1 00:00:01,720 --> 00:00:04,600 Speaker 1: Hey, discos, need a little more Disgraceland in your life, 2 00:00:05,080 --> 00:00:08,000 Speaker 1: just to touch to get you through. Yeah, me too. 3 00:00:08,680 --> 00:00:11,120 Speaker 1: This is the podcast that comes after the podcast. 4 00:00:11,560 --> 00:00:26,799 Speaker 2: Welcome to Disgraceland the after Party. 5 00:00:28,680 --> 00:00:32,080 Speaker 1: Welcome to the Disgraceland bonus episode, a little thing we'd 6 00:00:32,120 --> 00:00:34,800 Speaker 1: like to call the after party. This is the show 7 00:00:34,840 --> 00:00:37,559 Speaker 1: after the show, the party after the party, the bridge 8 00:00:37,600 --> 00:00:40,720 Speaker 1: to get you from one full episode of Disgraceland to 9 00:00:40,760 --> 00:00:44,760 Speaker 1: the other, the backyard to dig into the dirt. On 10 00:00:44,800 --> 00:00:50,000 Speaker 1: this episode, we are talking about easy E, Tina Turner, 11 00:00:50,280 --> 00:00:53,760 Speaker 1: a couple seconds on, the utter collapse of the Boston Celtics, 12 00:00:53,960 --> 00:00:56,720 Speaker 1: and of course your voicemails, text, dms and more and 13 00:00:56,800 --> 00:00:59,960 Speaker 1: as always, a whole lot of rosy. All right, discs, 14 00:01:00,480 --> 00:01:14,880 Speaker 1: let's get into it. Yes, yes, Yes, Welcome to the 15 00:01:14,880 --> 00:01:19,280 Speaker 1: Disgrace Slam Bonus episode after Party Hula Balo Extravaganza. Let's 16 00:01:19,319 --> 00:01:23,640 Speaker 1: talk about easy Mother, flipping E, a dead man's drug stash, 17 00:01:23,680 --> 00:01:26,600 Speaker 1: a kill list, and a musical effort that changed the game. 18 00:01:26,640 --> 00:01:28,840 Speaker 1: We get into all this in the latest episode of 19 00:01:28,840 --> 00:01:30,679 Speaker 1: disgracelamb But what I want to talk to you about 20 00:01:31,000 --> 00:01:34,560 Speaker 1: now is how easy E is unlike any artist in 21 00:01:34,680 --> 00:01:37,360 Speaker 1: music history. You might be saying, what how, and I 22 00:01:37,440 --> 00:01:39,440 Speaker 1: might be saying to you in response, Well, it's tough 23 00:01:39,440 --> 00:01:41,040 Speaker 1: to answer. I don't really know. But all I can 24 00:01:41,080 --> 00:01:43,800 Speaker 1: tell you is that if you were there when easy 25 00:01:43,840 --> 00:01:47,880 Speaker 1: E happened, then you knew, okay, when NWA happened, and 26 00:01:47,920 --> 00:01:50,480 Speaker 1: that happened, I mean when Straight out of Compton made 27 00:01:50,520 --> 00:01:53,480 Speaker 1: it past the West Coast and was mass distributed to 28 00:01:53,520 --> 00:01:56,760 Speaker 1: the suburbs. Okay, when it got to us when that happened, 29 00:01:56,880 --> 00:01:59,520 Speaker 1: which was roughly nineteen eighty nine. I know the record 30 00:01:59,560 --> 00:02:01,960 Speaker 1: was released and that's sent Straight out of Compton came. 31 00:02:01,960 --> 00:02:05,080 Speaker 1: But when that record hit white kids like me in 32 00:02:05,160 --> 00:02:08,240 Speaker 1: the suburbs, in other words, when all us dumbasses got them, 33 00:02:08,280 --> 00:02:10,320 Speaker 1: after all the cool kids did, and all the kids 34 00:02:10,320 --> 00:02:12,040 Speaker 1: in the city and all the kids who were you know, 35 00:02:12,160 --> 00:02:15,359 Speaker 1: already aware of hip hop and were older. The reaction 36 00:02:15,520 --> 00:02:19,920 Speaker 1: that we had, okay, at the time the quote unquote masses, 37 00:02:20,240 --> 00:02:23,720 Speaker 1: although that's an over generalization, but the reaction we had, 38 00:02:24,800 --> 00:02:29,920 Speaker 1: it's impossible to explain. And the explicit nature of the 39 00:02:30,040 --> 00:02:34,480 Speaker 1: lyrics and more specifically, the explicit nature of the storytelling, Okay, 40 00:02:35,240 --> 00:02:40,000 Speaker 1: the stories of gang life and well everyday life in Compton. 41 00:02:40,440 --> 00:02:44,000 Speaker 1: The stories that Easy told on that record, and that 42 00:02:44,160 --> 00:02:48,120 Speaker 1: is his group members, fellow group members, I don't want 43 00:02:48,160 --> 00:02:52,240 Speaker 1: to say bandmates, the other guys in NWA told. You 44 00:02:52,240 --> 00:02:56,160 Speaker 1: know the reaction we had to what we heard, it 45 00:02:56,200 --> 00:02:59,360 Speaker 1: cannot be overstated. What we heard was literally unlike anything 46 00:02:59,360 --> 00:03:01,880 Speaker 1: that we'd heard before four and Easy was at the 47 00:03:01,880 --> 00:03:04,560 Speaker 1: center of those of those stories and at the center 48 00:03:04,639 --> 00:03:08,280 Speaker 1: of that storytelling his voice the story it sounded. It 49 00:03:08,320 --> 00:03:10,920 Speaker 1: was the most interesting of the voices in NWA, and 50 00:03:11,000 --> 00:03:14,520 Speaker 1: his voice was the most authentic. He sounded different, he 51 00:03:14,600 --> 00:03:18,520 Speaker 1: sounded more believable, and he looked the part. He looked dangerous. 52 00:03:18,760 --> 00:03:20,800 Speaker 1: He not only looked like he'd steal your girlfriend, he 53 00:03:20,840 --> 00:03:22,600 Speaker 1: looked like he beat you down or worse if you 54 00:03:22,720 --> 00:03:25,359 Speaker 1: got upset about it. And that's because, like I said, 55 00:03:25,440 --> 00:03:29,000 Speaker 1: Easy was authentic. Of all the members of NWA, Easy 56 00:03:29,280 --> 00:03:32,600 Speaker 1: was the only legit, street, credible hustler, the only guy 57 00:03:32,600 --> 00:03:35,240 Speaker 1: who lived the life that they were rapping about on records, 58 00:03:35,240 --> 00:03:37,360 Speaker 1: who really truly lived it. Now, they oh, they were 59 00:03:37,360 --> 00:03:41,840 Speaker 1: all from South Central, Okay, they're all around the life 60 00:03:41,920 --> 00:03:43,840 Speaker 1: that they were talking about. But my point is that 61 00:03:43,920 --> 00:03:48,160 Speaker 1: Easy was the only one who actually lived it, and 62 00:03:48,200 --> 00:03:50,400 Speaker 1: there was something about the fact that he had his 63 00:03:50,480 --> 00:03:54,280 Speaker 1: own solo record as well. Of all the members in 64 00:03:54,360 --> 00:03:56,920 Speaker 1: NWA at the time, Easy he had so much to 65 00:03:56,920 --> 00:03:58,800 Speaker 1: say that not only was he featured on every track 66 00:03:58,800 --> 00:04:00,320 Speaker 1: as straight out of Comptent, but he had a own 67 00:04:00,400 --> 00:04:02,400 Speaker 1: solo album as well where he doubled down on the 68 00:04:02,440 --> 00:04:04,480 Speaker 1: stories from his life. And it had to be from 69 00:04:04,520 --> 00:04:07,080 Speaker 1: our point of view because he was so real. He 70 00:04:07,120 --> 00:04:10,720 Speaker 1: was he was the most real. He looked fucking weird, 71 00:04:10,760 --> 00:04:13,560 Speaker 1: he was short and stature, but he was huge on 72 00:04:13,600 --> 00:04:17,200 Speaker 1: the mic. He was. He was this image that ice 73 00:04:17,279 --> 00:04:19,680 Speaker 1: Cube at the time was not that Doctor Dre at 74 00:04:19,680 --> 00:04:23,360 Speaker 1: the time, was not Yella. All those guys, they could 75 00:04:23,400 --> 00:04:25,960 Speaker 1: not match up to Easy E. When he picked up 76 00:04:25,960 --> 00:04:29,920 Speaker 1: a Verse, it was different. You knew it. It felt different, okay. 77 00:04:30,440 --> 00:04:33,720 Speaker 1: And again the explicit nature of what he was talking 78 00:04:33,720 --> 00:04:36,880 Speaker 1: about was by far, in a way, some of the 79 00:04:36,880 --> 00:04:41,840 Speaker 1: most explicit material we'd ever heard in music. Okay. Uh, 80 00:04:43,000 --> 00:04:48,080 Speaker 1: you know, Easy he wasn't a musician, he wasn't an artist. 81 00:04:48,560 --> 00:04:51,880 Speaker 1: He was quite literally a product of the streets and 82 00:04:51,920 --> 00:04:55,160 Speaker 1: so was NWA. But it was only because of Easy 83 00:04:56,040 --> 00:04:58,159 Speaker 1: In the latest episode of Disgracing, we talk about why 84 00:04:58,200 --> 00:05:00,640 Speaker 1: this isn't just how easy E took the bi of 85 00:05:00,680 --> 00:05:03,119 Speaker 1: the streets, the money he made from the streets, drug 86 00:05:03,160 --> 00:05:05,880 Speaker 1: money that he fell into, and turned that into an iconic, 87 00:05:05,920 --> 00:05:08,920 Speaker 1: culture shifting career in music that spawned not only his 88 00:05:08,960 --> 00:05:12,119 Speaker 1: solo career but also NWA. Like I said, the older 89 00:05:12,160 --> 00:05:14,000 Speaker 1: I get, the more I believe that pop stars right 90 00:05:14,040 --> 00:05:18,360 Speaker 1: famous music, super famous musicians, pop stars, that they're not 91 00:05:18,480 --> 00:05:23,680 Speaker 1: just musicians. They're sometimes magicians. Okay. The trick they trick us, 92 00:05:23,839 --> 00:05:27,440 Speaker 1: and their greatest trick is making us believe in them 93 00:05:27,720 --> 00:05:31,640 Speaker 1: and making us believe in their authenticity. Okay, it's a 94 00:05:31,720 --> 00:05:35,719 Speaker 1: fucking trick. Okay. They are not who they say they are. 95 00:05:36,720 --> 00:05:39,039 Speaker 1: They are at one point, but then they quickly grow 96 00:05:39,040 --> 00:05:41,080 Speaker 1: into something else, and we can't fault them for that. 97 00:05:41,160 --> 00:05:43,279 Speaker 1: I'm not doing that. I'm not passing judgment. I'm just 98 00:05:43,279 --> 00:05:46,359 Speaker 1: saying it is what it is. Bob Dylan is an enigma. 99 00:05:46,680 --> 00:05:49,680 Speaker 1: But Bob Dylan is an enigma by design, by his 100 00:05:49,839 --> 00:05:54,640 Speaker 1: own design, and smartly by his design. Kurt Cobain, he 101 00:05:54,680 --> 00:05:56,559 Speaker 1: made us all think that he could care less about 102 00:05:56,560 --> 00:05:58,440 Speaker 1: being famous, that it was all a burden to him, 103 00:05:58,480 --> 00:06:00,600 Speaker 1: and he just wanted to make little grunge cassettes while 104 00:06:00,600 --> 00:06:03,080 Speaker 1: he pumped Gas and Aberdeen or whatever. But there are 105 00:06:03,120 --> 00:06:05,839 Speaker 1: so many stories of him wrangling his publicist, wrangling his 106 00:06:05,960 --> 00:06:10,080 Speaker 1: management about how you know, about how he wasn't receiving 107 00:06:10,200 --> 00:06:12,320 Speaker 1: enough press, how he wasn't getting the push that he 108 00:06:12,400 --> 00:06:14,800 Speaker 1: needed from his record label. Okay, does that sound like 109 00:06:14,839 --> 00:06:18,000 Speaker 1: a guy who could care less about being famous? I 110 00:06:18,000 --> 00:06:19,960 Speaker 1: could go on and on. There are countless examples of 111 00:06:20,040 --> 00:06:22,880 Speaker 1: artists like this phoning in their authenticity or at the 112 00:06:22,960 --> 00:06:25,680 Speaker 1: very least contradicting it. It don't even get me started 113 00:06:25,680 --> 00:06:27,560 Speaker 1: on ice Cube, who I love, by the way, and 114 00:06:27,600 --> 00:06:31,719 Speaker 1: who is probably my favorite member of NWA. And you know, 115 00:06:31,800 --> 00:06:33,960 Speaker 1: I'm sure Easye has his I know he does. He 116 00:06:34,000 --> 00:06:36,320 Speaker 1: has his share of contradictions as well. But in nineteen 117 00:06:36,360 --> 00:06:38,839 Speaker 1: eighty eight nineteen eighty nine, when Easy burst onto the 118 00:06:38,880 --> 00:06:43,400 Speaker 1: scene with NWA, he was authentic as fuck, as authentic 119 00:06:43,440 --> 00:06:46,520 Speaker 1: and compelling an artist as I'd ever seen. I was fifteen, 120 00:06:46,800 --> 00:06:49,600 Speaker 1: I think ish somewhere around there, and all of a sudden, 121 00:06:49,680 --> 00:06:53,480 Speaker 1: ACDC was a joke, Megadeth, Megadeth were more like Mega frauds. 122 00:06:53,720 --> 00:06:55,600 Speaker 1: I'd go on to meet Erosmith later that year. As 123 00:06:55,600 --> 00:06:57,000 Speaker 1: a little kid and even then I could smell the 124 00:06:57,000 --> 00:07:00,120 Speaker 1: bullshit backstage at the Boston Garden. Forget about what was 125 00:07:00,160 --> 00:07:03,520 Speaker 1: on the charts in nineteen eighty nine, Warrant, Debbie Gibson, 126 00:07:03,560 --> 00:07:06,880 Speaker 1: Millie Vanelli, need I say anything else? EASYE was an 127 00:07:06,880 --> 00:07:11,200 Speaker 1: authentic bullet searing through a sea of imitation pop cheese, 128 00:07:11,760 --> 00:07:16,840 Speaker 1: and he had a massive impact, okay impact, an impact 129 00:07:16,920 --> 00:07:21,360 Speaker 1: on suburban kids like me all over, who just hyper 130 00:07:21,400 --> 00:07:25,080 Speaker 1: focused our interest in hip hop music. And beyond that, 131 00:07:25,160 --> 00:07:27,400 Speaker 1: I mean, it's no wonder than in nineteen eighty nine. 132 00:07:27,960 --> 00:07:30,320 Speaker 1: That's the year I discovered hardcore music, sick of it all, 133 00:07:30,360 --> 00:07:33,360 Speaker 1: wrecking cruise, slapshot, breakdown, raw deal. After easy the fake 134 00:07:33,400 --> 00:07:35,080 Speaker 1: shit just wasn't going to do it for me. It 135 00:07:35,120 --> 00:07:38,160 Speaker 1: was go hard and go real or go home. Of course, 136 00:07:38,920 --> 00:07:41,280 Speaker 1: of course, of course, a lot of time has passed 137 00:07:41,280 --> 00:07:44,600 Speaker 1: since then. I've lightened up over the years. I can 138 00:07:44,680 --> 00:07:48,080 Speaker 1: appreciate the context around all artists, and frankly, nowadays, I 139 00:07:48,120 --> 00:07:49,560 Speaker 1: don't care if an artist wakes up in a better 140 00:07:49,600 --> 00:07:51,360 Speaker 1: money and hitches a ride on the bullshit express to 141 00:07:51,360 --> 00:07:53,600 Speaker 1: a recording studio of the song itself that he records 142 00:07:53,600 --> 00:07:56,679 Speaker 1: at that studio moves me in any way, I'm in Okay, 143 00:07:56,800 --> 00:07:58,440 Speaker 1: and I'm talking to you the weekend. I'm talking to you, 144 00:07:58,480 --> 00:08:00,840 Speaker 1: Miley Cyrus, I'm talking to you Taylor's I'm in. But 145 00:08:00,880 --> 00:08:04,800 Speaker 1: when you're fifteen, When you're fifteen, you don't have that perspective. 146 00:08:05,440 --> 00:08:08,000 Speaker 1: I didn't, at least. I just wanted it raw. I 147 00:08:08,080 --> 00:08:10,800 Speaker 1: just wanted it real and easy E. I didn't even 148 00:08:10,840 --> 00:08:13,640 Speaker 1: know I wanted it that way, but easy did, and 149 00:08:13,640 --> 00:08:15,080 Speaker 1: he gave it to me like no one else did. 150 00:08:15,400 --> 00:08:18,120 Speaker 1: And I know this was one hundred percent subjective. One 151 00:08:18,120 --> 00:08:21,000 Speaker 1: man's easy is another man's Bobby Brown, and that's their 152 00:08:21,000 --> 00:08:23,000 Speaker 1: prerogative to see what I did there that was cheesy, 153 00:08:23,040 --> 00:08:25,800 Speaker 1: but whatever, allow me that it was too easy. What 154 00:08:26,200 --> 00:08:30,640 Speaker 1: artists moved you when you were fifteen, right right? Which ones? 155 00:08:30,680 --> 00:08:32,920 Speaker 1: Which ones compelled you, Which ones blew you away? Which 156 00:08:32,960 --> 00:08:35,680 Speaker 1: ones drove you in another direction, completely down a rabbit 157 00:08:35,720 --> 00:08:37,520 Speaker 1: hole you didn't even know was there. Which artists were 158 00:08:37,520 --> 00:08:40,120 Speaker 1: you obsessed with as a fifteen year old? Was easy E? 159 00:08:40,240 --> 00:08:43,240 Speaker 1: Part of that obsession was Nwa? Part of that obsession 160 00:08:43,400 --> 00:08:45,120 Speaker 1: were there? Are other artists from the world of hip 161 00:08:45,160 --> 00:08:48,559 Speaker 1: hop that drove you deeper into hip hop, deeper into 162 00:08:48,559 --> 00:08:51,679 Speaker 1: more authentic music. Six one seven nine zero six six 163 00:08:51,800 --> 00:08:53,800 Speaker 1: six three eight. Let's get into it. Let me know, 164 00:08:53,880 --> 00:08:55,600 Speaker 1: hit me up, let me know, send me a voicemail, 165 00:08:56,080 --> 00:08:58,400 Speaker 1: drop me a tex six one seven nine zero six 166 00:08:58,480 --> 00:09:15,600 Speaker 1: six six three eight. Back in the flash, all right, 167 00:09:15,679 --> 00:09:18,240 Speaker 1: six one seven nine, there were six six six three eight. 168 00:09:18,320 --> 00:09:20,120 Speaker 1: You know the drill, call me to leave me a voicemail, 169 00:09:20,160 --> 00:09:22,959 Speaker 1: to talk disgraceland easy or whatever you get on your mind. 170 00:09:23,240 --> 00:09:25,439 Speaker 1: Six one seven nins there are six six six three eight. 171 00:09:25,520 --> 00:09:27,440 Speaker 1: Leave me a text, though you can do that as well. 172 00:09:27,520 --> 00:09:30,200 Speaker 1: You can, like I said, leave a voicemail. Dig the 173 00:09:30,280 --> 00:09:33,360 Speaker 1: sounds of your voices, get at me, you know the number. 174 00:09:33,920 --> 00:09:37,640 Speaker 1: Let's check out this voicemail from Laura in the nine 175 00:09:37,679 --> 00:09:38,280 Speaker 1: to one four. 176 00:09:39,400 --> 00:09:41,920 Speaker 3: Hey Jake, it's Laura from the nine to one four. 177 00:09:42,480 --> 00:09:46,680 Speaker 3: Thanks so much for playing that Tina Turner episode, you know, 178 00:09:46,840 --> 00:09:49,720 Speaker 3: upon her passing. It was so good to hear her story, 179 00:09:50,520 --> 00:09:54,160 Speaker 3: and I really wish her story to be told without Ike, 180 00:09:54,280 --> 00:09:57,200 Speaker 3: but you know, she's a survivor and you really can't 181 00:09:57,200 --> 00:10:01,760 Speaker 3: ignore that part of her story, so thanks for playing it. 182 00:10:01,840 --> 00:10:05,439 Speaker 3: She's an amazing woman, incredible music, Love the show. 183 00:10:06,480 --> 00:10:10,360 Speaker 1: Bye Laura, Thanks to the voicemail, and yes, you are correct, 184 00:10:11,000 --> 00:10:13,760 Speaker 1: we should have a solo episode on Tina Turner, a 185 00:10:13,800 --> 00:10:16,719 Speaker 1: story that deals only with Tina, not just one of 186 00:10:16,720 --> 00:10:19,600 Speaker 1: the deals with Ike and Tina. We of course re 187 00:10:19,600 --> 00:10:21,480 Speaker 1: released this like Can Tina episode from back in the 188 00:10:21,559 --> 00:10:25,240 Speaker 1: day because the Tina Turner is passing last week, and frankly, 189 00:10:25,320 --> 00:10:28,680 Speaker 1: it's the only episode on Tina Turner we have. I 190 00:10:28,760 --> 00:10:30,640 Speaker 1: do have her on the list though for her own 191 00:10:30,679 --> 00:10:35,760 Speaker 1: episode it's been uh kicked down the can and I 192 00:10:35,800 --> 00:10:39,360 Speaker 1: should bring it up further in the queue. You know, 193 00:10:39,440 --> 00:10:46,080 Speaker 1: Tina Turner, it's hard to it's hard to overestimate her 194 00:10:46,320 --> 00:10:52,520 Speaker 1: importance and her power in her stardom both in pop 195 00:10:52,600 --> 00:10:56,680 Speaker 1: culture and her just abilities as a performer, not to 196 00:10:56,760 --> 00:11:00,679 Speaker 1: mention the resiliency and everything she had over calm and 197 00:11:00,760 --> 00:11:04,840 Speaker 1: deal with It's an incredible story, you know, it's it's 198 00:11:04,920 --> 00:11:07,440 Speaker 1: I've known the story of my whole life. That movie 199 00:11:08,240 --> 00:11:10,199 Speaker 1: What's Love Got to do with It? What was called? 200 00:11:10,240 --> 00:11:13,720 Speaker 1: I think it was? What was called great movie? Does 201 00:11:13,800 --> 00:11:18,000 Speaker 1: the story justice? I, as a storyteller, will be challenged 202 00:11:18,040 --> 00:11:19,720 Speaker 1: to figure out a way to tell her a story 203 00:11:20,360 --> 00:11:24,360 Speaker 1: in a different way that is compelling and works for 204 00:11:24,400 --> 00:11:26,720 Speaker 1: the medium of podcasting. I'm excited to get into it. 205 00:11:26,760 --> 00:11:28,760 Speaker 1: I love Tina Turner. I was sad to hear that 206 00:11:28,800 --> 00:11:31,800 Speaker 1: she was gone. At the same time, when these artists 207 00:11:31,840 --> 00:11:35,760 Speaker 1: pass and they're they're in their eighties, or they're in 208 00:11:35,800 --> 00:11:39,440 Speaker 1: their nineties, god willing, or even older, it is important 209 00:11:39,480 --> 00:11:43,560 Speaker 1: to remember. You know, Tina Turner had a remarkable life. 210 00:11:43,760 --> 00:11:48,120 Speaker 1: She really really did, and through all of the trials 211 00:11:48,120 --> 00:11:52,720 Speaker 1: and tribulations there seemed to be this this irrepressible spirit 212 00:11:52,840 --> 00:11:59,880 Speaker 1: in her and this positivity and this massive energy and smile. 213 00:12:00,000 --> 00:12:05,320 Speaker 1: Well that went along with that. Just huge, huge, huge talent. 214 00:12:05,559 --> 00:12:09,440 Speaker 1: So Tina Turner, You're so right, Laura. At some point 215 00:12:09,480 --> 00:12:13,320 Speaker 1: we'll get you that solo Tina episode. All right, let's 216 00:12:13,360 --> 00:12:16,800 Speaker 1: check out this voicemail from Brady in the eight oh five. 217 00:12:17,240 --> 00:12:22,679 Speaker 4: Hey, Jake, this is Brady from eight oh five Long Poke, California. 218 00:12:23,360 --> 00:12:25,680 Speaker 3: Been listening to your show for since. 219 00:12:25,480 --> 00:12:29,200 Speaker 4: The very beginning. I love it, look forward to every episode, 220 00:12:29,600 --> 00:12:32,760 Speaker 4: learn so much about music from it. I have some 221 00:12:33,000 --> 00:12:36,280 Speaker 4: leads here and some things you might want to check 222 00:12:36,320 --> 00:12:37,080 Speaker 4: out or listen to. 223 00:12:38,040 --> 00:12:38,640 Speaker 3: I have. 224 00:12:40,000 --> 00:12:43,240 Speaker 4: Seven, actually, so the first one is Gil Scott Heron. 225 00:12:43,800 --> 00:12:46,400 Speaker 4: You might already know about him. Some people say like 226 00:12:46,400 --> 00:12:50,960 Speaker 4: a godfather, of hip hop. Then we have the Last Poets, 227 00:12:51,000 --> 00:12:57,720 Speaker 4: a very controversial and then we have Me Scratch Perry, 228 00:12:58,440 --> 00:13:03,439 Speaker 4: Doug Wizard from Jamaica, amazing stories in his life. And 229 00:13:03,600 --> 00:13:08,400 Speaker 4: we have Fela Kuti from Nigeria in insane activist and 230 00:13:08,960 --> 00:13:12,800 Speaker 4: great musician and bended approbeat. And we have doctor John 231 00:13:14,160 --> 00:13:18,920 Speaker 4: definitely good stories about that cat, Professor long Hair going 232 00:13:18,960 --> 00:13:22,679 Speaker 4: back to New Orleans, ancient history in New Orleans. And 233 00:13:22,720 --> 00:13:28,200 Speaker 4: then Tom Waits, our living legend, mutant Tom Waits. Anyway, 234 00:13:28,640 --> 00:13:31,720 Speaker 4: love your show, keep doing what you're doing. I look 235 00:13:31,760 --> 00:13:33,000 Speaker 4: forward to hearing this message. 236 00:13:33,040 --> 00:13:37,240 Speaker 1: Maybe bye bye, all right, Brady? Of course, yeah, of 237 00:13:37,280 --> 00:13:41,240 Speaker 1: course I know Gil Scott heroin late Heroin, Gil Scott Heron. 238 00:13:41,280 --> 00:13:44,680 Speaker 1: Excuse me, I was about to say Lady Day and 239 00:13:44,760 --> 00:13:49,880 Speaker 1: John Coltrane and therefore the Freudian heroin slip. I guess 240 00:13:50,320 --> 00:13:53,680 Speaker 1: last Poets I need to check out, and Lee Scratch 241 00:13:53,760 --> 00:13:56,120 Speaker 1: Perry and Falakuti and doctor John and Professor long Hair 242 00:13:56,320 --> 00:13:59,360 Speaker 1: is disgrace lands subjects. I love all of that. Not 243 00:13:59,440 --> 00:14:01,920 Speaker 1: sure what the true crimes are there for doctor John 244 00:14:01,920 --> 00:14:04,959 Speaker 1: and Professor long Hair, but call back man, call back, Brady, 245 00:14:05,040 --> 00:14:08,480 Speaker 1: let me know, all right. And just so those of 246 00:14:08,520 --> 00:14:10,680 Speaker 1: you know the Lady Dame John Coltrane thing. I was 247 00:14:10,679 --> 00:14:12,719 Speaker 1: about to mention, that's a Gil Scott Heron song. I'm 248 00:14:12,720 --> 00:14:14,120 Speaker 1: sure a lot of you know that. But for those 249 00:14:14,120 --> 00:14:16,960 Speaker 1: who don't check that out, check that song out, go 250 00:14:17,040 --> 00:14:21,920 Speaker 1: to Spotify. Now I'm blanking. I'm blanking on the name 251 00:14:21,960 --> 00:14:24,560 Speaker 1: of the album that is on. I own it. It's great, 252 00:14:24,640 --> 00:14:27,360 Speaker 1: the whole record's good, but that's the song for me. 253 00:14:27,960 --> 00:14:30,440 Speaker 1: My dad was in a band years ago when I 254 00:14:30,480 --> 00:14:32,880 Speaker 1: was in high school and he was in the band 255 00:14:32,960 --> 00:14:35,600 Speaker 1: with these guys from It wasn't even a I don't 256 00:14:35,640 --> 00:14:37,560 Speaker 1: even think they played live. It was like one of 257 00:14:37,560 --> 00:14:39,080 Speaker 1: those things he was doing on the side, as he 258 00:14:39,160 --> 00:14:43,960 Speaker 1: was a a live performer at musician playing all the time. 259 00:14:44,360 --> 00:14:46,600 Speaker 1: He had this band with his high school buddies or 260 00:14:46,640 --> 00:14:49,280 Speaker 1: guys from back home or whatever, and all they did 261 00:14:49,400 --> 00:14:55,160 Speaker 1: was like obscure soul stuff Gil Scott Heron O V right, 262 00:14:56,360 --> 00:14:59,360 Speaker 1: I think some blue stuff to Bobby Blue Bland And 263 00:14:59,440 --> 00:15:01,400 Speaker 1: there was a I used to go see him rehearse 264 00:15:01,480 --> 00:15:04,640 Speaker 1: with my dad out in Wilsta the Plantation Club. They 265 00:15:04,680 --> 00:15:07,040 Speaker 1: somehow got it set so they could rehearse at the 266 00:15:07,080 --> 00:15:09,160 Speaker 1: club and off hours. I'm not sure how they pulled 267 00:15:09,200 --> 00:15:12,240 Speaker 1: that off. But I would go out there and he 268 00:15:12,320 --> 00:15:14,360 Speaker 1: had this cassette that that had all the tracks on it. 269 00:15:14,400 --> 00:15:16,280 Speaker 1: They would do that. They would do all the soul songs, 270 00:15:16,760 --> 00:15:21,800 Speaker 1: and Gil Scott Heron was part of that repertoire. And 271 00:15:21,880 --> 00:15:23,520 Speaker 1: that's how I got turned on him as a young kid. 272 00:15:23,600 --> 00:15:26,680 Speaker 1: Very lucky for that, my dad's influence. I'm very grateful 273 00:15:26,720 --> 00:15:29,040 Speaker 1: for it. Great musician in his own right, but just 274 00:15:29,200 --> 00:15:31,920 Speaker 1: great fucking taste as well, and an incredible record collection. 275 00:15:32,760 --> 00:15:35,160 Speaker 1: All right, I'm digressing. Let's do another voicemail here, this 276 00:15:35,200 --> 00:15:37,240 Speaker 1: one from Eric in the nine to four to one. 277 00:15:38,200 --> 00:15:41,480 Speaker 3: Hey, Jacob Derek from the nine four to one, do 278 00:15:41,520 --> 00:15:43,720 Speaker 3: you want to talk about parents that really did the 279 00:15:43,880 --> 00:15:45,080 Speaker 3: number to their kids. 280 00:15:45,440 --> 00:15:50,920 Speaker 4: Check out Bud Colcil from the Cowcils, the sixties family band. 281 00:15:51,760 --> 00:15:55,640 Speaker 4: He took a twenty million dollar fortune and ran. 282 00:15:55,480 --> 00:15:56,400 Speaker 3: It into the ground. 283 00:15:57,440 --> 00:15:58,280 Speaker 4: I have a great one. 284 00:15:58,400 --> 00:16:01,640 Speaker 1: Well, the show A great suggestion, man. I know a 285 00:16:01,680 --> 00:16:04,040 Speaker 1: tiny little bit about this, but uh, I never would 286 00:16:04,040 --> 00:16:06,680 Speaker 1: have got here on my own without you sending this 287 00:16:06,680 --> 00:16:09,680 Speaker 1: This message in Eric is responding to our question from 288 00:16:09,720 --> 00:16:12,160 Speaker 1: last week's episode. In light of the Justin Bieber disgrace 289 00:16:12,240 --> 00:16:15,000 Speaker 1: Land full episode that we did on Awful Stage Parents 290 00:16:15,000 --> 00:16:17,280 Speaker 1: and Bud Cowsil. I guess that's his name. That's who 291 00:16:17,360 --> 00:16:20,720 Speaker 1: Eric's mentioning. That's the dad of the cow Sils family band. 292 00:16:20,760 --> 00:16:24,120 Speaker 1: I will check that out. Eric, You're not the first 293 00:16:24,120 --> 00:16:26,800 Speaker 1: to recommend the cow Sils is a disgraceland subject, by 294 00:16:26,800 --> 00:16:30,800 Speaker 1: the way, so I'm eager to look into that. All right, 295 00:16:31,320 --> 00:16:34,000 Speaker 1: There's there's some good voicemails there. Appreciate that, guy six 296 00:16:34,040 --> 00:16:37,680 Speaker 1: one seven nine zero six six six three eight. Leave 297 00:16:37,760 --> 00:16:42,760 Speaker 1: your voicemails, your music related messages. That's the number hit me. 298 00:16:42,840 --> 00:16:45,680 Speaker 1: We also do text. Let's get into some text right now, 299 00:16:46,920 --> 00:16:49,880 Speaker 1: all right. From the two four eight sends in this message, 300 00:16:49,920 --> 00:16:53,360 Speaker 1: it's a link to the Tampa Bay dot com news site, 301 00:16:53,960 --> 00:16:58,480 Speaker 1: and it's an article about Taylor Swifts old man finding 302 00:16:58,520 --> 00:17:03,440 Speaker 1: a burglar in the four million dollar Saint Petersburg Saint 303 00:17:03,440 --> 00:17:07,320 Speaker 1: Pete's in Florida penthouse. Texter from the two four eight says, 304 00:17:07,359 --> 00:17:09,320 Speaker 1: along with the link, this was three years ago. Even 305 00:17:09,359 --> 00:17:11,520 Speaker 1: her dad had a stalker. I live here. It was 306 00:17:11,560 --> 00:17:13,280 Speaker 1: all over the news at the time in your episode. 307 00:17:13,359 --> 00:17:16,280 Speaker 1: Reminded me of it. The two four eight is actually 308 00:17:16,720 --> 00:17:20,399 Speaker 1: obviously talking about referencing the Taylor Swift episode that we 309 00:17:20,480 --> 00:17:23,280 Speaker 1: did and re released in the feed a little while back. 310 00:17:23,800 --> 00:17:27,000 Speaker 1: You can check that out. I was also just in Westerlee, 311 00:17:27,119 --> 00:17:31,879 Speaker 1: Rhode Island, staying at a resort which was right pretty 312 00:17:31,920 --> 00:17:34,560 Speaker 1: much right next door to Taylor Swiss house, so I 313 00:17:34,600 --> 00:17:38,520 Speaker 1: think that's what prompted that message there from the four 314 00:17:38,640 --> 00:17:40,399 Speaker 1: one two Sorry from the two four eight. Let's do 315 00:17:40,440 --> 00:17:42,720 Speaker 1: another text here from the two five. Oh hey, Jake 316 00:17:42,760 --> 00:17:47,040 Speaker 1: Maddy from BC Canada, British Columbia, Assuming absolutely love the podcast, 317 00:17:47,080 --> 00:17:50,680 Speaker 1: both Disgraceland and bad Lands. My top three Disgraceland episodes 318 00:17:51,200 --> 00:17:54,040 Speaker 1: number three Beach Boys, number two a CDC number one, 319 00:17:54,119 --> 00:17:58,960 Speaker 1: Bruce Springsteen. That's interesting. That's fucking interesting, man. I think 320 00:17:59,560 --> 00:18:04,119 Speaker 1: I'm with you there with Springsteen and ACDC. I cannot 321 00:18:05,160 --> 00:18:07,560 Speaker 1: argue with the Beach Boys either, although that's a two parter, 322 00:18:07,680 --> 00:18:10,080 Speaker 1: so you're kind of cheating there. Two five ozho we 323 00:18:10,200 --> 00:18:14,320 Speaker 1: called out for top three Disgraceland episodes of all time. 324 00:18:14,600 --> 00:18:16,720 Speaker 1: You're kind of sneaking in a fourth there, but I'll 325 00:18:16,720 --> 00:18:18,880 Speaker 1: take it. I'll take it. What are your what you guys, 326 00:18:18,880 --> 00:18:21,119 Speaker 1: what are your top three disgrace Line episode six one, 327 00:18:21,200 --> 00:18:23,840 Speaker 1: seven nine, zero, six, six, six, three eight let me 328 00:18:23,960 --> 00:18:27,720 Speaker 1: know all right, same topic. New text from the three 329 00:18:27,840 --> 00:18:30,919 Speaker 1: eight five, Hey Jake, My top three Disgrace Sland episodes 330 00:18:30,920 --> 00:18:33,959 Speaker 1: in no particular order, Jim Marrison, Rolling Stones and Altamont 331 00:18:34,000 --> 00:18:36,679 Speaker 1: in part two of Kurt and Courtney Rock rolla from Dylan. 332 00:18:37,080 --> 00:18:39,480 Speaker 1: Those are some good ones, man. I left my fucking 333 00:18:39,560 --> 00:18:42,399 Speaker 1: heart on the keypad when I wrote that Kurt and 334 00:18:42,480 --> 00:18:45,240 Speaker 1: k Courtney episode there and the Morrison one was a 335 00:18:45,240 --> 00:18:47,640 Speaker 1: lot of fun. Not going to spoil that one for anyone. 336 00:18:48,200 --> 00:18:51,960 Speaker 1: And Altamont. Altamont was good. Felt like I turned a 337 00:18:51,960 --> 00:18:54,840 Speaker 1: corner there. Not exactly how. I don't know how. I 338 00:18:54,880 --> 00:18:57,439 Speaker 1: can't put my finger on it, but something clicked with 339 00:18:57,480 --> 00:19:01,880 Speaker 1: that episode. Let's do some more here, all right? From 340 00:19:01,880 --> 00:19:04,600 Speaker 1: the seven seven four. This guy says, ah or this girl. 341 00:19:04,640 --> 00:19:07,679 Speaker 1: I don't know who's writing this, but they say. I 342 00:19:07,680 --> 00:19:10,440 Speaker 1: agree with the voicemail from the three one seven. Man 343 00:19:10,480 --> 00:19:14,320 Speaker 1: from Fairmount, Indiana who wanted a Marssey or Smith's episode. 344 00:19:15,480 --> 00:19:18,680 Speaker 1: You've covered everything except our Johnny Marr or Marssey in 345 00:19:18,760 --> 00:19:21,719 Speaker 1: the Smiths goes on to say we are the same age, 346 00:19:21,800 --> 00:19:24,600 Speaker 1: same town. But instead of plugging your green tea bust 347 00:19:24,600 --> 00:19:27,040 Speaker 1: out some six one seven five A wait, love and 348 00:19:27,160 --> 00:19:30,840 Speaker 1: bliss of the mar and bliss of Marssey The Smith's 349 00:19:30,960 --> 00:19:33,560 Speaker 1: in the Town. If you're not down to represent, I'll 350 00:19:33,600 --> 00:19:37,160 Speaker 1: still listen with slight slight disdain. I don't know represent 351 00:19:37,200 --> 00:19:39,719 Speaker 1: what man Marssey the Smith's in the town. I'm not 352 00:19:39,800 --> 00:19:42,919 Speaker 1: sure how those are related, but I guess because I'm 353 00:19:42,920 --> 00:19:45,679 Speaker 1: from Boston. The town. I'm legit dying from all the 354 00:19:45,720 --> 00:19:48,720 Speaker 1: green pollen forcing itself upon us. He's right or she's right. 355 00:19:48,800 --> 00:19:51,840 Speaker 1: The fucking pollen is brutal right now, So I pray 356 00:19:51,880 --> 00:19:55,600 Speaker 1: I'll hear episodes from you. From aforementioned topics, also anything 357 00:19:55,640 --> 00:19:57,720 Speaker 1: else six one seven five, O wait eighty five, seven nine, 358 00:19:57,720 --> 00:19:59,439 Speaker 1: seven eight, seven eight one and seven seven four. This 359 00:19:59,480 --> 00:20:03,880 Speaker 1: person is a mass hole. That's a wrap Dana, currently 360 00:20:03,880 --> 00:20:08,360 Speaker 1: from the Cape. Previously from southe Out Dana. Still don't 361 00:20:08,359 --> 00:20:10,440 Speaker 1: know if it's a boy or girl. All right, Thanks 362 00:20:10,480 --> 00:20:12,760 Speaker 1: for the text, Dana for the seven seven four, I'll 363 00:20:12,760 --> 00:20:16,800 Speaker 1: get on. I can't promise Marrissey episode anytime soon, but 364 00:20:17,240 --> 00:20:20,240 Speaker 1: perhaps I don't know. I love Marrissey, I love the 365 00:20:20,280 --> 00:20:23,159 Speaker 1: Smiths all right. From the six one six The sound 366 00:20:23,160 --> 00:20:26,600 Speaker 1: design on the George Harrison episode was outstanding. Thumbs up. Why, 367 00:20:26,600 --> 00:20:30,119 Speaker 1: thank you, Thank you very much. All props to the 368 00:20:30,160 --> 00:20:32,760 Speaker 1: team at Double Elvis for the sound design there, Matt Boden, 369 00:20:33,560 --> 00:20:38,359 Speaker 1: Ryan Spraker, Sean Kahlen, Matt ta Hainey, the gang killing 370 00:20:38,440 --> 00:20:41,119 Speaker 1: it all right. Another text here from the three six 371 00:20:41,240 --> 00:20:43,359 Speaker 1: one says, okay, listening to the after party, and you 372 00:20:43,400 --> 00:20:45,439 Speaker 1: gave props to Taylor Swift. Had to share this. My 373 00:20:45,560 --> 00:20:47,879 Speaker 1: daughter is the one with the green base. They played 374 00:20:47,920 --> 00:20:50,879 Speaker 1: shake it off in their little spring showcase this morning. 375 00:20:50,920 --> 00:20:53,159 Speaker 1: Actually not bad for six and seven year olds. And 376 00:20:53,200 --> 00:20:56,199 Speaker 1: then she sends in some picks of her of her 377 00:20:56,280 --> 00:21:01,640 Speaker 1: kid there. Pretty cool. Also, uh, her daughter is pictured 378 00:21:01,720 --> 00:21:05,480 Speaker 1: outside a statue of Selena, so a couple disgrace and 379 00:21:05,600 --> 00:21:09,200 Speaker 1: references there. Pretty cool all right. From the five h nine, 380 00:21:09,240 --> 00:21:13,120 Speaker 1: Hello Jess here from Washington State, longtime listener helps break 381 00:21:13,200 --> 00:21:15,720 Speaker 1: up the mountain drive to a damn that I work 382 00:21:15,760 --> 00:21:19,320 Speaker 1: at where Tom Petty and Kevin Costner starred in The Postman. 383 00:21:20,040 --> 00:21:24,600 Speaker 1: Tom Petty was in The Postman. I don't know was 384 00:21:24,600 --> 00:21:28,639 Speaker 1: he I can't say that he wasn't, which there is 385 00:21:28,640 --> 00:21:30,840 Speaker 1: a small town rumor here when Tom Petty was filming 386 00:21:30,880 --> 00:21:34,959 Speaker 1: Stevie Nicks was here at one point to visit. All right, 387 00:21:34,960 --> 00:21:37,199 Speaker 1: I'm not going to get into the rumors here, but 388 00:21:37,320 --> 00:21:39,320 Speaker 1: thank you for the text. Also, I'm not entirely sure 389 00:21:39,320 --> 00:21:41,399 Speaker 1: Tom Petty was in the Postman. Am I wrong? Let 390 00:21:41,480 --> 00:21:44,760 Speaker 1: me know? You definitely think that he was, but I've 391 00:21:44,800 --> 00:21:48,760 Speaker 1: never heard that before. Hey Jake, this is from the 392 00:21:48,800 --> 00:21:51,800 Speaker 1: seven two four, Hey Jake, listened to your after party episode, 393 00:21:51,800 --> 00:21:54,920 Speaker 1: and you asked about bad music parents, especially pop stars. 394 00:21:55,160 --> 00:21:58,000 Speaker 1: When Amy Winehouse's parents count, that's a good one. That's 395 00:21:58,040 --> 00:22:02,280 Speaker 1: a good one. Man. This person goes on there then 396 00:22:02,320 --> 00:22:04,199 Speaker 1: say some stuff about Amy Winos's dad that I'm not 397 00:22:04,200 --> 00:22:07,520 Speaker 1: going to repeat, and then says talking about female stars, 398 00:22:07,520 --> 00:22:10,840 Speaker 1: would you consider doing an episode of the Cranberries? I would, actually, 399 00:22:11,000 --> 00:22:13,000 Speaker 1: but that's sad, but I would still consider it. I 400 00:22:13,040 --> 00:22:16,560 Speaker 1: don't stray from I'm not afraid of sad. I actually am, 401 00:22:16,920 --> 00:22:19,240 Speaker 1: but I dive in every now and then. Then, speaking of opinions, 402 00:22:19,240 --> 00:22:21,359 Speaker 1: in my opinion, top three episodes of Disgraceland have to 403 00:22:21,400 --> 00:22:25,520 Speaker 1: be number one, Taylor Swift, number two, Michael Aleg number three, 404 00:22:25,960 --> 00:22:28,560 Speaker 1: the John Denver episode peace Out, Hope, Life is Good 405 00:22:28,600 --> 00:22:31,400 Speaker 1: and Later Days. You got it, man, thank you. All right, 406 00:22:31,640 --> 00:22:33,479 Speaker 1: we'll do one more here from the two four oh 407 00:22:33,600 --> 00:22:36,479 Speaker 1: Jake Top three episode of Disgraceland said vicious first episode 408 00:22:36,480 --> 00:22:38,040 Speaker 1: I listened to, and one of my favorites in the 409 00:22:38,040 --> 00:22:40,800 Speaker 1: book always the slash Gallagher of others. Have you watched 410 00:22:40,840 --> 00:22:43,080 Speaker 1: the brit Pop episode This is Pop on Netflix? No? 411 00:22:43,160 --> 00:22:45,760 Speaker 1: I have not. Number three Paul McCartney. Maybe I'm basic, 412 00:22:45,800 --> 00:22:47,959 Speaker 1: but I like Paul's prison story. I like it too, 413 00:22:47,960 --> 00:22:49,920 Speaker 1: And I don't think Paul's prison story is basic. I've 414 00:22:49,960 --> 00:22:53,480 Speaker 1: never heard anyone cover Paul's prison story. Not like that anyways, 415 00:22:53,560 --> 00:22:56,639 Speaker 1: So not basic. Ps. I was screaming Britney Spears' parents 416 00:22:56,760 --> 00:22:59,120 Speaker 1: until you said it. All right, guys, six one seven 417 00:22:59,160 --> 00:23:01,560 Speaker 1: nine oh six six six three eight. That's how you 418 00:23:01,600 --> 00:23:03,959 Speaker 1: text me. It's how you leave me a voicemail. You 419 00:23:04,000 --> 00:23:06,960 Speaker 1: know this already. You're already voicemailing me and texting me. 420 00:23:07,040 --> 00:23:09,080 Speaker 1: Is voicemailing a word? I don't think it is. I'm 421 00:23:09,080 --> 00:23:11,480 Speaker 1: making it up. People make shit up all the time nowadays, 422 00:23:11,560 --> 00:23:14,399 Speaker 1: they make words up. Anyways, voicemailing sounds good. Let's do it. 423 00:23:14,400 --> 00:23:16,000 Speaker 1: It'll probably be in a book in a couple of years. 424 00:23:16,320 --> 00:23:19,480 Speaker 1: Voicemail me, text me, six one seven nine oh six 425 00:23:19,600 --> 00:23:24,040 Speaker 1: six six three eight DM me at Disgrace Slam pod 426 00:23:24,080 --> 00:23:27,560 Speaker 1: on Instagram, Twitter, Facebook, and TikTok. I'm not going to 427 00:23:27,600 --> 00:23:29,560 Speaker 1: open the DM machine right now. I got too much 428 00:23:29,600 --> 00:23:31,360 Speaker 1: to do. I just read a shit ton of text 429 00:23:31,440 --> 00:23:34,000 Speaker 1: and uh, frankly, I can't get distracted by social media 430 00:23:34,080 --> 00:23:36,080 Speaker 1: right at this moment. But I'm gonna get into it tonight. 431 00:23:36,119 --> 00:23:37,879 Speaker 1: I gotta get on there. I gotta talk about it easy. 432 00:23:37,960 --> 00:23:39,840 Speaker 1: I'm gonna go do all that. I'll respond to some 433 00:23:39,920 --> 00:23:41,719 Speaker 1: DMSN and I'll get back at it next week. I'll 434 00:23:41,760 --> 00:23:44,600 Speaker 1: do a full DM set here all right. In the meantime, 435 00:23:44,640 --> 00:23:46,280 Speaker 1: I'm gonna take a little break. I'm gonna drink some 436 00:23:46,359 --> 00:23:49,679 Speaker 1: more tea big lot again, not sponsored by big Olot, 437 00:23:50,119 --> 00:23:53,720 Speaker 1: not at all, not sponsored by any T company and 438 00:23:53,880 --> 00:23:56,800 Speaker 1: T as you can hear, and as you have heard 439 00:23:57,200 --> 00:24:00,240 Speaker 1: over the past, I don't know how many scores of 440 00:24:00,280 --> 00:24:04,239 Speaker 1: bonus episodes, drinking tea is integral to the production of 441 00:24:04,280 --> 00:24:09,480 Speaker 1: this show. So with that said, you know, hey, I 442 00:24:09,480 --> 00:24:11,320 Speaker 1: don't I don't like to turn I don't like to 443 00:24:11,320 --> 00:24:14,359 Speaker 1: turn people down. I'm just saying, mister and missus Bigelow 444 00:24:15,000 --> 00:24:17,480 Speaker 1: or really any good tea company out there. We'll just 445 00:24:17,520 --> 00:24:27,119 Speaker 1: hold on one second. Any tea company out there, We 446 00:24:27,200 --> 00:24:29,160 Speaker 1: drink tea. Here, I drink tea. And like I said, 447 00:24:29,160 --> 00:24:30,720 Speaker 1: integral to the production of the Show'm gona take a 448 00:24:30,760 --> 00:24:48,159 Speaker 1: quick break. I'll be right back. All right, I'm back 449 00:24:48,760 --> 00:24:54,480 Speaker 1: back in the booth. So this, this, this, I gotta 450 00:24:54,480 --> 00:24:56,439 Speaker 1: get that energy. I gotta find that energy. It's the 451 00:24:56,480 --> 00:24:57,920 Speaker 1: end of the day here. It's five point thirty eight 452 00:24:57,920 --> 00:25:01,040 Speaker 1: pm at the recording of this. It's been a long day. 453 00:25:01,200 --> 00:25:03,960 Speaker 1: It was recording on a Tuesday. Usually do these on 454 00:25:04,000 --> 00:25:06,119 Speaker 1: a Monday, but I had Monday off, like everyone at 455 00:25:06,119 --> 00:25:10,800 Speaker 1: Double Elvis for Memorial Day. Had a little bit of 456 00:25:10,840 --> 00:25:13,520 Speaker 1: a ripper at the house with my family this past weekend. 457 00:25:14,000 --> 00:25:16,320 Speaker 1: Had about thirty people over. It's a lot of fun. 458 00:25:17,680 --> 00:25:21,560 Speaker 1: Hung out, played a bunch of pickleball, cook some stuff 459 00:25:21,600 --> 00:25:26,120 Speaker 1: on the grill, smoked some cigars, drank some good bourbon. 460 00:25:26,440 --> 00:25:28,359 Speaker 1: It was fun. It was really fun. But I was 461 00:25:28,440 --> 00:25:30,680 Speaker 1: paying for it yesterday, man, paying for it. I can't 462 00:25:30,760 --> 00:25:34,560 Speaker 1: drink anymore, cannot do it. Older, I get can't do it. 463 00:25:35,480 --> 00:25:37,639 Speaker 1: But anyways, a little late to the game today, A 464 00:25:37,680 --> 00:25:40,280 Speaker 1: little backed up here on Tuesday, trying to get this 465 00:25:40,280 --> 00:25:42,040 Speaker 1: stuff done. I got to bring the energy. All right, 466 00:25:42,080 --> 00:25:45,320 Speaker 1: This is the recommendations part. This is the recommendations part, 467 00:25:45,359 --> 00:25:47,200 Speaker 1: the part where we recommend the things that need recommending, 468 00:25:47,200 --> 00:25:49,880 Speaker 1: the recommendations part. All Right, what I'm reading, what I'm 469 00:25:49,880 --> 00:25:53,439 Speaker 1: listening to, and what music content I'm watching. For the 470 00:25:53,480 --> 00:25:57,080 Speaker 1: what I'm watching segment, we're talking strictly music content here. Now, 471 00:25:57,160 --> 00:25:59,480 Speaker 1: that's what that's, you know, other than the TV in 472 00:25:59,520 --> 00:26:01,960 Speaker 1: the film wreck. That's all over in the wrap party now, okay, 473 00:26:02,000 --> 00:26:04,040 Speaker 1: that's in the bad Lands bonus episode and the bad 474 00:26:04,119 --> 00:26:06,920 Speaker 1: Lands feed And yeah, like I said, I get into 475 00:26:06,960 --> 00:26:08,880 Speaker 1: what I'm reading here and what I'm listening to as well. 476 00:26:09,000 --> 00:26:10,800 Speaker 1: So first what I'm listening to, Well, let me tell 477 00:26:10,800 --> 00:26:14,879 Speaker 1: you today, gorgeous day here in the Northeast, beautiful, beautiful, 478 00:26:14,960 --> 00:26:18,720 Speaker 1: perfect day. I'm outside this morning. I'm writing out in 479 00:26:18,760 --> 00:26:24,720 Speaker 1: my backyard, the sun shining. The birds are chirping. They're 480 00:26:24,720 --> 00:26:28,520 Speaker 1: not chirping too much though, you know, it's like normal chirp, 481 00:26:28,880 --> 00:26:34,320 Speaker 1: normal chirp level. Okay, nothing to remark about. And I 482 00:26:34,320 --> 00:26:36,640 Speaker 1: get a little music set up outside, right, So when 483 00:26:36,640 --> 00:26:40,760 Speaker 1: I write, I like to listen to instrumental music, sometimes jazz, 484 00:26:40,960 --> 00:26:45,359 Speaker 1: mainly John Coltrane. Right, so I put on Blue Train. Okay, 485 00:26:45,400 --> 00:26:48,359 Speaker 1: the album Blue Train by John Coltrane. I got that 486 00:26:48,440 --> 00:26:52,240 Speaker 1: going outside. I'm putting together my notes for this episode, 487 00:26:52,920 --> 00:26:58,960 Speaker 1: and what starts to happen. Coltrane's blowing. The birds start 488 00:26:59,000 --> 00:27:04,399 Speaker 1: freaking the fuck out. I'm not exaggerating. They're losing it, 489 00:27:05,080 --> 00:27:09,639 Speaker 1: like honestly, like responding to the Coltrane music that I'm playing, 490 00:27:10,080 --> 00:27:13,120 Speaker 1: and I'm freaking out. Not I mean, that's freaky enough, right, 491 00:27:13,160 --> 00:27:18,200 Speaker 1: it's notable enough, but it's made more freaky because if 492 00:27:18,240 --> 00:27:22,560 Speaker 1: you have listened to our Miles Davis episodes of Disgraceland, 493 00:27:23,560 --> 00:27:27,159 Speaker 1: I do this whole bit about how Miles learned how 494 00:27:27,160 --> 00:27:30,600 Speaker 1: to blow trumpet as a kid. He would take his 495 00:27:30,680 --> 00:27:38,040 Speaker 1: horn into the woods and he would mimic the sounds 496 00:27:38,040 --> 00:27:41,000 Speaker 1: that the birds were making. And I thought that was 497 00:27:41,040 --> 00:27:44,600 Speaker 1: fascinating and I was really excited to put that piece together, 498 00:27:45,160 --> 00:27:49,280 Speaker 1: and Matt Boden did a great job scoring it, and 499 00:27:49,400 --> 00:27:51,240 Speaker 1: it was just one of those things, like, you know, 500 00:27:51,280 --> 00:27:54,600 Speaker 1: it's a really cool anecdote. It's something you could tell 501 00:27:54,600 --> 00:27:57,200 Speaker 1: at a dinner party. It's very interesting, and we were 502 00:27:57,200 --> 00:27:59,399 Speaker 1: able to bring it to life with music. And then 503 00:27:59,400 --> 00:28:03,200 Speaker 1: here I am playing John Coltrane, who of course collaborated 504 00:28:03,320 --> 00:28:05,919 Speaker 1: it was in Miles Davis's band for a while. Uh, 505 00:28:06,640 --> 00:28:09,520 Speaker 1: and the birds start freaking out, and I'm like, is 506 00:28:09,520 --> 00:28:12,440 Speaker 1: this fucking real? Is this happening? So I switched from 507 00:28:12,920 --> 00:28:16,600 Speaker 1: John Coltrane's Blue Train to the Birth of Cool by 508 00:28:16,640 --> 00:28:19,399 Speaker 1: Miles Davis. Right. I didn't want to put anything in weird. 509 00:28:20,119 --> 00:28:23,040 Speaker 1: I didn't want to put on anything weird, okay, just something, 510 00:28:23,320 --> 00:28:26,080 Speaker 1: you know, kind of down the middle for Miles anyways, 511 00:28:26,720 --> 00:28:28,960 Speaker 1: And I put on the Birth of Cool, expecting the 512 00:28:28,960 --> 00:28:31,080 Speaker 1: birds to like be like, hey, it's Miles are we 513 00:28:31,119 --> 00:28:32,600 Speaker 1: don't Miles you know what I mean, and freak out 514 00:28:32,680 --> 00:28:35,000 Speaker 1: or whatever, just like they did with Coltrane. And it 515 00:28:35,040 --> 00:28:39,480 Speaker 1: was almost crickets. They didn't do shit. They just quieted down, 516 00:28:39,560 --> 00:28:43,040 Speaker 1: they didn't do anything nothing. I put Blue Train back 517 00:28:43,080 --> 00:28:46,120 Speaker 1: on and they start dancing, They start singing again, they 518 00:28:46,160 --> 00:28:50,280 Speaker 1: start chirping again. Fucking weird, Nature's weird. I don't know, 519 00:28:50,320 --> 00:28:52,080 Speaker 1: I don't even know what I'm talking about, but anyways, 520 00:28:52,080 --> 00:28:53,320 Speaker 1: that's what I was listening to. It was listening to 521 00:28:53,320 --> 00:28:55,640 Speaker 1: Blue Train and the Birth of Cool this morning. So 522 00:28:55,680 --> 00:28:58,840 Speaker 1: if you're interested, two great jazz records. All right, what 523 00:28:58,880 --> 00:29:03,200 Speaker 1: I'm reading Dale or I'm fascinated with this guy. Those 524 00:29:03,240 --> 00:29:05,600 Speaker 1: of you who know NASCAR know who Dale Earnhart was. 525 00:29:05,760 --> 00:29:08,880 Speaker 1: Those of you who don't know Nascar, Dale Earnhart is 526 00:29:08,920 --> 00:29:11,680 Speaker 1: an incredible character in the history of not only American sport, 527 00:29:11,720 --> 00:29:14,360 Speaker 1: but just America. This guy was one of a kind, 528 00:29:14,400 --> 00:29:18,120 Speaker 1: and I found myself compelled to continuously read about him. 529 00:29:18,240 --> 00:29:21,240 Speaker 1: I've read in numerous books at this point, watch numerous 530 00:29:21,240 --> 00:29:24,280 Speaker 1: documentaries on him, and I'm reading this sort of commemorative 531 00:29:24,280 --> 00:29:27,000 Speaker 1: I guess is the word Sports Illustrated issue where it's 532 00:29:27,000 --> 00:29:29,040 Speaker 1: the issue. It's a tribute issue from when he died, 533 00:29:29,800 --> 00:29:31,880 Speaker 1: and it's just fascinating and it's sort of like his 534 00:29:32,920 --> 00:29:36,840 Speaker 1: arc throughout the history of NASCAR as a driver also 535 00:29:36,960 --> 00:29:39,920 Speaker 1: kind of tracks these multiple phases of the sport that 536 00:29:39,960 --> 00:29:41,880 Speaker 1: I find fascinating. So that's what I'm reading. Okay, it 537 00:29:41,880 --> 00:29:44,160 Speaker 1: doesn't have any new music, but hey, I got a 538 00:29:44,200 --> 00:29:46,160 Speaker 1: break here. I'm not researching anything at the moment for 539 00:29:46,240 --> 00:29:49,000 Speaker 1: podcast episodes, so I'm checking that out. If you're into 540 00:29:49,000 --> 00:29:53,360 Speaker 1: that thing, go for it. Okay, what I'm watching, all right, 541 00:29:53,840 --> 00:29:56,720 Speaker 1: this is now. As I said at the top of 542 00:29:56,760 --> 00:30:00,800 Speaker 1: this segment, the TV and film RECs are in the 543 00:30:02,200 --> 00:30:04,200 Speaker 1: bad Lands bonus episode called The Rap Party in the 544 00:30:04,200 --> 00:30:06,200 Speaker 1: bad Lands feed from now on. Okay, but here's where 545 00:30:06,200 --> 00:30:11,720 Speaker 1: I'm talking about music content that I'm watching right which 546 00:30:11,760 --> 00:30:13,959 Speaker 1: I'm gonna kind of bend that rule a little bit 547 00:30:14,000 --> 00:30:16,840 Speaker 1: right now, because i gotta talk about this and it's 548 00:30:16,880 --> 00:30:20,240 Speaker 1: not music, but I'm I'm going to contextualize it with music. Okay, 549 00:30:20,600 --> 00:30:24,760 Speaker 1: all right? The who? The Who's Keith Moon, Rims, Bill Berry, 550 00:30:25,080 --> 00:30:28,800 Speaker 1: Mark Sandman from Morphine, the drummer from Megadeth, Nick Menza. 551 00:30:29,120 --> 00:30:33,000 Speaker 1: What do all these musicians have in common? Okay, you 552 00:30:33,040 --> 00:30:35,920 Speaker 1: know you know what it is. They all fucking collapsed 553 00:30:35,960 --> 00:30:39,360 Speaker 1: on stage, all right. Morphine's Mark Samman from a heart 554 00:30:39,360 --> 00:30:42,600 Speaker 1: attack and he died on stage. Meg Megadeth's Nick Menza 555 00:30:42,840 --> 00:30:44,400 Speaker 1: had a heart attack on stage as well, and he 556 00:30:44,440 --> 00:30:46,720 Speaker 1: was dead on arrival at the hospital. Keith Moon was 557 00:30:46,720 --> 00:30:50,400 Speaker 1: wasted on PCP. Bill Bill Barry had a brain aneurysm, 558 00:30:50,520 --> 00:30:53,840 Speaker 1: and both of them survived Moon for a little bit anyways, 559 00:30:54,360 --> 00:30:56,959 Speaker 1: But you know who didn't survive. You know who collapsed 560 00:30:57,000 --> 00:31:02,960 Speaker 1: in epic fashion, the Boss in Celtics. Okay, Okay, I 561 00:31:03,120 --> 00:31:06,280 Speaker 1: mentioned this. I'm gonna I'm gonna restrain myself. I mentioned 562 00:31:06,280 --> 00:31:10,120 Speaker 1: this because the Boston Celtics are the fucking clown show. 563 00:31:10,200 --> 00:31:12,840 Speaker 1: I thought they were. Okay, they are the clown show 564 00:31:12,920 --> 00:31:15,480 Speaker 1: I've been watching for the last week or so with 565 00:31:15,520 --> 00:31:19,120 Speaker 1: the rest of America. It brings me no pleasure to 566 00:31:19,280 --> 00:31:22,120 Speaker 1: say this. Okay, all my family and our party the 567 00:31:22,120 --> 00:31:24,200 Speaker 1: other day, they're all giving me shit because the Celtics 568 00:31:24,200 --> 00:31:26,600 Speaker 1: came back from three to zero. They're all like, oh, 569 00:31:26,680 --> 00:31:28,800 Speaker 1: you want to take that bag u? How's being a 570 00:31:28,880 --> 00:31:30,959 Speaker 1: Heat fan going for all that? Right? Right? Right? I 571 00:31:31,000 --> 00:31:34,600 Speaker 1: wish I was wrong, not really, because in all in 572 00:31:34,640 --> 00:31:37,840 Speaker 1: all honesty, I was rooting for the Heat pretty hard. 573 00:31:38,320 --> 00:31:40,960 Speaker 1: Not just because I came out in the last episode 574 00:31:41,240 --> 00:31:46,640 Speaker 1: of The After Party and had that ridiculous angry Celtics rant, 575 00:31:47,160 --> 00:31:51,560 Speaker 1: but just these guys are what we fucking know they are, Okay, 576 00:31:51,880 --> 00:31:55,320 Speaker 1: They have no heart and they are as characters in 577 00:31:55,400 --> 00:31:58,600 Speaker 1: a story, they are not the types of characters that 578 00:31:58,680 --> 00:32:02,840 Speaker 1: you root for, okay. And it's plain as day to me. 579 00:32:03,200 --> 00:32:06,600 Speaker 1: And it's been going on for years now. This isn't like, uh, 580 00:32:06,920 --> 00:32:09,360 Speaker 1: just something that's come upon us in the last last 581 00:32:09,400 --> 00:32:11,480 Speaker 1: couple months, in the last couple months and weeks. It's 582 00:32:11,480 --> 00:32:16,200 Speaker 1: become it's become too obvious for me anyways to ignore. 583 00:32:16,440 --> 00:32:20,040 Speaker 1: All Right, the Boston Celtics right now are like the 584 00:32:20,080 --> 00:32:23,680 Speaker 1: sex Pistols, the Replacements and chet Baker rolled into one, 585 00:32:23,880 --> 00:32:27,840 Speaker 1: which is to say, wasted talent, but worse because I'm 586 00:32:27,920 --> 00:32:31,040 Speaker 1: like the sex Pistols, the Replacements in chet Baker, the Celtics, 587 00:32:31,320 --> 00:32:34,840 Speaker 1: like I said, they have no fucking heart. Okay, and 588 00:32:34,920 --> 00:32:38,400 Speaker 1: again this brings me no joy. All Right, I want 589 00:32:38,440 --> 00:32:41,640 Speaker 1: to root for all things Boston I do, but I'm 590 00:32:41,680 --> 00:32:45,720 Speaker 1: allowed one non New England team. I don't know what 591 00:32:45,800 --> 00:32:47,880 Speaker 1: the rules are. If I'm breaking, I know I'm fucking breaking. 592 00:32:47,880 --> 00:32:50,920 Speaker 1: I don't care. Fuck fuck these guys. I can't. I 593 00:32:51,040 --> 00:32:56,960 Speaker 1: fucking cannot. Like David Mammott says, characters are who they are, 594 00:32:57,360 --> 00:33:01,960 Speaker 1: they end up fulfilling the destiny that they are demonstrating 595 00:33:02,320 --> 00:33:05,960 Speaker 1: over time with each step in their progression. And these 596 00:33:05,960 --> 00:33:09,280 Speaker 1: Celtics keep doing the same dumb shit over and over 597 00:33:09,360 --> 00:33:12,880 Speaker 1: again and play with no heart. Okay, did you watch Succession? 598 00:33:12,880 --> 00:33:14,360 Speaker 1: I'm not gonna get into it. I'll get into it 599 00:33:14,360 --> 00:33:16,200 Speaker 1: in the wrap party, Tam, but did you watch Succession? 600 00:33:16,600 --> 00:33:20,080 Speaker 1: The ending? The ending was fucking perfect. Why because the 601 00:33:20,200 --> 00:33:24,040 Speaker 1: characters all did with the characters what we knew the 602 00:33:24,120 --> 00:33:26,520 Speaker 1: characters were going to do. They were who they were, 603 00:33:26,640 --> 00:33:29,880 Speaker 1: and the Celtics were who they were, which is to say, politely, 604 00:33:30,400 --> 00:33:34,720 Speaker 1: not winners. Okay, Jimmy Butler is a winner. He in 605 00:33:34,880 --> 00:33:38,200 Speaker 1: six all right, biggest flameouts in music, greatest on tap 606 00:33:38,240 --> 00:33:41,240 Speaker 1: potential or biggest bunch of losers. I don't care. It's 607 00:33:41,280 --> 00:33:43,520 Speaker 1: your call. Six one seven nine zero six six six 608 00:33:43,600 --> 00:33:46,600 Speaker 1: three eight. Let me know what you think, America, your recommendations. 609 00:33:46,680 --> 00:33:48,720 Speaker 1: That's what I got. I'm going to take a quick break, 610 00:33:48,720 --> 00:34:14,239 Speaker 1: come right back after this. All right, let's recap, shall we. 611 00:34:14,600 --> 00:34:17,799 Speaker 1: Number one, Easy E is the latest episode of Disgraceland 612 00:34:17,840 --> 00:34:19,960 Speaker 1: and it's in your feeds right now. Number two, we 613 00:34:20,080 --> 00:34:23,239 Speaker 1: just released our previously exclusive episode on George Harrison, so 614 00:34:23,320 --> 00:34:25,640 Speaker 1: dig on that if you will. Number three, we've got 615 00:34:25,640 --> 00:34:28,160 Speaker 1: a special treat for you grads in the feed on Monday, 616 00:34:28,320 --> 00:34:30,480 Speaker 1: and just you fans of I don't know, rock and 617 00:34:30,560 --> 00:34:32,600 Speaker 1: roll lore or whatever. This is coming up on the 618 00:34:32,920 --> 00:34:35,680 Speaker 1: next Monday on the schedule, along with a special relative 619 00:34:35,760 --> 00:34:39,719 Speaker 1: interview with Chris Shifflet from The Foo Fighters that I 620 00:34:39,800 --> 00:34:42,040 Speaker 1: did over the last couple of days at Boston Calling. 621 00:34:42,040 --> 00:34:44,400 Speaker 1: That's coming up in next week's after Party. All right. 622 00:34:44,480 --> 00:34:47,400 Speaker 1: Number four Jeff Buckley is the next full episode of 623 00:34:47,400 --> 00:34:49,600 Speaker 1: disgrace Land. That's coming next week as well. Kerrie Fisher. 624 00:34:49,600 --> 00:34:51,920 Speaker 1: This week in bad Lands my number six one seven 625 00:34:52,000 --> 00:34:54,160 Speaker 1: nine oh six six six three eight, Call me on 626 00:34:54,200 --> 00:34:56,520 Speaker 1: the telephone, or go ahead and text me okay. In 627 00:34:56,560 --> 00:35:00,319 Speaker 1: honor of the irrapressible Miami Heat me reading you the 628 00:35:00,360 --> 00:35:03,879 Speaker 1: phone book from nineteen fifty eight, and none other than 629 00:35:03,960 --> 00:35:10,239 Speaker 1: Miami Grace Richard two sixteen, Catalonia ave cg h I 630 00:35:10,440 --> 00:35:15,239 Speaker 1: eight Dash seven four four nine Green Norman five seven 631 00:35:15,320 --> 00:35:19,520 Speaker 1: zero six Bird Row Mo five dash one zero three 632 00:35:19,680 --> 00:35:25,440 Speaker 1: one Gross Gilbert Congress Boulevard one dash eight five eight seven, 633 00:35:25,760 --> 00:35:30,960 Speaker 1: Gustafson Gordon nine one nine South Miami Ave nine dash 634 00:35:31,000 --> 00:35:36,239 Speaker 1: two six eight three Gudenmacher David seventeen fifty nine, Southwest 635 00:35:36,239 --> 00:35:40,960 Speaker 1: Third Avenue four dash zero seven seven one Hartman four 636 00:35:41,080 --> 00:35:45,239 Speaker 1: dash eight four seven nine, Hassencamp three dash six five 637 00:35:45,400 --> 00:35:49,640 Speaker 1: nine two heck In Hassencamp three dash six five nine 638 00:35:49,680 --> 00:35:55,000 Speaker 1: two Hemmings Arthur one DuPont Boulevard seven Dash three five 639 00:35:55,120 --> 00:36:00,280 Speaker 1: five three Henrix Earl DuPont Boulevard three, Dash zero seven 640 00:36:00,400 --> 00:36:05,640 Speaker 1: one six Harris Irving and American Bouvard nine, Dash three 641 00:36:05,719 --> 00:36:09,960 Speaker 1: six three one nine Dash two six eighty three. Good, 642 00:36:10,800 --> 00:36:14,120 Speaker 1: David wit talking and start mixing. 643 00:36:14,360 --> 00:36:14,600 Speaker 4: Good