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Speaker 1: Hey discos, need a little more Disgraceland in your life,

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Speaker 1: just to touch, to get you through. Yeah me too.

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Speaker 1: This is the podcast. It comes after the podcast. Welcome

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Speaker 1: to Disgraceland, the after Party. Welcome to the Disgraceland bonus episode,

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Speaker 1: a little thing we like to call the after party.

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Speaker 1: This is the show after the show, the party after

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Speaker 1: the party. The bridge to get you from one full

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Speaker 1: episode or Disgraceland to the other. The backyard to dig

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Speaker 1: into the dirt, our mission to uncover the truth, to

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Speaker 1: confront the myth, to reclaim the story. On this bonus episode,

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Speaker 1: we jump off of Pete Daherty and jump back into

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Speaker 1: the britpop glory years. Get your thoughts on all things

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Speaker 1: music and true crime. Preview next week's very special episode,

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Speaker 1: and in the exclusive section, we dive into two new

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Speaker 1: brit specific music in true crime stories, one involving the

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Speaker 1: attempted kidnappings. I'm not just one, but two iconic British

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Speaker 1: musicians by You're never going to believe this, a bunch

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Speaker 1: of other gangster British musicians. Plus we get into your emails, comments, dms,

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Speaker 1: and as always, a whole lot of rosie. This is

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Speaker 1: the podcast for the musically obsessed, the outsiders, the independent

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Speaker 1: thinkers who know that the best history is the history

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Speaker 1: that gets buried. Disgraceland is where I tell the stories

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Speaker 1: they didn't want told, the kind you'll end up telling

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Speaker 1: someone else. All right, discos, let's get into it. You

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Speaker 1: know something we've never really discussed here in Disgraceland is britpop. Now.

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Speaker 1: I know, the Libertines, the subject of this week's full episode,

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Speaker 1: isn't technically britpop. They're really just an indie rock band

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Speaker 1: with UK influence from the UK of from London, and

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Speaker 1: they're part of a generation of British indie bands that

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Speaker 1: became known after Britpop. Britpop to me is decidedly a

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Speaker 1: nineties thing. Oasis, Blur, Pulp, the nineties are the era

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Speaker 1: of British bands. Okay, that to me is britpop. The Libertines,

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Speaker 1: Block Party, the Cribs. That's a different generation British sure,

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Speaker 1: but not necessarily britpop. So we covered Oasis here in

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Speaker 1: disgraysand obviously britpop, and we have Blur and Elastica on

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Speaker 1: our list for this year for episodes that we're going

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Speaker 1: to produce. But we've barely spoken about the groups from

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Speaker 1: that nineties britpop era that inspired bands like the Libertines

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Speaker 1: and the Cribs and Block Party, you know again, britpop

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Speaker 1: band Supergrass, Swede, Radiohead, And we've barely spoken about the

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Speaker 1: group of British bands that came to inspire these britpop bands.

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Speaker 1: I'm talking about the post punk era of British groups

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Speaker 1: that inspired Oasis and Blur and Pulp and all that.

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Speaker 1: I'm talking about the Cure Smiths susing the Banshees, and

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Speaker 1: we've spent a ton of time talking about the first

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Speaker 1: generation of British punk sex pistols Clash Generation X, which

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Speaker 1: just did an episode on The Pretender's Chrissy Hind which

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Speaker 1: is set largely in that world in London in the

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Speaker 1: late seventies. So here's what I want to do, thanks

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Speaker 1: to the Libertines, thanks to Pete Daugherty, I want to

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Speaker 1: talk about the britpop movement here with the Libertines obviously

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Speaker 1: as a jumping off point, and I want to use

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Speaker 1: it as an entry point, ideally into some more disgrace

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Speaker 1: sand episodes we can cover going forward from this era. Now,

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Speaker 1: I can't recall if in the Oasis episode, if I

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Speaker 1: mentioned whether I'm Oasis or a team Oasis or team Blur.

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Speaker 1: Not that you have to be either, but you know

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Speaker 1: you kind of like one more than the other, you

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Speaker 1: don't like them both the same, or you're not really

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Speaker 1: paying attention. I can't remember if I got into that

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Speaker 1: in those Oasis episodes, but I am an Oasis guy,

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Speaker 1: which is a very unpopular opinion in my house. My

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Speaker 1: wife and my oldest son are decidedly Blur first, and

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Speaker 1: my youngest son is basically just agreeing with them to

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Speaker 1: piss me off. So I'm in the minority, but I'm

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Speaker 1: gonna win him over. Let's look, though, not just at

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Speaker 1: Oasis and Blur, but at that whole nineties generation of

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Speaker 1: peak British pop music, the era that directly influenced Pete

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Speaker 1: Doherty in the Libertines, and let's steep ourselves a little

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Speaker 1: bit more in London music history, more recent of course,

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Speaker 1: and hopefully some lore. All Right, So I went dig

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Speaker 1: in this morning as I was thinking about what I

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Speaker 1: was going to say to you guys today, and surprisingly

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Speaker 1: Rolling Stone magazine does not have a list of top

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Speaker 1: pop groups or albums. But side note rolling Stone, if

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Speaker 1: you want one, you know you can call me up.

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Speaker 1: You know, I was kind of surprised by that Rolling

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Speaker 1: Stones all about the list. I don't know why they

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Speaker 1: don't have one. Pitchfork, on the other hand, has a

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Speaker 1: fifty best Britpop album's list, and right out of the gate,

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Speaker 1: I'm angry before even looking at the list, because I

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Speaker 1: know the Pitchfork isn't going to have Oasis is definitely

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Speaker 1: maybe at number one, which they absolutely should because really,

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Speaker 1: to me, that nineteen ninety four album is Britpop's big Bang. Instead,

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Speaker 1: Pitchfork is going to have something obscure like Richard Holly's

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Speaker 1: cousin's third grade teacher's best friend's demo that he cut

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Speaker 1: in the basement of the local pub as their number

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Speaker 1: one album of top fifty Britpop albums. That imaginary album

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Speaker 1: is called Chandler and the Ghosts by the imaginary band

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Speaker 1: causely but I digress, and despite my anger, or perhaps

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Speaker 1: because of it, I'm gonna trudge on here, like Liam Gallagher,

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Speaker 1: into a violent melee of warring soccer hooligans and cops,

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Speaker 1: which is to say, I'm going to dive headfirst into

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Speaker 1: this list. Okay, so this is just kind of recent.

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Speaker 1: It's from twenty seventeen and right out of the gate.

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Speaker 1: Despite my reservations, I have hope here, okay, because the list,

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Speaker 1: as I look at it, it starts with a Jarvis

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Speaker 1: Cocker quote and it goes on to interview Danny Boyle. Okay,

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Speaker 1: trainspotting Danny Boyle. Pitchfork defines Britpop similarly to the way

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Speaker 1: I do, but they put more meat on the bone.

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Speaker 1: They say that britpop is quote the musical scene active

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Speaker 1: in the United Kingdom in the mid nineties. Particularly, we

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Speaker 1: are looking at the guitar based musicians who shared focus

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Speaker 1: on anthemic melodies, social observations of British culture, and daily

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Speaker 1: life in their country's musical heritage. That sounds about right

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Speaker 1: to me. That nails the definition of britpop. So let's

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Speaker 1: dive in. I'm not doing all fifty here, by the way,

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Speaker 1: I'm just doing the top ten, number ten, the verve

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Speaker 1: urban hymns. This feels both too low and too high

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Speaker 1: at the same time, So maybe this album is perfect

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Speaker 1: at number ten. I don't know, I don't know. I'm

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Speaker 1: gonna reserve judgment here number nine now see I knew it,

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Speaker 1: I knew it. Oasis Definitely Maybe at number nine, this

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Speaker 1: is an affront to uh, I don't know, the monarchy, No,

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Speaker 1: to the working class. That's what it's in front two.

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Speaker 1: This is way, way, way too low. Okay, this is

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Speaker 1: what Pitchfork has to say about Definitely Maybe hold on, i'

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Speaker 1: let men pull it up for you. It's interesting. At

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Speaker 1: number nine. Definitely maybe Oasis's full length album, their debut

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Speaker 1: full length from nineteen ninety four. Pitchfork has this to

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Speaker 1: say in the context of this list of top fifty

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Speaker 1: britpop albums. Okay, here we go Tonight, I'm a rock

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Speaker 1: and roll Star, Liam Gallagher proclaims at the start of

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Speaker 1: Oasis's debut. Taken out of context, it's easy to mistake

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Speaker 1: this course as another example of braggadoccio from britpop's brashest band,

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Speaker 1: particularly given the anti stadium hero ethos of the era.

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Speaker 1: But the verses of rock and Roll Star tell a

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Speaker 1: different story, reflecting Oasis's modest circumstances when they made Definitely

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Speaker 1: Maybe before Oasis were arrogant, they were aspirational. I disagree

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Speaker 1: with that. They were always arrogant, goes on to say

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Speaker 1: throughout the album. Noel Gallagher writes about a dead end

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Speaker 1: working class life from which there is no escape save

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Speaker 1: for fantasies of fame and fortune. In that same song,

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Speaker 1: in a cutting wine pitched at the midpoint of John

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Speaker 1: Lennon and Johnny Rotten, Liam Gallagher sings, definitely maybe's truest

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Speaker 1: line in my mind, my dreams are real. It was

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Speaker 1: up to Oasis to make them real. There's more to

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Speaker 1: it than that, but that's the part I wanted to

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Speaker 1: read to you, because I don't really disagree with anything there,

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Speaker 1: except for the claim that this was before Oasis were arrogant,

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Speaker 1: you know, insinuating that there was a time when they

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Speaker 1: weren't arrogant, which just isn't true. They always had that

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Speaker 1: cockiness and that was, honestly, that was the appeal to

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Speaker 1: me of Oasis back in the nineties. It was super

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Speaker 1: refreshing to finally after Kurt Cobain, after just this sort

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Speaker 1: of the grunge era of the nineties in America, the

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Speaker 1: time in which we were all supposed to do, and

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Speaker 1: I felt this way authentically, you know, we were all

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Speaker 1: sort of like just rejecting the idea of the rock

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Speaker 1: star for something more authentic and more artistic. It was

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Speaker 1: even though we felt that way, it was just honest

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Speaker 1: to get the opposite inn Oasis of these guys who

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Speaker 1: were clearly larger than life, absolute rock stars and just

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Speaker 1: made no bones about it. Came out of the gates

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Speaker 1: swinging exactly authentically who they were, not putting anything on.

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Speaker 1: You could just feel it. They were fucking gangsters, rock stars.

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Speaker 1: Absolutely didn't give a shit about societal norms. It was

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Speaker 1: expressed in their music. And yes, this was not the

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Speaker 1: brand of your sort of you know, like high falutant,

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Speaker 1: high society late sixties swing in London, Rolling Stones, rock Star.

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Speaker 1: This was a different breed entirely. This was totally working class, thugish.

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Speaker 1: It was great. It was great to know that these

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Speaker 1: guys were going for it and we were rooting for them.

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Speaker 1: In the hardcore scene, we were at least, I mean,

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Speaker 1: it was kind of just this thing was I don't

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Speaker 1: know what it was. I don't know why hardcore kids

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Speaker 1: liked Oasis so much, because I think them being British

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Speaker 1: gave us the freedom to root for further rockstardom because

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Speaker 1: there was some separation there. We didn't do that with

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Speaker 1: American bands, not in nineteen ninety four, certainly not with

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Speaker 1: new American bands in nineteen ninety four. Anyways, this record

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Speaker 1: to me, like I said, it's the big band of ritpop.

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Speaker 1: And I know there's there are plenty of arguments to

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Speaker 1: make against this record for other records. That's what makes

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Speaker 1: this topic so interesting. But for me, this is the one.

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Speaker 1: This is the one. It's a ringing bell, It's Bunker

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Speaker 1: Hill or Lexington or whatever it is. This is the thing.

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Speaker 1: This is when it starts for me. So number nine,

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Speaker 1: I just nine, barely in the top ten. I just

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Speaker 1: can't go there. I can't come on. But it's Pitchfork,

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Speaker 1: so what do you expect? Number eight is Blur's self

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Speaker 1: titled album Blur from nineteen ninety seven, which I don't know.

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Speaker 1: This also feels very low. This was Blur's breakthrough in

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Speaker 1: America sort of. Blur never really broke through in America

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Speaker 1: like Oasis did, despite despite the massive single from this album,

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Speaker 1: song number two, which still has cultural relevance. This record

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Speaker 1: personally is I love it. It's incredible. One of my

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Speaker 1: favorite albums from this era for sure. It's definitely my

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Speaker 1: favorite Blur album. I like it more than park Life,

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Speaker 1: which is saying something is Park life is fantastic. And again,

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Speaker 1: this is the band that broke the band broke Blur

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Speaker 1: in America, and America is still listening to it. Like

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Speaker 1: I said, pretty much every day, turn on most any

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Speaker 1: sporting event broadcast and wait a couple of minutes and

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Speaker 1: you're gonna hear the crowd singing song number two at

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Speaker 1: some point A woo who as they say so. Number

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Speaker 1: eight here feels low for Blur's self titled album, Number seven,

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Speaker 1: paulp This is hardcore. And you know by now, guys

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Speaker 1: that I'm not a huge Pulp fan. But I don't

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Speaker 1: dislike Pulp like your favorite New Jersey crime boss. I

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Speaker 1: like some Pulp and this record ain't it not for

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Speaker 1: me anyways, But that's mainly out of ignorance in preference.

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Speaker 1: I don't know this album that well. I always love

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Speaker 1: the album cover, but I was never compelled to really

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Speaker 1: dig into this and explore it. I suppose now is

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Speaker 1: the time to change. That I just learned today, however,

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Speaker 1: in going through this britpop history that Pulp had been

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Speaker 1: a band for seventeen years before breaking out, and I

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Speaker 1: had to look at this twice before breaking out in

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Speaker 1: the rippop era of the nineteen nineties. Pulp formed in

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Speaker 1: nineteen seventy eight. What that's incredible, that's shocking. I think

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Speaker 1: Picasso was still alive in nineteen seventy eight.

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Speaker 2: He wasn't.

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Speaker 1: I think he died a couple of years earlier. But

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Speaker 1: you get my point. Wild all right. Number six Elastica's

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Speaker 1: self titled album. Now, this placement seems right. Perhaps it

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Speaker 1: could be a little higher. Perhaps this album suffers in

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Speaker 1: its positioning because it's a female front and group and

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Speaker 1: most of the folks putting this list together are krusty

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Speaker 1: rock dude journalists. This is a great record with a

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Speaker 1: great breakout single connection and songs on it that Nod

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Speaker 1: enthusiastically to the past. Maybe too enthusiastically got him into

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Speaker 1: some trouble, and you know, this is the type of

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Speaker 1: album that also storms into the future fearlessly. In the

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Speaker 1: result of core is a sound that is undeniably or

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Speaker 1: was undeniably present at the time. I loved this record

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Speaker 1: and I can't wait to cover Justine Frishman in either

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Speaker 1: an Elastica episode of Disgraceland or in a joint Damon

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Speaker 1: Alburn Disgraceland episod. We're going to talk about that later,

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Speaker 1: Seth and I in the exclusive section of this here

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Speaker 1: Bonus episode. Number five Swayed dog Man Star. Now, I

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Speaker 1: was never a big Swede fan. Swayed for me was

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Speaker 1: where brit pop just kind of went a little too

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Speaker 1: Brit poppy. But people love this record, So what do

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Speaker 1: I know? At number four, here we go, Now we're

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Speaker 1: getting down to it. Oasis is What's the Story? Morning Glory?

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Speaker 1: I honestly don't know how to rank this album. Oasis,

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Speaker 1: who I clearly love only really has two great albums,

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Speaker 1: this and definitely maybe and definitely maybe is my favorite

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Speaker 1: among the two. But what's the story? Morning Glory is

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Speaker 1: a mom stir album. It's skyrocketed the band to international fame.

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Speaker 1: It made Oasis the biggest band to come out of

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Speaker 1: Britain at the time. So I kind of don't know

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Speaker 1: how it's just not number one on this list. But

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Speaker 1: then again, I do know because it's not even my

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Speaker 1: favorite Oasis album either way, for just feels too low.

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Speaker 1: Number three Radioheads The Bends, mixed by my mentor and

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Speaker 1: American Paul Q. COLDERI and Paul's production partner at the time,

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Speaker 1: Sean Slaid. This feels right. Number three. Radiohead busted into

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Speaker 1: the mainstream during the grunge era with Pablo Honey and

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Speaker 1: their single Creep, which I believe is nineteen ninety two.

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Speaker 1: But this follow up in the middle of the britpop

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Speaker 1: era nineteen ninety five is incredible. The only thing, though,

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Speaker 1: I don't know how. I don't know if people will

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Speaker 1: be able to relate to this, this album like it's

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Speaker 1: fall Up, okay, computer, they don't really feel britpoppy. Radiohead

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Speaker 1: feels like its own thing. This record feels like its

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Speaker 1: own thing, you know. It feels like Radiohead and Radiohead alone,

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Speaker 1: like the beginnings of a new genre almost, But that's

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Speaker 1: just me. I don't know what that says about its

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Speaker 1: placement on the list here at number three. Perhaps it

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Speaker 1: should be even higher, Perhaps it should have its own list.

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Speaker 1: I don't know. Number two, okay, Before I get to

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Speaker 1: number two. There are only two more albums that can

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Speaker 1: possibly be at number two and number one on this list, right,

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Speaker 1: and I should Coco Buy Supergrass and Grand Prix by

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Speaker 1: Teenage Fan Club? Are those two albums? Right? They have

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Speaker 1: to be They haven't been mentioned yet, but no they're not,

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Speaker 1: and my dog's pissed about it. You hear that Dusty

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Speaker 1: is upset. Dusty is upset. She's a huge supergrass fan.

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Speaker 1: Why wouldn't she be damn it. Both these incredible britpop

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Speaker 1: albums were left out of the top ten by the

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Speaker 1: supposed big brains at Pitchfork. Unbelievable. Number two is park

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Speaker 1: Life by blur which is the appropriate ranking? I think?

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Speaker 1: I don't know. I know, I'm contradicting myself because I

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Speaker 1: already said that I like their self titled album better

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Speaker 1: than park Life, which you know, Blurheads I'm sure would hate.

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Speaker 1: But this record just I feel like it meant more

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Speaker 1: to the britpop movement and it should be behind Oasis,

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Speaker 1: as we've already discussed. Incredible as park Life is, but

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Speaker 1: the two great Oasis records, they've already been talked about

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Speaker 1: here on this list. You know, actually, if I start

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Speaker 1: to think about it for five seconds longer, I can

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Speaker 1: probably make the case that park Life should be number

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Speaker 1: one on this list. If I'm being honest, It's as

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Speaker 1: genre defining as either of the great Oasis albums. I'm

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Speaker 1: just letting my Oasis bias sway me that or my wife.

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Speaker 1: But again, park Life here at number two, so what

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Speaker 1: is number one? Number one? Number one? Britpop heads have

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Speaker 1: already figured this out. Number one on this list. I

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Speaker 1: don't know. This kind of feels like, look at me, journalism,

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Speaker 1: you know what I mean, like some hipper than you,

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Speaker 1: because I'm naming this record type of bullshit, which is

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Speaker 1: just obviously so Pitchfork. Number one on Pitchfork's list of

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Speaker 1: top fifty Britpop albums is Pulp's Different Class, which, Deborah,

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Speaker 1: come on, we love this album, but placing it above

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Speaker 1: Blur or Oasis just feels like, like I said Pitchfork,

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Speaker 1: like trying. They're trying just a little too hard, trying

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Speaker 1: to appeal to the so called cool kids hanging out

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Speaker 1: at MisShapes in the mid odds in New York, or

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Speaker 1: Boston's The Pill during that same era, or Great Scott.

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Speaker 1: I cannot get with Pulp's Different Class at number one.

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Speaker 1: Maybe that says something about me. Maybe it says that

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Speaker 1: I'm not as big of a britpop fan. You know,

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Speaker 1: I'm not. I'm not a huge britpop fan. For me,

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Speaker 1: totally on us, I like some britpop I get to stop.

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Speaker 1: It's true though, and there is kind of a gaping

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Speaker 1: hole in my knowledge of the history, which is why

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Speaker 1: I'm excited to get into some britpop focused episodes going

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Speaker 1: forward here with Disgray sand I just can't get with

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Speaker 1: the fact that Supergrass and Teenage Fan Club with I

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Speaker 1: Should Cocoa and Grand Prix are not cracking the top

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Speaker 1: ten list here. All right, These are capital G great

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Speaker 1: records from start to finish, and not having in the

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Speaker 1: top ten just doesn't make any sense to me. Pitchfork

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Speaker 1: does have I Should Coco at number twelve and Grand

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Speaker 1: Prix way down at number thirty six. I'm sure Bandwagon

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Speaker 1: ESK is higher than Grand Prix. I didn't look. But

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Speaker 1: also not having Primal Scream on this list kind of

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Speaker 1: feels intentionally hurtful. Stone Roses I get. I get why

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Speaker 1: they're not in the top ten or even on the

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Speaker 1: list at all. They sort of I've preceded the whole

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Speaker 1: britpop thing, and to an extent, so did Primal Screen,

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Speaker 1: but not really some not too butt hurt about these

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Speaker 1: two omissions anyway. If you are a Libertines fan or

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Speaker 1: a fan of any of the early to mid two

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Speaker 1: thousands British indie rock, Maximal Park, Razorlight, these bands that

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Speaker 1: we're discussing right here. From this list, they're going to

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Speaker 1: give you some idea of what Pete Tardi and Carl

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Speaker 1: Barra and others from the two thousands indie sleis era

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Speaker 1: were weaned on. So there you go. Now, Jake, you

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Speaker 1: might be asking me, maybe screaming at your car speaker

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Speaker 1: or whatever right now, going what brip pop bands are

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Speaker 1: you going to cover?

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Speaker 2: Dude?

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Speaker 1: Well, like I said, I think there's a blur. I

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Speaker 1: think there's blur and elastic episodes, perhaps a Damon and

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Speaker 1: just seeing joint episode. Maybe we write a really transgressive

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Speaker 1: kind of junkie love story from the nineties set in

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Speaker 1: the UK, explore all the drug the heroin, the crime

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Speaker 1: and grime, and the tabloid era that their relationship took

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Speaker 1: place in. That sounds interesting to me. I'm obsessed with

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Speaker 1: the rhymer of his love story at the moment. I

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Speaker 1: JFK Junior and Carolyn Bassett and maybe Damon and Justine

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Speaker 1: is our answer to that here in Disgrace Land. I

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Speaker 1: like this idea. It's nineties, it's the same era, but

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Speaker 1: it's a totally different scene, a totally different place obviously,

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Speaker 1: and it also has a completely kind of different type

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Speaker 1: of glamor, yet it's still glamorous. It's got similar tabloid madness.

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Speaker 1: It's just the UK rippop version. I'm loving this idea

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Speaker 1: as I'm talking about it to you right now. From

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Speaker 1: a crime angle, we've got heroin use, Damon's arrests, Elastica's

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Speaker 1: legal settlement with wire, all kinds of stuff we can

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Speaker 1: get into. There's also what I've learned here over the

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Speaker 1: years from you guys. I wish I could remember your

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Speaker 1: names who had written me on this subject, but quite

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Speaker 1: a few of you, more than a handful, have written

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Speaker 1: about another British band that we should cover that we

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Speaker 1: have not mentioned at all yet, and that is the

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Speaker 1: Happy Mondays, a group with an insane true crime backstory

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Speaker 1: including kidnapping, multiple kidnappings, assault. One of the kidnappings actually

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Speaker 1: both involve musical icons. I can't even can't believe these stories.

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Speaker 1: Heroin of course, not just using heroin, but large scale

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Speaker 1: drug smuggling and of course all manner of rock and

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Speaker 1: roll hedonism and debauchery. The Happy Mondays pre date britpop.

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Speaker 1: They go back to the wild sort of Manchester club

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Speaker 1: scene that was the decade before. But nonetheless This is

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Speaker 1: an insane story and one that needs further exploration and

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Speaker 1: most definitely its own Disgraceland episode on the Happy Mondays.

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Speaker 1: I want to talk more about the true crime story

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Speaker 1: of the Happy Mondays as well as the junkie love

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Speaker 1: story of Damon from Blur and Justine from Elastica with

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Speaker 1: Ze and figure out how these episodes will take shape.

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Speaker 1: We're gonna do that in the exclusive section of this

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Speaker 1: after party, where we'll reveal which rockstar rock stars the

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Speaker 1: Happy Mondays attempted to kidnap. Go to disgracelandpod dot com

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00:23:20,440 --> 00:23:23,760
Speaker 1: to become an all access member and unlock this and

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Speaker 1: more exclusive and ad free content. Often oftentimes, guys, if

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Speaker 1: you knew here, we use the exclusive portion of this

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Speaker 1: bonus episode, Zeth and I as sort of a creative session,

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Speaker 1: a behind the scenes look at how we figure out

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Speaker 1: what episodes we're going to cover and whether or not

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Speaker 1: there's enough crime and transgression there to warrant a Disgraceland episodes.

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Speaker 1: Kind of our think tank, our laboratory, so to speak,

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Speaker 1: and that's what that's what we got going on today again.

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Speaker 1: Go to disgrace landpod dot com to sign up to

387
00:23:54,480 --> 00:23:58,240
Speaker 1: become an All Access member and you'll get exclusive content

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00:23:58,359 --> 00:24:01,440
Speaker 1: like this and add free content every month. All right,

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Speaker 1: before we dive into all that, let's do a little

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Speaker 1: table setting here. As we mentioned, this week's Pete Doherty

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Speaker 1: from the Libertines episode is available for you to check

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Speaker 1: out and look. This story and the death of Mark Blanco,

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Speaker 1: who is hanging out with Pete Dodhugherty that night, is

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Speaker 1: one of the most underreported stories in music history. And

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Speaker 1: we did our part here. Look, we're not journalists. We're

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Speaker 1: not pretending to be journalists. We are storytellers, open source

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Speaker 1: storytellers who use information that's already been published. We don't

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Speaker 1: go out and dig up new stories. We source everything.

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Speaker 1: We're careful about it. We make sure that we're giving

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Speaker 1: you guys what really happened. But this story in particular

401
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Speaker 1: really requires some real journalism. And you know, I'm coming

402
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Speaker 1: across this is the second time in like this week

403
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Speaker 1: actually that I've come across this where we're telling these stories.

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Speaker 1: It's almost like so many of the stories we tell

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Speaker 1: this Gray Sand are from like the nineteen sixties and

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Speaker 1: seventies and eighties, and a lot of time has passed.

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00:25:12,359 --> 00:25:14,520
Speaker 1: This story is from two thousand and six, not that

408
00:25:14,600 --> 00:25:16,960
Speaker 1: much time has passed, and I don't believe that the

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00:25:17,040 --> 00:25:19,640
Speaker 1: facts are all out there or the truth is out there,

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00:25:19,640 --> 00:25:22,080
Speaker 1: but I wanted to dip in and find our way

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Speaker 1: through this story. And you know, if I'm being totally frank,

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Speaker 1: we come up like with more questions than answers at

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Speaker 1: the end. And it's super frustrating because you know, I

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Speaker 1: get a business to run, I got a podcasts to

415
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Speaker 1: make every week. I can't just like we have a

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Speaker 1: way of doing it. I can't just like pack up

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Speaker 1: and fly to London and start asking people questions. Not

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Speaker 1: that anyone would even talk to me if I did

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Speaker 1: that anyhow, That's not what I do. So it's kind

420
00:25:46,240 --> 00:25:51,119
Speaker 1: of frustrating, and I don't understand why actual music journalists.

421
00:25:51,400 --> 00:25:54,000
Speaker 1: And again I've never called myself a journalist. Some people have.

422
00:25:54,200 --> 00:25:58,760
Speaker 1: I never have not from the beginning. Like a definition

423
00:25:58,800 --> 00:26:00,320
Speaker 1: of a journalist to me is not somebody who does

424
00:26:00,359 --> 00:26:02,280
Speaker 1: what I do. It definitely of a journalist to me

425
00:26:02,320 --> 00:26:04,719
Speaker 1: as somebody who goes out and actually digs up and

426
00:26:04,760 --> 00:26:10,760
Speaker 1: finds information for the first time, you know, like finds

427
00:26:10,880 --> 00:26:13,560
Speaker 1: information that has not yet been public. Everything we talk

428
00:26:13,600 --> 00:26:20,200
Speaker 1: about is public information. Oftentimes made public by the artists

429
00:26:20,280 --> 00:26:23,560
Speaker 1: themselves that we are covering in their autobiographies, and it

430
00:26:23,600 --> 00:26:26,720
Speaker 1: gets buried throughout time. So it becomes very interesting when

431
00:26:26,720 --> 00:26:28,800
Speaker 1: we get to it because a lot of this stuff

432
00:26:28,840 --> 00:26:31,639
Speaker 1: has sort of been shoved under the covers, because it

433
00:26:31,640 --> 00:26:33,800
Speaker 1: goes back, like I said, to the sixties, to seventies,

434
00:26:33,800 --> 00:26:37,000
Speaker 1: the eighties, the nineties here though again two thousand and

435
00:26:37,000 --> 00:26:39,320
Speaker 1: six not that long ago when you think about it.

436
00:26:40,359 --> 00:26:42,399
Speaker 1: I mean, two decades sounds like a long time, but

437
00:26:42,440 --> 00:26:50,919
Speaker 1: culturally not really. And this story still it's hard to

438
00:26:51,080 --> 00:26:55,679
Speaker 1: accept the story of how Mark Blanco died. I'm not

439
00:26:55,760 --> 00:27:00,119
Speaker 1: pointing any fingers. What the official story is may very

440
00:27:00,160 --> 00:27:01,879
Speaker 1: well be the case, but we it's just one of

441
00:27:01,880 --> 00:27:04,399
Speaker 1: those things where we need more evidence that proves it

442
00:27:04,680 --> 00:27:09,360
Speaker 1: that way one way or another. And I've similarly come

443
00:27:09,400 --> 00:27:12,720
Speaker 1: across the same challenge and the story that I'm researching

444
00:27:12,800 --> 00:27:18,840
Speaker 1: right now on the Food Fighters, which I mean, look,

445
00:27:18,880 --> 00:27:23,120
Speaker 1: man Taylor Hawkins died in twenty twenty two, and we

446
00:27:23,320 --> 00:27:27,800
Speaker 1: still don't know the cause of his death. He died tragically.

447
00:27:28,600 --> 00:27:31,399
Speaker 1: I say that as a point of fact, but that

448
00:27:31,520 --> 00:27:35,040
Speaker 1: is not the explanation for how he died, which if

449
00:27:35,040 --> 00:27:37,960
Speaker 1: you read anything about the food fighters over the last

450
00:27:37,960 --> 00:27:42,639
Speaker 1: few years. That's the explanation you're going to get. They'll

451
00:27:42,640 --> 00:27:45,960
Speaker 1: talk about drugs in his system, but that's not the

452
00:27:46,000 --> 00:27:51,960
Speaker 1: official take. They won't talk about an overdose. Again, more

453
00:27:52,080 --> 00:27:56,720
Speaker 1: questions than answers. And this is only four years ago.

454
00:27:57,240 --> 00:28:01,160
Speaker 1: And look, man like, I'm not trying to pry into

455
00:28:01,200 --> 00:28:04,240
Speaker 1: anybody's life. And I get the sensitivity that this has

456
00:28:04,359 --> 00:28:10,439
Speaker 1: with Taylor Hawkins's family, and certainly I would feel like

457
00:28:10,480 --> 00:28:12,960
Speaker 1: this shit was none of anybody's business if this was

458
00:28:13,040 --> 00:28:16,960
Speaker 1: my family member. But we know how Keith Moon died,

459
00:28:17,840 --> 00:28:22,159
Speaker 1: we know how John Bonham died. It just doesn't make

460
00:28:22,200 --> 00:28:25,080
Speaker 1: any sense that we don't know how Taylor Hawkins died.

461
00:28:25,840 --> 00:28:29,880
Speaker 1: And anyway, like the Pete Doherty story here, the death

462
00:28:29,880 --> 00:28:32,760
Speaker 1: of Mark Blanco, which Pete Doherty is at the center

463
00:28:32,840 --> 00:28:36,240
Speaker 1: of the death of Taylor Hawkins is one of those

464
00:28:36,240 --> 00:28:38,840
Speaker 1: things that we still don't have an answer for. I'm

465
00:28:38,840 --> 00:28:40,440
Speaker 1: gonna go a little bit harder into this one than

466
00:28:40,440 --> 00:28:42,160
Speaker 1: we did Pete Darty, and I'm gonna try to find out.

467
00:28:42,520 --> 00:28:45,600
Speaker 1: I'm not promising you anything, nothing at all, but I

468
00:28:45,640 --> 00:28:48,960
Speaker 1: am gonna ask questions that people don't seem to really

469
00:28:49,040 --> 00:28:52,320
Speaker 1: want to ask, and I don't think there's anything wrong

470
00:28:52,360 --> 00:28:56,560
Speaker 1: with that. People in the public public eye. That's the price.

471
00:28:56,640 --> 00:28:58,600
Speaker 1: And you can be a fan of the food Fighters.

472
00:28:59,440 --> 00:29:02,160
Speaker 1: I mean to Taylor Hawkins. I mean, he just struck

473
00:29:02,200 --> 00:29:03,560
Speaker 1: me as a type of guy. I never met him,

474
00:29:03,560 --> 00:29:04,840
Speaker 1: but he struck me as a type of guy that

475
00:29:04,880 --> 00:29:07,640
Speaker 1: if you met him, you would just instantly be like,

476
00:29:08,360 --> 00:29:12,640
Speaker 1: you know, just vibe. And he's just such a spirit

477
00:29:12,720 --> 00:29:16,040
Speaker 1: and an incredible talent. And our episode is not going

478
00:29:16,120 --> 00:29:17,760
Speaker 1: to be a takedown in any way, but it is

479
00:29:17,800 --> 00:29:21,320
Speaker 1: going to ask some questions and maybe perhaps at a

480
00:29:21,440 --> 00:29:25,000
Speaker 1: later date, we'll dive back into this Pete Doherty story

481
00:29:25,040 --> 00:29:29,520
Speaker 1: as well. But we need more journalism here, and I'm

482
00:29:29,560 --> 00:29:32,120
Speaker 1: appealing to the actual music journalists out there who listened

483
00:29:32,120 --> 00:29:34,960
Speaker 1: to the show. You know, come on, let's go, let's

484
00:29:34,960 --> 00:29:38,120
Speaker 1: figure this out, all right. Anyways, I say all that

485
00:29:38,480 --> 00:29:40,640
Speaker 1: because we're in the midst of Pete Doherty week here

486
00:29:41,360 --> 00:29:44,280
Speaker 1: in this graceland. That's our latest episode this year is

487
00:29:44,320 --> 00:29:49,120
Speaker 1: the bonus episode. Episode tomorrow is our rewind episode, and

488
00:29:49,440 --> 00:29:51,680
Speaker 1: that is on Bobby Brown. Now, Lison, if you ever

489
00:29:51,720 --> 00:29:55,160
Speaker 1: wondered what having sex with a ghost was like, you

490
00:29:55,200 --> 00:29:57,640
Speaker 1: don't have to wonder anymore, because we're going to answer

491
00:29:57,640 --> 00:30:00,160
Speaker 1: that question in the Bobby Well Bobby, Bobby Brown has

492
00:30:00,160 --> 00:30:03,440
Speaker 1: answered it for us, and you can hear about it

493
00:30:03,680 --> 00:30:06,720
Speaker 1: in the Bobby Brown episode. I'm not kidding. Next week,

494
00:30:06,800 --> 00:30:10,040
Speaker 1: next week, next week, we have a very special episode

495
00:30:10,080 --> 00:30:13,960
Speaker 1: coming your way on Tuesday. Does something happening in Disgraceland

496
00:30:14,040 --> 00:30:16,479
Speaker 1: right now? Something big? I can't exactly say what it

497
00:30:16,520 --> 00:30:19,480
Speaker 1: is yet. I'm not even saying I'm gonna go all

498
00:30:19,560 --> 00:30:22,240
Speaker 1: the way there with this news and next week special episode,

499
00:30:22,240 --> 00:30:25,640
Speaker 1: but i am going to come close. So make sure

500
00:30:25,680 --> 00:30:29,560
Speaker 1: you check out our special episode coming to you on Tuesday.

501
00:30:29,640 --> 00:30:33,040
Speaker 1: That is a new app coming up right after Bobby Brown.

502
00:30:33,080 --> 00:30:35,640
Speaker 1: All right, and I'll be coming up right after this break.

503
00:30:35,640 --> 00:30:37,320
Speaker 1: I'm gonna take a quick break. I'll be back after

504
00:30:37,400 --> 00:30:50,960
Speaker 1: this with your voicemails text him. All right, guys, I'm back.

505
00:30:51,880 --> 00:30:53,640
Speaker 1: I'm in the chair. I'm talking to you all. I'm

506
00:30:53,640 --> 00:30:55,840
Speaker 1: in my happy place. I'm gonna go to Los Angeles

507
00:30:55,880 --> 00:31:02,239
Speaker 1: kind of unexpectedly, and it's a super quick trip, so

508
00:31:02,280 --> 00:31:05,360
Speaker 1: I'm getting it. I'm recording this early. My point is

509
00:31:05,560 --> 00:31:07,760
Speaker 1: in telling you this, I'm recording the after party earlier

510
00:31:07,760 --> 00:31:09,840
Speaker 1: this week. So we're not going to get a lot

511
00:31:09,840 --> 00:31:12,800
Speaker 1: of your answers and responses to the p Tord episode

512
00:31:12,960 --> 00:31:15,040
Speaker 1: here right now, but we will get to it next

513
00:31:15,040 --> 00:31:17,240
Speaker 1: week and next week's after party. But we are going

514
00:31:17,280 --> 00:31:18,640
Speaker 1: to talk to you, guys. We're gonna hear from you

515
00:31:19,040 --> 00:31:22,040
Speaker 1: as always six one seven nine oh six six six

516
00:31:22,200 --> 00:31:24,280
Speaker 1: three eight, voicemail and text. You want to hit me

517
00:31:24,360 --> 00:31:27,720
Speaker 1: up about anything, anything at all, episodes, you want to

518
00:31:27,760 --> 00:31:30,479
Speaker 1: hear artists, you want us to cover whatever it is,

519
00:31:30,560 --> 00:31:32,520
Speaker 1: get at us six one seven nine oh six six

520
00:31:32,600 --> 00:31:34,160
Speaker 1: six three eight. If you're shy you don't want to

521
00:31:34,200 --> 00:31:36,920
Speaker 1: leave a voicemail, I would encourage you to, you know,

522
00:31:37,120 --> 00:31:39,400
Speaker 1: leave a voicemail for sure. I love hearing your voices.

523
00:31:39,640 --> 00:31:43,400
Speaker 1: You can always send me a text as well. This voicemail, however,

524
00:31:43,640 --> 00:31:47,120
Speaker 1: comes from let's see here. This is the five oh.

525
00:31:46,880 --> 00:31:50,600
Speaker 2: Three, Hey Jake, this is the five o three two

526
00:31:50,600 --> 00:31:55,520
Speaker 2: fifty three am in the morning, listening to Not even

527
00:31:55,560 --> 00:31:58,160
Speaker 2: sure I listened to all of your shows anyway. We're

528
00:31:58,200 --> 00:32:03,080
Speaker 2: talking about women in rock and roll, which I'm not

529
00:32:03,120 --> 00:32:06,720
Speaker 2: sure that I've never really been two into. But you

530
00:32:06,880 --> 00:32:12,640
Speaker 2: haven't mentioned heart and I'm not a huge I prefer

531
00:32:12,760 --> 00:32:16,600
Speaker 2: Patty Smith over Heart. But what the hell, man, those guys,

532
00:32:16,640 --> 00:32:18,880
Speaker 2: those two must have sold more records than me of

533
00:32:18,920 --> 00:32:22,480
Speaker 2: these people, these others you're mentioning anyway, dude, that's it.

534
00:32:23,400 --> 00:32:26,000
Speaker 2: I hope you're doing well, man, fine, five.

535
00:32:25,840 --> 00:32:27,600
Speaker 1: O three, Thank you for the call. Yeah, you're right, man.

536
00:32:27,640 --> 00:32:30,080
Speaker 1: I don't know that I have mentioned Heart. I think

537
00:32:30,080 --> 00:32:33,400
Speaker 1: a listener might have in the last after party. I

538
00:32:33,400 --> 00:32:35,680
Speaker 1: guess I take Heart for granted, Like I was talking

539
00:32:35,720 --> 00:32:38,680
Speaker 1: the other day, we take CCR for granted because it's

540
00:32:38,800 --> 00:32:40,800
Speaker 1: kind of they've kind of they're just there. They've been

541
00:32:40,880 --> 00:32:45,560
Speaker 1: there forever, you know, on classic rock radio. But they

542
00:32:45,560 --> 00:32:49,720
Speaker 1: are incredible, incredible musicians, and yeah, they sold a shit

543
00:32:49,800 --> 00:32:52,760
Speaker 1: ton of records, and they they're definitely in the conversation.

544
00:32:53,840 --> 00:32:55,760
Speaker 1: I like Patti Smith more than HERD. I guess if

545
00:32:55,760 --> 00:32:57,400
Speaker 1: I was going to pull an album off my shelf

546
00:32:57,520 --> 00:32:59,680
Speaker 1: and I only had two choices, and those of them,

547
00:32:59,680 --> 00:33:01,920
Speaker 1: I I like, you would listen to Patty Smith as well.

548
00:33:01,920 --> 00:33:05,880
Speaker 1: But authored yeah, I don't really understand the comparison. I

549
00:33:05,880 --> 00:33:08,800
Speaker 1: guess I guess you're comparing them because I guess I

550
00:33:08,840 --> 00:33:10,840
Speaker 1: was talking a lot about Patty Smith in the last episode,

551
00:33:10,840 --> 00:33:14,760
Speaker 1: and I get that. But yeah, Heart great, great, great

552
00:33:14,960 --> 00:33:19,000
Speaker 1: great band. Well deserved Rock and Roll Hall of Fame inductee.

553
00:33:19,000 --> 00:33:20,920
Speaker 1: By the way, I guess we're gonna find out in

554
00:33:20,920 --> 00:33:23,640
Speaker 1: the next couple weeks who's getting in in the Hall

555
00:33:23,640 --> 00:33:25,640
Speaker 1: of Fame. I can't wait to talk to you guys

556
00:33:25,640 --> 00:33:29,880
Speaker 1: about it, but in the meantime, let's talk to the

557
00:33:30,080 --> 00:33:30,880
Speaker 1: seven two four.

558
00:33:31,440 --> 00:33:34,960
Speaker 3: Hey, Jay, this is Clint from seven two four. I'm

559
00:33:35,000 --> 00:33:39,160
Speaker 3: responding to your response to my response about the Baddest

560
00:33:39,200 --> 00:33:43,120
Speaker 3: Dass Females. I had said, John Jet, you wade in

561
00:33:43,160 --> 00:33:44,880
Speaker 3: and said you thought it was a pretty good choice

562
00:33:44,880 --> 00:33:47,600
Speaker 3: and asked me to get back that I ever seen

563
00:33:47,680 --> 00:33:50,800
Speaker 3: Light of Day Fucking a Dad. That was a great movie.

564
00:33:50,880 --> 00:33:53,479
Speaker 3: You could tavern. I live right up right on the

565
00:33:53,520 --> 00:33:56,920
Speaker 3: state line between Pennsylvania and Ohio, so I get up

566
00:33:56,920 --> 00:34:00,440
Speaker 3: that way for a long time a wive and back

567
00:34:00,440 --> 00:34:03,560
Speaker 3: in the day when that was a relatively popular cousin

568
00:34:03,600 --> 00:34:07,400
Speaker 3: Michael J. Bloxing John certainly made the pilgrimage, went up

569
00:34:07,440 --> 00:34:10,520
Speaker 3: there and check it out. There's also the Warsaw up there,

570
00:34:11,160 --> 00:34:14,200
Speaker 3: kind of same area where Joe Walsh played a lot with,

571
00:34:14,280 --> 00:34:17,040
Speaker 3: did did Drew Carrey show and shit like that kind

572
00:34:17,080 --> 00:34:20,120
Speaker 3: of fun. So yeah, thanks for getting me on. Thank

573
00:34:20,160 --> 00:34:22,759
Speaker 3: you for taking my response. Always a lot of fun.

574
00:34:23,320 --> 00:34:24,839
Speaker 3: You do a great job with your show.

575
00:34:25,080 --> 00:34:27,560
Speaker 1: Have a good day seven two four. Thanks for the call,

576
00:34:27,640 --> 00:34:30,920
Speaker 1: but thanks specifically for your your excellent placement of the

577
00:34:30,960 --> 00:34:33,239
Speaker 1: phrase fucking a Jake. I just love fucking a I

578
00:34:33,280 --> 00:34:34,880
Speaker 1: love that. I love that. You know what else? I

579
00:34:34,920 --> 00:34:36,960
Speaker 1: love I love I shit you not. I love it

580
00:34:36,960 --> 00:34:39,799
Speaker 1: when people say those those two phrases. Fucking a Clint,

581
00:34:39,880 --> 00:34:43,000
Speaker 1: Yeah you clid Tavern right right on, man, Thanks for

582
00:34:43,040 --> 00:34:46,360
Speaker 1: getting back and uh light a day. I love that

583
00:34:46,400 --> 00:34:50,160
Speaker 1: we're talking obscure Joon Jet movies from the eighties six

584
00:34:50,200 --> 00:34:51,960
Speaker 1: one seven, nine oh six, six, six three eight. You

585
00:34:51,960 --> 00:34:53,719
Speaker 1: guys want to talk to us about anything, doesn't have

586
00:34:53,760 --> 00:34:55,960
Speaker 1: to be obscure joone Jet movies from the nineteen eighties

587
00:34:56,280 --> 00:34:59,160
Speaker 1: six one nine Texan, Hey, Melissa here from the six

588
00:34:59,280 --> 00:35:00,680
Speaker 1: one nine. I'm not sure sure how we can have

589
00:35:00,680 --> 00:35:04,600
Speaker 1: a discussion about influential women in rock without mentioning and

590
00:35:04,640 --> 00:35:07,839
Speaker 1: in Nancy Wilson and as one of the most recognizable

591
00:35:07,880 --> 00:35:11,200
Speaker 1: voices of rock women, and Nancy is an outstanding guitarist.

592
00:35:11,480 --> 00:35:13,720
Speaker 1: The two of them combined in Heart makes a catalog

593
00:35:13,840 --> 00:35:16,680
Speaker 1: of some of the best rock tracks in history. Just

594
00:35:16,760 --> 00:35:20,279
Speaker 1: my two cents and your spot on those are two

595
00:35:20,320 --> 00:35:23,759
Speaker 1: cents well spent. Melissa, I agree with you one hundred percent.

596
00:35:24,160 --> 00:35:28,360
Speaker 1: I'll go even a step farther and say that Nancy

597
00:35:28,800 --> 00:35:33,520
Speaker 1: should get more recognition for her guitar playing. She's one

598
00:35:33,600 --> 00:35:38,040
Speaker 1: of the best in classic rock and not and I

599
00:35:38,040 --> 00:35:41,560
Speaker 1: don't mean like ripping off solos. I mean just as

600
00:35:41,600 --> 00:35:46,240
Speaker 1: her guitar playing sets the stage for the songwriting in heart,

601
00:35:46,440 --> 00:35:50,080
Speaker 1: it's kind of unmistakably her, which is awesome. Three h

602
00:35:50,160 --> 00:35:52,880
Speaker 1: two rites in how many messages did you get giving

603
00:35:52,920 --> 00:35:56,160
Speaker 1: you shit for omitting Susie Quatro from your most Influential

604
00:35:56,200 --> 00:35:59,040
Speaker 1: Female Rock Musicians discussion. I didn't think I omitted her.

605
00:35:59,840 --> 00:36:01,880
Speaker 1: I think we talked about her. I think she was

606
00:36:02,360 --> 00:36:06,200
Speaker 1: brought up by you guys, by the listeners first. And yeah,

607
00:36:06,200 --> 00:36:09,040
Speaker 1: we have a Susie Squatro episode coming three oh two,

608
00:36:09,360 --> 00:36:12,920
Speaker 1: so you will not be disappointed. Eric from the nine

609
00:36:12,960 --> 00:36:14,960
Speaker 1: to five four text and Hey, Eric from the nine

610
00:36:14,960 --> 00:36:19,239
Speaker 1: to five to four X Boston eighties nineties early two

611
00:36:19,360 --> 00:36:23,480
Speaker 1: thousands always enjoyed the show. The AFX Sex Pistol series

612
00:36:23,520 --> 00:36:27,880
Speaker 1: included Chrissy Hine throughout her and Susie Sue and others

613
00:36:27,880 --> 00:36:31,280
Speaker 1: blaze the trail in Europe. I think Carol King deserves

614
00:36:31,320 --> 00:36:34,800
Speaker 1: much credit for her role in the evolution of popular music. Damn,

615
00:36:35,400 --> 00:36:40,560
Speaker 1: you are absolutely right, Carol King. Her influence is hard

616
00:36:40,800 --> 00:36:45,600
Speaker 1: to measure in pop music. She's incredible, incredible, all right.

617
00:36:45,640 --> 00:36:47,520
Speaker 1: One little message here in the Rock and Roll Hall

618
00:36:47,520 --> 00:36:49,719
Speaker 1: of Fame nominee is this one because I want to

619
00:36:49,760 --> 00:36:51,960
Speaker 1: keep this conversation going with y'all. By the way, did

620
00:36:51,960 --> 00:36:53,560
Speaker 1: we talk about that in the I think we just

621
00:36:53,560 --> 00:36:56,680
Speaker 1: talked about it in the exclusive section last week. But anyways,

622
00:36:56,760 --> 00:36:59,120
Speaker 1: this one comes from Jason four one six Hey rock

623
00:36:59,280 --> 00:37:01,839
Speaker 1: Hall non and he's the one I'm really pulling for.

624
00:37:02,000 --> 00:37:05,120
Speaker 1: Is Joy Division New Order. It'll be a very blue

625
00:37:05,160 --> 00:37:08,520
Speaker 1: Monday if they don't get in highly highly influential. I

626
00:37:08,520 --> 00:37:11,080
Speaker 1: can't imagine the soundtrack of My life without at least

627
00:37:11,200 --> 00:37:14,000
Speaker 1: three Joy Division and three New Order songs on my

628
00:37:14,040 --> 00:37:16,839
Speaker 1: triple album saw them in twenty twenty two with Pet

629
00:37:16,840 --> 00:37:19,480
Speaker 1: Shop Boys and the show Blazed. I also noted that

630
00:37:19,520 --> 00:37:21,760
Speaker 1: it was not just gen xers like me and the audience,

631
00:37:21,880 --> 00:37:24,200
Speaker 1: people of all ages and many twenty and thirty somethings

632
00:37:24,280 --> 00:37:27,680
Speaker 1: rock and rolla yes, hugely influential and relevant to the

633
00:37:27,719 --> 00:37:33,279
Speaker 1: conversation we were having earlier about British bands. I don't know, man,

634
00:37:33,400 --> 00:37:36,640
Speaker 1: I have a problem with this one. Not that I

635
00:37:36,680 --> 00:37:41,000
Speaker 1: don't love the music or the band z a plural,

636
00:37:41,160 --> 00:37:43,799
Speaker 1: but it's the fact that the rock and Roll Hall

637
00:37:43,880 --> 00:37:48,560
Speaker 1: of Fame is inducting like a hybrid Joy Division slash

638
00:37:48,719 --> 00:37:50,840
Speaker 1: New Order. And I get why, it's just the difference

639
00:37:50,880 --> 00:37:54,279
Speaker 1: of a singer, right, It just seems fucking weird to me,

640
00:37:54,680 --> 00:38:00,759
Speaker 1: Like just like induct New Order and then inducting Curtis

641
00:38:01,280 --> 00:38:04,240
Speaker 1: at a later date or something. Doesn't this seem weird?

642
00:38:04,360 --> 00:38:06,200
Speaker 1: Doesn't this open a can of worms that we're not

643
00:38:06,320 --> 00:38:08,560
Speaker 1: that we're gonna be upset that we opened in like

644
00:38:08,880 --> 00:38:12,480
Speaker 1: five ten years. I don't know. Just seems kind of

645
00:38:12,480 --> 00:38:15,880
Speaker 1: odd to me. But I hear you hugely influential, and

646
00:38:15,920 --> 00:38:17,440
Speaker 1: I get it, and I love them too, and I

647
00:38:17,520 --> 00:38:21,080
Speaker 1: understand their greatness. I get it. Just there's something about

648
00:38:21,080 --> 00:38:23,480
Speaker 1: that the way it's being done rubs me the wrong way,

649
00:38:23,520 --> 00:38:26,040
Speaker 1: and it probably working against them if we're being if

650
00:38:26,040 --> 00:38:28,200
Speaker 1: we're being honest about it. But then again, we don't

651
00:38:28,200 --> 00:38:30,520
Speaker 1: know how these things get decided, so who the fuck knows?

652
00:38:31,800 --> 00:38:34,200
Speaker 1: All right, six one seven nine oh six six six

653
00:38:34,440 --> 00:38:36,480
Speaker 1: three eight, voicemail and text you guys want to get

654
00:38:36,520 --> 00:38:42,319
Speaker 1: at me at disgrace, slam pod on the socials, Instagram, TikTok, Facebook,

655
00:38:42,480 --> 00:38:44,560
Speaker 1: you how to do it. I'm gonna take a quick

656
00:38:44,600 --> 00:38:56,839
Speaker 1: break and I'll be back in a flash with some recommendations.

657
00:39:03,239 --> 00:39:06,680
Speaker 1: All right, we're back and I talked about this last week.

658
00:39:07,000 --> 00:39:10,279
Speaker 1: Gonna start doing more recommendations. I know you guys like it.

659
00:39:10,960 --> 00:39:13,560
Speaker 1: I like it. I like talking about what music I'm into.

660
00:39:13,680 --> 00:39:17,080
Speaker 1: I like talking about what music and films combined get

661
00:39:17,120 --> 00:39:19,719
Speaker 1: me going. I like talking about books. I'm reading movies,

662
00:39:19,760 --> 00:39:22,680
Speaker 1: I'm watching all that stuff. But I've been thinking, I've

663
00:39:22,680 --> 00:39:26,320
Speaker 1: been guys, this is gonna sound so fucked up. I

664
00:39:27,520 --> 00:39:30,320
Speaker 1: don't even know how to start this. I've been listening

665
00:39:30,360 --> 00:39:36,200
Speaker 1: to more new music that I have in the last decade,

666
00:39:37,600 --> 00:39:41,480
Speaker 1: and I have a take on why, but I can't

667
00:39:41,560 --> 00:39:44,600
Speaker 1: really articulate it yet. It has a lot to do

668
00:39:44,680 --> 00:39:47,880
Speaker 1: with how I don't like how modern rock and modern

669
00:39:47,920 --> 00:39:52,439
Speaker 1: guitar oriented music is produced in this sort of new

670
00:39:52,480 --> 00:39:54,560
Speaker 1: age of production that we're into, where everything's kind of

671
00:39:54,600 --> 00:39:57,279
Speaker 1: done in the box, so to speak. In the way

672
00:39:57,320 --> 00:39:59,560
Speaker 1: things sound. It just sounds different from how I was raised,

673
00:39:59,600 --> 00:40:03,040
Speaker 1: but going to get into that. However, I've sort of

674
00:40:03,480 --> 00:40:08,400
Speaker 1: opened myself up a little bit to being very curious

675
00:40:08,440 --> 00:40:15,120
Speaker 1: of modern pop music. And this is largely spun spun

676
00:40:15,200 --> 00:40:17,799
Speaker 1: me out from there's spun out, I should say, and

677
00:40:17,840 --> 00:40:20,480
Speaker 1: spun me out, spun out from me being on TikTok

678
00:40:20,719 --> 00:40:24,080
Speaker 1: and scrolling through and hearing stuff. I'm like, what the

679
00:40:24,080 --> 00:40:31,080
Speaker 1: fuck is that? That's good and you know it's new shit,

680
00:40:31,200 --> 00:40:33,600
Speaker 1: but it's not new rock, and it's not new ponk

681
00:40:33,680 --> 00:40:37,920
Speaker 1: or hardcore. It's like new fucking hip hop and Top forty.

682
00:40:37,960 --> 00:40:41,440
Speaker 1: I know that sounds insane, mainly Top forty. I like

683
00:40:42,120 --> 00:40:45,560
Speaker 1: the new Harry Styles American Girls song. I know some

684
00:40:45,640 --> 00:40:47,359
Speaker 1: of you are vomiting in your mouth. I don't care.

685
00:40:47,680 --> 00:40:51,440
Speaker 1: It's a good song and I can appreciate that song

686
00:40:51,840 --> 00:40:55,520
Speaker 1: the same way that I could appreciate George Michael in

687
00:40:55,560 --> 00:40:58,120
Speaker 1: the nineties. I like, it's not that new, it's from

688
00:40:58,120 --> 00:41:02,879
Speaker 1: twenty twenty four. The Dochi song Denial is a River.

689
00:41:03,480 --> 00:41:07,840
Speaker 1: It's fucking incredible. Everything I've heard by her is incredible,

690
00:41:07,840 --> 00:41:10,080
Speaker 1: by the way, which is new. This is like the

691
00:41:10,160 --> 00:41:15,399
Speaker 1: last few days for me. But I can appreciate her

692
00:41:15,480 --> 00:41:18,799
Speaker 1: stuff in the same way that I can appreciate Salt

693
00:41:18,840 --> 00:41:21,840
Speaker 1: and Pepa from the eighties or en Vogue or something

694
00:41:21,880 --> 00:41:25,520
Speaker 1: like that, which I love Doja Cat same thing. You're

695
00:41:25,520 --> 00:41:27,919
Speaker 1: gonna think I'm nuts, but I can appreciate that shit

696
00:41:28,000 --> 00:41:30,359
Speaker 1: the same way I can appreciate Kanye stuff from like,

697
00:41:31,360 --> 00:41:35,600
Speaker 1: you know, the twenty tens or whatever. So I'm not

698
00:41:35,640 --> 00:41:37,279
Speaker 1: saying that like we're gonna do recommendations is gonna be

699
00:41:37,320 --> 00:41:38,759
Speaker 1: all new music. I'm not saying that, you know. In

700
00:41:38,760 --> 00:41:42,560
Speaker 1: addition to I'm also like I've just have late onset

701
00:41:42,640 --> 00:41:45,840
Speaker 1: father John Misty appreciation. That's happened to me over the

702
00:41:45,920 --> 00:41:48,759
Speaker 1: last month. I've always kind of been curious and liked,

703
00:41:49,520 --> 00:41:51,839
Speaker 1: you know, what's a real love baby, that huge song.

704
00:41:51,880 --> 00:41:54,640
Speaker 1: But I've now I'm like, I'm deeper into the albums,

705
00:41:54,680 --> 00:41:56,279
Speaker 1: and that makes sense. If I told you I was

706
00:41:56,320 --> 00:41:57,680
Speaker 1: getting into that that was kind of a new thing

707
00:41:57,760 --> 00:41:59,399
Speaker 1: for me, even though he's not new, but a new

708
00:41:59,400 --> 00:42:01,160
Speaker 1: thing for me, guy would go, I gotta get that

709
00:42:02,440 --> 00:42:04,880
Speaker 1: the dough chy stuff though, that makes no sense, and

710
00:42:04,920 --> 00:42:07,239
Speaker 1: I'm not saying again, I'm not saying that, like are

711
00:42:07,320 --> 00:42:09,440
Speaker 1: the recommendations We're gonna be doing it gonna be like

712
00:42:09,640 --> 00:42:13,400
Speaker 1: new pop music. But I'm just gonna be honest with

713
00:42:13,400 --> 00:42:16,400
Speaker 1: what I'm listening to and let you guys know. And

714
00:42:16,960 --> 00:42:19,359
Speaker 1: I think it's a good thing. You know, I'm being

715
00:42:19,400 --> 00:42:22,480
Speaker 1: turned on to new shit, filthy, some of it. Do

716
00:42:22,680 --> 00:42:26,560
Speaker 1: Chi stuff is filthy. It's great. Anyhow, We're gonna be

717
00:42:26,600 --> 00:42:32,320
Speaker 1: doing the res over in Zeth's Rap Party episodes because

718
00:42:32,360 --> 00:42:35,000
Speaker 1: these after parties are jammed and we used to do

719
00:42:35,080 --> 00:42:39,560
Speaker 1: them over there, and then we stopped for reasons I

720
00:42:39,920 --> 00:42:42,520
Speaker 1: can't remember. But we're gonna start doing them again over

721
00:42:42,560 --> 00:42:46,160
Speaker 1: They'll be over there, and uh, don't worry, you won't forget.

722
00:42:46,480 --> 00:42:50,319
Speaker 1: I'll remind you here in the after party. And the

723
00:42:50,360 --> 00:42:54,160
Speaker 1: best part of the recommendations is it cues up this

724
00:42:54,200 --> 00:42:56,399
Speaker 1: conversation with you guys, and you start to send us

725
00:42:56,600 --> 00:42:59,960
Speaker 1: your recommendations, which is what we want. Six point seven

726
00:42:59,880 --> 00:43:01,839
Speaker 1: I know, sixt sixty six three eight, voicemail and text,

727
00:43:01,960 --> 00:43:05,640
Speaker 1: let us know what you're listening to, watching and reading.

728
00:43:05,760 --> 00:43:09,680
Speaker 1: TV sucks right now, guys, it sucks. I'm watching fucking

729
00:43:09,760 --> 00:43:13,840
Speaker 1: Love Story. Okay. TV blows at the moment. In my opinion,

730
00:43:14,760 --> 00:43:19,360
Speaker 1: I'm forcing myself to like this. Jason Bateman Slowburn DTF,

731
00:43:19,400 --> 00:43:21,480
Speaker 1: which I don't hate, but I mean, I just like,

732
00:43:21,520 --> 00:43:24,160
Speaker 1: I've given this thing, now what four hours of my life,

733
00:43:24,200 --> 00:43:28,759
Speaker 1: and I'm just mildly entertained. TV res give me the

734
00:43:28,760 --> 00:43:32,520
Speaker 1: TV res. Okay, great film res. I feel like movies

735
00:43:32,560 --> 00:43:36,719
Speaker 1: have come back. Movies are now what peak television was

736
00:43:37,800 --> 00:43:40,000
Speaker 1: ten years ago, or they're getting there. So we're gonna

737
00:43:40,000 --> 00:43:42,399
Speaker 1: talk about that stuff too in the recommendations. And as

738
00:43:42,400 --> 00:43:45,879
Speaker 1: you know, music and movies always a central topic for us.

739
00:43:46,760 --> 00:43:48,080
Speaker 1: Some of you, if not all of you, know that

740
00:43:48,120 --> 00:43:50,360
Speaker 1: we have a new video podcast called This Film Should

741
00:43:50,360 --> 00:43:55,440
Speaker 1: be Played Loud and it is available the new episode. Yeah,

742
00:43:55,520 --> 00:43:58,160
Speaker 1: you can hear it right now. It came out yesterday.

743
00:43:58,160 --> 00:44:00,279
Speaker 1: You gotta be a Patreon member. Go to disgrace pod

744
00:44:00,280 --> 00:44:02,720
Speaker 1: dot com to sign up to become an all access member.

745
00:44:03,360 --> 00:44:07,560
Speaker 1: We did Big Lebowski this month and it was a

746
00:44:07,600 --> 00:44:12,560
Speaker 1: lot of fun, great great movie with incredible music, one

747
00:44:12,560 --> 00:44:15,640
Speaker 1: of the greatest soundtracks from the nineties in my opinion,

748
00:44:16,280 --> 00:44:20,160
Speaker 1: and a movie where the music I believe changed the

749
00:44:20,200 --> 00:44:23,040
Speaker 1: trajectory of the Coen Brothers career. The music from The

750
00:44:23,040 --> 00:44:26,040
Speaker 1: Big Lebowski. And you'll hear why I think that, and

751
00:44:26,120 --> 00:44:28,799
Speaker 1: you'll hear Ze's thoughts as well, and Zeth is really

752
00:44:28,800 --> 00:44:30,719
Speaker 1: more of a film guy than I am, and his

753
00:44:30,800 --> 00:44:35,600
Speaker 1: insights into soundtracks and scoring is pretty incredible and I

754
00:44:35,600 --> 00:44:37,919
Speaker 1: always come away having learned something and I laugh pretty

755
00:44:37,920 --> 00:44:39,960
Speaker 1: fucking hard when we do these, which is great. So

756
00:44:40,080 --> 00:44:43,040
Speaker 1: check that out. Next next month's episode is going to

757
00:44:43,160 --> 00:44:47,520
Speaker 1: be on High Fidelity, which I know all of you

758
00:44:47,600 --> 00:44:49,759
Speaker 1: love that movie, so that's coming up as well. Go

759
00:44:49,760 --> 00:44:52,200
Speaker 1: to Disgrace slamdpod dot com to sign up for this

760
00:44:52,239 --> 00:44:55,160
Speaker 1: film should be played loud. Make sure you're subscribed to

761
00:44:55,160 --> 00:44:57,960
Speaker 1: the hollywood Land podcast so you can get the rap

762
00:44:58,000 --> 00:45:00,959
Speaker 1: parties and all the recommendations I'll be doing over there

763
00:45:01,040 --> 00:45:03,279
Speaker 1: with Zez, plus everything that Zeth has going on. He's

764
00:45:03,719 --> 00:45:05,839
Speaker 1: we got three episodes pop it off a week over

765
00:45:05,880 --> 00:45:07,680
Speaker 1: in the Hollywoodland fees. So if you want more double

766
00:45:07,719 --> 00:45:11,279
Speaker 1: Elvis content, you're gonna supersize it over there. So make

767
00:45:11,320 --> 00:45:15,560
Speaker 1: sure you're subscribed to Hollywoodland on Apple podcasts, see iHeartRadio

768
00:45:15,560 --> 00:45:18,839
Speaker 1: app wherever you get your podcasts. Now, it is time

769
00:45:19,920 --> 00:45:22,880
Speaker 1: for the Sports Rant sponsored by Five Hour Energy. This

770
00:45:23,000 --> 00:45:26,120
Speaker 1: is the sixty second Sports Rant and under thirty seconds

771
00:45:26,480 --> 00:45:29,719
Speaker 1: sponsored by five Hour Energy in their fruity Rainbow flavor.

772
00:45:29,760 --> 00:45:33,440
Speaker 1: Treat your taste buds to an explosion of fruity candy

773
00:45:33,440 --> 00:45:36,920
Speaker 1: flavor with a tasty caffeine kick. Get candy flavored chaos

774
00:45:37,320 --> 00:45:41,320
Speaker 1: with Fruity Rainbow Five Hour Energy shots online at www

775
00:45:41,440 --> 00:45:45,680
Speaker 1: dot five hour Energy dot com or at Amazon Now. Listen, guys,

776
00:45:46,280 --> 00:45:48,880
Speaker 1: I don't think I've nailed one of these sixty second

777
00:45:48,920 --> 00:45:52,640
Speaker 1: sports rants and under thirty seconds yet, so we're going

778
00:45:52,680 --> 00:45:55,920
Speaker 1: to try right now. The other day, I was cruising

779
00:45:55,920 --> 00:45:59,600
Speaker 1: around to YouTube on my couch with my youngest son,

780
00:45:59,760 --> 00:46:05,120
Speaker 1: a years old, and we came across a CBS network

781
00:46:05,520 --> 00:46:11,360
Speaker 1: football promo from the nineteen seventies, and literally every single

782
00:46:11,400 --> 00:46:16,719
Speaker 1: piece of footage, every hit, every action shot from an

783
00:46:16,800 --> 00:46:20,120
Speaker 1: NFL game that they were using to promote their games

784
00:46:20,239 --> 00:46:24,360
Speaker 1: on CBS, every single one would now be an illegal

785
00:46:24,480 --> 00:46:28,759
Speaker 1: hit in today's NFL. My son's mind was blown. He

786
00:46:28,840 --> 00:46:31,480
Speaker 1: literally was like, that's a penalty. You can't do it.

787
00:46:31,560 --> 00:46:34,480
Speaker 1: You can't do that, you can't now listen, He's not wrong.

788
00:46:34,920 --> 00:46:36,600
Speaker 1: Am I gonna pull the old guy card here and

789
00:46:36,680 --> 00:46:38,920
Speaker 1: rant about how football is this better back then? Was

790
00:46:38,960 --> 00:46:41,920
Speaker 1: it better back then? I can't really say. I don't

791
00:46:41,960 --> 00:46:44,600
Speaker 1: know it certainly wasn't healthier. I don't want my son

792
00:46:44,640 --> 00:46:47,120
Speaker 1: playing that game that was up there on that screen.

793
00:46:47,239 --> 00:46:50,800
Speaker 1: It was nuts. Do yourself as a favorite and google

794
00:46:50,840 --> 00:46:53,120
Speaker 1: this or search for this on YouTube. I should say

795
00:46:53,560 --> 00:46:57,359
Speaker 1: CBS NFL Sunday Sports promo. It'll come up in no time.

796
00:46:57,640 --> 00:47:01,239
Speaker 1: I guarantee it all to say I miss sports right now.

797
00:47:01,480 --> 00:47:03,719
Speaker 1: I got nothing. I got nothing. You know this. We're

798
00:47:03,719 --> 00:47:06,400
Speaker 1: in the dead zone. I guess I gotta turn my

799
00:47:06,640 --> 00:47:09,320
Speaker 1: I gotta put my my frickin green teamer shirt on

800
00:47:09,400 --> 00:47:12,200
Speaker 1: here and get on the Celtics bandwagon as we head

801
00:47:12,200 --> 00:47:15,440
Speaker 1: into the postseason. But it's it's just where you know.

802
00:47:15,440 --> 00:47:19,560
Speaker 1: I'm watching. I'm watching seventies NFL promos on YouTube. Come on, man,

803
00:47:19,680 --> 00:47:22,239
Speaker 1: what's wrong with me? Matt? How did I get eighty

804
00:47:22,360 --> 00:47:22,960
Speaker 1: nine seconds?

805
00:47:23,040 --> 00:47:23,239
Speaker 2: Jake?

806
00:47:23,320 --> 00:47:26,520
Speaker 1: So, I guess it was a sixty second sports rant

807
00:47:26,520 --> 00:47:29,160
Speaker 1: in under ninety seconds? All right, Well, you can't faulp

808
00:47:29,200 --> 00:47:31,759
Speaker 1: me for trying. That was a sports rant sponsored by

809
00:47:31,760 --> 00:47:34,960
Speaker 1: Five Hour Energies. Fruity Rainbow Flavor. Treat yourself to a

810
00:47:35,000 --> 00:47:38,920
Speaker 1: candy like flavor explosion and satisfy your sweet tooth with

811
00:47:39,040 --> 00:47:42,440
Speaker 1: this zero sugar treat. Once again, you can get in

812
00:47:42,520 --> 00:47:46,120
Speaker 1: on the candy flavor Chaos online at www Dot five

813
00:47:46,160 --> 00:47:50,640
Speaker 1: hour Energy dot com or Amazon today. Guys. I loved

814
00:47:50,640 --> 00:47:53,359
Speaker 1: our britpop conversation from earlier, but we got more on

815
00:47:53,400 --> 00:48:00,399
Speaker 1: this subject, specifically, which iconic rockstars were nearly kidnapped by

816
00:48:00,920 --> 00:48:06,440
Speaker 1: a British band of just complete in Total Criminals. We're

817
00:48:06,480 --> 00:48:08,400
Speaker 1: gonna get into that. We're gonna get into love story

818
00:48:08,840 --> 00:48:12,680
Speaker 1: Damon and Justine. Okay, we're gonna get into that in

819
00:48:12,719 --> 00:48:15,279
Speaker 1: the exclusive section. Good at disgracelandpod dot com to sign up.

820
00:48:28,040 --> 00:48:31,240
Speaker 1: All right, guys, welcome back. Let's uh, you know the archive.

821
00:48:31,360 --> 00:48:34,839
Speaker 1: You know the archive, Disgraceland Archive. What's the disgrace Land Archive. Well,

822
00:48:34,920 --> 00:48:39,160
Speaker 1: let's got two hundred and sixty plus episodes on tons

823
00:48:39,160 --> 00:48:42,240
Speaker 1: of artists that you know and love, and every week

824
00:48:42,719 --> 00:48:45,879
Speaker 1: I inevitably mentioned some of them, and it's a good

825
00:48:45,960 --> 00:48:48,800
Speaker 1: jumping off point to clue you guys into the archive.

826
00:48:48,880 --> 00:48:54,280
Speaker 1: We mentioned Oasis, The Clash, Sex Pistols, Generation X, Billy Idol,

827
00:48:55,040 --> 00:48:58,160
Speaker 1: Joy Division, and we have episodes on all of those artists.

828
00:48:58,160 --> 00:49:02,360
Speaker 1: Matt will grab the episode information put it in the

829
00:49:02,360 --> 00:49:04,400
Speaker 1: show notes of this page to help you guys easily

830
00:49:04,480 --> 00:49:06,640
Speaker 1: navigate to those stories. Should you want to hear them?

831
00:49:06,680 --> 00:49:08,479
Speaker 1: And you should. You should want to hear them because

832
00:49:08,520 --> 00:49:10,960
Speaker 1: if you know, if I say so myself, they're you know,

833
00:49:11,200 --> 00:49:14,160
Speaker 1: they're fucking awesome. Okay, listen, let's recap shat we Number

834
00:49:14,200 --> 00:49:16,000
Speaker 1: one this week, our new episode on Pete Already is

835
00:49:16,000 --> 00:49:17,680
Speaker 1: available for you to listen to you right now. Number two,

836
00:49:17,880 --> 00:49:20,720
Speaker 1: our rewind episode coming up next is on Bobby Brown.

837
00:49:20,840 --> 00:49:24,920
Speaker 1: Number three next week a very special Disgraceland episode that

838
00:49:24,960 --> 00:49:27,439
Speaker 1: you are not going to want to miss. Number four,

839
00:49:27,960 --> 00:49:30,719
Speaker 1: Zeth gives you those Hollywood and crime vibes in Hollywood Lands.

840
00:49:30,760 --> 00:49:33,919
Speaker 1: To make sure you're subscribed on Apple Podcasts, the iHeartRadio app,

841
00:49:33,960 --> 00:49:36,200
Speaker 1: or wherever you get your podcast. Number five are new.

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00:49:36,360 --> 00:49:39,400
Speaker 1: This film should be played loud video podcasts on the

843
00:49:39,440 --> 00:49:42,279
Speaker 1: Big Lebowski is available for you to watch right now

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00:49:42,320 --> 00:49:45,840
Speaker 1: over on our Patreon. Go to disgracelandpod dot com to

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00:49:46,040 --> 00:49:48,520
Speaker 1: sign up. Number six six one seven nine oh six

846
00:49:48,640 --> 00:49:50,760
Speaker 1: six six three eight, Give me call, let me voicemail,

847
00:49:50,800 --> 00:49:53,360
Speaker 1: semi text your voice. It keeps us digging into the

848
00:49:53,400 --> 00:49:56,280
Speaker 1: dark corners of music history. So keep calling, keep texting

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00:49:56,280 --> 00:49:58,440
Speaker 1: with your answers to the week's question of the week,

850
00:49:58,680 --> 00:49:59,799
Speaker 1: or with whatever else you want to talk.

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00:50:00,320 --> 00:50:00,480
Speaker 2: Seven.

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00:50:00,480 --> 00:50:03,200
Speaker 1: Don't forget discos. This isn't just content. It's a community,

853
00:50:03,239 --> 00:50:07,040
Speaker 1: a community the obsessed, and no one cares about music, books,

854
00:50:07,120 --> 00:50:10,360
Speaker 1: records and the crime and grime that ties them all together,

855
00:50:10,440 --> 00:50:13,960
Speaker 1: like you do. And well that's a disgrace, all right.

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00:50:14,200 --> 00:50:17,200
Speaker 1: December second, two thousand and six, that's the day that

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00:50:17,239 --> 00:50:21,439
Speaker 1: Mark Blanco stopped partying with Pete Daugherty and died in

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00:50:21,480 --> 00:50:24,759
Speaker 1: a well pretty sketchy way. And on that day, this

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00:50:24,840 --> 00:50:29,000
Speaker 1: is what America was listening to, according to the Billboard Charts.

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00:50:29,600 --> 00:50:33,840
Speaker 1: Number one I Want to Love You Acon featuring Snoop

861
00:50:33,880 --> 00:50:39,319
Speaker 1: Dogg last week seventeen peak positions one weeks on chart

862
00:50:39,680 --> 00:50:45,200
Speaker 1: number eight, Number two, Smack That Acon featuring eminem Pea

863
00:50:45,680 --> 00:50:49,799
Speaker 1: last week three two peak position peak two weeks on chart.

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00:50:50,000 --> 00:50:55,719
Speaker 1: Weeks on number three, it replaced it last week hind

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00:50:55,800 --> 00:51:00,360
Speaker 1: position peak position five seeks on chart three five weeks

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00:51:00,400 --> 00:51:04,960
Speaker 1: on number four. My Love Justin Timberlake featuring t I

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00:51:05,560 --> 00:51:10,279
Speaker 1: last week one, keep position one week's on a shot

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Speaker 1: number five

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Speaker 2: For Delicious, Quit talking and start mixing cult It