22,040 --> 00:26:25,119 Speaker 1: Real rock and roll was made by Luoni's Elvis was 384 00:26:25,160 --> 00:26:26,359 Speaker 1: out of his fucking mind. 385 00:26:26,440 --> 00:26:27,680 Speaker 2: And that Bo Diddley riff. 386 00:26:27,840 --> 00:26:30,480 Speaker 1: There's no way any sane person would have created the 387 00:26:30,480 --> 00:26:34,159 Speaker 1: Bo Didley riff. Charlie Feathers saying like he swallowed his 388 00:26:34,240 --> 00:26:37,359 Speaker 1: science experiment, Roddy self sang like he lit his hair 389 00:26:37,400 --> 00:26:41,080 Speaker 1: on fire, and Link Ray played like a man possessed. Yes, 390 00:26:41,520 --> 00:26:45,879 Speaker 1: the insane hell, Yes, a mental institution. This, this is 391 00:26:45,880 --> 00:26:49,280 Speaker 1: where the Crabs would become one with the perfect audience. 392 00:26:50,880 --> 00:26:54,280 Speaker 1: From their first notes on stage inside the psychiatric hospital, 393 00:26:54,400 --> 00:26:57,000 Speaker 1: in front of the patients or the inmates. As Lux 394 00:26:57,000 --> 00:27:02,280 Speaker 1: would later recall, Lux's intuition was proven correct. As Lux 395 00:27:02,440 --> 00:27:05,080 Speaker 1: Ivy and Brian and Nick bashed away at their instruments, 396 00:27:05,440 --> 00:27:09,720 Speaker 1: the patients well went. The patients went nuts. They were 397 00:27:09,760 --> 00:27:13,280 Speaker 1: banging their heads, poe going, doing all kinds of dancing, 398 00:27:13,320 --> 00:27:16,680 Speaker 1: actually working themselves into a frenzy. And when the first 399 00:27:16,720 --> 00:27:20,120 Speaker 1: song rapped, Lux introduced the band and said to the audience, 400 00:27:20,800 --> 00:27:23,679 Speaker 1: somebody told me you people are crazy, but I'm not 401 00:27:23,760 --> 00:27:24,760 Speaker 1: so sure about that. 402 00:27:25,400 --> 00:27:26,760 Speaker 2: You seem to be all right to me. 403 00:27:28,240 --> 00:27:30,919 Speaker 1: If there had been any question about whether or not 404 00:27:30,960 --> 00:27:34,440 Speaker 1: the crowd was with him, Lux answered it with that comment. 405 00:27:35,080 --> 00:27:37,160 Speaker 1: The patients went at the next song and the rest 406 00:27:37,200 --> 00:27:41,040 Speaker 1: of the set with even more fervor. Responding to Lux's empathy, 407 00:27:41,359 --> 00:27:45,280 Speaker 1: they rushed the stage, screaming into the microphone, hugging Lux, 408 00:27:45,359 --> 00:27:48,160 Speaker 1: diving off the stage, humping the floor, humping each other, 409 00:27:48,440 --> 00:27:52,040 Speaker 1: chasing each other around the dance hall, making out for 410 00:27:52,119 --> 00:27:54,960 Speaker 1: a moment, and though they were locked up in an institution, 411 00:27:55,640 --> 00:27:59,440 Speaker 1: there was total freedom, such as the power of real 412 00:27:59,520 --> 00:28:04,480 Speaker 1: rock and rold. Some patients actually escaped during the confusion 413 00:28:04,520 --> 00:28:07,720 Speaker 1: cause by the rock is set. Then they eventually returned 414 00:28:07,720 --> 00:28:11,560 Speaker 1: to their own volition. The gig at the mental institution 415 00:28:11,800 --> 00:28:15,720 Speaker 1: gave wings to the growing myth of the Cramps. Words 416 00:28:15,720 --> 00:28:18,199 Speaker 1: spread to London that rock and roll might be saved 417 00:28:18,240 --> 00:28:20,920 Speaker 1: after all, and if it was going to be rescued 418 00:28:20,920 --> 00:28:23,680 Speaker 1: from the clutches of the hipster zombies on both coasts, 419 00:28:24,240 --> 00:28:30,320 Speaker 1: the Cramps might be rock and Roll's best hope, Miles 420 00:28:30,359 --> 00:28:33,639 Speaker 1: Copeland signed the Cramps to his IRS record label. The 421 00:28:33,760 --> 00:28:36,840 Speaker 1: excellent album Songs The Lord Taught Us was recorded at 422 00:28:36,840 --> 00:28:40,680 Speaker 1: Phillips Recording in Memphis, the studio run by the legendary 423 00:28:40,720 --> 00:28:44,720 Speaker 1: Sam Phillips, who founded Sun Records and first recorded Elvis Presley, 424 00:28:44,840 --> 00:28:48,200 Speaker 1: Jerry Lee Lewis and other rock and roll pioneers. The 425 00:28:48,280 --> 00:28:51,280 Speaker 1: album was produced by big Stars Alex Chilton, and by 426 00:28:51,280 --> 00:28:55,640 Speaker 1: any standard production shortcomings aside songs, The Lord Taught Us 427 00:28:55,880 --> 00:28:59,760 Speaker 1: is a rock and roll masterpiece. It brought growing fame 428 00:28:59,800 --> 00:29:02,800 Speaker 1: to the Cramps in the UK and throughout Europe, made 429 00:29:02,840 --> 00:29:06,040 Speaker 1: possible with the new backing of IRS and Miles Copeland. 430 00:29:06,800 --> 00:29:09,720 Speaker 1: A second record was needed imminently to capitalize on the 431 00:29:09,720 --> 00:29:14,280 Speaker 1: Cramp's new momentum. New York City was dead. The Los Angeles, 432 00:29:14,280 --> 00:29:17,400 Speaker 1: despite its hardcore Zombies, was the next best bet for 433 00:29:17,480 --> 00:29:22,920 Speaker 1: geographic inspiration. The Cramps relocated and replaced Brian Gregory with 434 00:29:23,000 --> 00:29:26,880 Speaker 1: Gun Club guitarist Kid Congo Powers. The recording of their 435 00:29:26,920 --> 00:29:30,720 Speaker 1: second album was on deck, but that's when the Vampire 436 00:29:31,240 --> 00:29:36,640 Speaker 1: fully emerged. As far as rock and roll businessmen go, 437 00:29:37,240 --> 00:29:41,480 Speaker 1: Miles Copeland, the third looks like a Vampire He's always 438 00:29:41,520 --> 00:29:46,040 Speaker 1: looked impossibly young, Anglo with a parasitic glow about him. 439 00:29:46,400 --> 00:29:49,680 Speaker 1: He's a suit with an inherently intimidating stature, born of 440 00:29:49,720 --> 00:29:54,120 Speaker 1: privilege in class. Miles's main priority was his brother's band, 441 00:29:54,200 --> 00:29:58,000 Speaker 1: The Police, and for good reason. Since their inception, the 442 00:29:58,040 --> 00:30:01,920 Speaker 1: Police were in the ascendant. Granted they started on third base. 443 00:30:02,640 --> 00:30:06,640 Speaker 1: Miles's father was perhaps also a vampire. That is an 444 00:30:06,680 --> 00:30:10,760 Speaker 1: unknowable fact, But what is noble is that Miles Copeland 445 00:30:10,800 --> 00:30:14,400 Speaker 1: the Second was a founding member of the Central Intelligence Agency, 446 00:30:14,960 --> 00:30:19,360 Speaker 1: better known as the CIA. Rumors were rampant that The 447 00:30:19,360 --> 00:30:23,200 Speaker 1: Cramp's new manager, Miles Copeland the Third, was himself a 448 00:30:23,240 --> 00:30:26,120 Speaker 1: CIA cutout, and that the bands he'd signed to his 449 00:30:26,160 --> 00:30:29,520 Speaker 1: record label, including The Police, The Go Gos Ram and 450 00:30:29,560 --> 00:30:33,760 Speaker 1: The Bengals, were mere tools to disseminate disinformation to influence 451 00:30:33,800 --> 00:30:38,400 Speaker 1: American youth on behalf of the CIA. Perhaps this explains 452 00:30:38,480 --> 00:30:41,640 Speaker 1: the differences that arose quickly between Miles and The Cramps, 453 00:30:42,000 --> 00:30:45,160 Speaker 1: who fell out over creative and financial differences around the 454 00:30:45,160 --> 00:30:48,560 Speaker 1: time they were to begin recording their second full length album. 455 00:30:48,760 --> 00:30:50,680 Speaker 1: Rock and roll bands can be a lot of things, 456 00:30:51,160 --> 00:30:54,880 Speaker 1: but unwitting tools of government disinformation is one thing they 457 00:30:54,880 --> 00:30:59,120 Speaker 1: cannot be. Regardless of what Miles Copeland was or wasn't, 458 00:30:59,560 --> 00:31:01,960 Speaker 1: it that he was hell bent on sucking the rock 459 00:31:02,000 --> 00:31:05,400 Speaker 1: and roll life out of the Cramps. From their differences, 460 00:31:05,640 --> 00:31:09,240 Speaker 1: a lawsuit emerged, and the stipulation of that lawsuit was 461 00:31:09,280 --> 00:31:12,200 Speaker 1: that until Miles and the Cramps worked out their legal issues, 462 00:31:12,520 --> 00:31:15,520 Speaker 1: the Cramps were court ordered not to release or sell 463 00:31:15,720 --> 00:31:19,320 Speaker 1: any new music. The well heeled Miles Copeland the Third 464 00:31:19,840 --> 00:31:23,320 Speaker 1: used as financial resources to drag the case out, putting 465 00:31:23,320 --> 00:31:25,240 Speaker 1: pressure on the Cramps to come to a settlement that 466 00:31:25,320 --> 00:31:30,200 Speaker 1: favored Copeland. The Cramps didn't back down, but again, this 467 00:31:30,280 --> 00:31:33,560 Speaker 1: meant the Cramps couldn't release any new music, and this 468 00:31:33,720 --> 00:31:38,640 Speaker 1: meant nearly three years of professional death. The band played 469 00:31:38,680 --> 00:31:40,560 Speaker 1: live as a means to make ends meet and to 470 00:31:40,640 --> 00:31:43,560 Speaker 1: keep up some momentum, and their fans flocked to shows, 471 00:31:43,600 --> 00:31:46,520 Speaker 1: but there were stard for new music as Copeland the 472 00:31:46,600 --> 00:31:52,400 Speaker 1: Vampire bled the Cramps dry. Then the cockroaches came out, 473 00:31:53,320 --> 00:31:59,120 Speaker 1: big radioactive, nuclear powered bootlegging cockroaches. They crawled out of 474 00:31:59,160 --> 00:32:02,520 Speaker 1: the woodwork and mother to Cramp's career, flooding the market 475 00:32:02,560 --> 00:32:05,280 Speaker 1: with the legal live recordings from the band's many live shows, 476 00:32:05,920 --> 00:32:08,920 Speaker 1: live shows that were now necessary to keep the band afloat, 477 00:32:09,600 --> 00:32:13,120 Speaker 1: But the bootleggers were so persistent, so prolific, that the 478 00:32:13,200 --> 00:32:16,440 Speaker 1: Cramps were forced to stop performing their new original songs 479 00:32:16,800 --> 00:32:20,120 Speaker 1: for fear that the cockroaches will record their tunes prematurely 480 00:32:20,400 --> 00:32:21,680 Speaker 1: and release them to the public. 481 00:32:21,720 --> 00:32:23,920 Speaker 2: Before the Cramps could get out of their lawsuit and. 482 00:32:23,920 --> 00:32:28,080 Speaker 1: Release those songs themselves, the only move that Cramps had 483 00:32:28,160 --> 00:32:31,080 Speaker 1: left was to perform covers during their live shows while 484 00:32:31,120 --> 00:32:35,040 Speaker 1: waiting for their legal troubles to resolve. Miles Copeland the 485 00:32:35,120 --> 00:32:37,760 Speaker 1: Vampire had taken a healthy bite out of the Cramps, 486 00:32:38,400 --> 00:32:41,120 Speaker 1: transfiguring one of the most original rock and roll. 487 00:32:40,920 --> 00:33:00,000 Speaker 4: Groups on the planet into a cover band. 488 00:32:48,720 --> 00:33:10,520 Speaker 1: All back in Lux's apartment years later, with the smell 489 00:33:10,520 --> 00:33:13,840 Speaker 1: of burning flesh from the nearby crematorium blanketing his and 490 00:33:13,920 --> 00:33:18,120 Speaker 1: Ivy's Glendale neighborhood, the Cramp singer continued to cruise his 491 00:33:18,160 --> 00:33:21,800 Speaker 1: collection of forty five records, looking for something to put 492 00:33:21,800 --> 00:33:24,480 Speaker 1: on the turntable. While keeping one year on the television 493 00:33:24,840 --> 00:33:29,600 Speaker 1: tuned to MTV in the background. Lux was curious to 494 00:33:29,640 --> 00:33:32,960 Speaker 1: see the Cramps new video on the idiot Box. The 495 00:33:33,080 --> 00:33:36,480 Speaker 1: song was hot Shit, as was the video. It was 496 00:33:36,520 --> 00:33:39,360 Speaker 1: a new song, of course, it had been a few 497 00:33:39,440 --> 00:33:43,840 Speaker 1: years since the Cramps finally overcame the bootlegging cockroaches and 498 00:33:43,880 --> 00:33:46,719 Speaker 1: broke free from the legal clutches of the vmpiric Miles 499 00:33:46,760 --> 00:33:50,000 Speaker 1: Copeland and were once again allowed to record and release 500 00:33:50,160 --> 00:33:55,160 Speaker 1: new original material. First, they did so after satiating fans 501 00:33:55,160 --> 00:33:58,160 Speaker 1: with the excellent live album Smell of Female from New 502 00:33:58,240 --> 00:34:01,720 Speaker 1: York's Peppermint Lounge in nineteen eighty and then with the 503 00:34:01,800 --> 00:34:05,720 Speaker 1: nineteen eighty six studio album A Date with Elvis. Both 504 00:34:05,800 --> 00:34:10,600 Speaker 1: records were critical, if not commercial hits, but the single 505 00:34:10,640 --> 00:34:14,360 Speaker 1: and video Bikini Girls with Machine Guns from their latest 506 00:34:14,400 --> 00:34:18,000 Speaker 1: long player Stay Sick. They were too good for the 507 00:34:18,120 --> 00:34:21,520 Speaker 1: song not to be a hit, or so thought anyone 508 00:34:21,560 --> 00:34:25,760 Speaker 1: with rock and roll ears. Sadly, those people were wrong. 509 00:34:26,760 --> 00:34:29,360 Speaker 1: Sure the song got played on MTV and even received 510 00:34:29,360 --> 00:34:32,319 Speaker 1: some radio play, but it wasn't a hit. It didn't 511 00:34:32,360 --> 00:34:36,440 Speaker 1: matter how great the song was, and it was indeed great. 512 00:34:36,640 --> 00:34:40,520 Speaker 1: Bikini Girls with Machine Guns culminated a year's long rock 513 00:34:40,560 --> 00:34:44,640 Speaker 1: and roll obsession with this song. Lux and Ivy finally 514 00:34:44,719 --> 00:34:48,800 Speaker 1: frankenstein their uniquely specific brand of rock and roll into 515 00:34:48,800 --> 00:34:55,200 Speaker 1: something truly monstrous. The song had everything. A massive hooky chorus, 516 00:34:55,480 --> 00:34:59,600 Speaker 1: killer energy and swing, a stinging, heroic anti guitar hero 517 00:34:59,719 --> 00:35:05,240 Speaker 1: guitar solo from Ivy, and an undeniably unique lyrical pov. 518 00:35:05,600 --> 00:35:08,880 Speaker 1: I mean, what in the world could possibly be better 519 00:35:09,080 --> 00:35:12,120 Speaker 1: than Bikini Girls with Machine Guns? Nothing? 520 00:35:12,400 --> 00:35:12,680 Speaker 2: That's what. 521 00:35:12,880 --> 00:35:15,759 Speaker 1: First of all, they're girls, Second of all they're in bikinis, 522 00:35:15,920 --> 00:35:18,640 Speaker 1: and third they've got fucking machine guns. Man, all right, 523 00:35:18,640 --> 00:35:20,919 Speaker 1: sorry forgive me for indulging my inner Beavis and butt head. 524 00:35:21,239 --> 00:35:22,600 Speaker 1: Back to saving rock and roll. 525 00:35:23,560 --> 00:35:26,040 Speaker 5: As far as Lux and Ivy's goal of bringing rock 526 00:35:26,080 --> 00:35:29,040 Speaker 5: and roll to the masses, to the mainstream media outlets 527 00:35:29,160 --> 00:35:32,439 Speaker 5: needed to disseminate the Cramps brand of mad teenage bop 528 00:35:32,719 --> 00:35:34,680 Speaker 5: to the radio, to television. 529 00:35:35,120 --> 00:35:39,600 Speaker 1: Well, finally, finally, the Cramps had sound and production on 530 00:35:39,680 --> 00:35:42,799 Speaker 1: this single worthy of the band's originality. And by the 531 00:35:42,840 --> 00:35:46,239 Speaker 1: time the Cramps recorded Bikini Girls with Machine Guns, they'd 532 00:35:46,239 --> 00:35:48,840 Speaker 1: abandoned the two guitar assault they've used in their early 533 00:35:48,920 --> 00:35:52,080 Speaker 1: days and added Candy Delmar on bass, and that new 534 00:35:52,160 --> 00:35:55,600 Speaker 1: bottom added a level of modern sophistication to the Cramps sound. 535 00:35:55,640 --> 00:35:58,640 Speaker 1: That a great song like Bikini Girls with Machine Guns, 536 00:35:58,640 --> 00:36:04,080 Speaker 1: demanding the video weirder than weird and cool as fuck. 537 00:36:04,600 --> 00:36:08,360 Speaker 1: Lux and skin tight black latex and high heels Ivy. 538 00:36:08,360 --> 00:36:11,360 Speaker 1: You know burlesque belly dancer best firing off a machine 539 00:36:11,400 --> 00:36:14,520 Speaker 1: gun with her panties sliding down to her high heeled ankles. 540 00:36:15,200 --> 00:36:19,840 Speaker 1: The video oohs is violence, booze, sex, and cool. You 541 00:36:19,920 --> 00:36:23,239 Speaker 1: know all the things red blooded American teenagers are preternaturally 542 00:36:23,280 --> 00:36:23,840 Speaker 1: driven to it. 543 00:36:24,560 --> 00:36:26,719 Speaker 2: This stuff will kill you. It's a loaded with. 544 00:36:26,760 --> 00:36:31,160 Speaker 1: Fun bikini girls with machine guns, as the lyric goes, 545 00:36:31,560 --> 00:36:36,840 Speaker 1: pure awesomeness. But Lux didn't see his video on TV 546 00:36:36,960 --> 00:36:40,920 Speaker 1: that day, just another repeat of Sting's ridiculous video for 547 00:36:41,360 --> 00:36:45,200 Speaker 1: Will Be Together Tonight. Luck shut the TV off and 548 00:36:45,239 --> 00:36:48,640 Speaker 1: went back to his forty five's Because for all the 549 00:36:48,680 --> 00:36:52,640 Speaker 1: awesomeness of bikini girls with machine guns, it didn't matter, 550 00:36:53,320 --> 00:36:56,440 Speaker 1: None of it mattered. Didn't matter how great the song was, 551 00:36:57,239 --> 00:37:00,480 Speaker 1: it was too late. Didn't matter how great the video was, 552 00:37:00,800 --> 00:37:03,640 Speaker 1: because it was too late. It was a different time. 553 00:37:04,280 --> 00:37:08,360 Speaker 1: It was nineteen ninety. Had Bikini Girls with Machine Guns 554 00:37:08,360 --> 00:37:12,080 Speaker 1: been written and released earlier, say back in nineteen eighty three, 555 00:37:12,480 --> 00:37:14,799 Speaker 1: I believe it would have made the Cramps a household name, 556 00:37:15,239 --> 00:37:19,080 Speaker 1: and perhaps rock and roll would have been saved. Back 557 00:37:19,120 --> 00:37:23,040 Speaker 1: in the early eighties, MTV was jammed with idiosyncratic rock 558 00:37:23,080 --> 00:37:27,280 Speaker 1: and roll videos. Take Cyndy Lapper's hit She Bought. There's 559 00:37:27,280 --> 00:37:31,160 Speaker 1: Cindy with her orange hair bouncing around your television screens, 560 00:37:31,239 --> 00:37:35,440 Speaker 1: singing above female masturbation, or the Go Gos early eighties 561 00:37:35,520 --> 00:37:39,320 Speaker 1: hit We Got The Beat. The Go Gos Irs Records 562 00:37:39,360 --> 00:37:41,520 Speaker 1: cleaned up their punk image at tad for the cameras, 563 00:37:41,560 --> 00:37:44,799 Speaker 1: But there's Belinda and the Girls Lux and Ivy's La 564 00:37:44,880 --> 00:37:48,640 Speaker 1: punk contemporaries taking the piss out of Smokey Robinson's going 565 00:37:48,640 --> 00:37:51,080 Speaker 1: to a Go Go with the updated We Got The Beat. 566 00:37:51,960 --> 00:37:54,200 Speaker 1: Take off your punk rock hipster hat for just a 567 00:37:54,239 --> 00:37:56,560 Speaker 1: minute and try to see Cindy Lappers, she Bop, and 568 00:37:56,600 --> 00:37:58,640 Speaker 1: the Go Gos We Got the Beat, and the Cramps 569 00:37:58,680 --> 00:38:02,520 Speaker 1: Bikini Girls with Machine Guns as a Midwestern or suburban 570 00:38:02,600 --> 00:38:05,920 Speaker 1: teenage kid in nineteen eighty three would have There's not 571 00:38:06,000 --> 00:38:10,400 Speaker 1: that much of a difference. Broadly speaking, The big difference 572 00:38:10,920 --> 00:38:14,600 Speaker 1: is timing. She Bob and We Got the Beat emerged 573 00:38:14,640 --> 00:38:18,160 Speaker 1: when MTV leaned into weird rock and roll. By the 574 00:38:18,200 --> 00:38:20,640 Speaker 1: time the video for Bikini Girls with Machine Guns came 575 00:38:20,680 --> 00:38:25,240 Speaker 1: out in nineteen ninety, MTV was busy broadcasting self serious 576 00:38:25,400 --> 00:38:30,080 Speaker 1: rock music by Sting U two, Genesis and others. But 577 00:38:30,200 --> 00:38:32,759 Speaker 1: in the early nineteen eighties, when the she Bop and 578 00:38:32,800 --> 00:38:35,640 Speaker 1: We Got the Beat videos were released, the Cramps were 579 00:38:35,680 --> 00:38:39,520 Speaker 1: effectively stuck in music jail. The window to break on 580 00:38:39,640 --> 00:38:42,719 Speaker 1: MTV for a band as weird and idiosyncratic as the 581 00:38:42,760 --> 00:38:45,760 Speaker 1: Cramps had come and gone during the hit making network's 582 00:38:45,840 --> 00:38:48,600 Speaker 1: nascent years from nineteen eighty one to nineteen eighty four, 583 00:38:49,000 --> 00:38:52,320 Speaker 1: when the Cramps were legally prohibited from recording and releasing 584 00:38:52,360 --> 00:38:56,280 Speaker 1: new material. The time they spent during that era battling 585 00:38:56,320 --> 00:39:01,279 Speaker 1: a music industry vampire and combating radioactive bootlegging hawkroaches was 586 00:39:01,360 --> 00:39:04,600 Speaker 1: time they could have spent inspired and perhaps writing and 587 00:39:04,640 --> 00:39:08,319 Speaker 1: releasing songs like Bikini Girls with Machine Guns during an 588 00:39:08,400 --> 00:39:11,480 Speaker 1: era when the mainstream public would have been receptive to 589 00:39:11,560 --> 00:39:15,760 Speaker 1: their brand of rock and roll weirdness. Had that happen, 590 00:39:16,280 --> 00:39:19,200 Speaker 1: perhaps Lux and Ivy's mission of saving rock and roll 591 00:39:19,239 --> 00:39:23,960 Speaker 1: from corporate rock would have succeeded. But that didn't happen. 592 00:39:25,600 --> 00:39:28,239 Speaker 1: Bikini Girls with Machine Guns was just a modest hit 593 00:39:28,600 --> 00:39:31,319 Speaker 1: and only in the UK, but it did keep the 594 00:39:31,360 --> 00:39:35,400 Speaker 1: Cramps going as a band. They continued touring and making 595 00:39:35,440 --> 00:39:40,400 Speaker 1: great music throughout the nineties and early two thousands. Lux 596 00:39:40,440 --> 00:39:43,239 Speaker 1: and Ivy never gave up the ghost, and they kept 597 00:39:43,280 --> 00:39:48,520 Speaker 1: on their music. Their rock and roll inspired countless younger 598 00:39:48,560 --> 00:39:52,360 Speaker 1: bands in the so called psychobilly category, a subgenre of 599 00:39:52,440 --> 00:39:56,759 Speaker 1: rock and roll that the Cramps unintentionally created. Rock and 600 00:39:56,840 --> 00:40:01,280 Speaker 1: roll archivists around the world, serious scholar of various genres, 601 00:40:01,360 --> 00:40:05,200 Speaker 1: most notably garage rockabilly, punk, horr rock, and novelty records, 602 00:40:05,680 --> 00:40:08,640 Speaker 1: owe a significant debt of gratitude to the Cramps for 603 00:40:08,680 --> 00:40:12,920 Speaker 1: their inspiration. Sam Goes, for the goth girls on TikTok 604 00:40:13,000 --> 00:40:17,200 Speaker 1: and for the horror core kids, and also for the 605 00:40:17,239 --> 00:40:20,960 Speaker 1: former Disney star Jenna or Tega, who brought the Cramps 606 00:40:21,000 --> 00:40:23,680 Speaker 1: to the forefront of pop culture in twenty twenty two 607 00:40:24,080 --> 00:40:27,680 Speaker 1: with a dance the actress choreographed herself for an episode 608 00:40:27,719 --> 00:40:32,520 Speaker 1: of the wildly popular Netflix series Wednesday. During the dance, 609 00:40:32,960 --> 00:40:37,080 Speaker 1: Ortega's Wednesday character owns all ninety six of the teenaged 610 00:40:37,120 --> 00:40:39,920 Speaker 1: eyes glued to her as she twitches and struts through 611 00:40:39,960 --> 00:40:42,760 Speaker 1: the high school dance to the Cramps song Googo Mauk. 612 00:40:43,560 --> 00:40:46,200 Speaker 1: It's an inadvert in twenty first century homage to the 613 00:40:46,200 --> 00:40:50,080 Speaker 1: bug from back in Lux's childhood. Shout out to music 614 00:40:50,120 --> 00:40:53,279 Speaker 1: supervisor Jen Malone, an ex goth herself, for having the 615 00:40:53,360 --> 00:40:55,799 Speaker 1: taste in good sense to include the Cramps in this 616 00:40:55,920 --> 00:41:00,720 Speaker 1: modern hit television series. The Cramps influence spread and wide 617 00:41:01,160 --> 00:41:04,120 Speaker 1: because the Cramps created something wholly unique in rock and 618 00:41:04,200 --> 00:41:08,680 Speaker 1: roll through the dedication that they put into their music. Unfortunately, 619 00:41:09,200 --> 00:41:12,520 Speaker 1: that dedication came to an end when Lux died suddenly 620 00:41:12,560 --> 00:41:16,439 Speaker 1: in two thousand and nine from heart failure. Ivy, after 621 00:41:16,520 --> 00:41:19,120 Speaker 1: losing the love of her life and her creative partner, 622 00:41:19,520 --> 00:41:24,040 Speaker 1: disappeared completely from the public eye. The Cramps gave their 623 00:41:24,080 --> 00:41:27,480 Speaker 1: lives to saving rock and roll, but that didn't happen. 624 00:41:28,280 --> 00:41:32,800 Speaker 1: Rock and roll is dead, dead, just like the efforts 625 00:41:32,800 --> 00:41:35,520 Speaker 1: of the zombie conformists and the music biz vampire and 626 00:41:35,520 --> 00:41:44,759 Speaker 1: the bootlegging cockroaches. But the Cramps music is alive, and 627 00:41:44,880 --> 00:41:51,440 Speaker 1: that is anything but a disgrace. I'm Jake Brennan, and 628 00:41:51,560 --> 00:42:10,440 Speaker 1: this is Disgraceland. 629 00:42:07,680 --> 00:42:08,080 Speaker 2: All right. 630 00:42:08,120 --> 00:42:10,440 Speaker 1: That was a fun one Happy Halloween, everybody, hope you 631 00:42:10,480 --> 00:42:12,319 Speaker 1: dug it. This week's question of the Week in honor 632 00:42:12,360 --> 00:42:15,360 Speaker 1: of the Cramps, is this what band made the greatest 633 00:42:15,480 --> 00:42:17,080 Speaker 1: rock and roll music ever. 634 00:42:17,239 --> 00:42:19,880 Speaker 2: Okay, you know the drill, one band and one band. 635 00:42:19,920 --> 00:42:22,160 Speaker 2: Only tell me why. Rock and roll to me is 636 00:42:22,200 --> 00:42:24,560 Speaker 2: low down, dirty, fun, guitar driven. 637 00:42:24,320 --> 00:42:27,480 Speaker 1: Music for teenagers and or music that makes you feel 638 00:42:27,520 --> 00:42:30,560 Speaker 1: like a teenager. So loosely based on that definition, I 639 00:42:30,560 --> 00:42:34,200 Speaker 1: guess what band, in your estimation made the greatest rock 640 00:42:34,239 --> 00:42:36,840 Speaker 1: and roll music of all time? And why? I already 641 00:42:36,840 --> 00:42:39,120 Speaker 1: know my answer, and it's pretty basic, but I want 642 00:42:39,120 --> 00:42:41,600 Speaker 1: to know your answer. Six one seven nine oh six 643 00:42:41,680 --> 00:42:44,160 Speaker 1: six six three eight. Leave me a voicemail, send me 644 00:42:44,200 --> 00:42:46,080 Speaker 1: a text and let me know. You can also reach 645 00:42:46,160 --> 00:42:48,800 Speaker 1: me at this grace lampod as well on Instagram, X 646 00:42:48,960 --> 00:42:49,799 Speaker 1: and Facebook. 647 00:42:50,000 --> 00:42:52,480 Speaker 2: Leave a review for the show on Apple Podcasts or Spotify. 648 00:42:52,640 --> 00:42:55,560 Speaker 1: Win some free merch already, then God comes to Credits. 649 00:42:56,560 --> 00:42:59,320 Speaker 1: Disgracelaand was created by Yours Truly and is produced in 650 00:42:59,360 --> 00:43:03,080 Speaker 1: partnership double Elvis. Credits for this episode can be found 651 00:43:03,120 --> 00:43:06,640 Speaker 1: on the show notes page at disgracelampod dot com. If 652 00:43:06,680 --> 00:43:09,719 Speaker 1: you're listening as a Disgracelan All Access member, thank you 653 00:43:09,760 --> 00:43:12,680 Speaker 1: for supporting the show. We really appreciate it, and if not, 654 00:43:12,960 --> 00:43:15,000 Speaker 1: you can become a member right now by going to 655 00:43:15,080 --> 00:43:19,920 Speaker 1: disgracelampod dot com Slash membership members can listen to every 656 00:43:20,040 --> 00:43:23,800 Speaker 1: episode of disgracelan ad free, Plus you'll get one brand 657 00:43:23,880 --> 00:43:28,480 Speaker 1: new exclusive episode every month, weekly unscripted bonus episodes, special 658 00:43:28,560 --> 00:43:32,800 Speaker 1: audio collections, and early access to merchandise and events. Visit 659 00:43:32,840 --> 00:43:37,240 Speaker 1: disgracelampod dot com slash membership for details, rate and review 660 00:43:37,280 --> 00:43:39,719 Speaker 1: the show, and follow us on Instagram, TikTok, Twitter, and 661 00:43:39,800 --> 00:43:43,840 Speaker 1: Facebook at disgracelampod and on YouTube at YouTube dot com 662 00:43:43,880 --> 00:43:52,680 Speaker 1: slash at disgracelampod Rock Arolla. He then