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Speaker 1: Hey, Discos, need a little more disgrace Land 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 that 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 of Disgraceland to the other, the backyard to dig

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Speaker 1: into the dirt. On this bonus episode, we are talking

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Speaker 1: about this week's subject of the Disgraceland full episode, the

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Speaker 1: Poltergeist Curse, the movies that scared you as a kid.

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Speaker 1: Again even more shocking Shancomb's allegations of what I plan

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Speaker 1: to do with all this ditty information. Also have a

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Speaker 1: special interview with Adam Wiener from one of the greatest

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Speaker 1: rock and roll bands on the planet at the moment,

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Speaker 1: Low Cut Connie, talking about his new movie Art Dealers,

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Speaker 1: And of course we're diving into your voicemails, tax and

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Speaker 1: more and as always a whole lot of rosie. Alright, Discos,

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Speaker 1: let's get into it. There was a study that came

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Speaker 1: out in twenty twenty one from behavioral scientists Colton Scribner

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Speaker 1: who found that horror film fans fared better psychologically than

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Speaker 1: non horror film fans during the COVID nineteen lockdown. The

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Speaker 1: reason wasn't because they had better and scarier entertainment options

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Speaker 1: at home during the pandemic, but rather because horror movies

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Speaker 1: force us to play with fear. They forced us to

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Speaker 1: play with other negative emotions as well, dread, anxiety, disgust,

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Speaker 1: and the theory goes that when we play with our fears,

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Speaker 1: we learn to better manage our fears. So those of

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Speaker 1: us who could better manage our fears because of horror

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Speaker 1: did better in twenty twenty managing our emotions during lockdown.

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Speaker 1: I looked into a couple of these studies when prepping

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Speaker 1: for this episode, and I'm shocked at how many there are,

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Speaker 1: these super serious academic looks at the psychology behind horror

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Speaker 1: film watchers. I didn't know this existed. It's a whole

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Speaker 1: piece of academia. Most of these studies, though they don't

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Speaker 1: have a lot of value. I found the COVID nineteen

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Speaker 1: thing to be a little bit interesting, but I don't

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Speaker 1: need a study to tell me why we're afraid when

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Speaker 1: we watch these films and you don't either. I'm more

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Speaker 1: interested in knowing why we are drawn to these films

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Speaker 1: as opposed to why we are afraid. Fear isn't a

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Speaker 1: positive emotion, obviously, most of us consciously avoid negative emotions.

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Speaker 1: And to that question, why we want to watch things

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Speaker 1: that are going to scare the hell out of us,

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Speaker 1: there isn't a lot of information. Psychologically. We want the thrill,

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Speaker 1: I get it. We want to feel like we're in

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Speaker 1: the situation without truly being in the situation, without the

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Speaker 1: negative consequences. We want that in doorphin rush. I think

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Speaker 1: that's simple and easy to understand, but it strikes me

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Speaker 1: that there's probably something else there that keeps drawing. It's

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Speaker 1: like the phenomenon of women who love, you know, sort

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Speaker 1: of the slasher true crime stuff. There's been a lot

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Speaker 1: of think pieces written on that with the expansion of podcasting,

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Speaker 1: But you know, as it pertains to horror movies, that's

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Speaker 1: what we're talking about here. I don't watch a lot

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Speaker 1: of horror movies, mainly because my wife doesn't watch a

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Speaker 1: lot of horror. She listens to a lot of true crime.

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Speaker 1: She's not a horror movie fan. I showed her Halloween

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Speaker 1: last year. I couldn't believe I got her to watch

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Speaker 1: it with me, and no joke, she was pissed off

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Speaker 1: at me for like a week afterward. The experience was

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Speaker 1: legitimately anxiety inducing for her, which is strange to me,

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Speaker 1: because I don't even think Halloween is that scary of

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Speaker 1: a movie. Maybe it was when it was released back

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Speaker 1: in nineteen seventy eight. I don't know. I wasn't watching

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Speaker 1: it back in nineteen seventy eight. I was too young,

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Speaker 1: But I don't find it to be that scary anymore.

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Speaker 1: You know, it's got the iconic Mike Myers. Of course

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Speaker 1: he's at face value horrifying, but the film again not

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Speaker 1: that scary. Maybe it isn't that scary to me because

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Speaker 1: despite what little horror I watch, the more modern horror

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Speaker 1: that I have watched is more emotionally manipulative and thus

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Speaker 1: more scary to me. I think the scariest movie that

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Speaker 1: I've seen in my entire life is that movie that

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Speaker 1: doesn't get a lot of heat, that movie The Strangers

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Speaker 1: from two thousand and eight, And I think the reason

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Speaker 1: is because it feels so real. The movie shot like

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Speaker 1: super bare bones. It looks. It looks good. It's just

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Speaker 1: not like a big budget film with a lot of

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Speaker 1: big sets, not a lot of grandness in the filmmaking,

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Speaker 1: and I think that makes it more relatable. It's hard

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Speaker 1: to think of other movies off the top of my

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Speaker 1: head that have scared me as an adult. The Conjuring,

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Speaker 1: but that was different. That was because you know, I

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Speaker 1: saw The Conjuring when it came out in the movie theaters,

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Speaker 1: in the movie theater, excuse me, in Santa Monica. And

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Speaker 1: then some years later, five, six, seven years later, whatever

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Speaker 1: it was, I was flipping through the channels at night

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Speaker 1: and The Conjuring came on. I was in my bedroom

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Speaker 1: just north of Boston, and I realized that the hospital

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Speaker 1: scenes from The Conjuring were filmed right down the road

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Speaker 1: from where I lived. And it's something I didn't pick

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Speaker 1: up on the first time when I saw in the theater.

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Speaker 1: Maybe I didn't. It wasn't that scary to me then

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Speaker 1: in the theater because the context was so different. I

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Speaker 1: was in Santa Monica, but there in my bedroom, you know,

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Speaker 1: two miles from where the horror movie was set, or

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Speaker 1: part of it anyways, and I know the house is

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Speaker 1: set in like Connecticut or something. But again, I'm talking

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Speaker 1: about the hospital scenes that scared the hell out of me.

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Speaker 1: I had to literally get up, walk downstairs, walk around

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Speaker 1: the house, check the locks, did the whole all that

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Speaker 1: whole thing. Again, I think it was the context that

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Speaker 1: made it scary for me, made the film scary for me. Books,

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Speaker 1: on the other hand, they're a lot scarier to me

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Speaker 1: than than than horror movies are. Salem's a lot reading

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Speaker 1: that as a kid. When I think of it now,

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Speaker 1: I can I can still actually feel what that fear

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Speaker 1: was that I felt back then. And of course the Exorcist.

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Speaker 1: We're talking about the Exorcist. We have an Exorcist episode

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Speaker 1: coming out next week. We're doing a book club next

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Speaker 1: week on the twenty ninth, Tuesday, the twenty ninth, about

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Speaker 1: the Exorcist. So if you want to get in on that,

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Speaker 1: you still got time to read the book. You get

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Speaker 1: a week almost, you know, But reading it as an adult,

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Speaker 1: I didn't read The Exorcist as a kid, But reading

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Speaker 1: it as an adult after seeing the movie as a kid,

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Speaker 1: reading the book, it's a different type of fear. Okay,

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Speaker 1: the fear the horror isn't about the green puke and

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Speaker 1: the profanity spewing from Reagan's mouth. It's it's that the

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Speaker 1: the horror of it, of the of the book. The

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Speaker 1: story is wrapped up in my very real faith and

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Speaker 1: contextualized in spirituality, and it scares the hell out of me. Again, context,

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Speaker 1: I think the context is what makes this stuff scary

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Speaker 1: to us. The scariest movies to me are the ones

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Speaker 1: that are the most realistic. Like I talked about The Strangers,

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Speaker 1: now The Exorcist. I believe in possession. I believe in

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Speaker 1: good and evil. I believe that evil travels in unexpected ways.

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Speaker 1: I believe in God, I believe in the devil, and

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Speaker 1: I believe, like the Catholic Church believes that in extremely

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Speaker 1: rare occasions, exorcism is necessary to cast out the spirit

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Speaker 1: of evil. So, with all that at my core, and

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Speaker 1: the beautiful writing that is the book The Exorcist, in

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Speaker 1: the filmmaking that I mean, the film is incredible. With

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Speaker 1: all that, it's easy to see how that book and

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Speaker 1: that film scare the hell out of me. The book

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Speaker 1: mainly though, Now I'm talking all about this because you know,

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Speaker 1: we released this episode on the Poltergeist, The Curse of

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Speaker 1: the Poultergeist film series, I should say to get it right,

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Speaker 1: and the question of the week was you know, I

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Speaker 1: was talking about how that movie scared the hell out

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Speaker 1: of me as a kid. It really really did, and

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Speaker 1: we're going to get into that more later in the episode.

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Speaker 1: And I asked you guys, what movies scared you? And

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Speaker 1: I get a lot of great feedback. So many great

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Speaker 1: horror movies from the eighties, the nineties, the seventies as well.

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Speaker 1: You know, if we're all relatively the same age, give

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Speaker 1: or take a decade or so here in Disgraceland, I

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Speaker 1: think we're lucky with the horror movies. We came up

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Speaker 1: with pretty incredible stuff. And I got a lot of

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Speaker 1: great incoming voicemails, texts, emails, dms, et cetera from you

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Speaker 1: guys on the answer to the question of the week,

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Speaker 1: which movies scared the hell out of you as kids?

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Speaker 1: I want to read to you though, just to again

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Speaker 1: because we're talking about context here, different type of context.

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Speaker 1: I want to read to you guys. I went to

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Speaker 1: Rotten Tomatoes and I wanted to find some lists of

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Speaker 1: the scariest films of these previous decades. So going to

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Speaker 1: the eighties. The ten scariest films in reverse order, ding

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Speaker 1: to Rotten Tomatoes, which I went to on purpose because

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Speaker 1: it's kind of like a voted on type of thing

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Speaker 1: as opposed to just completely editorialized. But anyways, here we go.

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Speaker 1: Number ten Evil Dead Too. Now I'm gonna give you

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Speaker 1: my comments on these as I kind of breezed through

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Speaker 1: them here, and if you guys have any comments, hit

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Speaker 1: me up. You know how to do it. Six one seven,

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Speaker 1: nine oh six, six six three eight at disgrace landpot

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Speaker 1: So anyways, Number ten Evil Dead Too. Okay, I've seen

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Speaker 1: Evil Dead two, not that scary. Number nine Stephen Kingk's

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Speaker 1: Dead Zone. I don't remember the film, though I have

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Speaker 1: seen it. Christopher Walking the book, on the other hand,

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Speaker 1: just like Salem's Lot, completely frightening. Number eight Henry Portrait

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Speaker 1: of a serial Killer. Okay, what was this? I thought

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Speaker 1: this was a nineties movie, but I guess this is

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Speaker 1: eighty nine. Maybe very scary movie, but I wouldn't categorize

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Speaker 1: it as horror, though Rotten Tomatoes does. Henry Portrait of

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Speaker 1: a serial Killer American Werewolf of London. Number seven super scary,

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Speaker 1: super scary to me as a kid, I saw it

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Speaker 1: in the theaters when it came out, pretty sure. My

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Speaker 1: dad took me.

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Speaker 2: You know.

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Speaker 1: There's got the great special effects. That's kind of what

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Speaker 1: this movie is is known for. I watched this movie

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Speaker 1: almost every year. It still kind of scares me, particularly

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Speaker 1: the stuff out on the moors, the country side, the

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Speaker 1: spookiness of the English countryside, just and the transformation piece.

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Speaker 1: There's something in storytelling too. It's a trope for a reason,

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Speaker 1: like what a character transforms, and when they literally transform

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Speaker 1: in these horror movies. I think it does something else

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Speaker 1: to us, to the fear factor within us. So seven

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Speaker 1: American Werewolf of London, I get it. I think it

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Speaker 1: should perhaps be even higher on the list. But number six,

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Speaker 1: Return of the Living Dead, I've never seen it. Number

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Speaker 1: five Little Shop of Horrors. Coincidentally, just watched this the

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Speaker 1: other night with my kids. Not scary. I don't even

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Speaker 1: know why it's on here. This should not be on here.

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Speaker 1: For the fly, I get it. We're talking more about

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Speaker 1: that transformation thing. This is Cronenberg. This is I almost

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Speaker 1: said Steve Gutenberg, but it's Jeff Goldbloom, correct, Yeah, Jeff Coldbloom.

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Speaker 1: And they're talking about the eighties of the Fly, not,

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Speaker 1: of course, the original three reanimator. I've never seen it too,

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Speaker 1: our girl Sigourney Weaver and Aliens, who we covered a

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Speaker 1: couple episodes ago. Again, that's Aliens, not alien and number one,

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Speaker 1: which I get. I don't agree with it, but I

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Speaker 1: get it. Nightmare on Elm Street. I was at the

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Speaker 1: perfect age to not be scared by Nightmare on Elm Street.

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Speaker 1: It came just like a just too late, like a

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Speaker 1: year too late for me, and I just found the

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Speaker 1: whole thing to be cheesy. But conversely, a couple of

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Speaker 1: years before Friday the thirteenth, Jason vorhees that shit I

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Speaker 1: found would be really scary. Night Mare on Elm Street,

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Speaker 1: this set of cheese fat. I was a little too old.

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Speaker 1: I was getting to be a little too cool for school.

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Speaker 1: I'd like to go back and watch it, though, because honestly,

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Speaker 1: I have not watched this movie. I think since I

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Speaker 1: was a kid, and the idea of like, you know,

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Speaker 1: the Boogeyman under the bed or whatever the hell it

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Speaker 1: is I don't remember, is fucking frightening, So I get

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Speaker 1: why this one is number one. Poltergeist is not even

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Speaker 1: on the list, guys. It did come in at eleven

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Speaker 1: eighty eight percent Rotten Tomatoes rating. But yeah, I mean,

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Speaker 1: come on, Little Chapahara's Polter Guy should be on this list. Okay,

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Speaker 1: let's go to the nineties. Real quick. Number ten audition,

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Speaker 1: never seen it, no idea what it is. If anyone

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Speaker 1: see an audition, let me know. Number nine six cents, Yes,

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Speaker 1: very scary. I've only seen this movie once. My oldest

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Speaker 1: son has been begging me to watch it. He's only

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Speaker 1: ten years old. I saw this when it came out.

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Speaker 1: I need to see it again. I love m Night

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Speaker 1: Shamalan's movies, most of them that I've seen anyway. Is

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Speaker 1: Number eight Blair Witch, also super frightening. Number seven Tremors.

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Speaker 1: I don't remember it, but I think I watched it,

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Speaker 1: and I think I was scared. Number six Dead Alive,

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Speaker 1: never seen it. Number five Kronos, never seen it. Number

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Speaker 1: four Misery not really scary, not just it's not. Number

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Speaker 1: three Iraq Nophobia ninety three percent Rotten Tomatoes. Iraq neophobia.

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Speaker 1: I don't remember that being scary. I remember that being

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Speaker 1: kind of a joke. Number two Silence of the Lambs,

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Speaker 1: truly frightening. And number one I need to see this more.

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Speaker 1: I have not seen this movie, and I'm embarrassed. I'm ashamed. Frankly,

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Speaker 1: I'm embarrassed and ashamed. What movie is that from? I

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Speaker 1: can't remember. Number one The Ring? Ninety eight percent. Have

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Speaker 1: you guys seen The Ring? I know some of you

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Speaker 1: have talked to me about it before. Okay, real quick,

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Speaker 1: for the rest of the old heads out there, I'm

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Speaker 1: gonna quickly run down the top ten from the seventies.

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Speaker 1: Number ten, The Wicker Man. This scared the shit out

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Speaker 1: of me as a kid. I've only watched it once.

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Speaker 1: I'm going back to watch it again, perhaps this week.

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Speaker 1: And number nine Carrie. Is Carrie really that scary or

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Speaker 1: is it just horrifying? I would say it's horrifying. Number

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Speaker 1: eight Invasion of the Body Snatchers. Number seven. Don't look now,

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Speaker 1: I've seen this one, Donald Sutherland, Julie Christi, but I

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Speaker 1: without sound. Don't ask me why I need to watch

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Speaker 1: it again. I think it's on criteria. Number six Alien, Yes, horrifying,

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Speaker 1: very scary. Five Suspiria made by Anthony Bourdain's girlfriend's dad, Diargento.

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Speaker 1: Not really scary, but worth a watch a vibe horrific vibe.

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Speaker 1: Number four, I guess this is the remake of Nose Faratu,

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Speaker 1: which I've never seen. I've seen the original. Number three,

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Speaker 1: Young Frankenstein not scary, It's comedy. Number two Halloween talked

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Speaker 1: about that earlier number one scariest movie from the nineteen seventies.

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Speaker 1: You're all waiting for me to say the Exorcist, but

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Speaker 1: I'm not gonna say it because it ain't number one.

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Speaker 1: Number one Jaws. Jaws left field choice. There. I get it,

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Speaker 1: it is scary. I still have a problem going in

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Speaker 1: the water. I have my whole life. I'm so afraid

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Speaker 1: of sharks. I have a shark tattoo, I have a

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Speaker 1: shark app on my phone, and every summer I sit

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Speaker 1: on the beach as my kids are in the water

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Speaker 1: and I monitor it. I'm psycho about my fear of sharks,

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Speaker 1: and it's because of Jaws. However, the Exorcist is number

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Speaker 1: twenty three on this frickin' list. Doesn't make any sense.

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Speaker 1: And there's a bunch between ten and twenty three that

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Speaker 1: I'd never seen before or heard of, and I'm like,

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Speaker 1: what is this? I got to see these things. So anyways,

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Speaker 1: that'll contextualize the conversation. We're going to get into in

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Speaker 1: a little bit. When we come back after this break,

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Speaker 1: we're going to talk about the question of the week

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Speaker 1: and your answers to what the scariest movie of your

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Speaker 1: childhood was. Now listen before we do that, I gotta

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Speaker 1: just I gotta clean something up here. Next week's episode,

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Speaker 1: like I said, is on the Exorcist, and at the

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Speaker 1: end of that episode I posed a question of the

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Speaker 1: week that is just it's too similar to last week's

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Speaker 1: question of the Week. I don't know what I was thinking.

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Speaker 1: I don't record these things in succession. I record them

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Speaker 1: all out of order. I messed up. I ask in

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Speaker 1: the e bloc. The final message of the Exorcist episode

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Speaker 1: is what's the scariest movie of all time? Now, if

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Speaker 1: anyone wants to answer that, go ahead. I'm not going

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Speaker 1: to go back and punch it. However, I think a

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Speaker 1: better question is when, when you're listening to the Exorcist episode,

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Speaker 1: be thinking about the fact that this was a book.

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Speaker 1: Obviously we talk about that in the episode. Is a

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Speaker 1: book before it was a movie. So the question of

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Speaker 1: the week, a more a more app question of the

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Speaker 1: week is what is the scariest book you have ever read?

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Speaker 1: And we'll get into that in the after party bonus

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Speaker 1: episode after The Exorcist is released. And if you still

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Speaker 1: want to hit me up, you want to tell me

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Speaker 1: about your scariest movie even beyond your childhood, go for it.

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Speaker 1: We'll talk about that too. Six one seven nine oh

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Speaker 1: six six six three eight voicemail. Text to let me

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Speaker 1: know the answer to next week's question of the week

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Speaker 1: at disgracelam pod on the socials. Disgrace lampod at gmail

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Speaker 1: dot com. Email to hit me up back in the flash.

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Speaker 1: All right, guys, we are back. A couple of announcements

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Speaker 1: before we get into your voicemails, your TEXTI DMS. We

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Speaker 1: did these limited edition T shirts for you that are

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Speaker 1: Halloween based, inspired by our Black Sabbath in our Cramps episodes.

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Speaker 1: Those are available for let's say you're hearing this on Thursday,

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Speaker 1: for one more day, we're gonna they'll be gone. They're

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Speaker 1: almost all gone right now, but we're done selling them

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Speaker 1: after the end of Tomorrow Friday, So go to disgracelampod

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Speaker 1: dot com slash merch to grab those t shirts. They're fantastic.

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Speaker 1: Artist Spencer Alexander collaborated with us on the design did

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Speaker 1: a great job, so get them while they last. Number two.

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Speaker 1: Second announcement coming up less than a week Tuesday, the

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Speaker 1: twenty ninth. That is our disgrace Land book Club where

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Speaker 1: we are going to be discussing the Exorcist. And if

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Speaker 1: you're in the Patreon, you know there's a link there

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Speaker 1: and that's how you get in on this. You can

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Speaker 1: register there. I'm also posting links on the socials. I

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Speaker 1: storied it last night on Instagram. I'll try to do

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Speaker 1: this every twenty four hours so this information remains up there.

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Speaker 1: So if you want to get in on this, you

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Speaker 1: want to register for the book club, hit up at

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Speaker 1: disgracelam pod on Instagram, go to the stories. There should

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Speaker 1: be a link in there for you. Okay, I'll send

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Speaker 1: you the link. I hope you can join us for

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Speaker 1: the book club. It's a good vibe. We get to

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Speaker 1: spend some face time together, which I always appreciate, like

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Speaker 1: seeing your faces. Okay, I want to hear your voices.

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Speaker 1: The question of the week from last week was what

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Speaker 1: movie scared the hell out of you as a kid

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Speaker 1: because of the Polter guyst episode. That's what I wanted

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Speaker 1: to know. Let's go to Ish in the seven eight.

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Speaker 3: One, Jake, what up your boy ish?

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Speaker 2: Long time? Hope all as well?

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Speaker 3: Sounds like you're still kicking ass about scary things and

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Speaker 3: scary movies. First off, the video from Yes the Owner

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Speaker 3: of a Lonely Heart that used to scare the living

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Speaker 3: shit out of me as a kid. For some reason,

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Speaker 3: growing up, I was into horror movies. Watched tons of

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Speaker 3: horror movies. My parents were cool with it. Poltergeist was

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Speaker 3: one of the creepiest, scariest things I had seen as

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Speaker 3: a kid. As an adult, I like to watch scary

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Speaker 3: movies by myself with a lifetoff to see if that

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Speaker 3: shit scares me. It's tough job a couple of times,

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Speaker 3: but for the most part not really. But like you said,

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Speaker 3: Poultergeist threeteen, something about it very creepy, Caroline, Caroline.

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Speaker 2: I don't know, man, all is well? Give up the

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Speaker 2: good work, disco.

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Speaker 1: Ish My man, it's been a long time since you've

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Speaker 1: called in. I was wondering where you were. I'm happy

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Speaker 1: to hear your voice. I hope you're doing well up

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Speaker 1: there in the Northeast. Owner of a Lonely Heart. I

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Speaker 1: can't remember the video, but I know the song and

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Speaker 1: I can see. I can see actually the song that's

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Speaker 1: sort of like those big, massive hits. I can see.

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Speaker 1: I can see that scaring the hell out of me

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Speaker 1: as a little kid. Although it didn't scare me, Poltergeist

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Speaker 1: did as it did to You were relatively the same age,

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Speaker 1: I believe. And yeah, Carol Anne, just freaky freaky all right,

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Speaker 1: sh I appreciate you. Let's check out with Steve from

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Speaker 1: the three one eight three, Steve way way way on

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Speaker 1: the other side of the world.

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Speaker 4: Go ahead, Steve Jay.

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Speaker 5: This is Steve from the three one eight three in

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Speaker 5: Melbourne in Australia. You were after films that scared the

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Speaker 5: life out of people. I'm going to nominate American Wealth

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Speaker 5: in London. I was ten years old when it came out.

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Speaker 5: I saw it on a home video at a friend's

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Speaker 5: place and I did not sleep soundly for weeks after that.

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Speaker 2: It was shown.

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Speaker 5: A film reviewer played the first thirty seconds and then

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Speaker 5: some still photos of that famous Rick Baker special effects

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Speaker 5: scene where David changed into the werewolf for the first

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Speaker 5: time as in a nighttime talk show, and I thought,

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Speaker 5: I have to see this film, but my parents were

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Speaker 5: dead against me seeing it. But of course the Munich

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Speaker 5: of folks tell you not to do something, that's all

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Speaker 5: you want to do, right. So anyway, after it left

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Speaker 5: the cinemas, it came out on home video here and

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Speaker 5: I saw it at a makesplace after school one afternoon,

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Speaker 5: and yeah, oil boy, my folks were right on the

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Speaker 5: money with that call. Anyway, thank you for the podcast.

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Speaker 5: I'll look forward to hearing plenty.

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Speaker 1: More stories from this Grice Land, Steve, we are of

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Speaker 1: like mind, my friend, even though we are oceans apart.

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Speaker 1: Appreciate you calling in. I think you may have heard

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Speaker 1: already me talk about American were Wolf of London. You're

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Speaker 1: you obviously had responsible parents. They didn't want you to

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Speaker 1: see it. My parents, My dad took me to see it.

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Speaker 1: But yeah, you know, this is one of those things

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Speaker 1: where I know my I know my oldest could maybe

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Speaker 1: handle it. Maybe I'm being very careful, very careful, and

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Speaker 1: trying to preserve his innocence and in a balance in

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Speaker 1: a meaningful way, not in a not in an over

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Speaker 1: overly protective way. He's got his whole life to watch,

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Speaker 1: watch these movies, and I'll be watching them with him,

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Speaker 1: with both my sons. But it's hard, man, it's hard.

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Speaker 1: You know I want to watch this stuff with him,

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Speaker 1: especially American Werewolf of London. If anyone hasn't seen American

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Speaker 1: Werewolf of London, do yourselves a favor and go do

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Speaker 1: so immediately after this episode. Anyways, Okay, let's check out

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Speaker 1: with Tony from the two oh six.

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Speaker 6: What's having him?

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Speaker 4: Brother?

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Speaker 2: You know who it is?

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Speaker 6: Tony from the two oh six. Just got done listening

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Speaker 6: to that Polter guyst episode with my wife and she

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Speaker 6: is now a fan of the podcast. She actually asked

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Speaker 6: me to send her that episode so she can play

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Speaker 6: it again.

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Speaker 2: She loves speaky stuff.

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Speaker 6: To answer your question, I'm not gonna give you one movie.

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Speaker 2: I'm gonna give you four. I'm just gonna list them off,

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Speaker 2: not any particular order, but.

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Speaker 6: These are the movies that scared me to where I

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Speaker 6: can never watch the movie. Okay, here we go, One

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Speaker 6: Video Drone, two, Jacob Flatter, Three Tales from the Hood,

423
00:22:33,200 --> 00:22:36,040
Speaker 6: and four even though it's technically not a scary movie,

424
00:22:36,080 --> 00:22:39,320
Speaker 6: but I can't deal with hallucinations, wreck Riem for a Dream.

425
00:22:39,600 --> 00:22:43,040
Speaker 6: Those are the four movies I will not watch at all. Okay,

426
00:22:44,200 --> 00:22:46,440
Speaker 6: all right, love the show about to listen to the

427
00:22:46,480 --> 00:22:49,360
Speaker 6: Robert Johnson episode and keep doing what you're doing.

428
00:22:49,480 --> 00:22:51,480
Speaker 2: Much love on the Twillo sext Brother peace.

429
00:22:51,760 --> 00:22:54,000
Speaker 1: Tony, thank you for turning us on to your wife

430
00:22:54,119 --> 00:22:58,840
Speaker 1: the podcast. Appreciate that Videodrome never seen it. Jacob's Ladder

431
00:22:59,000 --> 00:23:05,520
Speaker 1: legitimately horrifying. Jacob's Ladder legitimately horrifying. I cannot believe I

432
00:23:05,600 --> 00:23:09,400
Speaker 1: forgot to mention that earlier. It's worth mentioning that Jacob's

433
00:23:09,480 --> 00:23:12,960
Speaker 1: Ladder was a big influence on my writing for the

434
00:23:13,160 --> 00:23:16,119
Speaker 1: John Denver episode that we have done. So if you

435
00:23:16,160 --> 00:23:17,840
Speaker 1: want to want to know what I'm talking about, go

436
00:23:17,880 --> 00:23:20,280
Speaker 1: back in the archive and check that out. Tales from

437
00:23:20,280 --> 00:23:23,800
Speaker 1: the Hood, Never seen It, Requiem for Dream Hubert Selby.

438
00:23:24,280 --> 00:23:26,280
Speaker 1: I don't remember it being scary. I remember it being

439
00:23:26,440 --> 00:23:30,119
Speaker 1: miserable but being really good. Yeah. Anyways, hope you dig

440
00:23:30,160 --> 00:23:33,160
Speaker 1: the Robert Johnson episode. I tried to make it super devilish.

441
00:23:33,240 --> 00:23:35,119
Speaker 1: I hope that comes through. Richard from the nine to

442
00:23:35,160 --> 00:23:36,040
Speaker 1: one six.

443
00:23:36,840 --> 00:23:39,639
Speaker 2: Hey, Jake, it's Richard from nine to one six, a

444
00:23:40,000 --> 00:23:44,280
Speaker 2: relatively new listener. Really, Doug your Pull for Guys episode

445
00:23:44,320 --> 00:23:47,159
Speaker 2: that was always one of my favorites growing up. I

446
00:23:47,240 --> 00:23:50,159
Speaker 2: remember seeing it in the theaters. But the one that

447
00:23:50,280 --> 00:23:52,960
Speaker 2: really scared me when I was young. Was the one

448
00:23:53,000 --> 00:23:59,760
Speaker 2: and only original Phantasm from nineteen seventy nine here locally,

449
00:23:59,800 --> 00:24:03,840
Speaker 2: and they showed it uncut after the news one night,

450
00:24:04,240 --> 00:24:07,520
Speaker 2: like maybe six months after it came out, and I

451
00:24:07,720 --> 00:24:11,359
Speaker 2: stayed up and scared the shit out of myself. He

452
00:24:11,520 --> 00:24:13,680
Speaker 2: thought's a good work, man, Thanks.

453
00:24:14,160 --> 00:24:16,840
Speaker 1: Richard, good to have you here. Man. Appreciate the new listeners.

454
00:24:17,359 --> 00:24:21,119
Speaker 1: The shooting of Fantasm locally again here we go with

455
00:24:21,520 --> 00:24:25,760
Speaker 1: the context right, makes it, makes it scarier, I bet

456
00:24:26,000 --> 00:24:28,520
Speaker 1: just a little bit pushes it over the edge for you,

457
00:24:28,640 --> 00:24:30,600
Speaker 1: or did as a kid anyways, And showing it after

458
00:24:30,640 --> 00:24:35,960
Speaker 1: the eleven o'clock news or whatever it was, that's that's amazing.

459
00:24:36,760 --> 00:24:39,720
Speaker 1: I'm a huge Stephen King fan. Well, I should say

460
00:24:39,840 --> 00:24:43,560
Speaker 1: I'm a huge fan of Stephen King's books, some of

461
00:24:43,600 --> 00:24:46,840
Speaker 1: Stephen King's books, not a whole lot of his movies,

462
00:24:46,880 --> 00:24:48,800
Speaker 1: but some of the movies are great. And he'll tell

463
00:24:48,800 --> 00:24:52,920
Speaker 1: you the same thing. And just to your note about

464
00:24:52,960 --> 00:24:57,960
Speaker 1: Phantasm being being shot nearby in your hometown. Recently, within

465
00:24:58,000 --> 00:25:01,040
Speaker 1: the last ten years, in my hometown of Clinton in Massachusetts,

466
00:25:01,560 --> 00:25:07,080
Speaker 1: they shot Castle Rock and that was a trip. That

467
00:25:07,280 --> 00:25:09,960
Speaker 1: was a trip to see I obviously don't live there anymore.

468
00:25:09,960 --> 00:25:12,560
Speaker 1: My family does, and it was a trip for them

469
00:25:12,640 --> 00:25:17,680
Speaker 1: because Stephen King's production crews rolling around and they've since

470
00:25:17,960 --> 00:25:21,840
Speaker 1: shot I think, more television, more Stephen King related television

471
00:25:21,880 --> 00:25:24,960
Speaker 1: in Clinton, Massachusetts, and a lot more in Massachusetts. But

472
00:25:25,040 --> 00:25:27,080
Speaker 1: to have it in your hometown. And the final scene

473
00:25:27,119 --> 00:25:30,399
Speaker 1: of that series takes place at the literal exact spot

474
00:25:30,440 --> 00:25:32,560
Speaker 1: where I got drunk for the first time in my life.

475
00:25:33,000 --> 00:25:35,600
Speaker 1: I found that to be very, very exciting and thrilling

476
00:25:35,600 --> 00:25:39,120
Speaker 1: when I was watching it. But Castle Rock, I guess,

477
00:25:39,200 --> 00:25:41,760
Speaker 1: kind of scary for TV for sure. If you haven't

478
00:25:41,760 --> 00:25:43,640
Speaker 1: seen it, check that out. All right, let's do some texts.

479
00:25:43,760 --> 00:25:46,400
Speaker 1: This one comes from the seven oh six and it's

480
00:25:46,480 --> 00:25:49,440
Speaker 1: kind of guys. It's to me, but it's it's kind

481
00:25:49,440 --> 00:25:52,040
Speaker 1: of the you guys as well. Seven o six says, Hey,

482
00:25:52,119 --> 00:25:54,920
Speaker 1: you know the best thing about your series slash bonus content.

483
00:25:54,960 --> 00:25:57,520
Speaker 1: No matter how far I fall behind while dealing with

484
00:25:57,560 --> 00:25:59,600
Speaker 1: the next bullshit thing from work, or the first trip

485
00:25:59,640 --> 00:26:02,000
Speaker 1: to take my kid to Disney being canceled till next

486
00:26:02,119 --> 00:26:05,320
Speaker 1: year due to hurricanes or emergency VET visits to find

487
00:26:05,320 --> 00:26:07,520
Speaker 1: out my thirteen year old Kat as a tumor and

488
00:26:07,560 --> 00:26:11,720
Speaker 1: her sinus cavity. It's having that good familiar feeling listening

489
00:26:11,720 --> 00:26:14,440
Speaker 1: to an old friend pickup right where we left off

490
00:26:14,480 --> 00:26:16,560
Speaker 1: the last time. And the more I think about it,

491
00:26:16,720 --> 00:26:18,720
Speaker 1: even though I'm a dedicated metal head, the more I

492
00:26:18,760 --> 00:26:20,320
Speaker 1: find out my life is a lot more like those

493
00:26:20,359 --> 00:26:22,720
Speaker 1: old country songs. And I ever care to admit, I

494
00:26:22,720 --> 00:26:25,160
Speaker 1: hope all of you working out there have that one

495
00:26:25,200 --> 00:26:26,879
Speaker 1: thing that makes you get out of your head for

496
00:26:26,920 --> 00:26:29,119
Speaker 1: a few minutes a day, like you do for me.

497
00:26:29,200 --> 00:26:31,040
Speaker 1: He's talking about the podcast here, and if not, I

498
00:26:31,080 --> 00:26:33,399
Speaker 1: got an old beat up pickup truck in my backyard

499
00:26:33,440 --> 00:26:35,480
Speaker 1: with a bag full of wrenches and spare parts. If

500
00:26:35,520 --> 00:26:38,000
Speaker 1: you ever need a life distraction. Take care you guys.

501
00:26:38,560 --> 00:26:40,240
Speaker 1: I love that. I wish you gave me your name.

502
00:26:40,320 --> 00:26:43,280
Speaker 1: Seven oh six. It's great, great text. Appreciate it. Eight

503
00:26:43,320 --> 00:26:47,120
Speaker 1: point two writes in The Fucking Cramps my new favorite episode.

504
00:26:47,160 --> 00:26:50,280
Speaker 1: The Cramps, Devo and the Blasters were my first favorite

505
00:26:50,320 --> 00:26:53,399
Speaker 1: bands when I was six. What when you were six?

506
00:26:54,160 --> 00:26:56,760
Speaker 1: Great taste for a six year old? Is that a

507
00:26:56,800 --> 00:26:58,800
Speaker 1: flex or what? I don't care. It's awesome. Then you

508
00:26:58,840 --> 00:27:02,000
Speaker 1: go on to Saysters were my first show. Nice good

509
00:27:02,000 --> 00:27:05,680
Speaker 1: for you. Love the blasters American music. Okay, Textter goes

510
00:27:05,680 --> 00:27:08,280
Speaker 1: on to say I grew up by coastal between Riverside,

511
00:27:08,280 --> 00:27:12,080
Speaker 1: California and Rutland, Vermont. Okay, Riverside, California. That explains the blasters.

512
00:27:12,080 --> 00:27:14,320
Speaker 1: But Textter goes on to say my dad owned thrift

513
00:27:14,320 --> 00:27:17,679
Speaker 1: stores in San Bernardino and Riverside in the eighties. He

514
00:27:17,760 --> 00:27:20,280
Speaker 1: also played bass guitar in various bands. Okay, I'm starting

515
00:27:20,280 --> 00:27:23,000
Speaker 1: to believe you here, huge car and rockabilly scene in

516
00:27:23,040 --> 00:27:26,600
Speaker 1: the Inland Empire. Lux and Poison IVY would occasionally come

517
00:27:26,600 --> 00:27:29,119
Speaker 1: into my dad's stories and he saw them perform a

518
00:27:29,119 --> 00:27:32,040
Speaker 1: handful of times. My pops who wake us up blasting

519
00:27:32,080 --> 00:27:34,720
Speaker 1: the song garbage Man at us, He would say, wake

520
00:27:34,760 --> 00:27:36,240
Speaker 1: up and go to school. You're gonna end up a

521
00:27:36,280 --> 00:27:39,640
Speaker 1: garbage man. I would be buried in my yellow Bad

522
00:27:39,720 --> 00:27:42,119
Speaker 1: Music for Bad People t shirt. Also, the song Surfing

523
00:27:42,200 --> 00:27:44,000
Speaker 1: Dead that they did for the Return to a Living

524
00:27:44,040 --> 00:27:46,840
Speaker 1: Dead is a great underrated Halloween song. Happy rock a

525
00:27:47,000 --> 00:27:50,680
Speaker 1: rolla Halloween, Keep it spooky. Mister Jake's side note word

526
00:27:50,720 --> 00:27:54,240
Speaker 1: of advice never never, never play the Cramps for your girl.

527
00:27:54,359 --> 00:27:57,560
Speaker 1: I'm not gonna reading the rest of that great texts

528
00:27:58,080 --> 00:28:02,000
Speaker 1: aside from the addendum, nice work, damn man, your dad.

529
00:28:02,440 --> 00:28:05,040
Speaker 1: Your dad hooked you up. And if you guys haven't

530
00:28:05,040 --> 00:28:07,480
Speaker 1: heard the Cramps episode from last week, I invite you

531
00:28:07,520 --> 00:28:10,479
Speaker 1: to go do so. Uh aight, oh two knows what

532
00:28:10,480 --> 00:28:13,120
Speaker 1: they're talking about? Four two five writes and Hey Jake,

533
00:28:13,400 --> 00:28:16,440
Speaker 1: it's Julie from the four two five. Listen to Low

534
00:28:16,440 --> 00:28:17,200
Speaker 1: Cut Connie.

535
00:28:17,600 --> 00:28:18,119
Speaker 4: Damn.

536
00:28:18,600 --> 00:28:20,520
Speaker 1: I like the music big time. Thanks for the heads up.

537
00:28:20,720 --> 00:28:23,680
Speaker 1: On another note, not the greatest band of all time,

538
00:28:23,720 --> 00:28:27,760
Speaker 1: but a big kick ass American band, the Smithereens. Julie,

539
00:28:27,880 --> 00:28:30,560
Speaker 1: Thanks for the text. You're in for a treat. We've

540
00:28:30,600 --> 00:28:33,160
Speaker 1: got an interview with Adam from Low Cut Connie coming

541
00:28:33,240 --> 00:28:51,560
Speaker 1: up right after this. All right, guys, we are back.

542
00:28:51,640 --> 00:28:54,640
Speaker 1: Lots going on in this episode. A couple things real quick.

543
00:28:54,720 --> 00:28:56,360
Speaker 1: You guys want to spread some love for the show.

544
00:28:56,440 --> 00:28:58,200
Speaker 1: I know you do. You asked me about it all

545
00:28:58,200 --> 00:28:59,840
Speaker 1: the time, and I appreciate you, and you know what

546
00:28:59,880 --> 00:29:02,000
Speaker 1: I'm going to say. The answer on how to do

547
00:29:02,040 --> 00:29:04,080
Speaker 1: that is to go to Apple Podcasts or go to

548
00:29:04,120 --> 00:29:07,360
Speaker 1: Spotify leave a review for the show, and as you know,

549
00:29:07,440 --> 00:29:09,560
Speaker 1: I read one of the reviews every week or a

550
00:29:09,640 --> 00:29:12,480
Speaker 1: couple anyhow, and if I read it here in the episode,

551
00:29:12,520 --> 00:29:15,560
Speaker 1: you get some free merch for all of those who

552
00:29:15,840 --> 00:29:18,480
Speaker 1: have reviewed the show and who I've I've spoken about,

553
00:29:18,520 --> 00:29:21,000
Speaker 1: and I read your reviews on the after party. I

554
00:29:21,040 --> 00:29:23,200
Speaker 1: believe that I that I got all the merch out

555
00:29:23,240 --> 00:29:24,960
Speaker 1: to you over the last weekend. If I did not,

556
00:29:25,280 --> 00:29:27,360
Speaker 1: if I did not, if you contacted me and I

557
00:29:27,440 --> 00:29:31,480
Speaker 1: somehow missed it, hit me up again. Okay, it's it's

558
00:29:31,560 --> 00:29:33,720
Speaker 1: it shouldn't be this complicated, but it is. There's like

559
00:29:33,760 --> 00:29:35,680
Speaker 1: three different emails that the things go to and all

560
00:29:35,720 --> 00:29:37,560
Speaker 1: this other nonsense. But I think I got you taken

561
00:29:37,560 --> 00:29:39,480
Speaker 1: care of it. If I didn't, I apologize and I will.

562
00:29:39,840 --> 00:29:41,720
Speaker 1: So I just want to hit these real quick. Amy

563
00:29:41,800 --> 00:29:43,960
Speaker 1: leap Heerce on Apple Podcasts. I'm not going to read

564
00:29:43,960 --> 00:29:46,360
Speaker 1: your review, but it made me very happy. It's almost

565
00:29:46,400 --> 00:29:48,640
Speaker 1: too complimentary, and I don't want to be blowing smoke

566
00:29:48,720 --> 00:29:52,080
Speaker 1: up my own ass here and any more intensely than

567
00:29:52,120 --> 00:29:55,320
Speaker 1: I usually do. But also, you know, just hit me up.

568
00:29:55,320 --> 00:29:57,959
Speaker 1: I really appreciated Amy, this very very kind thing for

569
00:29:58,000 --> 00:29:59,680
Speaker 1: you to say. I'm going to read this one here.

570
00:30:00,120 --> 00:30:03,680
Speaker 1: Germ redrum Skates writes on Apple Podcasts being from the music, art,

571
00:30:03,800 --> 00:30:08,640
Speaker 1: slash skateboarding communities over forty years. This podcast is so great.

572
00:30:08,960 --> 00:30:11,400
Speaker 1: Sharing the stories of the chaos it follows musicians and

573
00:30:11,480 --> 00:30:13,640
Speaker 1: artists is a great way to connect even more with them.

574
00:30:13,680 --> 00:30:17,160
Speaker 1: The storytelling is easy to follow and intriguing. Highly recommend Germ.

575
00:30:17,200 --> 00:30:20,760
Speaker 1: Get in touch Disgrace Lampod at gmail dot com and

576
00:30:20,800 --> 00:30:23,280
Speaker 1: I will hook you up with some merch. Appreciate that, guys,

577
00:30:23,320 --> 00:30:26,440
Speaker 1: I really appreciate the request. We're an independent podcast. This

578
00:30:26,520 --> 00:30:29,760
Speaker 1: helps with discovery. Keep it coming, thank you. So listen

579
00:30:30,160 --> 00:30:32,840
Speaker 1: this Shawn Comb shit right. You may have noticed in

580
00:30:33,000 --> 00:30:35,160
Speaker 1: the B block here at the top of the show.

581
00:30:35,360 --> 00:30:38,240
Speaker 1: This is the first week in the last three weeks

582
00:30:38,280 --> 00:30:41,920
Speaker 1: where I didn't lead with Seawan Combe's news. And it

583
00:30:42,000 --> 00:30:44,800
Speaker 1: wasn't because there was no Shawn Combs news. There was

584
00:30:44,840 --> 00:30:49,800
Speaker 1: actually some quite horrifying Shawn Combs news. And I was

585
00:30:49,800 --> 00:30:52,719
Speaker 1: talking to Matt who works with me here at Double Elvis,

586
00:30:53,160 --> 00:30:55,480
Speaker 1: and you know he puts these shows together. Excuse me,

587
00:30:55,480 --> 00:30:57,120
Speaker 1: I'm moving my chair. You can hear that in the background.

588
00:30:57,120 --> 00:30:59,800
Speaker 1: I apologize and it's like, dude, what are we gonna do?

589
00:31:00,600 --> 00:31:04,320
Speaker 1: This Shaw Comb shit is not stopping. The listeners want

590
00:31:04,320 --> 00:31:05,440
Speaker 1: to hear it. I know they want to hear it.

591
00:31:05,440 --> 00:31:07,400
Speaker 1: You guys have written to me about it numerous times,

592
00:31:07,440 --> 00:31:11,160
Speaker 1: many of you have. But I don't want to cannibalize

593
00:31:11,160 --> 00:31:13,080
Speaker 1: what we have going on here and just kind of

594
00:31:13,120 --> 00:31:14,800
Speaker 1: eat the whole show up and suck up all the

595
00:31:14,840 --> 00:31:18,440
Speaker 1: oxygen or whatever metaphor you want to use. So I

596
00:31:18,440 --> 00:31:21,680
Speaker 1: think what I'm going to do is I'm actively pursuing

597
00:31:21,800 --> 00:31:26,680
Speaker 1: a way to tell this shan Comb's story in with

598
00:31:26,880 --> 00:31:30,320
Speaker 1: my form of storytelling and how that comes to life.

599
00:31:30,400 --> 00:31:32,680
Speaker 1: We've got some ideas, we're working with some different people.

600
00:31:33,000 --> 00:31:35,480
Speaker 1: I haven't quite nailed it down yet, but I'm on

601
00:31:35,560 --> 00:31:38,440
Speaker 1: it now. As it pertains to the week to week

602
00:31:39,200 --> 00:31:42,760
Speaker 1: nature of this scandal as it unfolds, I think what

603
00:31:42,760 --> 00:31:45,520
Speaker 1: we're going to do is in the after party there

604
00:31:45,560 --> 00:31:48,520
Speaker 1: will be a Shawn Comb section that I will just

605
00:31:48,920 --> 00:31:51,880
Speaker 1: I'll continue to bring you guys up to speed. I

606
00:31:51,880 --> 00:31:54,480
Speaker 1: will continue to bring you up to speed, most likely

607
00:31:54,680 --> 00:31:57,800
Speaker 1: here in the wide version of the show, but also

608
00:31:57,800 --> 00:32:00,240
Speaker 1: in the all access version of the bonus show that

609
00:32:00,280 --> 00:32:02,720
Speaker 1: the Patreon members get. And so I'm going to do

610
00:32:02,760 --> 00:32:04,000
Speaker 1: a little bit of that now right before we get

611
00:32:04,040 --> 00:32:06,640
Speaker 1: to Adam from Loko, Connie this Buzzby guy who we

612
00:32:06,680 --> 00:32:09,840
Speaker 1: talked about last week. We talked about the lawsuit, the

613
00:32:09,840 --> 00:32:16,560
Speaker 1: civil lawsuit that he filed with six different complainants alleging abuse. Okay,

614
00:32:16,640 --> 00:32:21,560
Speaker 1: he filed another one this week with five five alleged

615
00:32:21,680 --> 00:32:27,880
Speaker 1: victims coming forward for some pretty damning information. And he

616
00:32:27,960 --> 00:32:32,560
Speaker 1: is alleging Tony Busby for the first time rape abuse

617
00:32:32,880 --> 00:32:36,680
Speaker 1: of a minor. So this changes things quite significantly. And

618
00:32:36,760 --> 00:32:39,600
Speaker 1: I'm telling you this first of all, the specifics of

619
00:32:39,600 --> 00:32:45,000
Speaker 1: the allegations are more horrifying than the specifics of the

620
00:32:45,040 --> 00:32:47,840
Speaker 1: allegations that I read you last week from the Macy

621
00:32:47,920 --> 00:32:51,400
Speaker 1: stock room with Sean Dittycombs. It should be noted that

622
00:32:51,840 --> 00:32:56,280
Speaker 1: Diddy's lawyers have denied that these allegations are true. And

623
00:32:56,480 --> 00:32:58,200
Speaker 1: I'm not going to do the thing where I'm going

624
00:32:58,200 --> 00:33:01,960
Speaker 1: to detail there and go through the whole thing here

625
00:33:02,040 --> 00:33:03,760
Speaker 1: again like I did last week. I'm just going to

626
00:33:03,800 --> 00:33:06,000
Speaker 1: tell you some facts on what's happening with this case.

627
00:33:06,600 --> 00:33:10,560
Speaker 1: Buzzby is going full speed ahead like we thought he would,

628
00:33:10,960 --> 00:33:12,800
Speaker 1: and I have a feeling that every week we're going

629
00:33:12,880 --> 00:33:15,720
Speaker 1: to get a handful of new victims who come forward

630
00:33:15,720 --> 00:33:18,400
Speaker 1: with lawsuits from Busby's law office.

631
00:33:18,480 --> 00:33:18,600
Speaker 2: Now.

632
00:33:18,640 --> 00:33:21,080
Speaker 1: The reason I bring up the thirteen year old here

633
00:33:21,600 --> 00:33:27,040
Speaker 1: because in the federal indictment, which still remains as Sean

634
00:33:27,120 --> 00:33:32,680
Speaker 1: Combs's biggest obstacle here, okay, is the federal case against him.

635
00:33:32,720 --> 00:33:35,440
Speaker 1: That is why he is in jail. Okay, He's not

636
00:33:35,600 --> 00:33:38,680
Speaker 1: in jail because of these civil complaints obviously, but in

637
00:33:38,720 --> 00:33:44,480
Speaker 1: the federal indictment there's nothing about minors. Now, if the

638
00:33:44,760 --> 00:33:49,600
Speaker 1: evidence that Buzzby is bringing forth and these new civil

639
00:33:49,640 --> 00:33:57,720
Speaker 1: complaints becomes information and evidence that the federal prosecutors put

640
00:33:57,800 --> 00:34:01,800
Speaker 1: into a superseding indictment. In other words, if they get

641
00:34:01,800 --> 00:34:05,120
Speaker 1: wins of some of these allegations and decide that there's

642
00:34:05,280 --> 00:34:09,280
Speaker 1: enough real evidence there that they want to roll the

643
00:34:09,440 --> 00:34:13,600
Speaker 1: rape of children into their federal indictment, that is going

644
00:34:13,640 --> 00:34:18,960
Speaker 1: to make Sean Combs his life infinitely more difficult. Because

645
00:34:19,520 --> 00:34:22,520
Speaker 1: the way Seawan Colmbs is setting up his defense right

646
00:34:22,560 --> 00:34:27,520
Speaker 1: now is that he is stating that all of these relationships,

647
00:34:28,680 --> 00:34:32,080
Speaker 1: the freak offs, everything that's been alleged in the federal

648
00:34:32,080 --> 00:34:38,719
Speaker 1: indictment was consensual. That's the defense that his attorneys are

649
00:34:38,760 --> 00:34:43,840
Speaker 1: going to put up, and that it's not easy to defend.

650
00:34:44,440 --> 00:34:46,839
Speaker 1: To put that defense forward, I should say, but it

651
00:34:46,880 --> 00:34:50,680
Speaker 1: is a lot easier to do that than it is

652
00:34:51,200 --> 00:34:55,520
Speaker 1: to argue against the fact that he's being alleged he

653
00:34:55,600 --> 00:34:57,600
Speaker 1: abused miners. I'm trying to be very careful with my

654
00:34:57,640 --> 00:34:59,759
Speaker 1: words here, as you can tell. And the reason that

655
00:34:59,760 --> 00:35:02,680
Speaker 1: it is more difficult to do the latter is because

656
00:35:02,680 --> 00:35:05,840
Speaker 1: consent doesn't enter into this in any way, shape or form,

657
00:35:06,120 --> 00:35:12,520
Speaker 1: because they're minors. Okay, so if that happens, and that's

658
00:35:12,560 --> 00:35:16,200
Speaker 1: a big if, but I don't know the people I'm

659
00:35:16,239 --> 00:35:19,320
Speaker 1: listening to, the people I'm talking to, they're not ruling

660
00:35:19,320 --> 00:35:22,479
Speaker 1: it out. Now. If that happens, Sean Combs' is life

661
00:35:22,600 --> 00:35:27,720
Speaker 1: becomes much much more difficult. So I'm keeping an eye

662
00:35:27,800 --> 00:35:30,759
Speaker 1: on that. We get into the all axis portion of this,

663
00:35:30,880 --> 00:35:32,880
Speaker 1: I'm going to talk a little bit more about the

664
00:35:33,719 --> 00:35:37,399
Speaker 1: specifics here of these new allegations that have come out.

665
00:35:37,800 --> 00:35:39,239
Speaker 1: But I want to give you, guys, because I get

666
00:35:39,280 --> 00:35:40,680
Speaker 1: asked this question a lot, what do you think is

667
00:35:40,680 --> 00:35:42,600
Speaker 1: going to happen? When is this going to happen? Is

668
00:35:42,600 --> 00:35:43,960
Speaker 1: it going to be a trial? Is he going to

669
00:35:44,000 --> 00:35:46,719
Speaker 1: be found guilty? I want to give you a little

670
00:35:46,760 --> 00:35:48,880
Speaker 1: bit of news that broke over the last two weeks

671
00:35:49,320 --> 00:35:51,359
Speaker 1: and just explain to you what I think is going

672
00:35:51,400 --> 00:35:54,320
Speaker 1: to happen in this case over the next six twelve,

673
00:35:54,520 --> 00:35:58,920
Speaker 1: eighteen months. Sean Colmes has a trial date for May fifth,

674
00:35:58,960 --> 00:36:03,080
Speaker 1: twenty twenty four. Shawn Combs's team pursued that trial date.

675
00:36:03,120 --> 00:36:07,399
Speaker 1: They wanted the trial to happen as soon as possible. Now,

676
00:36:07,480 --> 00:36:12,239
Speaker 1: on the other hand, Shawn Combs is making his I

677
00:36:12,239 --> 00:36:15,680
Speaker 1: think it's his third appeal to get out on bail.

678
00:36:16,360 --> 00:36:18,000
Speaker 1: I'm not going to get into the mechanics of it

679
00:36:18,040 --> 00:36:22,239
Speaker 1: because it's very complicated. It involves two different judges, and

680
00:36:22,920 --> 00:36:26,280
Speaker 1: I would have to say, at this juncture right now,

681
00:36:26,360 --> 00:36:29,600
Speaker 1: as I'm recording this on October twenty third, twenty twenty four,

682
00:36:30,160 --> 00:36:32,840
Speaker 1: it looks like Shawn Combs might actually be able to

683
00:36:32,880 --> 00:36:36,120
Speaker 1: get out on bail. Now, I'm not saying it's definitely

684
00:36:36,120 --> 00:36:39,280
Speaker 1: going to happen, but I'm saying it is fifty to fifty,

685
00:36:39,320 --> 00:36:42,160
Speaker 1: if not slightly better than that, that he gets out

686
00:36:42,239 --> 00:36:44,839
Speaker 1: on bail. Now, if he gets out on bail, his

687
00:36:44,960 --> 00:36:47,760
Speaker 1: legal team is going to quickly change course, I believe,

688
00:36:48,400 --> 00:36:50,879
Speaker 1: and try to get the trial delayed because now he'll

689
00:36:50,880 --> 00:36:53,440
Speaker 1: be out of jail, so he's no longer incentivized to

690
00:36:53,480 --> 00:36:55,640
Speaker 1: get this trial, you up and run in as soon

691
00:36:55,680 --> 00:36:58,279
Speaker 1: as possible, okay, because he'll be out and he's going

692
00:36:58,320 --> 00:37:01,000
Speaker 1: to try and mount his defense from outside of a

693
00:37:01,080 --> 00:37:03,640
Speaker 1: jail cell, which makes total sense. But if he gets

694
00:37:03,680 --> 00:37:05,680
Speaker 1: out on bail, what I'm saying is, if he gets

695
00:37:05,719 --> 00:37:10,080
Speaker 1: out on bail, look for the trial to start much later. Now.

696
00:37:10,120 --> 00:37:12,000
Speaker 1: I don't know how they're going to postpone it. I

697
00:37:12,000 --> 00:37:13,799
Speaker 1: don't know how the defense is going to postpone it,

698
00:37:14,680 --> 00:37:16,760
Speaker 1: but they're going to try. And you know, they're getting

699
00:37:16,760 --> 00:37:18,560
Speaker 1: paid a lot of money, not because they're stupid, so

700
00:37:18,560 --> 00:37:19,680
Speaker 1: they might figure it out away.

701
00:37:19,960 --> 00:37:20,120
Speaker 2: Now.

702
00:37:20,160 --> 00:37:21,640
Speaker 1: On the other hand, you got to keep in mind

703
00:37:21,760 --> 00:37:26,680
Speaker 1: also that if the scenario comes forward that I mentioned earlier,

704
00:37:27,040 --> 00:37:31,160
Speaker 1: if that actually happens, where the federal prosecutors decide that

705
00:37:31,160 --> 00:37:36,319
Speaker 1: they need to add additional charges here, that becomes what

706
00:37:36,400 --> 00:37:39,359
Speaker 1: I believe is called a superseding indictment, and then that

707
00:37:39,400 --> 00:37:43,000
Speaker 1: will most definitely kick the start date of this trial

708
00:37:43,400 --> 00:37:47,360
Speaker 1: down the road even further. So is it likely that

709
00:37:47,440 --> 00:37:50,839
Speaker 1: this trial starts on May fifth, twenty twenty four, I'm

710
00:37:50,880 --> 00:37:55,080
Speaker 1: saying fifty to fifty at best. I'm no legal expert.

711
00:37:55,400 --> 00:37:57,480
Speaker 1: I'm just telling you what I know, and I'm doing

712
00:37:57,520 --> 00:37:59,560
Speaker 1: it not only because you're asking. I'm doing it for

713
00:37:59,600 --> 00:38:01,520
Speaker 1: this other reason. Then I'm gonna start to tell this

714
00:38:01,600 --> 00:38:03,719
Speaker 1: story and all of these elements are going to be

715
00:38:03,719 --> 00:38:05,760
Speaker 1: part of it, and they're all going to be relevant

716
00:38:05,760 --> 00:38:07,279
Speaker 1: and how I tell the story. They're all gonna make

717
00:38:07,280 --> 00:38:08,600
Speaker 1: me tell the story in a different way. They're all

718
00:38:08,600 --> 00:38:11,359
Speaker 1: gonna make me bring it to you at a different time.

719
00:38:11,400 --> 00:38:13,120
Speaker 1: So I'm just laying it all out there for you

720
00:38:13,160 --> 00:38:15,480
Speaker 1: so you know where I'm coming from. All right, Sean

721
00:38:15,560 --> 00:38:17,799
Speaker 1: Combs putting it to bed. If you want in on

722
00:38:17,840 --> 00:38:20,319
Speaker 1: these insane allegations. I'm gonna get into that a little

723
00:38:20,320 --> 00:38:22,399
Speaker 1: bit more in the all access version of this coming

724
00:38:22,480 --> 00:38:24,560
Speaker 1: up soon. Right now, I want to kick it to

725
00:38:24,640 --> 00:38:26,879
Speaker 1: my interview with my good friend Adam Wiener from Low

726
00:38:26,960 --> 00:38:29,200
Speaker 1: Cut Connie. For those of you who don't know, I've

727
00:38:29,200 --> 00:38:32,400
Speaker 1: been friends with Adam now a couple of years, probably

728
00:38:32,400 --> 00:38:34,920
Speaker 1: five years something like that. The cool thing about this

729
00:38:35,040 --> 00:38:36,839
Speaker 1: was I was I was a huge fan of his

730
00:38:36,920 --> 00:38:40,040
Speaker 1: band before we were friends, and we just sort of

731
00:38:40,320 --> 00:38:42,840
Speaker 1: became friends, as you know, through being a fan of

732
00:38:42,920 --> 00:38:44,319
Speaker 1: his band, which is always a good thing. You guys

733
00:38:44,320 --> 00:38:47,000
Speaker 1: have that experience with bands. You love as well. I

734
00:38:47,040 --> 00:38:49,600
Speaker 1: know it. Adam's got a new film out right now

735
00:38:49,640 --> 00:38:52,879
Speaker 1: called Art Dealers, which is fantastic. You can go get

736
00:38:52,920 --> 00:38:56,160
Speaker 1: that anywhere. I mean, it's available wherever you stream films.

737
00:38:56,960 --> 00:38:58,920
Speaker 1: And he's got a new record coming a live record

738
00:38:58,920 --> 00:39:02,120
Speaker 1: coming out, I believe November first. And he's got a

739
00:39:02,200 --> 00:39:04,719
Speaker 1: huge catalog of low Ka Khanie albums. All of them

740
00:39:04,760 --> 00:39:07,440
Speaker 1: are great. I shit you not, They're all incredible. Like

741
00:39:07,480 --> 00:39:09,240
Speaker 1: I said, I talk about these guys all the time.

742
00:39:09,520 --> 00:39:11,440
Speaker 1: One of the last great rock and roll bands out

743
00:39:11,440 --> 00:39:15,480
Speaker 1: there with no more further ado, here's my recent conversation

744
00:39:15,880 --> 00:39:21,040
Speaker 1: with Adam from Loka Kanie. Adam, where you at Evan Philly?

745
00:39:21,600 --> 00:39:26,120
Speaker 4: Yes, I just got home the other night from my tour.

746
00:39:26,480 --> 00:39:27,960
Speaker 4: We got a little break in the tour.

747
00:39:28,360 --> 00:39:31,360
Speaker 1: How long is how long's tour? The Leger? You just

748
00:39:31,400 --> 00:39:32,840
Speaker 1: finished in the leg? You're about to go on?

749
00:39:33,120 --> 00:39:38,760
Speaker 4: Man, we just did twelve days. I'm home through the election,

750
00:39:39,880 --> 00:39:45,920
Speaker 4: and then we do another twelve thirteen days and then

751
00:39:45,960 --> 00:39:48,480
Speaker 4: we got like, I don't know, six or seven in December.

752
00:39:48,520 --> 00:39:52,080
Speaker 4: We do all these annual things in December, and then

753
00:39:52,120 --> 00:39:54,720
Speaker 4: I'm taking kind of a bigger break than I've taken

754
00:39:54,800 --> 00:39:57,200
Speaker 4: for a while, a couple months, right, Well, that's.

755
00:39:57,040 --> 00:39:59,719
Speaker 1: A good time for it, after the holidays. So I

756
00:39:59,719 --> 00:40:01,960
Speaker 1: watched the movie. So for those of you guys listening,

757
00:40:01,960 --> 00:40:04,959
Speaker 1: Adam Adam from Loka Coni has this new movie out

758
00:40:05,560 --> 00:40:09,000
Speaker 1: called Art Dealers, and I would, I don't know if

759
00:40:09,000 --> 00:40:11,640
Speaker 1: this is the right categorization, but I would call it

760
00:40:11,680 --> 00:40:14,280
Speaker 1: a concert film, even though it's not built as such.

761
00:40:14,840 --> 00:40:17,040
Speaker 1: Adam and his band are playing and it's great, and

762
00:40:17,080 --> 00:40:19,040
Speaker 1: I love how it starts with a full performance, which

763
00:40:19,040 --> 00:40:22,000
Speaker 1: I think is freaking awesome, and then there's really just

764
00:40:22,080 --> 00:40:25,759
Speaker 1: cutaways that follow you and the band, and you know,

765
00:40:26,000 --> 00:40:31,279
Speaker 1: it's not Hammer the Gods, right, This is not like

766
00:40:31,840 --> 00:40:34,080
Speaker 1: you're not cutting away to like wizards and shit, but

767
00:40:34,080 --> 00:40:36,880
Speaker 1: you are cutting away to your real life, which is

768
00:40:37,040 --> 00:40:41,840
Speaker 1: really friggin interesting. And the juxtaposition is fantastic because I

769
00:40:42,000 --> 00:40:44,239
Speaker 1: know you, but I really only know you when you're

770
00:40:44,239 --> 00:40:46,120
Speaker 1: out on the road and playing. I mean, that's really

771
00:40:46,239 --> 00:40:48,840
Speaker 1: We've done some gigs together and stuff, we've collaborated on.

772
00:40:48,920 --> 00:40:53,560
Speaker 1: Things always sort of around around a stage, and I

773
00:40:53,560 --> 00:40:55,840
Speaker 1: don't know much about your home life. I don't know

774
00:40:55,840 --> 00:40:58,040
Speaker 1: anything about your bandmate's home life, and to get to

775
00:40:58,080 --> 00:41:01,359
Speaker 1: see them in that atmosphere is really I just want

776
00:41:01,400 --> 00:41:04,560
Speaker 1: to know, like, what made you make It's hard to

777
00:41:04,560 --> 00:41:06,799
Speaker 1: make a movie, hard for a musician to make a movie.

778
00:41:06,840 --> 00:41:08,560
Speaker 1: What made you go ahead and do this?

779
00:41:09,360 --> 00:41:15,239
Speaker 4: Well? I've always wanted to make a film, and I

780
00:41:15,280 --> 00:41:17,840
Speaker 4: didn't know that it would be a film about myself,

781
00:41:17,960 --> 00:41:21,200
Speaker 4: but you know, I always wanted to make something big

782
00:41:21,239 --> 00:41:24,920
Speaker 4: and beautiful, you know, with my songs on film. And

783
00:41:25,000 --> 00:41:27,799
Speaker 4: during a pandemic, I went through this thing Jake, where

784
00:41:27,800 --> 00:41:31,840
Speaker 4: I was like, maybe I missed a chance to document

785
00:41:32,239 --> 00:41:36,240
Speaker 4: Low Cut Connie, because I was always pretty bad about

786
00:41:36,320 --> 00:41:40,400
Speaker 4: getting any kind of video footage of us doing shows.

787
00:41:41,480 --> 00:41:44,600
Speaker 4: And we had a pretty killer decade leading up to

788
00:41:44,680 --> 00:41:51,480
Speaker 4: the pandemic, and we had built something pretty magical, very powerful,

789
00:41:52,239 --> 00:41:57,719
Speaker 4: and then it was like, whoa, maybe it's over. Maybe

790
00:41:57,880 --> 00:42:01,120
Speaker 4: I don't have this band when I come back. If

791
00:42:01,160 --> 00:42:05,120
Speaker 4: we come back, maybe the audience moves on. Maybe I'm

792
00:42:05,120 --> 00:42:09,279
Speaker 4: not as healthy, Maybe it's just not there anymore, you know,

793
00:42:09,640 --> 00:42:13,040
Speaker 4: And I felt like I missed my moment. And then

794
00:42:13,360 --> 00:42:16,280
Speaker 4: coming out of the pandemic, we did like five shows

795
00:42:17,120 --> 00:42:20,799
Speaker 4: was our like comeback stick. At the end of twenty one,

796
00:42:20,920 --> 00:42:24,560
Speaker 4: not only were the crowds bigger, but the shows had

797
00:42:24,600 --> 00:42:27,680
Speaker 4: like a different vibe. It was cathartic. It was like

798
00:42:27,719 --> 00:42:30,759
Speaker 4: going to church. I'm an atheist Jew, but like it's

799
00:42:30,760 --> 00:42:33,160
Speaker 4: the closest thing to going to church that I've experienced.

800
00:42:33,239 --> 00:42:36,640
Speaker 4: Like people are crying, They've got their hands in the air,

801
00:42:37,480 --> 00:42:41,920
Speaker 4: people are yelling testify. I mean, it was so powerful,

802
00:42:42,000 --> 00:42:44,920
Speaker 4: Like the relationship between the fans and the music got

803
00:42:45,000 --> 00:42:48,240
Speaker 4: so much deeper. And I said, let's make this movie

804
00:42:48,320 --> 00:42:50,280
Speaker 4: right now. Let's do it right now.

805
00:42:51,120 --> 00:42:53,719
Speaker 1: Smart, that makes sense. You know. The obvious question is

806
00:42:54,400 --> 00:42:57,680
Speaker 1: why do you think there was this this kind of

807
00:42:58,719 --> 00:43:02,920
Speaker 1: this transition into into this different vibe at the live shows.

808
00:43:02,920 --> 00:43:04,560
Speaker 1: But I think I know part of that answer, And

809
00:43:04,640 --> 00:43:07,400
Speaker 1: part of then that's because of what you did during

810
00:43:07,440 --> 00:43:10,759
Speaker 1: the pandemic, where you took advantage of the pandemic in

811
00:43:10,800 --> 00:43:13,759
Speaker 1: a way that, I mean, almost better than anyone. Did

812
00:43:14,040 --> 00:43:15,840
Speaker 1: I know what that was? Why don't you share that

813
00:43:15,880 --> 00:43:17,720
Speaker 1: a little bit with the disgraceund listeners.

814
00:43:17,920 --> 00:43:21,600
Speaker 4: Well, this room that I'm in right now talking to you,

815
00:43:21,880 --> 00:43:25,120
Speaker 4: which is a tiny little spare bedroom in South Philly,

816
00:43:25,160 --> 00:43:28,400
Speaker 4: in my house. You know, I spent a year and

817
00:43:28,400 --> 00:43:31,680
Speaker 4: a half every day in this room building this live

818
00:43:31,719 --> 00:43:36,560
Speaker 4: stream series called Tough cookies and man. We did one

819
00:43:36,640 --> 00:43:41,120
Speaker 4: hundred and fifteen episodes, and you know, to put it

820
00:43:41,160 --> 00:43:45,440
Speaker 4: simply to your listeners, what it was was me sitting

821
00:43:45,520 --> 00:43:52,839
Speaker 4: in my underwear playing songs. Okay, but it was really

822
00:43:52,880 --> 00:43:57,480
Speaker 4: like this interactive variety show. And it started the first

823
00:43:57,480 --> 00:44:02,239
Speaker 4: week of the quarantine. My helpless said to me, just

824
00:44:02,400 --> 00:44:04,600
Speaker 4: go live and do something. And I said, I've never

825
00:44:04,719 --> 00:44:08,160
Speaker 4: done anything like that. I've never gone live. Nobody wants

826
00:44:08,200 --> 00:44:11,000
Speaker 4: to see me in my house. He said, just do it.

827
00:44:11,640 --> 00:44:16,000
Speaker 4: So we did one with no plan and we had

828
00:44:16,080 --> 00:44:19,800
Speaker 4: about five thousand people watching. And I did a second

829
00:44:19,840 --> 00:44:23,040
Speaker 4: one on the Saturday, this is the first week of quarantine,

830
00:44:23,040 --> 00:44:26,600
Speaker 4: and there were forty thousand people wow, watching me and

831
00:44:26,719 --> 00:44:31,359
Speaker 4: my underwear and Willie, my guitar player. The two of us,

832
00:44:31,400 --> 00:44:34,600
Speaker 4: we were looking at each other afterwards, like what's going on?

833
00:44:34,760 --> 00:44:37,960
Speaker 4: And there's something very powerful that happened, Jake, which was

834
00:44:38,000 --> 00:44:42,879
Speaker 4: that after that second broadcast, I got this video message

835
00:44:43,440 --> 00:44:48,040
Speaker 4: from these ICU nurses at a hospital in New Jersey

836
00:44:49,040 --> 00:44:55,719
Speaker 4: and they showed themselves with an iPad showing my tough

837
00:44:55,760 --> 00:45:00,800
Speaker 4: cookie show to these critically ill patients in the ic Wow.

838
00:45:01,600 --> 00:45:06,839
Speaker 4: And on on this broadcast, I'm telling people. Mozeltov, motherfuckers.

839
00:45:06,880 --> 00:45:09,520
Speaker 4: You made it through another day, and let's we got

840
00:45:09,560 --> 00:45:11,960
Speaker 4: to keep your hopes up. You got to keep going.

841
00:45:12,400 --> 00:45:15,120
Speaker 4: You cannot get depressed. We got to keep moving, We

842
00:45:15,200 --> 00:45:16,279
Speaker 4: got to keep connected.

843
00:45:16,840 --> 00:45:17,000
Speaker 2: You know.

844
00:45:17,040 --> 00:45:19,200
Speaker 4: It was there to kind of just lift people up.

845
00:45:19,719 --> 00:45:21,839
Speaker 4: And when I saw that these nurses were showing it

846
00:45:21,880 --> 00:45:26,000
Speaker 4: to these critically ill patients and it was helping people,

847
00:45:26,120 --> 00:45:29,400
Speaker 4: I said, I'm going to do this thing until this

848
00:45:29,560 --> 00:45:30,560
Speaker 4: quarantine is over.

849
00:45:30,760 --> 00:45:30,920
Speaker 6: Now.

850
00:45:30,920 --> 00:45:32,920
Speaker 4: I thought that that would be a couple of weeks,

851
00:45:33,000 --> 00:45:34,680
Speaker 4: but it ended up being a year and a half.

852
00:45:34,880 --> 00:45:38,759
Speaker 1: Yeah, you can feel that spirit, like you mentioned at

853
00:45:38,800 --> 00:45:42,480
Speaker 1: the top of this conversation, and just reinforce there. You

854
00:45:42,520 --> 00:45:44,759
Speaker 1: can feel it in the film. You can feel it

855
00:45:44,800 --> 00:45:47,719
Speaker 1: from the audience, you can feel it from the filmmaking.

856
00:45:48,400 --> 00:45:54,040
Speaker 1: And I think it's really hard to capture the spirit

857
00:45:54,280 --> 00:45:58,960
Speaker 1: of rock and roll on film. Never mind the unique

858
00:45:59,560 --> 00:46:03,200
Speaker 1: uh situation that low Ka Connie was in post Pandemic,

859
00:46:03,239 --> 00:46:09,040
Speaker 1: which is captured in Art Dealers. So muscle toof to you,

860
00:46:09,239 --> 00:46:14,919
Speaker 1: musseletof movie. So it's it's a tremendous movie. It's fantastic.

861
00:46:16,320 --> 00:46:18,880
Speaker 1: Thank you man, You're You're welcome, and I recommend all

862
00:46:18,920 --> 00:46:20,680
Speaker 1: this grace hand listeners. Go check it out. You can

863
00:46:20,680 --> 00:46:24,239
Speaker 1: get it. It's available everywhere, Apple, Amazon, YouTube, all over

864
00:46:24,280 --> 00:46:28,160
Speaker 1: the place. There's something that you say. However, now we've

865
00:46:28,200 --> 00:46:31,640
Speaker 1: talked a lot. We've talked a lot about our music

866
00:46:31,640 --> 00:46:33,360
Speaker 1: that we love. We talked a lot about our careers,

867
00:46:33,360 --> 00:46:36,560
Speaker 1: what we're doing, where we're going, what we're into, the challenges.

868
00:46:37,160 --> 00:46:39,120
Speaker 1: There was a there was a lyric I picked out

869
00:46:39,480 --> 00:46:42,560
Speaker 1: from a song in the film, this kind of loneliness

870
00:46:43,040 --> 00:46:47,480
Speaker 1: goes out of style. And to me, that hit me

871
00:46:47,520 --> 00:46:50,400
Speaker 1: as a guy who's like, I don't know why you

872
00:46:50,440 --> 00:46:51,600
Speaker 1: wrote it or what, but I'm just gonna tell you

873
00:46:51,600 --> 00:46:53,040
Speaker 1: my interpretation and then you can tell me why you

874
00:46:53,040 --> 00:46:54,439
Speaker 1: wrote it and whatever. And if I get it wrong,

875
00:46:54,440 --> 00:46:56,319
Speaker 1: that's fine. You know, we all interpret things differently. But

876
00:46:56,360 --> 00:46:58,880
Speaker 1: to me, I felt it as a guy who's who's

877
00:46:58,920 --> 00:47:02,360
Speaker 1: been on the road and ben just just this feeling

878
00:47:02,400 --> 00:47:06,120
Speaker 1: of even when things are going great, it's still so

879
00:47:06,320 --> 00:47:10,879
Speaker 1: fucking lonely, man. It's so lonely. And you've been doing

880
00:47:10,960 --> 00:47:14,120
Speaker 1: this a long time, man, and you're not stopping. And

881
00:47:14,200 --> 00:47:15,960
Speaker 1: I was just curious. That line just hit me. I

882
00:47:15,960 --> 00:47:18,040
Speaker 1: was like, huh, what was Adam thinking when he.

883
00:47:18,080 --> 00:47:21,560
Speaker 4: Wrote that I wasn't thinking about anything, but I like

884
00:47:21,640 --> 00:47:27,360
Speaker 4: your interpretation. I mean one of the things, you know,

885
00:47:27,640 --> 00:47:31,160
Speaker 4: when I first started playing music, long before I met you,

886
00:47:31,239 --> 00:47:34,600
Speaker 4: I was a piano player in a gay bar. There

887
00:47:34,680 --> 00:47:38,839
Speaker 4: was a bar in Manhattan called Pegasus at fifty ninth

888
00:47:38,880 --> 00:47:42,279
Speaker 4: in Lexington that it was a wild bar, I mean

889
00:47:43,760 --> 00:47:50,080
Speaker 4: nudist night and drag karaoke on Saturdays. And it was

890
00:47:50,280 --> 00:47:52,920
Speaker 4: so eye opening to me. It was like a whole

891
00:47:52,960 --> 00:47:55,359
Speaker 4: new world. And I was the piano player, and I

892
00:47:55,440 --> 00:47:58,480
Speaker 4: met all these people in this bar who had been

893
00:47:58,520 --> 00:48:05,839
Speaker 4: in New York City for thirty years plus, dancers, choreographers, singers,

894
00:48:06,560 --> 00:48:12,520
Speaker 4: fashion designers, models, like all these art people, older gay

895
00:48:12,600 --> 00:48:15,920
Speaker 4: people that hung out in this bar. And they would

896
00:48:15,960 --> 00:48:19,400
Speaker 4: talk to me about living in these rent control departments

897
00:48:19,440 --> 00:48:23,840
Speaker 4: that they got in the seventies and sixties, and a

898
00:48:23,880 --> 00:48:25,960
Speaker 4: lot of you should have seen it when kind of

899
00:48:26,000 --> 00:48:29,960
Speaker 4: say right right, right, right right, and being around these

900
00:48:29,960 --> 00:48:35,040
Speaker 4: people who had like just lived and breathed their scene,

901
00:48:35,200 --> 00:48:41,720
Speaker 4: and many of them were very poor and were living

902
00:48:42,080 --> 00:48:46,560
Speaker 4: very modest, you know, circumstances as New York was becoming

903
00:48:46,600 --> 00:48:51,680
Speaker 4: a place where poor people can't really live. And they're

904
00:48:51,719 --> 00:48:54,640
Speaker 4: telling him about these incredible art scenes about hanging out

905
00:48:55,120 --> 00:48:59,400
Speaker 4: with Basquiat and hanging out with Bowie and some of

906
00:48:59,440 --> 00:49:03,440
Speaker 4: the older hanging out with Judy Garland. I mean, people

907
00:49:03,440 --> 00:49:09,520
Speaker 4: who have been around some of the great, great moments.

908
00:49:09,800 --> 00:49:13,520
Speaker 4: You know. I was thinking about those people during a pandemic.

909
00:49:13,600 --> 00:49:15,960
Speaker 4: Where are they now? Are they alive? Are they gone?

910
00:49:16,440 --> 00:49:21,319
Speaker 4: Does anybody remember these folks? I remember them? And I

911
00:49:21,400 --> 00:49:26,040
Speaker 4: was thinking about myself and all my pals who you know,

912
00:49:27,080 --> 00:49:31,319
Speaker 4: we burn to make art every day and we do

913
00:49:31,400 --> 00:49:35,279
Speaker 4: it for years and decades. And I was going through

914
00:49:35,320 --> 00:49:37,680
Speaker 4: a what's it all for? Kind of moment for sure,

915
00:49:39,080 --> 00:49:42,080
Speaker 4: and coming out of it and getting back on stage

916
00:49:42,960 --> 00:49:44,840
Speaker 4: and singing about that felt good.

917
00:49:45,880 --> 00:49:46,480
Speaker 2: You know what.

918
00:49:46,600 --> 00:49:49,680
Speaker 4: I'll add to that, not to be too cynical, but

919
00:49:49,800 --> 00:49:52,839
Speaker 4: we're in this age of poptimism, as they say, in

920
00:49:52,880 --> 00:49:59,560
Speaker 4: which our culture, even though socially, politically, etc. Things are

921
00:50:00,160 --> 00:50:05,080
Speaker 4: really fallen apart at the seams. The same time, our

922
00:50:05,160 --> 00:50:11,840
Speaker 4: general culture is really enamored with extremely commercial, two dimensional

923
00:50:11,880 --> 00:50:17,400
Speaker 4: pop music that's very positive in nature, you know, like

924
00:50:17,760 --> 00:50:22,239
Speaker 4: very escapist pop music is like so in fashion right now?

925
00:50:22,480 --> 00:50:27,040
Speaker 4: I agree, And he absolutely does not scratch any itch

926
00:50:27,080 --> 00:50:27,399
Speaker 4: for me.

927
00:50:28,400 --> 00:50:31,920
Speaker 1: With you at you Yeah, it's funny to hear you

928
00:50:32,520 --> 00:50:36,880
Speaker 1: say that, because you know, independent of you coming on

929
00:50:37,520 --> 00:50:42,239
Speaker 1: this week, it just it just happened. I was in

930
00:50:42,239 --> 00:50:44,200
Speaker 1: a conversation with my listeners about it was because we

931
00:50:44,280 --> 00:50:48,319
Speaker 1: did this Cramps episode and it was about Lux Interior's

932
00:50:48,840 --> 00:50:53,880
Speaker 1: definition of real rock and roll, and there's a cynicism

933
00:50:53,920 --> 00:50:56,040
Speaker 1: in real rock and roll. He doesn't say that, but

934
00:50:56,080 --> 00:50:58,920
Speaker 1: it's it's true. It's there, and anyone who knows rock

935
00:50:58,960 --> 00:51:01,719
Speaker 1: and roll knows that's We've been having this conversation here

936
00:51:01,760 --> 00:51:04,759
Speaker 1: in this space about how there aren't any rock and

937
00:51:04,840 --> 00:51:08,640
Speaker 1: roll bands left and how rock is dead. But that

938
00:51:08,680 --> 00:51:12,040
Speaker 1: conversation takes place in the confines of popular mainstream culture.

939
00:51:12,239 --> 00:51:14,520
Speaker 1: And I even namechecked you guys, and I was like,

940
00:51:14,560 --> 00:51:17,200
Speaker 1: I as an example of there are rock bands out

941
00:51:17,200 --> 00:51:20,239
Speaker 1: there killing it every night, but there are no rock

942
00:51:20,280 --> 00:51:24,960
Speaker 1: bands with top ten hits anymore who are driving culture.

943
00:51:25,760 --> 00:51:29,000
Speaker 1: And maybe you know, we've been trying to figure out why,

944
00:51:29,040 --> 00:51:31,080
Speaker 1: and maybe you're hitting it on the head because that

945
00:51:31,200 --> 00:51:33,320
Speaker 1: cynicism isn't allowed anymore.

946
00:51:33,800 --> 00:51:37,360
Speaker 4: You cannot in fashion, as I say, it's out of style,

947
00:51:37,800 --> 00:51:47,000
Speaker 4: you know exactly, And frankly, even though social media rules

948
00:51:47,040 --> 00:51:53,400
Speaker 4: our lives, for some reason. Music that talks about the

949
00:51:53,520 --> 00:51:57,240
Speaker 4: human condition and the state of play in our culture

950
00:51:57,640 --> 00:52:01,000
Speaker 4: is also out of fashion. It's a very escapist era

951
00:52:01,160 --> 00:52:06,840
Speaker 4: that we're in right now, and so songs about revolution,

952
00:52:07,080 --> 00:52:16,520
Speaker 4: songs about conflict, songs about you know, corruption and fucked

953
00:52:16,560 --> 00:52:21,000
Speaker 4: up inness in all forms, they ain't rise into the

954
00:52:21,040 --> 00:52:24,160
Speaker 4: top right now. The algorithm is not bringing those that

955
00:52:24,400 --> 00:52:25,720
Speaker 4: music out right now.

956
00:52:26,040 --> 00:52:27,239
Speaker 1: Yeah, fuck the algorithm.

957
00:52:27,600 --> 00:52:34,480
Speaker 4: And if if rock and roll is a truth telling medium,

958
00:52:35,160 --> 00:52:40,320
Speaker 4: well a medium of like catharsis bring out what's real

959
00:52:40,680 --> 00:52:44,120
Speaker 4: and what you feel. It's not the era for it

960
00:52:44,160 --> 00:52:47,480
Speaker 4: in terms of popularity, but I'll tell you I don't care,

961
00:52:47,800 --> 00:52:52,239
Speaker 4: because I like being a cult band right right in

962
00:52:52,280 --> 00:52:52,840
Speaker 4: this time.

963
00:52:53,440 --> 00:52:57,360
Speaker 1: And what you're doing is resonating, it's connecting. There's there's

964
00:52:58,040 --> 00:53:00,919
Speaker 1: your relationship with your fans is unique. It's truly unique.

965
00:53:00,960 --> 00:53:02,880
Speaker 1: If you're at a Lokakni show you were part of,

966
00:53:03,080 --> 00:53:04,960
Speaker 1: like you said, it's like a I don't know if

967
00:53:05,000 --> 00:53:07,719
Speaker 1: you said revival, but you said testify. It's there's there's

968
00:53:07,719 --> 00:53:12,160
Speaker 1: some quasi spiritual thing that's that's going on. You can

969
00:53:12,200 --> 00:53:16,920
Speaker 1: feel it. It's transcendent. In the movie, there's this great

970
00:53:16,960 --> 00:53:20,200
Speaker 1: scene and it reminded me of so I want to

971
00:53:20,200 --> 00:53:21,759
Speaker 1: tell the listeners. So I went to see you guys.

972
00:53:21,840 --> 00:53:23,960
Speaker 1: Seen you guys a lot. I don't know how many times,

973
00:53:23,960 --> 00:53:26,239
Speaker 1: but I went to see you. I happen to be

974
00:53:26,520 --> 00:53:29,360
Speaker 1: on vacation with my family on Martha's Vineyard and I

975
00:53:29,360 --> 00:53:31,520
Speaker 1: went to see on Martha's Vineyard and you guys, you

976
00:53:31,560 --> 00:53:34,239
Speaker 1: guys killed it. And I remember catching up with you

977
00:53:34,320 --> 00:53:36,920
Speaker 1: a week or so later, I think in Newport, and

978
00:53:36,960 --> 00:53:39,480
Speaker 1: you were like, oh, what fuck? You missed it? Man,

979
00:53:39,520 --> 00:53:42,680
Speaker 1: what happened after that show was so fucking wild. Do

980
00:53:42,719 --> 00:53:44,560
Speaker 1: you remember, because there was a scene in the movie

981
00:53:44,600 --> 00:53:46,360
Speaker 1: that reminded me of this story. Do you remember this?

982
00:53:46,520 --> 00:53:48,040
Speaker 1: You remember what happened to you after that show?

983
00:53:48,680 --> 00:53:51,440
Speaker 4: I do, because it's the only time in the history

984
00:53:51,440 --> 00:53:54,040
Speaker 4: of the band and the thousand shows or whatever, that

985
00:53:54,080 --> 00:54:00,719
Speaker 4: we had to charter our own boat. You know, it's

986
00:54:00,760 --> 00:54:05,480
Speaker 4: an island, And we had a gig in Massachusetts the

987
00:54:05,480 --> 00:54:10,520
Speaker 4: next day and the ferry stops. We were on it

988
00:54:10,680 --> 00:54:12,719
Speaker 4: like eleven and I don't remember. We got out of

989
00:54:12,719 --> 00:54:15,480
Speaker 4: there at midnight and they said no, the ferry stopped running.

990
00:54:16,200 --> 00:54:21,840
Speaker 4: So some guy, and I'm pretty sure his name was Spanky,

991
00:54:22,280 --> 00:54:24,600
Speaker 4: this guy with a cigarette hanging out of his mouth.

992
00:54:24,640 --> 00:54:27,880
Speaker 4: He said, I'll take you guys on my boat. And

993
00:54:27,920 --> 00:54:31,400
Speaker 4: we had to take our piano on this guy's boat.

994
00:54:32,040 --> 00:54:34,920
Speaker 4: He had nothing to tie the boat the piano down,

995
00:54:35,440 --> 00:54:38,600
Speaker 4: so we all just sort of like held the piano down.

996
00:54:39,320 --> 00:54:41,520
Speaker 1: What size boat is this that you're on? Now?

997
00:54:41,640 --> 00:54:43,439
Speaker 4: This is like I would say, you could probably fit

998
00:54:43,560 --> 00:54:45,759
Speaker 4: maybe twelve to fifteen people on it.

999
00:54:45,840 --> 00:54:48,560
Speaker 1: Yes, so it's like at most a twenty foot boat.

1000
00:54:48,719 --> 00:54:51,799
Speaker 1: It's not you're not on an actual ferry. And this

1001
00:54:51,840 --> 00:54:54,480
Speaker 1: is at like one two o'clock in the morning.

1002
00:54:54,440 --> 00:54:55,080
Speaker 4: Two o'clock.

1003
00:54:55,160 --> 00:54:58,600
Speaker 1: Yeah, in the middle of the fucking Atlantic Ocean. Okay,

1004
00:54:58,640 --> 00:55:01,400
Speaker 1: this is not like you're not on a pond, you know,

1005
00:55:01,600 --> 00:55:05,279
Speaker 1: And it's it's a good hours ferry drive something like that,

1006
00:55:05,400 --> 00:55:08,759
Speaker 1: forty five minutes at least. So, but what happens when

1007
00:55:08,800 --> 00:55:11,600
Speaker 1: you're when you're all holding down the piano.

1008
00:55:11,880 --> 00:55:16,040
Speaker 4: Literally, I was getting like pretty nauseous, so I was like,

1009
00:55:16,200 --> 00:55:19,359
Speaker 4: I'm just gonna start playing songs because that'll keep me.

1010
00:55:19,920 --> 00:55:25,600
Speaker 4: So I started. I remember playing Gilligan's Island and Margaritaville

1011
00:55:25,640 --> 00:55:28,480
Speaker 4: and stuff on this boat. But that's just another day

1012
00:55:28,520 --> 00:55:31,399
Speaker 4: at the office when you're when you tour the way

1013
00:55:31,400 --> 00:55:35,000
Speaker 4: we do, which is which is truly insane. You know,

1014
00:55:35,120 --> 00:55:40,080
Speaker 4: people get this image of touring that's glamorous, and I

1015
00:55:40,120 --> 00:55:44,160
Speaker 4: think it comes from these films from our biggest pop

1016
00:55:44,200 --> 00:55:45,879
Speaker 4: stars that have come out in the last few years,

1017
00:55:45,960 --> 00:55:49,239
Speaker 4: Lady Gaga, Beyonce, Taylor Swift. They put out these concert films.

1018
00:55:49,239 --> 00:55:51,080
Speaker 4: There's a number of them, and they show the touring

1019
00:55:51,200 --> 00:55:54,600
Speaker 4: and those are truck tours with multiple trucks and buses.

1020
00:55:54,680 --> 00:55:57,880
Speaker 4: And we're in a van pulling a trailer with a

1021
00:55:57,880 --> 00:56:01,320
Speaker 4: piano in it. Right right, the members of the band

1022
00:56:01,400 --> 00:56:04,560
Speaker 4: are carrying a four hundred pounds piano up a flight

1023
00:56:04,600 --> 00:56:06,560
Speaker 4: of stairs to get onto the stage. You know.

1024
00:56:07,160 --> 00:56:09,319
Speaker 1: In our Dealers, there's a scene where and I want

1025
00:56:09,320 --> 00:56:12,160
Speaker 1: to know this story behind this. You're you're in a

1026
00:56:12,560 --> 00:56:16,080
Speaker 1: back alley somewhere. It looks like the Northeast or the Midwest.

1027
00:56:16,160 --> 00:56:19,880
Speaker 1: There's snow on the ground. You're I think you're in

1028
00:56:19,920 --> 00:56:22,640
Speaker 1: a rip tank top and you have a towel around

1029
00:56:22,680 --> 00:56:25,200
Speaker 1: your neck. It looks to be freezing out and it's

1030
00:56:25,320 --> 00:56:28,719
Speaker 1: you Denver, Denver, Okay. And it looks like there's two

1031
00:56:28,719 --> 00:56:31,719
Speaker 1: bouncers standing, you know, on each side of you. And

1032
00:56:31,760 --> 00:56:35,640
Speaker 1: then there's about you know, twenty or so fans and

1033
00:56:36,200 --> 00:56:39,960
Speaker 1: like ten feet from you, and they're all singing your

1034
00:56:40,080 --> 00:56:42,759
Speaker 1: song to you. You're just in the alley, like I'm

1035
00:56:42,760 --> 00:56:45,960
Speaker 1: guessing after a show like that, what was that? It's amazing.

1036
00:56:46,320 --> 00:56:51,840
Speaker 4: What happened was a man collapsed at the show. He

1037
00:56:51,920 --> 00:56:55,319
Speaker 4: had like a cardiac event. He hit his head. We

1038
00:56:55,360 --> 00:56:58,400
Speaker 4: had to stop the show, emt the whole thing and

1039
00:56:58,440 --> 00:57:02,160
Speaker 4: we got the show going again, and some schmuck pulled

1040
00:57:02,160 --> 00:57:05,560
Speaker 4: the fire alarm and I still to this day, nobody

1041
00:57:05,560 --> 00:57:10,799
Speaker 4: knows why that happened. But we all had to evacuate.

1042
00:57:10,880 --> 00:57:15,439
Speaker 4: It was ten degrees outside and we were waiting from

1043
00:57:15,480 --> 00:57:18,160
Speaker 4: the staff to hear are they going to let everybody

1044
00:57:18,200 --> 00:57:22,480
Speaker 4: back in? And they give me the message we're not

1045
00:57:22,520 --> 00:57:25,920
Speaker 4: going to be allowed back into the venue. And so

1046
00:57:27,000 --> 00:57:30,320
Speaker 4: these fans just started singing my song Rio and it

1047
00:57:30,360 --> 00:57:31,680
Speaker 4: was a nice ending to the night.

1048
00:57:32,080 --> 00:57:35,280
Speaker 1: You know, Yeah, it's beautiful. It's a beautiful moment. Just

1049
00:57:35,480 --> 00:57:38,440
Speaker 1: it's quick, but it's like it's very telling. And if

1050
00:57:38,480 --> 00:57:40,160
Speaker 1: I didn't know you guys, I didn't know the band,

1051
00:57:40,200 --> 00:57:42,000
Speaker 1: and I saw that, it'd be like, who the fuck

1052
00:57:42,040 --> 00:57:44,880
Speaker 1: are these guys? I need I need some of this

1053
00:57:45,840 --> 00:57:53,600
Speaker 1: in my life so Art Dealers, the film that's out now,

1054
00:57:53,920 --> 00:57:57,400
Speaker 1: you guys can watch that, Like I said, anywhere. You

1055
00:57:57,440 --> 00:57:59,760
Speaker 1: have a live album coming out as well, November first.

1056
00:57:59,640 --> 00:58:02,600
Speaker 4: Right, Yeah, Connie Lave Now is that?

1057
00:58:02,960 --> 00:58:05,400
Speaker 1: Is that? Is that one show? How did you do it?

1058
00:58:05,440 --> 00:58:07,240
Speaker 1: Is it? Where was it? Tell me a little bit

1059
00:58:07,240 --> 00:58:07,640
Speaker 1: about that.

1060
00:58:07,720 --> 00:58:09,800
Speaker 4: It's essentially the soundtrack to the film. It's a lot

1061
00:58:09,840 --> 00:58:14,160
Speaker 4: of the songs from the movie plus some others, but

1062
00:58:14,280 --> 00:58:16,560
Speaker 4: it's all recorded in twenty twenty two.

1063
00:58:17,120 --> 00:58:18,560
Speaker 1: Oh okay, same period.

1064
00:58:20,080 --> 00:58:23,360
Speaker 4: When the band. You know, I've had thirty people in

1065
00:58:23,400 --> 00:58:29,600
Speaker 4: this band, right, thirteen drummers. But this lineup that's in

1066
00:58:29,680 --> 00:58:33,240
Speaker 4: the film was just so special. I felt like it

1067
00:58:33,280 --> 00:58:36,240
Speaker 4: was kind of like a culmination of over a decade

1068
00:58:36,240 --> 00:58:40,800
Speaker 4: of work. Yeah, and everybody was really firing on all cylinders.

1069
00:58:41,880 --> 00:58:45,080
Speaker 4: And I'd never done a live album before, and I thought,

1070
00:58:45,280 --> 00:58:49,840
Speaker 4: this is such an amazing representation of the thirteen years

1071
00:58:49,840 --> 00:58:54,040
Speaker 4: of this band and the whole catalog. It turned out

1072
00:58:54,080 --> 00:58:58,200
Speaker 4: pretty good. And I'm listen, I'm just riding a wave.

1073
00:58:59,160 --> 00:59:00,720
Speaker 4: I wish I could tell you there was a lot

1074
00:59:00,720 --> 00:59:04,600
Speaker 4: of planning going on, but this whole band is an accident.

1075
00:59:04,840 --> 00:59:07,760
Speaker 4: It's all. As I say in the film, and unplanned pregnancy.

1076
00:59:08,120 --> 00:59:12,240
Speaker 4: I was already thirty. I was already in my thirties

1077
00:59:12,280 --> 00:59:16,000
Speaker 4: when this band started, and so I'm just stumbling my

1078
00:59:16,040 --> 00:59:18,520
Speaker 4: way through this whole thing, and it just keeps growing

1079
00:59:19,200 --> 00:59:22,720
Speaker 4: and expanding and changing, and I just try to grow

1080
00:59:22,760 --> 00:59:23,720
Speaker 4: and expand with it.

1081
00:59:24,240 --> 00:59:28,640
Speaker 1: Yeah. Well it's working, man, it's working. One of the

1082
00:59:28,680 --> 00:59:32,480
Speaker 1: things that I like about our relationship is whenever we

1083
00:59:32,520 --> 00:59:36,680
Speaker 1: get together and talk, you always you can. I do

1084
00:59:36,760 --> 00:59:40,160
Speaker 1: the same thing, much to my wife's annoyance, where I

1085
00:59:40,200 --> 00:59:45,400
Speaker 1: relate everything back to some rock and roll story. You

1086
00:59:45,480 --> 00:59:47,800
Speaker 1: do the same thing, and you know a lot about

1087
00:59:47,880 --> 00:59:50,080
Speaker 1: music that I don't know, which is why I hang

1088
00:59:50,120 --> 00:59:55,080
Speaker 1: out with you. You have tremendous taste, incredible taste, and your

1089
00:59:55,200 --> 00:59:58,080
Speaker 1: a rock and roll you're a music historian as well,

1090
00:59:58,160 --> 01:00:00,040
Speaker 1: even if you don't call yourself that. That's what you

1091
01:00:00,640 --> 01:00:03,520
Speaker 1: But I told you when we talked about doing this

1092
01:00:03,920 --> 01:00:07,080
Speaker 1: conversation here that it's Halloween here in Disgraceland and we're

1093
01:00:07,120 --> 01:00:10,880
Speaker 1: heavy into the October programming here, so it's like, Adam,

1094
01:00:10,880 --> 01:00:13,640
Speaker 1: it would be great if you could come on and

1095
01:00:13,720 --> 01:00:16,360
Speaker 1: treat me like a total novice and explain to me

1096
01:00:17,600 --> 01:00:21,080
Speaker 1: screaming Jay Hawkins, because He's somebody that I don't know

1097
01:00:21,120 --> 01:00:23,520
Speaker 1: a lot about. I just guessed that you do know

1098
01:00:23,560 --> 01:00:25,240
Speaker 1: a lot about it. You know, we didn't prep for

1099
01:00:25,280 --> 01:00:29,800
Speaker 1: this hardly at all, and I've been asked continuously to

1100
01:00:29,800 --> 01:00:31,480
Speaker 1: do an episode on Screaming Jay Hawkins. And all I

1101
01:00:31,480 --> 01:00:33,080
Speaker 1: know about the guy besides I put a spell on

1102
01:00:33,120 --> 01:00:35,520
Speaker 1: you is I think he had something like, you know,

1103
01:00:35,560 --> 01:00:37,240
Speaker 1: seventy five children or something like that.

1104
01:00:37,400 --> 01:00:39,520
Speaker 4: Yeah, and that we know of.

1105
01:00:39,840 --> 01:00:42,240
Speaker 1: That we know of, and that's really it. I mean,

1106
01:00:42,240 --> 01:00:44,120
Speaker 1: I put him on Spotify. But as I was setting

1107
01:00:44,200 --> 01:00:47,600
Speaker 1: up the mic and I heard covering Paul McCartney's Monkberry

1108
01:00:47,600 --> 01:00:51,440
Speaker 1: Moon Delight, which was so good. But yeah, man, just

1109
01:00:51,520 --> 01:00:54,440
Speaker 1: lay it on me. Laying on the Disgraceland listeners anything

1110
01:00:54,440 --> 01:00:57,560
Speaker 1: about Screaming Jay Hawkins, particularly as it pertains to sort

1111
01:00:57,560 --> 01:01:00,640
Speaker 1: of the darker halloweeny horror type stuff.

1112
01:01:00,960 --> 01:01:03,200
Speaker 4: I mean, Screaming Jay Hawks. First of all, people will

1113
01:01:03,240 --> 01:01:06,360
Speaker 4: probably know I put a spell on you. I put

1114
01:01:06,400 --> 01:01:11,440
Speaker 4: a spell on you as a standard, and maybe they

1115
01:01:11,480 --> 01:01:18,520
Speaker 4: know the Nina Simone version, Credence, the Credence version. But

1116
01:01:18,640 --> 01:01:22,480
Speaker 4: Screaming Jay that was his song and it's I still

1117
01:01:22,560 --> 01:01:25,320
Speaker 4: think one of the greatest rock and roll songs ever recorded,

1118
01:01:25,880 --> 01:01:29,080
Speaker 4: and there's no other song like it. There's truly no

1119
01:01:29,200 --> 01:01:32,800
Speaker 4: other song like it. He was drunk off of his

1120
01:01:32,960 --> 01:01:37,040
Speaker 4: face when he made that song self admittedly, and you

1121
01:01:37,120 --> 01:01:40,480
Speaker 4: can tell, well, what's funny that I think is interesting

1122
01:01:40,520 --> 01:01:46,560
Speaker 4: about it is in his drunkenness, in this vocal performance,

1123
01:01:47,160 --> 01:01:53,520
Speaker 4: he accesses this place that's like simultaneously terrifying, confusing, and

1124
01:01:53,720 --> 01:01:54,520
Speaker 4: very sad.

1125
01:01:55,200 --> 01:01:55,480
Speaker 1: You know.

1126
01:01:55,600 --> 01:01:59,280
Speaker 4: The tenor of that song is, you don't love me anymore?

1127
01:01:59,320 --> 01:02:02,720
Speaker 4: And I need to put like a hoodoo on you

1128
01:02:03,040 --> 01:02:05,520
Speaker 4: to trick you back into loving me again, And why

1129
01:02:05,520 --> 01:02:06,840
Speaker 4: don't you love me anymore?

1130
01:02:07,080 --> 01:02:07,320
Speaker 1: You know?

1131
01:02:08,640 --> 01:02:11,840
Speaker 4: He was a total one off. He would come out

1132
01:02:11,880 --> 01:02:15,600
Speaker 4: on stage in a coffin. They bring him out of

1133
01:02:15,600 --> 01:02:18,600
Speaker 4: the coffin. He'd had a bone in his nose. He'd

1134
01:02:18,680 --> 01:02:23,160
Speaker 4: have a scepter with shrunken heads hanging off of it.

1135
01:02:23,160 --> 01:02:28,280
Speaker 4: It was extremely macabre, as they say, right, it was dark,

1136
01:02:28,840 --> 01:02:35,160
Speaker 4: it was scary, and he had this operatic trained, operatic

1137
01:02:35,280 --> 01:02:41,120
Speaker 4: voice which you can hear in these recordings.

1138
01:02:40,640 --> 01:02:42,360
Speaker 1: Really formally trained.

1139
01:02:42,720 --> 01:02:44,840
Speaker 4: I mean, he could have been at the Metropolitan Opera

1140
01:02:44,880 --> 01:02:47,160
Speaker 4: in his career. I mean, that's how powerful a singer

1141
01:02:47,200 --> 01:02:52,360
Speaker 4: he was. But thank goodness, He used those skills for

1142
01:02:52,520 --> 01:02:57,040
Speaker 4: something so strange and original, and there's a collection called

1143
01:02:57,120 --> 01:03:03,000
Speaker 4: cow Fingers and Mosquito Pie. Pretty good introduction. He wrote

1144
01:03:03,000 --> 01:03:10,680
Speaker 4: some incredible songs Frenzy, and then later, interestingly enough, Tom

1145
01:03:10,680 --> 01:03:15,560
Speaker 4: Waits became a huge, you know, sort of protege of his.

1146
01:03:16,560 --> 01:03:22,480
Speaker 4: When you talk about the strangiosity when you go into

1147
01:03:22,520 --> 01:03:26,400
Speaker 4: a recording studio, what Scream and Jay would do is

1148
01:03:26,440 --> 01:03:30,120
Speaker 4: you try to create that theater of the mind where

1149
01:03:30,160 --> 01:03:34,920
Speaker 4: you're hearing. He create like a jungle scene, right, and

1150
01:03:35,040 --> 01:03:39,200
Speaker 4: you're hearing people. You're hearing like cheetahs and lions in

1151
01:03:39,240 --> 01:03:44,160
Speaker 4: the distance, and mosquitoes buzzing, and then people screaming, and

1152
01:03:44,200 --> 01:03:47,680
Speaker 4: then all these weird instruments, and it's this very three

1153
01:03:47,720 --> 01:03:48,800
Speaker 4: dimensional sound.

1154
01:03:49,040 --> 01:03:49,280
Speaker 2: You know.

1155
01:03:49,720 --> 01:03:52,280
Speaker 1: Did Waits do that with sort of the you know,

1156
01:03:52,480 --> 01:03:55,000
Speaker 1: born in the back of a taxi cab type vibe,

1157
01:03:55,040 --> 01:03:56,400
Speaker 1: with the cityscape and all that.

1158
01:03:56,720 --> 01:04:01,240
Speaker 4: I think around the time of Swordfish, Trump Bones with

1159
01:04:01,280 --> 01:04:04,360
Speaker 4: Tom Waits going into the eighties when he got really

1160
01:04:04,480 --> 01:04:07,480
Speaker 4: deep into this three dimensional theater of the mind style

1161
01:04:07,480 --> 01:04:12,960
Speaker 4: of recording where the different people are at different distances

1162
01:04:13,000 --> 01:04:16,400
Speaker 4: from the microphone to create this three dimensional space in

1163
01:04:16,440 --> 01:04:19,880
Speaker 4: your mind. I really feel like that was descendant from

1164
01:04:19,920 --> 01:04:25,360
Speaker 4: Screaming Jay Hawkins. And also that combination that Tom Waits

1165
01:04:25,400 --> 01:04:32,800
Speaker 4: has of the sort of dark CD underbelly mixed with romanticism.

1166
01:04:33,600 --> 01:04:38,080
Speaker 4: You know that scream in Jay is it's scary in

1167
01:04:38,120 --> 01:04:41,120
Speaker 4: the way that a horror film is scary, but it's

1168
01:04:41,160 --> 01:04:45,240
Speaker 4: also like tender. There's a lot of love subjects in

1169
01:04:45,280 --> 01:04:45,880
Speaker 4: his songs.

1170
01:04:46,200 --> 01:04:49,160
Speaker 1: Yeah, yeah, well that probably speaks to his appeal. I

1171
01:04:49,200 --> 01:04:52,280
Speaker 1: wonder was was I put a spell on you? Was

1172
01:04:52,280 --> 01:04:54,080
Speaker 1: Was that a hit hit or was it like a

1173
01:04:54,120 --> 01:04:54,880
Speaker 1: novelty hit?

1174
01:04:55,560 --> 01:04:58,920
Speaker 4: Both? I mean, that really was a hit. He did

1175
01:04:58,960 --> 01:05:05,440
Speaker 4: it on television. He became rather famous from it on

1176
01:05:05,560 --> 01:05:08,360
Speaker 4: the level of like a like a Buddy Holly or

1177
01:05:08,400 --> 01:05:13,240
Speaker 4: something in the middle fifties. But he was just so

1178
01:05:13,560 --> 01:05:17,400
Speaker 4: whack adoodle that he didn't have a second hit.

1179
01:05:18,520 --> 01:05:21,920
Speaker 1: So what's the story with the seventy plus kids? Is

1180
01:05:21,920 --> 01:05:24,200
Speaker 1: it just exactly what we imagined it to be or

1181
01:05:24,240 --> 01:05:26,120
Speaker 1: is there anything else worth mentioning there?

1182
01:05:26,160 --> 01:05:29,800
Speaker 4: All I know is in two thousand and one, I

1183
01:05:29,840 --> 01:05:32,200
Speaker 4: think it was I was working I was an intern

1184
01:05:32,280 --> 01:05:35,640
Speaker 4: at a radio station in Memphis, Tennessee, and my boss

1185
01:05:35,680 --> 01:05:38,320
Speaker 4: at the time he said, check this out, and he

1186
01:05:38,360 --> 01:05:41,040
Speaker 4: gives me this letter that they got and it was

1187
01:05:42,440 --> 01:05:47,120
Speaker 4: from a website called jays Kids dot Com and it

1188
01:05:47,320 --> 01:05:53,080
Speaker 4: was some of his family members going around and asking

1189
01:05:53,160 --> 01:05:55,960
Speaker 4: radio stations to broadcast this thing where they were like,

1190
01:05:56,000 --> 01:05:58,440
Speaker 4: if you were think, if you think that you are

1191
01:05:58,480 --> 01:06:02,480
Speaker 4: the descendant of Screaming Jayhawks, go to Jay's Kids dot

1192
01:06:02,520 --> 01:06:05,640
Speaker 4: com and register for a paternity test. Oh my god,

1193
01:06:06,400 --> 01:06:10,840
Speaker 4: wild And my understand, I thought the number was fifty

1194
01:06:10,920 --> 01:06:14,520
Speaker 4: seven verified. I know there were hundreds and hundreds and

1195
01:06:14,560 --> 01:06:18,760
Speaker 4: hundreds of submissions. There's a little film that people can

1196
01:06:18,800 --> 01:06:22,960
Speaker 4: watch online about this because a number of the verified

1197
01:06:23,040 --> 01:06:28,600
Speaker 4: children got together and it's kind of freaky because they

1198
01:06:28,640 --> 01:06:31,840
Speaker 4: kind of all looked like Screaming Jay Wow. And he

1199
01:06:31,960 --> 01:06:36,440
Speaker 4: was a pretty crazy looking guy. Yeah, but man, he

1200
01:06:36,560 --> 01:06:42,560
Speaker 4: had kids all over the world, Philippines, Hawaii, New York, Germany.

1201
01:06:42,680 --> 01:06:44,880
Speaker 4: I mean, he really spread it around.

1202
01:06:45,360 --> 01:06:47,680
Speaker 1: What was it? What was the mephestation? I could ask.

1203
01:06:48,160 --> 01:06:50,560
Speaker 4: Man, there's a radio show and it's still going strong.

1204
01:06:50,640 --> 01:06:55,840
Speaker 4: It's called Beal Street Caravan, Okay, And I've actually been

1205
01:06:56,080 --> 01:07:00,360
Speaker 4: interviewed on that show. Nice for low cut Connie. But

1206
01:07:00,400 --> 01:07:02,120
Speaker 4: when I was twenty one years old, I was at

1207
01:07:02,120 --> 01:07:06,640
Speaker 4: the University of Memphis doing musicology, and I was the

1208
01:07:06,680 --> 01:07:12,560
Speaker 4: intern there editing their interviews, and man, they interviewed Sam Phillips,

1209
01:07:12,560 --> 01:07:17,160
Speaker 4: Steve Cropper, Al Green, oh Man, Rufus Thomas, all these

1210
01:07:17,320 --> 01:07:22,400
Speaker 4: amazing legends, mostly of Memphis music.

1211
01:07:22,600 --> 01:07:22,960
Speaker 1: Yeah.

1212
01:07:23,120 --> 01:07:23,400
Speaker 2: Yeah.

1213
01:07:23,600 --> 01:07:25,560
Speaker 1: Was Alex Chilton there at that time or was he

1214
01:07:25,640 --> 01:07:26,560
Speaker 1: in Louisiana?

1215
01:07:26,920 --> 01:07:29,720
Speaker 4: Alex did not live in Memphis at the time, But

1216
01:07:30,840 --> 01:07:34,959
Speaker 4: my stay in Memphis was when I fell in love

1217
01:07:35,000 --> 01:07:39,360
Speaker 4: with Alex's music and met my good friend to this day,

1218
01:07:39,440 --> 01:07:40,880
Speaker 4: Jodi Stevens from Big Star.

1219
01:07:41,120 --> 01:07:42,280
Speaker 1: Yeah. Yeah.

1220
01:07:42,320 --> 01:07:46,960
Speaker 4: And speaking of Alex Chilton, you know, we were fortunate

1221
01:07:47,120 --> 01:07:50,480
Speaker 4: enough to get clearance from his family to cover Hey

1222
01:07:50,520 --> 01:07:55,560
Speaker 4: Little Child in the film. Our dealers saw that between

1223
01:07:55,640 --> 01:07:58,040
Speaker 4: you and Me, we also covered a Madonna song, but

1224
01:07:58,120 --> 01:08:01,600
Speaker 4: we were denied the license to put that in the film.

1225
01:08:02,320 --> 01:08:02,880
Speaker 1: Which song?

1226
01:08:03,400 --> 01:08:08,800
Speaker 4: Dress you up nice? I'm gonna dress you up in Malla.

1227
01:08:07,880 --> 01:08:10,400
Speaker 1: All over your body. Damn, man, I can't believe. I

1228
01:08:10,400 --> 01:08:11,520
Speaker 1: can't believe it wasn't allowed.

1229
01:08:12,120 --> 01:08:14,280
Speaker 4: You know why, you know what they said no, because

1230
01:08:14,280 --> 01:08:16,519
Speaker 4: by the way, if Madonna had heard it, she would

1231
01:08:16,560 --> 01:08:19,800
Speaker 4: have said yes, right right. But that's one of her

1232
01:08:19,840 --> 01:08:23,360
Speaker 4: songs that she didn't participate in the writing. It was

1233
01:08:23,400 --> 01:08:27,960
Speaker 4: this married couple and they didn't like that. I said

1234
01:08:27,960 --> 01:08:32,320
Speaker 4: the word motherfucker during the performance of the song.

1235
01:08:33,280 --> 01:08:38,479
Speaker 1: Dude, what year is this? Unbelievable? Unreal? Unreal? All right, well, hey,

1236
01:08:39,479 --> 01:08:42,400
Speaker 1: next time, next one, you should be doing borderline. Anyways,

1237
01:08:42,479 --> 01:08:44,439
Speaker 1: that's the Madonna song I have covered.

1238
01:08:44,479 --> 01:08:46,240
Speaker 4: You know what, I'm gonna say this right here on

1239
01:08:46,280 --> 01:08:51,160
Speaker 4: the air with you. I've been toying with doing a

1240
01:08:51,200 --> 01:08:54,040
Speaker 4: low cut Connie Covers Madonna full album.

1241
01:08:54,280 --> 01:08:54,880
Speaker 1: I love that.

1242
01:08:55,080 --> 01:08:57,519
Speaker 4: Been like toying with that for a few years. I

1243
01:08:57,600 --> 01:09:00,479
Speaker 4: love that because over the years I have covered a

1244
01:09:00,680 --> 01:09:05,639
Speaker 4: number of Madonna songs and I do them my way. Yeah,

1245
01:09:05,680 --> 01:09:08,920
Speaker 4: but there's so many of her songs that are so

1246
01:09:09,520 --> 01:09:13,640
Speaker 4: elemental that they're good. They're kind of great in any presentation.

1247
01:09:14,040 --> 01:09:14,519
Speaker 1: Yeah.

1248
01:09:14,640 --> 01:09:16,360
Speaker 4: Yeah, So maybe I'll do that.

1249
01:09:16,400 --> 01:09:18,800
Speaker 1: Man, there you go. I love it. Come back on.

1250
01:09:18,880 --> 01:09:20,280
Speaker 1: We'll talk about it when you do do it.

1251
01:09:20,439 --> 01:09:20,799
Speaker 4: Okay.

1252
01:09:21,280 --> 01:09:23,680
Speaker 1: I will invite Screaming Jay's kids on too. It'll be

1253
01:09:23,720 --> 01:09:29,839
Speaker 1: a blast. Due everybody. Adam from Lowkat Connie Art Dealers,

1254
01:09:30,560 --> 01:09:31,920
Speaker 1: remind me what the name of the new album is.

1255
01:09:31,920 --> 01:09:34,000
Speaker 1: It's coming on in November first. This will hit before that.

1256
01:09:34,320 --> 01:09:37,840
Speaker 1: Connie Live, Connie Live, that's easy to remember. Thanks dude,

1257
01:09:37,880 --> 01:09:39,360
Speaker 1: appreciate you, Thank you for coming on.

1258
01:09:39,680 --> 01:09:41,280
Speaker 4: Thank you, my man. I appreciate you.

1259
01:09:42,320 --> 01:09:46,559
Speaker 1: All right, guys. As you can see, Adam is a smart,

1260
01:09:46,840 --> 01:09:53,000
Speaker 1: passionate musician artist. Loved that conversation. Hope you douget as well.

1261
01:09:53,040 --> 01:09:54,639
Speaker 1: Hope you check out his movie. Hope you check out

1262
01:09:54,680 --> 01:09:56,479
Speaker 1: his music. Hope you go see them live. Low Ka,

1263
01:09:56,600 --> 01:10:01,400
Speaker 1: Connie's incredible live. You'll have an amazing time. And yeah,

1264
01:10:01,400 --> 01:10:03,080
Speaker 1: I was really happy that he was able to do that.

1265
01:10:03,280 --> 01:10:05,760
Speaker 1: So Adam, if you're listening, thank you, my man. This

1266
01:10:06,000 --> 01:10:10,120
Speaker 1: episode is nearing its end. All Access members, you're gonna

1267
01:10:10,120 --> 01:10:11,880
Speaker 1: get a little more here. If you're not an All

1268
01:10:11,960 --> 01:10:14,400
Speaker 1: Access member, go ahead and sign up. You know how

1269
01:10:14,439 --> 01:10:17,439
Speaker 1: to do it. Just graceslampod dot Com Slash membership gets

1270
01:10:17,439 --> 01:10:20,120
Speaker 1: you an all Access pass, You get the extra bonus

1271
01:10:20,200 --> 01:10:22,800
Speaker 1: episode portion here in the after party, you get ad

1272
01:10:22,880 --> 01:10:26,160
Speaker 1: free listening, no commercials, you get an extra episode per month,

1273
01:10:26,400 --> 01:10:28,599
Speaker 1: and you get me in the chat and Patreon blabbing away.

1274
01:10:28,840 --> 01:10:33,280
Speaker 1: All right, So again, disgracelampod dot com Slash membership. Check

1275
01:10:33,360 --> 01:10:50,439
Speaker 1: that out. Become an All Access member today. All right, guys,

1276
01:10:50,560 --> 01:10:52,519
Speaker 1: I am back. Thanks again, for hanging with me here

1277
01:10:52,560 --> 01:10:54,880
Speaker 1: in this bonus after party episode. Go get that merch.

1278
01:10:54,960 --> 01:10:57,720
Speaker 1: Go get those shirts before they're gone disgracelampod dot com

1279
01:10:57,880 --> 01:11:00,920
Speaker 1: slash merch. You get like a and a half before

1280
01:11:00,920 --> 01:11:04,000
Speaker 1: they're out, and then they ain't coming back. Bye bye berdie.

1281
01:11:04,040 --> 01:11:07,240
Speaker 1: All right. Book Club October twenty ninth. That's coming up

1282
01:11:07,320 --> 01:11:09,880
Speaker 1: fast too. That's Tuesday, so a couple of days from now.

1283
01:11:09,920 --> 01:11:11,680
Speaker 1: You still got time to read the Exorcist and look

1284
01:11:11,680 --> 01:11:13,559
Speaker 1: a little Dirty Secret. If you haven't read the book,

1285
01:11:14,360 --> 01:11:17,200
Speaker 1: just join us. Anyways, it's a fun conversation. Maybe it'll

1286
01:11:17,240 --> 01:11:19,559
Speaker 1: motivate you to read the book. Okay, the book's incredible.

1287
01:11:19,640 --> 01:11:23,040
Speaker 1: Read some of the book. Read the Wikipedia. By the way,

1288
01:11:23,760 --> 01:11:26,639
Speaker 1: there's a crib notes cliff notes version of my book

1289
01:11:26,760 --> 01:11:30,560
Speaker 1: on Amazon. Don't buy it. I have to fix that.

1290
01:11:30,640 --> 01:11:33,519
Speaker 1: I just noticed that the other day. Okay, listen, thanks

1291
01:11:33,560 --> 01:11:35,320
Speaker 1: for all the calls, thanks to the voicemail. Six one

1292
01:11:35,439 --> 01:11:38,200
Speaker 1: seven nine oh six six six three eight. Hit me

1293
01:11:38,320 --> 01:11:39,880
Speaker 1: up with the question of the week for next week,

1294
01:11:39,920 --> 01:11:41,880
Speaker 1: which is going to be as you're listening to the

1295
01:11:41,960 --> 01:11:46,160
Speaker 1: Exorcist episode, what book scared the hell out of you?

1296
01:11:46,280 --> 01:11:49,599
Speaker 1: That's what we want to know, as for the archive episodes. Listen.

1297
01:11:49,640 --> 01:11:51,120
Speaker 1: We got this thing going on the website. We just

1298
01:11:51,120 --> 01:11:52,960
Speaker 1: did a little redesign. You go to the listen page.

1299
01:11:53,400 --> 01:11:55,559
Speaker 1: Got my favorite episodes up there. We got them all

1300
01:11:55,600 --> 01:11:58,200
Speaker 1: separated by season, but we got my favorite episodes up there.

1301
01:11:58,240 --> 01:12:00,000
Speaker 1: A lot of them we've talked about in here recently.

1302
01:12:00,760 --> 01:12:02,600
Speaker 1: I'm not gonna mention those, but some that we have

1303
01:12:02,840 --> 01:12:06,200
Speaker 1: not discussed. The Billie Holiday episode ninety nine, released on

1304
01:12:06,320 --> 01:12:09,320
Speaker 1: April fifth, twenty twenty two, might be one of my

1305
01:12:09,400 --> 01:12:12,639
Speaker 1: favorite episodes of all time. Billie Holiday training her dog

1306
01:12:12,880 --> 01:12:15,479
Speaker 1: to deliver her her heroin. Okay, get in on that.

1307
01:12:15,920 --> 01:12:19,360
Speaker 1: The Studio fifty four episode. The music in this episode

1308
01:12:19,640 --> 01:12:22,400
Speaker 1: some of the best music we've ever done for any disgrace,

1309
01:12:22,479 --> 01:12:25,360
Speaker 1: laand Piece. That's episode number fifty eight that's released on

1310
01:12:25,479 --> 01:12:29,120
Speaker 1: May twenty six, twenty twenty I got an email here

1311
01:12:29,240 --> 01:12:30,960
Speaker 1: or a review, I can't remember what it was. Thanks

1312
01:12:31,000 --> 01:12:32,960
Speaker 1: for the reviews. By the way. Someone talking about the

1313
01:12:33,000 --> 01:12:36,400
Speaker 1: Miles Davis episodes. Those are episodes one hundred and one

1314
01:12:36,520 --> 01:12:38,519
Speaker 1: and one hundred and two. Those are amongst my favorite

1315
01:12:38,520 --> 01:12:42,040
Speaker 1: as well. That's May third, twenty twenty two and May seventeenth,

1316
01:12:42,200 --> 01:12:45,439
Speaker 1: twenty twenty two. Check those out, get into the archive.

1317
01:12:45,840 --> 01:12:49,840
Speaker 1: Got a lot going on. It's Halloween, all kinds of shit.

1318
01:12:50,000 --> 01:12:53,120
Speaker 1: Man Yankees are in the world series again, not happy

1319
01:12:53,160 --> 01:12:55,600
Speaker 1: about that. Mets are not also not happy about that.

1320
01:12:55,640 --> 01:12:57,160
Speaker 1: I gotta get out of here. Okay, So right now

1321
01:12:57,280 --> 01:12:59,560
Speaker 1: Number one writ in your feed our episode on the

1322
01:12:59,640 --> 01:13:02,519
Speaker 1: Curse the Poulter guyst Film series number two coming tomorrow,

1323
01:13:02,560 --> 01:13:04,559
Speaker 1: a special rewind episode from our archive, and we are

1324
01:13:04,600 --> 01:13:07,880
Speaker 1: talking about the Exorcist episode next week. Question of the week.

1325
01:13:08,240 --> 01:13:09,360
Speaker 1: Scariest book you ever read?

1326
01:13:09,439 --> 01:13:09,680
Speaker 2: Let me know.

1327
01:13:09,800 --> 01:13:12,000
Speaker 1: Number three merch winners, get in touch. You know who

1328
01:13:12,040 --> 01:13:13,840
Speaker 1: you are. Number four book club again, like I said,

1329
01:13:13,880 --> 01:13:16,439
Speaker 1: come on October twenty nine, get to read that Exorcist.

1330
01:13:16,880 --> 01:13:19,320
Speaker 1: Number five. Remember, no one cares about great storytelling more

1331
01:13:19,400 --> 01:13:21,240
Speaker 1: than you do. And well that is a disgrace.

1332
01:13:21,320 --> 01:13:21,680
Speaker 3: All right.

1333
01:13:22,040 --> 01:13:24,840
Speaker 1: In honor of this week's episode subject on the Polter

1334
01:13:24,920 --> 01:13:28,519
Speaker 1: Guy's Curse, me reading to you. The Billboard charts from

1335
01:13:28,600 --> 01:13:32,719
Speaker 1: June fourth, nineteen eighty two. The week Poulter Guyst hit theaters.

1336
01:13:33,920 --> 01:13:38,439
Speaker 1: Number one, Ebony and Ivory, Paul McCartney and Stevie Wonder

1337
01:13:39,040 --> 01:13:44,479
Speaker 1: last week one peak position one weeks on chart nine.

1338
01:13:45,240 --> 01:13:50,360
Speaker 1: Number two don't talk to Strangers. Rick Springfield last week

1339
01:13:50,720 --> 01:13:56,519
Speaker 1: two peak position two, three weeks on Chart fourteenth, number three.

1340
01:13:57,040 --> 01:13:58,120
Speaker 1: I've Never been to me.

1341
01:13:58,760 --> 01:14:03,920
Speaker 7: Charlene Steak weeks on three position peak position three weeks

1342
01:14:03,960 --> 01:14:08,800
Speaker 7: on Shot for seventeen number three, number four, other one eight, six, seven, five,

1343
01:14:09,160 --> 01:14:13,160
Speaker 7: three oh nine, Jenny by Tommy two top five last

1344
01:14:13,200 --> 01:14:17,280
Speaker 7: week So we Shoot peak position number six, weeks on

1345
01:14:17,439 --> 01:14:19,879
Speaker 7: Shark twenty number.

1346
01:14:19,680 --> 01:14:30,080
Speaker 1: Five, last three others. Don't you want me Baby?

1347
01:14:30,720 --> 01:14:31,080
Speaker 4: Cut it