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Adele: The Pop Star Repurposed by the Criminal Underworld · DISGRACELAND

• 0:00
  Speaker 1: Disgraceland is a production of Double Elvis. The Story about
• 0:16
  Speaker 1: Adele is a story about fear, fear of performing on stage,
• 0:22
  Speaker 1: fear of losing your voice, fear of dying young like
• 0:26
  Speaker 1: two of your idols. It's also a story about con
• 0:31
  Speaker 1: artists and concealed weapons, about Michael Corleone and Tony Montana
• 0:35
  Speaker 1: and Dog Day Afternoons, and about how the criminal world
• 0:39
  Speaker 1: has repeatedly tried to cash in on the universal appeal
• 0:44
  Speaker 1: of Adele. And this is because Adele makes great music,
• 0:50
  Speaker 1: Unlike that clip I played for you at the top
• 0:52
  Speaker 1: of the show. That wasn't great music. That was a
• 0:55
  Speaker 1: preset loop from my melotron called the Guns of Tottenham MK. One.
• 1:01
  Speaker 1: I played you that loop because I can't afford the
• 1:03
  Speaker 1: rights to grenade by Bruno Mars. And why would I
• 1:07
  Speaker 1: play you that specific slice of unrequited love cheese?
• 1:12
  Speaker 2: Could I afford it?
• 1:13
  Speaker 1: Because that was the number one song in America on
• 1:17
  Speaker 1: January twenty fourth, twenty eleven, And that was the day
• 1:20
  Speaker 1: that Adele released her sophomore album twenty one, a record
• 1:25
  Speaker 1: so impactful that it made her a new musical favorite
• 1:28
  Speaker 1: of millions around the world, not least of all the
• 1:33
  Speaker 1: felons and con artists who appropriated her fame on this
• 1:39
  Speaker 1: episode Felons, con artists, Corleone's Dead, Idols, Fear and Adele.
• 1:47
  Speaker 2: I'm Jake Brennan.
• 1:49
  Speaker 1: In this this Disgrace, I have Sydney Lumette's classic nineteen
• 2:26
  Speaker 1: seventy five film Dog Day Afternoon opens on a hot
• 2:30
  Speaker 1: summer day in New York City. Construction workers talk shit
• 2:34
  Speaker 1: while the sweat soaks through the backs of their t shirts.
• 2:38
  Speaker 1: Neighborhood kids splash in a public pool. Fruit vendors, derelicts,
• 2:43
  Speaker 1: and day traders all crowd the sidewalks, while stray dogs
• 2:48
  Speaker 1: root through the garbage.
• 2:49
  Speaker 2: In the street.
• 2:51
  Speaker 1: But then a car pulls up against the curb outside
• 2:54
  Speaker 1: the first Brooklyn Savings Bank, and inside the car are
• 2:59
  Speaker 1: three men. The driver gets out, he paces nervously on
• 3:04
  Speaker 1: the pavement nearby. The bank's one security guard takes down
• 3:09
  Speaker 1: the American flag hanging outside the bank's door.
• 3:12
  Speaker 2: It's closing time.
• 3:14
  Speaker 1: The driver doubles back to the car. He leans into
• 3:17
  Speaker 1: the passenger window, speaking to the man sitting there. And
• 3:20
  Speaker 1: the man is Sonny played by al Pacino. And though
• 3:24
  Speaker 1: we can't hear what the two are talking about, we
• 3:28
  Speaker 1: can see the very clear emotion which takes over Paccino's eyes, fear.
• 3:35
  Speaker 1: Pacino's character is dreading what he's about to do, but
• 3:39
  Speaker 1: there's no turning back now. There are things he needs
• 3:43
  Speaker 1: in this life, and he has no other way of
• 3:45
  Speaker 1: getting them, or so he thinks. He's desperate, and he
• 3:49
  Speaker 1: has to move fast before that security guard locks the
• 3:53
  Speaker 1: front door behind him. So he exits the car along
• 3:57
  Speaker 1: with his accomplice sal played by John Because, and they
• 4:01
  Speaker 1: walk inside the bank and Pacino carries a long white
• 4:04
  Speaker 1: box with a bow, and no one knows that inside
• 4:07
  Speaker 1: that box is a rifle. He anxiously looks around and
• 4:12
  Speaker 1: these employees, these tellers, the security guard, the manager, they're
• 4:18
  Speaker 1: all innocent. Pacino's character means them no.
• 4:22
  Speaker 2: Harm, and that's when the fear takes over.
• 4:28
  Speaker 1: Watching this scene play out on our television in the
• 4:31
  Speaker 1: comfort of her own home, Adele Lorie blue Atkins, otherwise
• 4:34
  Speaker 1: known simply as Adele, felt her pulse quicken.
• 4:38
  Speaker 2: It didn't matter that.
• 4:40
  Speaker 1: She'd seen this film, one of her favorites, more times
• 4:42
  Speaker 1: than she could remember. Her response was always the same,
• 4:47
  Speaker 1: because Dog Day Afternoon or al Pacino's performance in particular,
• 4:51
  Speaker 1: tapped into a universal fear that on some level is
• 4:54
  Speaker 1: always present within all of us, no matter the scenario.
• 4:58
  Speaker 1: It's the most primal of human and emotions. In fact,
• 5:02
  Speaker 1: do not be afraid is the most common phrase found
• 5:05
  Speaker 1: in the Bible, in one form or another. And though
• 5:08
  Speaker 1: we've been told not to be afraid for centuries, we
• 5:11
  Speaker 1: still are you Me Pacino and Dog Day Afternoon and Adele.
• 5:19
  Speaker 1: In twenty eleven, Adele became a once in a generation
• 5:22
  Speaker 1: phenomenon with the release of her sophomore album twenty one.
• 5:26
  Speaker 1: It entered the Billboard Album Chart at number one, where
• 5:29
  Speaker 1: it stayed for twenty four weeks, breaking the record set
• 5:32
  Speaker 1: by Princess Purple Rain some twenty seven years prior. Now.
• 5:36
  Speaker 1: While the album was at number one, three of its singles,
• 5:39
  Speaker 1: Rolling in the Deep, Set, Fire to the Rain, and
• 5:42
  Speaker 1: Someone Like You simultaneously topped the hot one hundred, the
• 5:47
  Speaker 1: first time that had happened since the Saturday Night Fever
• 5:50
  Speaker 1: soundtrack way back in nineteen seventy seven. The album twenty
• 5:54
  Speaker 1: one has since become the longest charting album by any
• 5:58
  Speaker 1: female artist, break the record held by Carol King's nineteen
• 6:02
  Speaker 1: seventy one album Tapestry. To date, Adele's twenty one has
• 6:07
  Speaker 1: shipped seventeen million copies, by far the most of any
• 6:12
  Speaker 1: album released this century, and at the time of twenty
• 6:15
  Speaker 1: one's initial release, you could not escape Adele. Her songs
• 6:20
  Speaker 1: were the most requested songs at karaoke bars, they were
• 6:23
  Speaker 1: the most played at funerals if you got scared to
• 6:26
  Speaker 1: get onto a plane. One survey showed that Adele's songs
• 6:30
  Speaker 1: were voted the best to calm your nerves and if
• 6:33
  Speaker 1: you couldn't sleep. Another survey showed that those same songs
• 6:37
  Speaker 1: could cure insomnia. In Leeds, England, a seven year old
• 6:42
  Speaker 1: girl miraculously woke from a week long coma when Rolling
• 6:47
  Speaker 1: in the Deep came on the radio. Adele's voice is
• 6:51
  Speaker 1: there in life and in death, deep down in her subconscious,
• 6:55
  Speaker 1: which makes sense because Beyonce once told.
• 6:58
  Speaker 2: Her, when I listened to you, I feel like I'm
• 7:01
  Speaker 2: listening to God.
• 7:03
  Speaker 1: Adele has one hell of a voice, like three dusty
• 7:07
  Speaker 1: Springfields all at once, a voice which Amanda Petrosich, writing
• 7:12
  Speaker 1: in The New Yorker, once called perfectly imperfect and able
• 7:16
  Speaker 1: to betray its host frailty and by extension, her humanity.
• 7:21
  Speaker 1: But Adele's universal appeal is more than the sound of
• 7:24
  Speaker 1: her voice, she is also incredibly relatable, and I'm not
• 7:28
  Speaker 1: just talking about In her songs of heartbreak, defiance and empowerment,
• 7:32
  Speaker 1: Adele has downright rejected the trappings of celebrity.
• 7:36
  Speaker 2: As she put it in her own words.
• 7:38
  Speaker 1: I don't want to be some skinny mini with my
• 7:40
  Speaker 1: tits out. And she said this with a speaking voice
• 7:44
  Speaker 1: that is the exact opposite of her perfectly imperfect singing voice.
• 7:48
  Speaker 1: Her thick Cockney accent comically emphasizes some of her favorite words,
• 7:53
  Speaker 1: like fucking kunt, many of which she repeated over and
• 7:57
  Speaker 1: over again in between songs while performing in a Glastonbury
• 8:01
  Speaker 1: after being sternly warned by festival organizers to not do so.
• 8:07
  Speaker 2: But this is who she is. Adele speaks like a.
• 8:10
  Speaker 1: Character in a Guy Ritchie film, and Ritchie's characters, like
• 8:14
  Speaker 1: Adele's beloved Alpacino in Dog Day Afternoon, are singular characters
• 8:19
  Speaker 1: in their own right, and they all share one common bond.
• 8:23
  Speaker 2: With the rest of us.
• 8:25
  Speaker 1: Fear two thousand and seven, London, nineteen year old Adele
• 8:32
  Speaker 1: clenched her fist into a ball and drew her arm
• 8:34
  Speaker 1: back and clocked her boyfriend in the face with a
• 8:37
  Speaker 1: stiff right hook, everyone knocking back pints inside the pub.
• 8:42
  Speaker 1: They were stunned, not least of which was the boyfriend,
• 8:45
  Speaker 1: who is now reeling in pain and confusion. Adele, on
• 8:48
  Speaker 1: the other hand, was not confused, nor was she concerned
• 8:52
  Speaker 1: with keeping up appearances among a room full of buzz
• 8:54
  Speaker 1: twenty somethings. She was seething over a relationship which I
• 8:58
  Speaker 1: quickly deteriorated in to a living hell. She was catching
• 9:02
  Speaker 1: unwanted attention from the pub's bouncers, and now she was
• 9:06
  Speaker 1: running her feet slammed rhythmically on the sidewalk of Tottenham
• 9:10
  Speaker 1: Court Road. She was sure the bouncers were hot on
• 9:13
  Speaker 1: her trail. Any minute, they'd catch up to her and
• 9:16
  Speaker 1: hold her till the cops came. She assaulted a man
• 9:20
  Speaker 1: in front of a crowd, not that the guy wasn't
• 9:22
  Speaker 1: an asshole and didn't have it coming, because.
• 9:25
  Speaker 2: He was, and he did.
• 9:27
  Speaker 1: But there was no reality in which Adele didn't punch him.
• 9:31
  Speaker 1: She'd grown up tough, raised by a single mother, first
• 9:34
  Speaker 1: in Tautenham, a London neighborhood with a high rate of poverty,
• 9:37
  Speaker 1: gang violence and crime, and then in Brixton, the place
• 9:41
  Speaker 1: the clash once told you about and when they kick
• 9:44
  Speaker 1: at your front door, how you gonna come? Adele was
• 9:47
  Speaker 1: going to come with a fist to the face, and
• 9:50
  Speaker 1: somewhren't so lucky like Avril Johnson, sister of reggae star
• 9:54
  Speaker 1: Tippa Irie, who was murdered inside her Brixton home in
• 9:58
  Speaker 1: front of her children same year that Adele and her
• 10:01
  Speaker 1: mother moved to town. The gangs of Adele's childhood would
• 10:05
  Speaker 1: give her the idea for the song title rolling in
• 10:08
  Speaker 1: the Deep. To roll deep, to roll with the crew,
• 10:12
  Speaker 1: with people who have your back and your time of
• 10:14
  Speaker 1: need was a necessity of London's criminal underworld. Tonight, however,
• 10:20
  Speaker 1: Adele had no crew, just yourself, haul and ass down
• 10:24
  Speaker 1: on London Street in the dark, and she soon realized
• 10:27
  Speaker 1: that no one was chasing her after all, the no
• 10:29
  Speaker 1: bouncers from the pub, no soon to be ex boyfriend.
• 10:33
  Speaker 1: She was the one doing the chasing, although she was
• 10:36
  Speaker 1: chasing nothing, just the ground beneath her feet. The events
• 10:42
  Speaker 1: of that night became the inspiration for Chasing Pavements, Adele's
• 10:46
  Speaker 1: second single from her debut album nineteen, name for the
• 10:50
  Speaker 1: age she was when she made it. The song was
• 10:53
  Speaker 1: an unexpected success, leading to numerous Grammy nominations and her
• 10:58
  Speaker 1: performance on Saturday Night Line. Only years earlier, Adele had
• 11:03
  Speaker 1: been a student at London's Britz School, the same performing
• 11:06
  Speaker 1: arts high school attended by one of her many inspirations,
• 11:09
  Speaker 1: Amy Winehouse. From there it was a blur. Her songs
• 11:14
  Speaker 1: went up on MySpace, multiple record labels emailed. A record
• 11:18
  Speaker 1: deal with Excel Records soon followed, and suddenly Adele was
• 11:21
  Speaker 1: doing what she dreamed about doing since she was a kid.
• 11:25
  Speaker 1: But it didn't come easy from the jump. Adele was afraid.
• 11:29
  Speaker 1: For one, she had terrible stage frame. Projectile vomiting prior
• 11:33
  Speaker 1: to a show was not uncommon in Amsterdam. She once
• 11:37
  Speaker 1: tried to escape out of a fire exit just so
• 11:40
  Speaker 1: she could avoid facing the crowd she was to perform
• 11:43
  Speaker 1: in front of. And as she became more famous, however.
• 11:46
  Speaker 2: The fear evolved.
• 11:49
  Speaker 1: In twenty eleven, the year of twenty one, the year
• 11:52
  Speaker 1: she released what would become the biggest album of the
• 11:55
  Speaker 1: twenty first century, she was afraid of something much more profound,
• 12:00
  Speaker 1: worried that the more famous she got, the more out
• 12:02
  Speaker 1: of touch she would become, and thus her life experiences
• 12:08
  Speaker 1: would no longer be the life experiences of her audience.
• 12:12
  Speaker 1: She feared she would no longer be relatable, and that
• 12:15
  Speaker 1: wasn't all. Two things happened that year in quick succession.
• 12:21
  Speaker 1: The first led to the fear that she would never
• 12:23
  Speaker 1: be able to sing again, but the second that had
• 12:27
  Speaker 1: her fearing for her own life. Albat made it look easy,
• 13:02
  Speaker 1: sitting there in his brown college boy jacket, getting comfortable
• 13:06
  Speaker 1: in the black leather chair, beginning to understand the true
• 13:09
  Speaker 1: nature of his character, Michael Corleone. He wasn't a loud
• 13:13
  Speaker 1: mouth or a hothead like his brother's Sonny played by
• 13:16
  Speaker 1: Jimmy Kahn, and he wasn't as transparent as the Corleone's
• 13:19
  Speaker 1: family attorney Tom Hagen played by Robert Duval. But as
• 13:24
  Speaker 1: Cohn and Duval paced the dimly lit room, mahogany tables,
• 13:28
  Speaker 1: hardwood floors, and arguing about what to do with this
• 13:31
  Speaker 1: dirty cop McCluskey, protector of the narcotics man who had
• 13:34
  Speaker 1: put their pops in the hospital, Paccino was slowly methodically turning.
• 13:41
  Speaker 1: He was the dark horse, the silent type, the one
• 13:45
  Speaker 1: you never saw coming. Al Pacino, as Michael Corleone was
• 13:49
  Speaker 1: getting ready to push past his own fears such as
• 13:53
  Speaker 1: what would happen to him if he joined the family business,
• 13:56
  Speaker 1: how would change him? And what would he have to do?
• 14:00
  Speaker 1: And there was only one way to find out, only
• 14:02
  Speaker 1: one way through. Fear was not an option. Fear was
• 14:07
  Speaker 1: the mind killer. From a couch across the room facing
• 14:11
  Speaker 1: the television set, Adele leaned in the pivotal scene from
• 14:16
  Speaker 1: one of her favorite films, The Godfather, played out on
• 14:19
  Speaker 1: the screen. But Sheino was so good, so tough. He
• 14:24
  Speaker 1: was our guy, and the way he was able to
• 14:26
  Speaker 1: subtly show how his character conquered his fears was truly inspiring.
• 14:31
  Speaker 1: These crime films that Adele loved, the crime films that
• 14:35
  Speaker 1: were universally loved. They served more than one purpose. They
• 14:39
  Speaker 1: were a source of comfort when Adele wanted to curl
• 14:42
  Speaker 1: up and shout out the world and escape into great storytelling.
• 14:47
  Speaker 1: And that's something we can all relate to. But there
• 14:50
  Speaker 1: was something else as well these movies, especially when it
• 14:54
  Speaker 1: came to scenes like this. These films, these performances, could
• 14:59
  Speaker 1: give you the strength and the tools to overpower fear
• 15:03
  Speaker 1: before the world, with its teeth and its insatiable appetite,
• 15:08
  Speaker 1: overpowered you. July twenty third, twenty eleven, Andrew Marris, Amy
• 15:15
  Speaker 1: Winehouse's bodyguard, checked in on his employer at around ten
• 15:19
  Speaker 1: in the morning. He found her laying on her bed,
• 15:22
  Speaker 1: unconscious at her home in Camden, North London. She'd been
• 15:26
  Speaker 1: up late the night before drinking, and it wasn't unusual
• 15:30
  Speaker 1: for Amy to be passed out till midday, so Mars
• 15:33
  Speaker 1: let her sleep it off. Five hours later.
• 15:35
  Speaker 2: However, at three in the afternoon, he.
• 15:38
  Speaker 1: Decided to check in on her again, and there she
• 15:41
  Speaker 1: was still on the bed, still unconscious, still in the
• 15:46
  Speaker 1: same exact position as before. This now struck Mars as odd.
• 15:51
  Speaker 1: He ran to her side. She wasn't breathing, she had
• 15:55
  Speaker 1: no pulse. Mars picked up the phone and called for
• 15:58
  Speaker 1: an ambulance. Shortly thereafter, Amy Winehouse would be declared dead.
• 16:04
  Speaker 1: She was twenty seven years old. It would be months
• 16:08
  Speaker 1: before an official inquest would find that Amy Winehouse died
• 16:12
  Speaker 1: from misadventure caused by high alcohol consumption. But misadventure wasn't
• 16:17
  Speaker 1: the only.
• 16:18
  Speaker 2: Thing that killed Amy Winehouse.
• 16:20
  Speaker 1: Adele, for one, was well aware.
• 16:23
  Speaker 2: Of this fact.
• 16:24
  Speaker 1: News of Amy's death hit Adele particularly hard. She was sad,
• 16:29
  Speaker 1: and she was pissed, and she was as she.
• 16:32
  Speaker 2: Put it, offended. Amy had gone to the brit school,
• 16:36
  Speaker 2: just like Adele.
• 16:37
  Speaker 1: She was the reason Adele began to play guitar in
• 16:39
  Speaker 1: the first place, the reason why Adele found the courage
• 16:42
  Speaker 1: to write and sing her own songs, and now, ironically,
• 16:47
  Speaker 1: Amy was gone in the exact same year that Adele
• 16:51
  Speaker 1: was breaking records and dominating the charts with her album
• 16:54
  Speaker 1: twenty one. The reason that Adele was offended by Amy's
• 16:58
  Speaker 1: death was because the public had done their part to
• 17:01
  Speaker 1: do her in Amy's drinking, her drug use, her erratic behavior.
• 17:06
  Speaker 1: It all played out in slow motion in the pages
• 17:08
  Speaker 1: of the press and in posts on social media, like
• 17:12
  Speaker 1: a car wreck that everyone pumped the brakes to watch
• 17:15
  Speaker 1: as they passed by. If the public hadn't been given
• 17:18
  Speaker 1: such intimate, always on access to every single choice, Amy
• 17:22
  Speaker 1: Winehouse made every mistake. If there wasn't this collective need
• 17:27
  Speaker 1: to watch a celebrity struggle and to comment on it,
• 17:30
  Speaker 1: to share it, to retweet it, well, it begged the
• 17:33
  Speaker 1: question would Amy still be alive? It was impossible for
• 17:38
  Speaker 1: Adele not to imagine that she was next, That fame
• 17:42
  Speaker 1: and fate were nothing but a pattern in search of
• 17:45
  Speaker 1: the next tragic figure to fit their mold. Paris, the
• 17:51
  Speaker 1: massive world tour for twenty one had just begune when
• 17:54
  Speaker 1: Adele felt something in her throat pop. She ended the
• 17:59
  Speaker 1: show that night more than a little concerned. She'd been
• 18:02
  Speaker 1: singing for nearly a decade since she was fourteen years
• 18:05
  Speaker 1: old and had never experienced anything like this before. She
• 18:10
  Speaker 1: hopped the plane to London, where the next day her
• 18:13
  Speaker 1: doctor told her it was a cute laryngitis and she
• 18:16
  Speaker 1: needed rest. Two weeks later she resumed the tour, which
• 18:20
  Speaker 1: eventually made its way to the United States. And then
• 18:23
  Speaker 1: it happened again, only this time it wasn't laryngitis. This
• 18:28
  Speaker 1: time a blood vessel on her vocal cord burst. She
• 18:32
  Speaker 1: gave it another couple of weeks and let the hemorrhage heal,
• 18:36
  Speaker 1: and then went back at it.
• 18:38
  Speaker 2: But it kept happening.
• 18:40
  Speaker 1: Her voice, that incredible voice, it kept giving out. The
• 18:45
  Speaker 1: media and the internet took notice and sharpened their knives.
• 18:49
  Speaker 1: She was a smoker, She was a drinker. She was
• 18:52
  Speaker 1: a loud talker and even a loud cackler. We've seen
• 18:56
  Speaker 1: this one before. It's Amy two point zero, another wildly
• 19:00
  Speaker 1: talented British singer running her god given instrument ragged. Adele
• 19:05
  Speaker 1: wasn't listening to what was being said about her online. Instead,
• 19:09
  Speaker 1: she was listening to the advice of other singers who
• 19:11
  Speaker 1: had gone through similar problems, veterans like Roger Daltrey, Stephen Tyler,
• 19:16
  Speaker 1: and Elton John, even younger singers like John Mayer, all
• 19:20
  Speaker 1: of whom had undergone cutting edge throat surgery to salvage
• 19:23
  Speaker 1: their voices and keep their jobs and so. On November three,
• 19:27
  Speaker 1: twenty eleven, coincidentally, the same week the twenty one returned
• 19:32
  Speaker 1: to the number one spot on the Billboard album chart,
• 19:35
  Speaker 1: Adele canceled all performances and went under the knife at
• 19:39
  Speaker 1: mass General Hospital in Boston.
• 19:42
  Speaker 2: Actually it was a.
• 19:43
  Speaker 1: Laser, not a knife, which the world renowned throat surgeon
• 19:47
  Speaker 1: Steven's I tells used to remove a polyop that had
• 19:50
  Speaker 1: been plaguing Adele's vocal cord and then for months after,
• 19:54
  Speaker 1: Adele's future was uncertain. For five weeks she was unable
• 19:59
  Speaker 1: to talk, five long weeks in which she wondered what
• 20:02
  Speaker 1: her voice would sound like when it returned, what if
• 20:06
  Speaker 1: she would never be able to sing like she used to,
• 20:08
  Speaker 1: or if she couldn't sing at all, but every inkling
• 20:12
  Speaker 1: of self doubt melted away. Months later, on February twelve,
• 20:16
  Speaker 1: twenty twelve, when Adele made her long away to return
• 20:20
  Speaker 1: to performing at the fifty fourth Annual Grammy Awards ceremony.
• 20:23
  Speaker 2: In Los Angeles.
• 20:25
  Speaker 1: Not only did she take home seven awards that night,
• 20:28
  Speaker 1: including Album of the Year, but she performed Rolling in
• 20:31
  Speaker 1: the Deep, and she killed it. Her post surgery voice
• 20:35
  Speaker 1: was not only strong, it had actually gained some upper range.
• 20:40
  Speaker 1: It was like the Adele everyone already knew, only better.
• 20:44
  Speaker 1: But despite her rousing performance in all her trophies, Adele
• 20:49
  Speaker 1: was upstaged that night by tragedy. The price of fame,
• 20:53
  Speaker 1: which Amy Weinhouse had so sorely paid the previous year,
• 20:58
  Speaker 1: was now hanging over the Staples Center like a ghost.
• 21:04
  Speaker 1: The Beverly Hilton Hotel Sweet four thirty four, the portraits
• 21:09
  Speaker 1: of Marilyn Monroe and Marlon Brando hanging on the walls,
• 21:12
  Speaker 1: surveyed the room in silence. Trays of uneaten food, opened
• 21:17
  Speaker 1: bottles of champagne, the remaining contents now warm and flat.
• 21:23
  Speaker 1: In the bathroom, prescription bottles of Xanax and muscle relaxes
• 21:27
  Speaker 1: on the counter next to them a spoon for cocaine,
• 21:32
  Speaker 1: and there in the bathtub, submerged under six inches of water,
• 21:37
  Speaker 1: the body a forty eight year old Whitney Houston. Whitney
• 21:43
  Speaker 1: never made it to the Grammys that night. She didn't
• 21:45
  Speaker 1: even make it to the pre party thrown by her
• 21:47
  Speaker 1: mentor arist the Records founder Clive Davis, the day before
• 21:51
  Speaker 1: the Grammys. It was on that day that a combination
• 21:55
  Speaker 1: of cocaine, prescription drugs, and heart disease contributed to Whitney
• 21:59
  Speaker 1: Houston and sudden death. The Grammy Awards became a more
• 22:04
  Speaker 1: solemn affair. The bright victories were tinted with a touch
• 22:07
  Speaker 1: of darkness, and Adele's incredible performance took on greater meaning.
• 22:14
  Speaker 1: Rolling in the Deep wasn't just a kiss off to
• 22:16
  Speaker 1: an ex. It was a kiss off to the mold,
• 22:20
  Speaker 1: the press, the public. They weren't going to run her
• 22:23
  Speaker 1: into the ground like they did.
• 22:24
  Speaker 2: Whitney or Amy.
• 22:26
  Speaker 1: Soon, Adele would give birth to her son, who she
• 22:30
  Speaker 1: had with her boyfriend at the time, an investment banker
• 22:33
  Speaker 1: turned charity CEO named Simon Kanecki, and she had a
• 22:37
  Speaker 1: family to protect, so she shifted into paccino mode. Imagine
• 22:44
  Speaker 1: if you will, Adele sitting in that black leather chair
• 22:49
  Speaker 1: in that dimly lit room with its mahogany tables and
• 22:53
  Speaker 1: hardwood floors, And just like al Pacino, just like Michael Corleone,
• 22:58
  Speaker 1: Adele pushed through the fear. She locked down her private life.
• 23:04
  Speaker 1: She locked herself in her house so that the paparazzi
• 23:07
  Speaker 1: couldn't reach her, and she became her own unreliable narrator.
• 23:11
  Speaker 1: She did this by feeding little lies to those in
• 23:14
  Speaker 1: her inner circle on purpose, in order to see who
• 23:18
  Speaker 1: was talking to the press. It's a gangster move, and
• 23:22
  Speaker 1: the gangster knows that if she tells one person a
• 23:25
  Speaker 1: lie and that lie ends up in the papers, then
• 23:28
  Speaker 1: that gangster knows exactly who betrayed her, And so then
• 23:33
  Speaker 1: Adele would unceremoniously cut them loose from her life. It
• 23:38
  Speaker 1: wasn't easy watching someone you thought you trusted to go
• 23:40
  Speaker 1: off behind your back like that, but it made it
• 23:43
  Speaker 1: a lot easier to let them go, knowing that by
• 23:46
  Speaker 1: doing so, you added one more additional layer of protection,
• 23:50
  Speaker 1: more protection than Amy Winehouse or Whitney Houston had. But
• 23:56
  Speaker 1: the more those layers of protection were applied, harder it
• 24:00
  Speaker 1: was to be in the outside world the less relatable
• 24:05
  Speaker 1: Adele feared she would become, and that was the fear
• 24:09
  Speaker 1: that was it. That fear remained after all these years
• 24:13
  Speaker 1: as one of Adele's greatest fears, that she would become unrelatable.
• 24:18
  Speaker 1: The grandiose houses, the multiple awards, the money, the fame.
• 24:23
  Speaker 1: Adele was a long way from the mean streets of Taughtenham,
• 24:26
  Speaker 1: and she knew it. The challenge now was to remain
• 24:29
  Speaker 1: relatable with those streets, with any street anywhere in the world.
• 24:35
  Speaker 1: And after four years of working on new music, after
• 24:38
  Speaker 1: much anticipation from her fans after the smashing success of
• 24:43
  Speaker 1: twenty one, Adele returned at last with a song that
• 24:47
  Speaker 1: was so authentic and so relatable that it was downright criminal.
• 24:58
  Speaker 1: We'll be right back, We're.
• 25:00
  Speaker 2: We're, We're okay.
• 25:09
  Speaker 1: This next line, it's just begging me to do a
• 25:13
  Speaker 1: cheap Tony Montana from Scarface impersonation. But I'm not gonna
• 25:18
  Speaker 1: do that. Okay. Just picture picture Al Pacino as Tony Montana,
• 25:24
  Speaker 1: and he's sitting there and he gives you the line
• 25:26
  Speaker 1: you want to fuck with me?
• 25:28
  Speaker 2: Okay, you cockroaches?
• 25:31
  Speaker 1: And now picture Tony Montana high on cocaine and sweating
• 25:35
  Speaker 1: through his black soup with trembling hands. He's hastily assembling
• 25:40
  Speaker 1: his grenade launcher inside his office suite, his bugged out eyes.
• 25:44
  Speaker 1: They're alternating between the weapons intricate design and a series
• 25:48
  Speaker 1: of closed circuit television sets, and they play out a
• 25:52
  Speaker 1: disturbing scene these TVs. It's armed men. They've invaded Tony's
• 25:58
  Speaker 1: mansion and they're coming up up the blood red staircase
• 26:01
  Speaker 1: where they're now waiting on the other side of the door.
• 26:04
  Speaker 1: And that door, that door is the only thing separating
• 26:08
  Speaker 1: Tony Montana between life and here and death out there.
• 26:13
  Speaker 1: And so he says, you want to play games, okay.
• 26:18
  Speaker 1: Tony's now facing the door in a battle stance with
• 26:21
  Speaker 1: his knees bent and the fear it's inverted.
• 26:27
  Speaker 2: He was fear.
• 26:28
  Speaker 1: Now Tony Montana. He's holding the grenade launcher in his
• 26:33
  Speaker 1: very capable hands, slung down low at hip level, and
• 26:38
  Speaker 1: he's ready to fire off at anyone who dares step
• 26:41
  Speaker 1: inside his private residence. And with a roar, he shouts,
• 26:46
  Speaker 1: you guys know the line, say hello to my little friend.
• 26:55
  Speaker 1: Watching this all unfold on the television, adele Letlosa laugh
• 26:58
  Speaker 1: as explosively as one of Tony Montana's grenades as she
• 27:02
  Speaker 1: watched Al Pacino as the Cuban drug lord in Brian
• 27:05
  Speaker 1: De Palma's film Scarface. It was twenty fifteen, and Adele
• 27:10
  Speaker 1: was doing what she did every time she was overwhelmed
• 27:13
  Speaker 1: in what she called a tsunami of emotions. She was
• 27:17
  Speaker 1: binging her favorite crime films, something to soothe the anxiety
• 27:21
  Speaker 1: surrounding the impending release of her third studio album, twenty five.
• 27:26
  Speaker 1: The process to follow up the smash hit twenty one
• 27:29
  Speaker 1: had been a labored one, beset with writer's block and
• 27:33
  Speaker 1: crushing doubts. Though, when Adele began to collaborate with producer
• 27:38
  Speaker 1: Greg Kursten, known at the time for his work with Sea,
• 27:41
  Speaker 1: Kelly Clarkson and Lily Allen, among others, the creative floodgates opened.
• 27:47
  Speaker 1: Writing the perfect Adell song, however, proved harder.
• 27:49
  Speaker 2: Than it had been before.
• 27:51
  Speaker 1: The music had to feel as authentic and direct as
• 27:54
  Speaker 1: it had in the past. A full six months passed
• 27:57
  Speaker 1: between when Adele and Kirsten wrote the verses for twenty
• 28:01
  Speaker 1: five's lead single.
• 28:02
  Speaker 2: Hello and when they wrote it's.
• 28:04
  Speaker 1: Cathartic chorus, but their patients paid off, as did the
• 28:08
  Speaker 1: patients of Adele's fans, because when the song Hello was
• 28:12
  Speaker 1: released in October of twenty fifteen, the world starved for
• 28:17
  Speaker 1: new Adele material for years. Ate it up and the
• 28:21
  Speaker 1: single went to number one in one hundred and two countries,
• 28:24
  Speaker 1: setting an iTunes record. Its videos set a record on
• 28:27
  Speaker 1: YouTube as well, where it amassed fifty million views in
• 28:31
  Speaker 1: just forty eight hours. Once again, audiences connected with Adele,
• 28:36
  Speaker 1: and audiences could relate to Adele because she was offering
• 28:40
  Speaker 1: a different side of herself, which in turn gave listeners
• 28:44
  Speaker 1: the opportunity to recognize the same different side in themselves.
• 28:49
  Speaker 1: Hello wasn't just another kiss off to an X or
• 28:53
  Speaker 1: a rally cry to stay strong in the face of
• 28:55
  Speaker 1: great adversity. It was a ballot about forgiveness and about
• 28:59
  Speaker 1: moving on. It was about closure and about growing up.
• 29:04
  Speaker 1: It was the definition of a universal hit, and it
• 29:07
  Speaker 1: hit everyone everywhere, all at once. November ninth, twenty fifteen,
• 29:15
  Speaker 1: the Iplante Michigan, six point forty pm, the police squad
• 29:20
  Speaker 1: car tore down Railroad Street, coming to a dramatic stop
• 29:23
  Speaker 1: outside an apartment complex in the nine hundred block. Two
• 29:27
  Speaker 1: officers emerged from the car. The pulsing blue lights, illuminating
• 29:30
  Speaker 1: their every movement. As dust crept in. They led with
• 29:34
  Speaker 1: their service weapons, creeping swiftly with purpose, towards the apartment
• 29:37
  Speaker 1: building's front door. Kidnapping in progress. That was the call
• 29:41
  Speaker 1: they received from dispatch, something about someone being dragged against
• 29:46
  Speaker 1: their will inside. The cops did their sweep, the coast
• 29:50
  Speaker 1: was clear and the door was unlocked, and they were
• 29:53
  Speaker 1: inside there. Halfway up the stairs, two men, arms twisted
• 29:58
  Speaker 1: and bent like a mall pretzel. They wrestled, they struggled,
• 30:01
  Speaker 1: and then the cops saw it. The purp was pressing
• 30:04
  Speaker 1: the muzzle of a handgun into the other guy's abdomen,
• 30:06
  Speaker 1: and the cops were yelling, now drop it on your knees,
• 30:09
  Speaker 1: I said, on your fucking knees. The purp froze, dropped
• 30:14
  Speaker 1: the piece, and seconds later he was in police custody,
• 30:17
  Speaker 1: riding in the back of the squad car on his
• 30:19
  Speaker 1: way to county jail. Twenty one year old Brian Earl
• 30:25
  Speaker 1: Taylor had multiple felony warrants and was out on parole
• 30:28
  Speaker 1: when he was arrested in charged with unlawful imprisonment and
• 30:31
  Speaker 1: carrying a concealed weapon. Allegedly, he had been in the
• 30:35
  Speaker 1: process of forcing the other man in the stairwell to
• 30:38
  Speaker 1: take him to his apartment.
• 30:39
  Speaker 2: Where he planned to rob him.
• 30:41
  Speaker 1: At the time of the arrest, Adele's Hello was the
• 30:44
  Speaker 1: number one song in the country.
• 30:46
  Speaker 2: It was like.
• 30:47
  Speaker 1: Air or water, gas station clerks, retail store workers, bank tellers,
• 30:52
  Speaker 1: jim rats, dental hygienis. It didn't matter who you were
• 30:56
  Speaker 1: or what you did. You heard that song, and you
• 30:59
  Speaker 1: heard it often. Even the purpse heard it. And we
• 31:03
  Speaker 1: know this because four months later, at his sentencing in
• 31:06
  Speaker 1: March of twenty twelve, when it came time to plead
• 31:10
  Speaker 1: his case, Brian Earl Taylor didn't just ask for forgiveness
• 31:14
  Speaker 1: for what he'd done.
• 31:16
  Speaker 2: He sang it.
• 31:18
  Speaker 1: Brian Earl Taylor sang a personalized version of Adele's Hello
• 31:22
  Speaker 1: to the judge on the day of his sentencing. And
• 31:25
  Speaker 1: I got to think that the thought process here was
• 31:28
  Speaker 1: that he, the criminal, was hoping to find some common
• 31:31
  Speaker 1: ground with the judge, with the law, and that common
• 31:34
  Speaker 1: ground being Adele, the common ground of the biggest song
• 31:38
  Speaker 1: in the world, the common ground of Adele's universal relatability.
• 31:43
  Speaker 1: Relatable or not. Adele couldn't help with Brian Earl Taylor's plate.
• 31:47
  Speaker 1: That day, he was sentenced up to seventeen years in prison.
• 31:52
  Speaker 1: It was then that Brian was driven to change. He
• 31:55
  Speaker 1: worked in the prison system's palliative care program, helping other
• 31:59
  Speaker 1: inmates who were sick or dying. He taught himself piano
• 32:02
  Speaker 1: on the prison's keyboard and began to write his own songs,
• 32:06
  Speaker 1: and in the fall of twenty nineteen, after serving a
• 32:09
  Speaker 1: little over seventy years of his sentence, Brian Earl Taylor
• 32:12
  Speaker 1: was released on parole. It was only then that he
• 32:16
  Speaker 1: revealed to the press when he had heard Hello for
• 32:18
  Speaker 1: the first time and what inspired him to sing it
• 32:21
  Speaker 1: to the judge. He was locked up awaiting trial, sent
• 32:26
  Speaker 1: to solitary after getting into it with another inmate. That's
• 32:29
  Speaker 1: when he heard Adele's voice. He was alone and afraid
• 32:33
  Speaker 1: when Hello wafted in from somewhere, and it was then
• 32:37
  Speaker 1: that something clicked for Brian Earld Taylor. He could feel
• 32:41
  Speaker 1: the fear that had driven his young criminal life start
• 32:44
  Speaker 1: to fade away, and in its place, something else was
• 32:48
  Speaker 1: taking root. Call it hope, call it wisdom, call it clarity.
• 32:54
  Speaker 1: Whatever it was, Adele could relate. Justin Jackson walked out
• 33:29
  Speaker 1: of prison and into the warm Florida sunshine. After two
• 33:34
  Speaker 1: long years he was a freeman. What was he a
• 33:37
  Speaker 1: changed man? And did he regret the things he'd done?
• 33:41
  Speaker 1: When he came to regret, there was the hole getting caught.
• 33:44
  Speaker 2: Of it all.
• 33:45
  Speaker 1: And you always regretted that because it was so ballsy
• 33:48
  Speaker 1: what he done, and he'd almost pulled it off, pretending
• 33:51
  Speaker 1: to be a member of Madonna's entourage, sweet talking of
• 33:55
  Speaker 1: boutique in New York to lend him two point four
• 33:58
  Speaker 1: million dollars injewelry for a photo shoot. Air quotes around
• 34:03
  Speaker 1: lend and photo shoot. There was no photo shoot and
• 34:07
  Speaker 1: there was no lending, and there was no Madonna, not really.
• 34:11
  Speaker 1: There was just Justin Jackson and over two million dollars
• 34:14
  Speaker 1: worth of Swiss luxury jewelry weighing heavy in his thieving
• 34:17
  Speaker 1: hands from the Florida pawnshop. May have paid pennies on
• 34:21
  Speaker 1: the dollar for the stuff, but when you're talking millions
• 34:23
  Speaker 1: of dollars, that's a lot of fucking pennies. So that
• 34:27
  Speaker 1: question again, Was he a changed man?
• 34:30
  Speaker 2: Nah?
• 34:31
  Speaker 1: He was merely a man with a strengthened resolve and
• 34:34
  Speaker 1: the desire to get it right the next time. But
• 34:37
  Speaker 1: a fresh scam needed a fresh celebrity and a fresh mark.
• 34:41
  Speaker 1: This time, the mark wouldn't be high end jewelry would
• 34:44
  Speaker 1: be high end sneakers. Sneakers with serious resale value, the
• 34:49
  Speaker 1: sneakers of NBA players, and the celebrity through which he
• 34:53
  Speaker 1: could work this scam had to be God Tear, someone
• 34:57
  Speaker 1: who commanded respect and awe from just about anyone. In
• 35:02
  Speaker 1: twenty seventeen, as Justin Jackson put his new scam in place,
• 35:07
  Speaker 1: that celebrity was Adele. Justin Jackson created an email address
• 35:12
  Speaker 1: that appeared to belong to Adele's manager, Jonathan Dickens. He
• 35:15
  Speaker 1: then began to email the representatives of NBA players, offering
• 35:19
  Speaker 1: tickets to Adele's concerts in exchange for their sneakers, which
• 35:23
  Speaker 1: he said would be donated to a charity auction. Of course,
• 35:26
  Speaker 1: just like there had been no Madonna and no photo shoot,
• 35:29
  Speaker 1: there was no Adele, and there was no charity auction,
• 35:31
  Speaker 1: and there were no concert tickets. But not everyone that
• 35:35
  Speaker 1: Justin Jackson contacted could easily sniff that out. Paul George,
• 35:39
  Speaker 1: Victor Rolattopo, and Richard Hamilton were among the pro ballplayers
• 35:42
  Speaker 1: who actually sent their sneakers as requested. This mild success
• 35:47
  Speaker 1: made Jackson greedy. He wanted to attend the Rolling Loud
• 35:51
  Speaker 1: Hip hop festival in Miami, where Kendrick Lamar was headlining,
• 35:54
  Speaker 1: but he didn't want to pay for it. Then why
• 35:56
  Speaker 1: should he when he could pretend to be Adele's manager
• 35:58
  Speaker 1: and get tickets free. When festival organizers received a suspicious
• 36:03
  Speaker 1: email from someone claiming to be Adele's manager, the red
• 36:06
  Speaker 1: flags he immediately went up. They contacted Miami Dade Pde,
• 36:11
  Speaker 1: who in turn contacted the fake Jonathan Dickens Justin Jackson,
• 36:16
  Speaker 1: posing as the festival's production manager. A meetup was set
• 36:20
  Speaker 1: in downtown Miami, and in May of twenty seventeen, days
• 36:23
  Speaker 1: before the Rolling Loud Festival, Justin Jackson and his wife
• 36:27
  Speaker 1: angel Lee rolled into Bayfront Park thinking they were really
• 36:31
  Speaker 1: pulling it off, only to be immediately arrested and charged
• 36:35
  Speaker 1: with over a dozen felonies, including grand theft, identity theft,
• 36:40
  Speaker 1: and organizing a scheme to defraud. Adele's songs are one
• 36:47
  Speaker 1: of a kind currency, her identity is another kind, and
• 36:51
  Speaker 1: her manager's identity is yet another. My point is even
• 36:55
  Speaker 1: those in Adele's orbit have value on the black market
• 36:59
  Speaker 1: and Jackson's brazen but ultimately dumb crime was the criminal
• 37:04
  Speaker 1: world's proof of and co sign on Adele's cultural value.
• 37:09
  Speaker 1: Once Hello Hit, Adele was no longer relatable, she was exploitable.
• 37:14
  Speaker 1: Thus the counterfeit Adele was born. But scammers, moles in
• 37:19
  Speaker 1: her inner circle, or felons who sang her songs in court,
• 37:23
  Speaker 1: none of these had anything to do with her divorce
• 37:25
  Speaker 1: from Simon Kanecki. The two had married shortly after the
• 37:28
  Speaker 1: birth of their son, but the end of that marriage
• 37:31
  Speaker 1: came just a year or so later. There was nothing
• 37:34
  Speaker 1: as dramatic as an Adele lyric that had led them.
• 37:36
  Speaker 2: To this point.
• 37:37
  Speaker 1: It was simply the organic path that their union had taken.
• 37:41
  Speaker 1: They would remain close friends and continue to co parent
• 37:44
  Speaker 1: their son, and of course Adele wanted to keep the
• 37:47
  Speaker 1: whole thing on a down low, like she always did.
• 37:49
  Speaker 2: When the paparazzi had.
• 37:51
  Speaker 1: Come to understand that, like her beloved Michael Corleone, Adele controlled.
• 37:55
  Speaker 2: What the world saw of her.
• 37:57
  Speaker 1: No one had even seen a picture of her wedding,
• 38:00
  Speaker 1: and when photos of her son were taken in secret
• 38:02
  Speaker 1: and then sold, she sued and won five figures in damages.
• 38:07
  Speaker 1: It's like Tony Montana said, you want to fuck with me? Okay,
• 38:11
  Speaker 1: you cockroaches, But there was no keeping the divorce the secret.
• 38:16
  Speaker 1: On Good Friday twenty nineteen, news of Adele's divorce got out.
• 38:21
  Speaker 2: It was all over the.
• 38:22
  Speaker 1: Internet, memed on social media, everywhere you turned. Adele's personal
• 38:26
  Speaker 1: life was suddenly under a microscope. The fear was creeping
• 38:30
  Speaker 1: back in Fear that the public would do her dirty
• 38:33
  Speaker 1: like they did to Amy Winehouse and Whitney Houston. Fear
• 38:36
  Speaker 1: that her life would begin to spin out of control
• 38:39
  Speaker 1: from this point forward. Fear of all the moments she'd
• 38:42
  Speaker 1: have alone, missing those can't miss milestones, now that her
• 38:47
  Speaker 1: son was splitting time between her and Simon. So she
• 38:51
  Speaker 1: did what she always did when fear reared its ugly head.
• 38:55
  Speaker 1: She crawled into her bed and turned on the television.
• 38:58
  Speaker 1: The screen flickered to life. The Sopranos was halfway through
• 39:02
  Speaker 1: an old episode, Season two, Tony and the boys in
• 39:06
  Speaker 1: the back room at the bottom Bank, shooting dirty pool.
• 39:09
  Speaker 1: And there's Big Pussy already a snitch for the Feds,
• 39:13
  Speaker 1: but no one can prove it just yet. Fewer still
• 39:16
  Speaker 1: want to believe it. Hey, Syl Pussy says to Silvio
• 39:20
  Speaker 1: Docte played with Gusto and Grease by Little Stephen van
• 39:24
  Speaker 1: zand have been gone a long time, let me hear it.
• 39:28
  Speaker 1: Syll's mouth contorts like it's preparing to crush gravel. His
• 39:33
  Speaker 1: head bobs slightly, he gestures sharply with his hand, and
• 39:37
  Speaker 1: he does his best paccino.
• 39:40
  Speaker 2: Just when I thought I was out, they pulled me
• 39:43
  Speaker 2: back in.
• 39:47
  Speaker 1: Two years later, in twenty twenty one, Adele was pulled
• 39:52
  Speaker 1: back in, back into the spotlight, back onto the charts,
• 39:56
  Speaker 1: back to her original fear of performing on stage, in
• 40:00
  Speaker 1: order to promote her a fourth album, thirty. These are
• 40:04
  Speaker 1: fears that will never go away. You can't outrun them,
• 40:08
  Speaker 1: you can't kill them. But Adele turned them into songs
• 40:12
  Speaker 1: everyone else could relate to, and in turn helped her
• 40:17
  Speaker 1: survive a tabloid fate of disgrace. I'm Jake Brennan in
• 40:24
  Speaker 1: This is Disgrace slammed all right, everybody, thanks for checking
• 40:40
  Speaker 1: out this episode on Adele. Listen. Adele's sophomore album twenty one,
• 40:45
  Speaker 1: it sold something like seventeen million copies. Seventeen million, meaning
• 40:51
  Speaker 1: that I don't know everybody's got a copy of this album.
• 40:55
  Speaker 1: But I don't and curious which blockbuster album that are
• 41:00
  Speaker 1: beloved by millions of people that sold you know, tons
• 41:03
  Speaker 1: of records?
• 41:04
  Speaker 2: Do you not own that this might not do anything
• 41:07
  Speaker 2: for you or moms?
• 41:08
  Speaker 1: Never mind Happy Road by the Beatles, albums I Love
• 41:11
  Speaker 1: by the Way, Let Me Know six one, seven, nine,
• 41:14
  Speaker 1: six sixty six three eight, voicemail and text hitting up
• 41:16
  Speaker 1: at disgrace lampod on the socials. Make sure you get
• 41:19
  Speaker 1: automatic downloads turned on on Apple podcast so you never
• 41:21
  Speaker 1: miss an episode of disgrace Land.
• 41:23
  Speaker 2: Here comes some credits.
• 41:25
  Speaker 1: Disgracelaand was created by Yours Truly and is produced in
• 41:28
  Speaker 1: partnership with Double Elvis, The Exactly Right Network and iHeart Podcasts.
• 41:34
  Speaker 1: Credits for this episode can be found on the show
• 41:36
  Speaker 1: notes page at disgracelampod dot com. If you're listening as
• 41:40
  Speaker 1: a Disgraceland All Access member, thank you for supporting the show.
• 41:43
  Speaker 1: We really appreciate it, and if not, you can become
• 41:46
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• 41:49
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• 41:53
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• 41:56
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• 42:00
  Speaker 1: and on YouTube at YouTube dot com, slash at Disgraceland
• 42:04
  Speaker 1: pod Rock a Roller.
• 42:10
  Speaker 2: He's a bad down man.