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Bonus Episode: The Madness of Moviemaking · DISGRACELAND

• 0:01
  Speaker 1: Hey, discos, need a little more Disgraceland in your life,
• 0:05
  Speaker 1: just to touch to get you through.
• 0:07
  Speaker 2: Yeah, me too. This is the podcast that comes after
• 0:10
  Speaker 2: the podcast.
• 0:11
  Speaker 1: Welcome to Disgraceland, the after Party. Welcome to the Disgraceland
• 0:29
  Speaker 1: bonus episode, a little thing we like to call the
• 0:32
  Speaker 1: after party. This is the show after the show, the
• 0:34
  Speaker 1: party after the party, the bridge to get you from
• 0:36
  Speaker 1: one full episode of Disgraceland to the other, the backyard
• 0:39
  Speaker 1: to dig into the dirt.
• 0:41
  Speaker 2: On this bonus episode, we.
• 0:43
  Speaker 1: Are talking about this week's episode subject Martin Scorsese and
• 0:47
  Speaker 1: his violent fantasy and Itty Bitty Bittereditty. We are also
• 0:50
  Speaker 1: getting into the next two episodes hitting your feed in
• 0:53
  Speaker 1: honor of the upcoming Academy Awards, our classic two parter
• 0:56
  Speaker 1: of Marilyn Monroe, and we get into your voicemails, text emails,
• 1:00
  Speaker 1: and as always, a whole lot of Rosie.
• 1:03
  Speaker 2: Alright, disc goes, let's get into it.
• 1:16
  Speaker 1: Between the years twenty twenty two and twenty twenty four,
• 1:19
  Speaker 1: I spent a good portion of my working out put
• 1:21
  Speaker 1: writing a script for one of the biggest stars in
• 1:23
  Speaker 1: the world, in collaboration with his production team, his key
• 1:28
  Speaker 1: producer in partnership with a screenwriting buddy of mine. This
• 1:33
  Speaker 1: was a movie, a biopic, not about a rock star,
• 1:36
  Speaker 1: but nonetheless about a legend, someone that my buddy and
• 1:40
  Speaker 1: I but mainly my buddy, not me, had put all
• 1:43
  Speaker 1: the pieces together for including meeting with and working with
• 1:46
  Speaker 1: this legend's family multiple times. It was all quite heady,
• 1:51
  Speaker 1: and for the first six months or so it was difficult,
• 1:54
  Speaker 1: but nothing seemed too hard, and certainly nothing about the
• 1:58
  Speaker 1: project seemed impossible to despite you know, the people we
• 2:01
  Speaker 1: were working with and who we were writing this screenplay about. This, however,
• 2:06
  Speaker 1: as they say, would not last. The project, like most
• 2:09
  Speaker 1: film projects, crashed and burned. I was just about to say,
• 2:14
  Speaker 1: crashed and burned for reasons that were beyond my control.
• 2:16
  Speaker 1: But if I'm being honest, some of those reasons were
• 2:19
  Speaker 1: within my control. If only I had the insane drive
• 2:23
  Speaker 1: that it takes to make a movie, not to write
• 2:25
  Speaker 1: a movie necessarily, but to make it, to helmet, to
• 2:29
  Speaker 1: direct it, to see it through from the spark of
• 2:32
  Speaker 1: inspiration all the way to the big screen, which is
• 2:35
  Speaker 1: a year's long process, that whole path, through all the
• 2:38
  Speaker 1: painful steps in between. Throughout this year's long process of
• 2:44
  Speaker 1: researching and writing this screenplay that I was on. There
• 2:47
  Speaker 1: were lots of starts and stops. The research process was such,
• 2:52
  Speaker 1: you know, you can only read so much. But we
• 2:54
  Speaker 1: had to get in there and we had to get
• 2:56
  Speaker 1: our hands dirty with the family. We had to get
• 2:57
  Speaker 1: our hands dirty with people who knew the subject. So
• 2:59
  Speaker 1: we would travel, we would interview people that we would write,
• 3:03
  Speaker 1: we would draft, we would submit what we wrote to
• 3:05
  Speaker 1: our producing partner again, the main producer for the big
• 3:08
  Speaker 1: Hollywood star that we were writing the script for, and
• 3:11
  Speaker 1: then we'd have.
• 3:11
  Speaker 2: To wait, usually weeks before we.
• 3:14
  Speaker 1: Would get sometimes months action before we would get notes
• 3:16
  Speaker 1: back and be able to dive back into the writing.
• 3:20
  Speaker 1: In that in between time, I started reading books about movies.
• 3:23
  Speaker 1: I had no experience. I have still very little experience
• 3:27
  Speaker 1: at all and making film. At the time, I had
• 3:28
  Speaker 1: no experience in making movies, and here I was working
• 3:31
  Speaker 1: with these people with tons of experience, the cream of
• 3:36
  Speaker 1: the crop, so to speak. So I thought, hey, I
• 3:38
  Speaker 1: should learn a thing or two here about the world
• 3:39
  Speaker 1: that I'm not working in. I read two books with
• 3:43
  Speaker 1: Martin Scorsese, one entitled A Personal Journey through American Movies
• 3:46
  Speaker 1: with Martin Scorsese, which is fantastic.
• 3:48
  Speaker 2: If you ever see this book, just buy it. It's
• 3:50
  Speaker 2: so good.
• 3:51
  Speaker 1: It's the book I believe is just the book version
• 3:55
  Speaker 1: of a documentary by the same exact name, and it's
• 3:59
  Speaker 1: really great. It's Scorsese taking you through the history of film,
• 4:02
  Speaker 1: and who better a guide than Martin Scorsese. And you
• 4:05
  Speaker 1: can feel his passion and his enthusiasm and talking about
• 4:09
  Speaker 1: these these filmmakers from different eras long ago filmmakers frankly
• 4:15
  Speaker 1: that a lot of their movies I'd never seen. I
• 4:18
  Speaker 1: don't know the history of film like I know the
• 4:19
  Speaker 1: history of music. So this is a really fantastic book
• 4:23
  Speaker 1: to get into. The other Scorsese book that I read
• 4:27
  Speaker 1: during this time is entitled Conversations with Martin Scorsese by
• 4:30
  Speaker 1: Richard Schnickel, also great, but totally different. This book didn't
• 4:35
  Speaker 1: take me through the great films from Hollywood's past. It
• 4:37
  Speaker 1: took me through all of Scorsesees films with Scorsese commenting
• 4:41
  Speaker 1: on them. And unlike the other book, where Scorsese is
• 4:44
  Speaker 1: largely radiating love and affection for these films that he
• 4:48
  Speaker 1: revers and this book, the one that I'm now talking about,
• 4:51
  Speaker 1: the vibe is kind of the opposite Scarsese.
• 4:53
  Speaker 2: When talking about his films, he seems miserable. I'm not kidding,
• 4:59
  Speaker 2: I was shocked.
• 5:01
  Speaker 1: How would I feel if I make Good Fellas? I'd
• 5:02
  Speaker 1: feel like a fucking golden god. As you would as well.
• 5:05
  Speaker 1: That movie is incredible. It still gives me. I'm still
• 5:08
  Speaker 1: thrilled every time I see it, and I've seen it
• 5:09
  Speaker 1: well over one hundred times. But the thing I guess
• 5:12
  Speaker 1: that I didn't fully realize, and part of this realization
• 5:16
  Speaker 1: was starting to rear its ugly head to me in
• 5:19
  Speaker 1: real time with the film project that I was on,
• 5:23
  Speaker 1: was this reality that is making movies. The reality is
• 5:27
  Speaker 1: that it is incredibly hard to make the movie you
• 5:30
  Speaker 1: want to make, and Scorsese had a hard time throughout
• 5:34
  Speaker 1: his career on pretty much every single movie. Well after
• 5:38
  Speaker 1: he achieved success, even he had a very difficult time
• 5:42
  Speaker 1: in making the movies that he wanted to make.
• 5:44
  Speaker 2: And that part just blew my mind.
• 5:46
  Speaker 1: The fact that after Martin Scorsese made Taxi Driver and
• 5:49
  Speaker 1: Raging Bull and Goodfellas, that the studio executives were still
• 5:55
  Speaker 1: insisting things like he changed the end of The Departed.
• 5:58
  Speaker 2: That's mind blowing.
• 5:59
  Speaker 1: To me, and what is this studio executive possibly know
• 6:02
  Speaker 1: about ending a movie that Martin Scorsese doesn't Making big
• 6:06
  Speaker 1: budget Hollywood movies with big studios and a list celebrities
• 6:11
  Speaker 1: directing those movies, helming those movies. Making the movie you
• 6:16
  Speaker 1: originally signed up to make within that paradigm is, in
• 6:20
  Speaker 1: my opinion, no way to make a living unless you
• 6:23
  Speaker 1: want a boss and an ulcer in a cocaine habit
• 6:26
  Speaker 1: like Martin Scorsese. Ha. There's just too much money at stake.
• 6:30
  Speaker 1: In the case of the film we were trying to make,
• 6:31
  Speaker 1: we were writing it for a two hundred and fifty
• 6:34
  Speaker 1: million dollar budget. With that kind of money to finance
• 6:37
  Speaker 1: a movie production, there's going to be a lot of oversight.
• 6:39
  Speaker 2: Obviously I don't blame the studios for that, but with.
• 6:42
  Speaker 1: That oversight, there's going to be input from people who
• 6:44
  Speaker 1: don't share your vision but feel that they need to
• 6:46
  Speaker 1: do and say something to help the movie succeed.
• 6:50
  Speaker 2: I would feel the same way if I was a producer.
• 6:52
  Speaker 1: You know, the reality is a lot of times they
• 6:55
  Speaker 1: don't understand what you're trying to make, not not on
• 6:59
  Speaker 1: a person level, and that's the problem.
• 7:02
  Speaker 2: It's actually your problem.
• 7:04
  Speaker 1: If you put yourself in that situation because you took
• 7:06
  Speaker 1: their money and decided to make a movie for them. Okay,
• 7:11
  Speaker 1: what Martin Scorsese in the so called Hollywood brats, Steven Spielberg,
• 7:15
  Speaker 1: Brian de Palma, the guys that this last episode are disgrace.
• 7:19
  Speaker 1: It is about what the Hollywood brats did first, was
• 7:23
  Speaker 1: they took that studio money, and then they made movies
• 7:26
  Speaker 1: for themselves, personal movies on huge studio budgets, and they
• 7:30
  Speaker 1: did this at great personal cost to themselves. The battles
• 7:34
  Speaker 1: they had to endure to get these films made the
• 7:36
  Speaker 1: way they wanted to make them was huge. And there's
• 7:39
  Speaker 1: no better example of this than Martin Scorsese. His Movie's
• 7:41
  Speaker 1: almost killed him. I say all this because of this
• 7:44
  Speaker 1: week's full episode on Martin Scorsese and Taxi Driver, But
• 7:47
  Speaker 1: he went through it equally harrowing, if not more, fraud
• 7:49
  Speaker 1: experience getting the Last Temptation of Christ made some filmmakers,
• 7:54
  Speaker 1: of course, just give the studio what they want, and
• 7:57
  Speaker 1: what we get under this process, more often than is
• 8:00
  Speaker 1: just straight up garbage. Your reboots, your remakes, your Marvel movies.
• 8:05
  Speaker 1: Scorsese's right, these aren't films because a film to Scorsese
• 8:09
  Speaker 1: is personal. It's a personal vision, a POV expressed on
• 8:12
  Speaker 1: film through the characters up on the screen. And there's
• 8:15
  Speaker 1: more artistic expression, I think in a Marvel comic than
• 8:17
  Speaker 1: there is in a Marvel movie. This is a tangent,
• 8:20
  Speaker 1: though I'm not prepared to digress into at this moment, so.
• 8:24
  Speaker 2: I don't want to get off point.
• 8:25
  Speaker 1: But my point is other directors, you know, they're still
• 8:28
  Speaker 1: making films, personal films for sure, someone like you know,
• 8:33
  Speaker 1: he's an actor, but he's also a director. Someone like
• 8:34
  Speaker 1: Ethan Hawk comes to mind, or even Paul Schrader, who's
• 8:37
  Speaker 1: who wrote Taxi Driver, who's also a director and still
• 8:40
  Speaker 1: directing films.
• 8:42
  Speaker 2: These are our tours, okay.
• 8:44
  Speaker 1: But they've chosen now these days, to work outside of
• 8:47
  Speaker 1: the studio system, to make movies that are meaningful to them,
• 8:51
  Speaker 1: that they can express their their point of view. And
• 8:53
  Speaker 1: of course they're working with smaller budgets, but they are
• 8:56
  Speaker 1: making great movies and they're just different. They're not part
• 8:59
  Speaker 1: of this studio system. You also now have your anomalies
• 9:03
  Speaker 1: like Steven Spielberg and Quentin Tarantino who have somehow and
• 9:07
  Speaker 1: I think this is part of their brilliance, figured out
• 9:09
  Speaker 1: how to work with the studios and still get their
• 9:11
  Speaker 1: vision across. And you know, Tarantino talks now about how
• 9:16
  Speaker 1: you know, his sets are a blast to be on,
• 9:19
  Speaker 1: that they have fun, and he has a way of
• 9:21
  Speaker 1: making it work. And he certainly I believe, though I
• 9:24
  Speaker 1: don't have any research on this, but I'm fairly certain
• 9:26
  Speaker 1: the studios still have some input into the films that
• 9:30
  Speaker 1: he's making, despite what he would probably want you to know.
• 9:34
  Speaker 1: But I think, you know, he's probably figured out a
• 9:37
  Speaker 1: way to work with them. And like I said, there's
• 9:39
  Speaker 1: a skill in that, there's an art in that, and
• 9:41
  Speaker 1: it comes with time. And I'm sure Steven Spielberg had
• 9:43
  Speaker 1: mastered that.
• 9:44
  Speaker 2: Long, long, long ago.
• 9:46
  Speaker 1: And you know, you know, we're talking a lot about
• 9:47
  Speaker 1: Martin Scarsese, but I believe Martin Scorsese's probably at.
• 9:49
  Speaker 2: This point in his career too.
• 9:50
  Speaker 1: They leave him alone, They let him do what he
• 9:52
  Speaker 1: wants to do, and I think that's part of the
• 9:53
  Speaker 1: deals that he signs nowadays, right, it's part of what
• 9:55
  Speaker 1: he's going to do.
• 9:56
  Speaker 2: He can't touch him.
• 9:56
  Speaker 1: He's going to make his movie right, and he should
• 9:58
  Speaker 1: be given that right for sure. But still I'm sure,
• 10:01
  Speaker 1: there's some studio oversight on some level for Scorsese, now, Tarantino, Spielberg, even,
• 10:07
  Speaker 1: And like I said, there's an art to dealing with
• 10:09
  Speaker 1: all that. And that's just one more superpower that these
• 10:12
  Speaker 1: guys have that we don't that allows them to be
• 10:14
  Speaker 1: able to make these movies. It's not just an ability
• 10:17
  Speaker 1: to think out of the box and solve problems creatively,
• 10:20
  Speaker 1: as Scorsese does with Taxi Driver when he finds the
• 10:24
  Speaker 1: solution to the end of his film that's spoiler alert
• 10:27
  Speaker 1: if you haven't heard my episode yet of the solution
• 10:29
  Speaker 1: that prevents him from literally killing a studio executive.
• 10:32
  Speaker 2: But it's also the ability, the.
• 10:34
  Speaker 1: Ability to fight capital fight, fight, to push, to be
• 10:40
  Speaker 1: relentless in your creative pursuit, to not take no for
• 10:43
  Speaker 1: an answer on anything. Ever, when it comes to getting
• 10:48
  Speaker 1: your creative point of view across your personal story, across
• 10:52
  Speaker 1: on film and getting your film made, I didn't have
• 10:55
  Speaker 1: that fight in me, frankly, because.
• 10:57
  Speaker 2: I'm already in a fight.
• 10:59
  Speaker 1: I'm fighting daily to make sure that my podcast is
• 11:01
  Speaker 1: heard by as many people as possible. I'm fighting daily
• 11:04
  Speaker 1: to find and write the best stories that I can.
• 11:07
  Speaker 1: I'm fighting daily to preserve the spirit of rock and
• 11:10
  Speaker 1: roll alongside you guys. Martin Scorsese is about as rock
• 11:13
  Speaker 1: and roll as you can get.
• 11:14
  Speaker 2: By the way.
• 11:14
  Speaker 1: One of the things I've learned from researching the history
• 11:16
  Speaker 1: of rock and roll, and I guess just researching history
• 11:19
  Speaker 1: in general, is you can really only take on one
• 11:22
  Speaker 1: fight at a time. You don't want to be like
• 11:23
  Speaker 1: the Germans in World War Two. I wasn't going to
• 11:25
  Speaker 1: risk this for that. I wasn't going to risk the
• 11:29
  Speaker 1: thing I created, Disgraceland that allows me to express my
• 11:32
  Speaker 1: personal vision and creative point of view every week, to
• 11:35
  Speaker 1: collaborate with a small committee of people on a shared vision,
• 11:38
  Speaker 1: and to ultimately have a boss and have to beg
• 11:41
  Speaker 1: people even in success, for the right to work. Needless
• 11:45
  Speaker 1: to say, the project I was working on did not
• 11:48
  Speaker 1: make it onto film, but I am okay with that.
• 11:50
  Speaker 1: I'm not Martin Scorsese, obviously, but I am Jake Brennan.
• 11:53
  Speaker 1: And the story I wrote about Martin Scorsese that is
• 11:55
  Speaker 1: any your podcast feed right now is some of the
• 11:58
  Speaker 1: best writing that I've ever done, and some of the
• 12:00
  Speaker 1: best production we hear at Double Elvis have ever produced.
• 12:03
  Speaker 1: And when you hear it you'll now know why it's
• 12:05
  Speaker 1: so personal to me. Okay, I just wanted to let
• 12:09
  Speaker 1: you guys know. On Friday, Speaking of Hollywood, we are
• 12:12
  Speaker 1: rewinding our Marrilyn Monroe episodes in part because the oscars
• 12:15
  Speaker 1: are coming up, and in part because I'm hoping the
• 12:17
  Speaker 1: disclosure God smile upon us and drop some hot jfk
• 12:20
  Speaker 1: assassination file awesomeness right when I resurface these Marilyn Monroe episodes.
• 12:26
  Speaker 2: Though that seems like a pretty big ask. I'm not
• 12:28
  Speaker 2: sure that's gonna happen.
• 12:30
  Speaker 1: Regardless, these episodes are wildly entertaining their classics. If you
• 12:33
  Speaker 1: like Hollywood and you like historical conspiracy, you're gonna love
• 12:36
  Speaker 1: these if you haven't heard them, and if you have
• 12:38
  Speaker 1: heard them, you're gonna love them again when you listen
• 12:39
  Speaker 1: to them for the second time. These episodes, you know,
• 12:42
  Speaker 1: I shouldn't say conspiracy? Did I say conspiracy? Part of
• 12:45
  Speaker 1: me categorizes marily Monroe's story as historical conspiracy, not that
• 12:49
  Speaker 1: that's an actual phrase, but that's about how I think
• 12:51
  Speaker 1: about it in my head. But it's not conspiracy. It's
• 12:53
  Speaker 1: more mythology. We don't know how she died. I don't
• 12:56
  Speaker 1: care and the official explanation is not what happened. Okay,
• 13:00
  Speaker 1: you got to be I don't know, you got to
• 13:02
  Speaker 1: really really jump through some mental hoops to.
• 13:06
  Speaker 2: Go with that theory and this.
• 13:08
  Speaker 1: These episodes get into all three theories on her death. Okay,
• 13:12
  Speaker 1: So when you listen to them, or if you re listen,
• 13:15
  Speaker 1: maybe we'll have a new different insight in how you
• 13:18
  Speaker 1: think Marilyn actually died. Okay, either way, that's going to
• 13:21
  Speaker 1: be my question of the week for next week. When
• 13:24
  Speaker 1: you're listening to these episodes and contemplating the supposed release
• 13:27
  Speaker 1: of these JFK files, I want you to be thinking
• 13:29
  Speaker 1: about the likelihood that the Kennedys had anything to do
• 13:32
  Speaker 1: with Marilynd's death. That's going to be the question of
• 13:34
  Speaker 1: the week. You know, I'm not going to go out
• 13:35
  Speaker 1: Glenn Danzig and ask you who killed Marylyn? But I
• 13:37
  Speaker 1: do want to know if you guys think the Kennedy's
• 13:39
  Speaker 1: had anything to do with her death, hit me up,
• 13:40
  Speaker 1: but let me know six one seven nine oh six
• 13:42
  Speaker 1: six six three eight, leave voicemail or text.
• 13:44
  Speaker 2: And you might hear it answered in next week's after party.
• 13:47
  Speaker 1: All right, after these Maryland episodes, we're continuing in our
• 13:50
  Speaker 1: Oscar related run here with a dive into legendary Hollywood
• 13:53
  Speaker 1: mad man and a dude that was more rock and
• 13:55
  Speaker 1: roll than most rock stars ever dreamed of being.
• 13:57
  Speaker 2: And that's Dennis Hopper, guys.
• 14:00
  Speaker 1: To the end of our icon series, Dennis Hopper will
• 14:03
  Speaker 1: be one of the last non music related subjects released
• 14:05
  Speaker 1: into the Disgraceland feed, and we soon will once again
• 14:09
  Speaker 1: be all music in Disgraceland. I'll have news shortly on
• 14:12
  Speaker 1: where and when you can hear me talking Hollywood elsewhere. Okay,
• 14:16
  Speaker 1: I'll be back in flash with your answers to last
• 14:19
  Speaker 1: week's question of the week.
• 14:38
  Speaker 2: We are back.
• 14:39
  Speaker 1: Just a quick reminder to make sure you Apple podcast
• 14:41
  Speaker 1: listeners have auto downloads turned on so you're not missing
• 14:43
  Speaker 1: any episodes. Diddy Diddy Diddy, All right, Diddy Diddy Diddy.
• 14:47
  Speaker 1: Just thirty seconds here, real quick. After we released last
• 14:50
  Speaker 1: week's after Party, and I talked about Sean Colmes and
• 14:55
  Speaker 1: what I think is gonna happen, like speaking of thirty seconds.
• 14:59
  Speaker 2: About thirty seconds after that, dude's lawyer quit.
• 15:02
  Speaker 1: Now I don't know what happened here as far as
• 15:05
  Speaker 1: I can tell, nobody else knows what happened either. There's
• 15:07
  Speaker 1: lots of rumors on the internet, as you would expect
• 15:09
  Speaker 1: about why the lawyer quit, but I haven't seen anything substantial,
• 15:13
  Speaker 1: uh that tells us why. And I'm not going to
• 15:15
  Speaker 1: pretend to understand the reasoning here because I don't and
• 15:18
  Speaker 1: I don't think anyone but those and Diddy's inner circle
• 15:21
  Speaker 1: or on his legal team actually know what is going
• 15:25
  Speaker 1: to happen.
• 15:25
  Speaker 2: I don't know. I don't know.
• 15:26
  Speaker 3: I don't know.
• 15:27
  Speaker 1: We shall see, though, right, let's hope. All right, that's
• 15:29
  Speaker 1: my ditty update. Let's move on to the question of
• 15:32
  Speaker 1: the week six one seven nine oh six six six
• 15:34
  Speaker 1: three eight to leave me a voicemail, send me a text.
• 15:36
  Speaker 1: You can also reach me at to scrace lampod on Instagram, Facebook,
• 15:39
  Speaker 1: and X. All right, relative to this week's episode on
• 15:43
  Speaker 1: Martin Scorsese, we asked the question Who's who's.
• 15:45
  Speaker 2: On your mount rushmore of directors? Who's your favorite filmmaker?
• 15:49
  Speaker 2: And why?
• 15:50
  Speaker 1: That was the question, And we're gonna go to Justin
• 15:53
  Speaker 1: in the five to four to zero four an answer.
• 15:56
  Speaker 4: Oh, yes, mister Brannon, this is Justin. I was replying
• 16:03
  Speaker 4: to your question of best directors. Well, the first one
• 16:07
  Speaker 4: you have to look at is Sam Pack and Paul.
• 16:11
  Speaker 4: I mean he did The Wild Bunch and arguably we
• 16:14
  Speaker 4: were talking about violent movies. That's arguably we want to
• 16:17
  Speaker 4: the most violent movies I've ever seen. But anyway, then
• 16:20
  Speaker 4: he went on to do Pat Garrett Billy the Kid,
• 16:23
  Speaker 4: which is a great movie and a little known fact.
• 16:26
  Speaker 4: At the end of Pat Garrett and Billy the Kid,
• 16:29
  Speaker 4: when they shot the scene where Billy Ki gets shot, everybody.
• 16:34
  Speaker 3: Said, oh, there's no blood.
• 16:36
  Speaker 4: There's no blood. That's symbolic. It means he wasn't killed.
• 16:39
  Speaker 4: He's not dead. Sam Pack and Paul in an interview
• 16:42
  Speaker 4: later said no, he just forgot to set the shot up.
• 16:45
  Speaker 4: So they did it anyway with no blood. But anyway,
• 16:48
  Speaker 4: the real director for me is John Carpenter. I mean
• 16:54
  Speaker 4: it all started with me. It was Halloween. That movie
• 16:58
  Speaker 4: scared the shit out of me. And then I mean,
• 17:00
  Speaker 4: we get escape from New York, Big Trouble, a little China,
• 17:04
  Speaker 4: they live Mars. He for a brief time he was
• 17:09
  Speaker 4: married to Adrian Barbo. That's pretty serious. But anyway, he
• 17:15
  Speaker 4: also has no musical scores. I just said, John Carpenter
• 17:20
  Speaker 4: is my mile time favorite. But anyway, keep up good work.
• 17:25
  Speaker 4: Rock and rolling later.
• 17:27
  Speaker 2: Justin hey Man.
• 17:28
  Speaker 1: Really appreciate the call because I appreciate any opportunity to
• 17:32
  Speaker 1: talk about Pat Garrett and Billy the Kid by Sam Peckinpaw.
• 17:36
  Speaker 1: I have so much to say about this number one.
• 17:38
  Speaker 1: This is one of my favorite movies of all time,
• 17:40
  Speaker 1: definitely my top five. I don't know why this movie
• 17:42
  Speaker 1: doesn't get more heat. I don't know why people don't
• 17:44
  Speaker 1: talk about it more. It is incredible. Okay, maybe it's
• 17:47
  Speaker 1: because people don't like Westerns, but it's not. I mean,
• 17:50
  Speaker 1: it is a Western, it's clearly a Western. However, it's
• 17:54
  Speaker 1: it's more about Peck and PAW's statement on nineteen sixties
• 17:58
  Speaker 1: counterculture at the time that this was made. And you
• 18:01
  Speaker 1: got to think we're talking about the Hollywood brats before
• 18:04
  Speaker 1: the brats come in sort of right at the tail
• 18:06
  Speaker 1: end of Peck and pause kind of activity or I
• 18:11
  Speaker 1: guess greatness, he still chugged along in the seventies.
• 18:15
  Speaker 2: But this is the peak of it right here.
• 18:18
  Speaker 1: Go see Pack Garrett and Billy the Kid, if for
• 18:20
  Speaker 1: no other reason than to watch Bob Dylan in an
• 18:22
  Speaker 1: incredible role as Alias.
• 18:24
  Speaker 2: Okay, just fantastic. You know, it's funny.
• 18:27
  Speaker 1: I've been thinking about this movie a lot, really, really
• 18:29
  Speaker 1: recently because I'm rewatching Eastbounding Down, the Kenny Powers story
• 18:34
  Speaker 1: on HBO and Wayne Kramer from MC five does the
• 18:38
  Speaker 1: music for Eastbounding Down, and I'm watching it must have
• 18:41
  Speaker 1: been season two. I'm watching season two and I'm sitting
• 18:44
  Speaker 1: there and going, man, he is just ripping off Bob
• 18:47
  Speaker 1: Dylan from Pack Arett and Billy the Kid. Because Bob
• 18:49
  Speaker 1: Dylan does the soundtrack excellent soundtrack for the film Pack
• 18:52
  Speaker 1: Arrett and Billy the Kid. It's nineteen seventy two, I
• 18:57
  Speaker 1: believe seventy three for Dylan's where the Songknoking on Heaven's
• 19:00
  Speaker 1: Door comes from from this soundtrack, and there's a real
• 19:04
  Speaker 1: feel to all the Dylan songs that make up this movie.
• 19:08
  Speaker 1: If it feels very much this album feels like an album,
• 19:11
  Speaker 1: you know, and it feels very connected to this film.
• 19:14
  Speaker 2: It's soundtrack and when you're watching that.
• 19:17
  Speaker 1: I think it's the second season of Eastbounding Down, I'm
• 19:20
  Speaker 1: sitting there and I'm going, wow, this really he's really
• 19:22
  Speaker 1: ripping off Pack Garrett and Billy the Kid because it's
• 19:25
  Speaker 1: the Kenny Power story. At this point, He's Kenny's now
• 19:27
  Speaker 1: in Mexico Staging or Comeback for the Majors, and Pat
• 19:32
  Speaker 1: Garrett and Billy the Kid takes place in.
• 19:35
  Speaker 2: And around Mexico.
• 19:36
  Speaker 1: So I was like, yeah, Wayne Cramer's definitely seen this movie,
• 19:39
  Speaker 1: I think, and that's what he's going for. And Lo
• 19:40
  Speaker 1: and behold, at the end of the season they actually
• 19:43
  Speaker 1: use one of Dylan's songs from that soundtrack. So justin,
• 19:48
  Speaker 1: if you have not watched Eastbounding Down, just you know,
• 19:52
  Speaker 1: Pack Garrett and Billy the Kid aside, you need to
• 19:54
  Speaker 1: watch it.
• 19:55
  Speaker 2: You'll appreciate this.
• 19:56
  Speaker 3: Justin.
• 19:57
  Speaker 1: I actually stayed in our honeymoon. I stayed in a
• 19:59
  Speaker 1: cabin where Sam Peckinpo stayed in for a while.
• 20:02
  Speaker 2: Was actually the same cabin where.
• 20:03
  Speaker 1: Jack Carroac wrote Big sur A huge peck and Pop fan.
• 20:07
  Speaker 1: And as for John Carpenter, big fan as well, not
• 20:09
  Speaker 1: as big. I do this every summer. I whip out
• 20:12
  Speaker 1: the John Carpenter soundtrack. I'm sure you know. John Carpenter
• 20:16
  Speaker 1: did the music for I think all of his films,
• 20:20
  Speaker 1: or most of them anyways, and the soundtrack that he
• 20:22
  Speaker 1: did for The Fog is like, it just scares the
• 20:26
  Speaker 1: shit out of my kids. And I put that on
• 20:28
  Speaker 1: and I start talking in this spookie voice and it
• 20:30
  Speaker 1: gets them every time.
• 20:31
  Speaker 2: Thank you, John Carpenter.
• 20:32
  Speaker 1: All right, let's go to Adriana in the seven to six,
• 20:36
  Speaker 1: so she writes, and hey, the director resonates with me.
• 20:38
  Speaker 1: The most would have to be Quentin Tarantino. I love
• 20:41
  Speaker 1: how he tells the story from beginning to end, and
• 20:42
  Speaker 1: always re watch his movies. I'm a sucker for a
• 20:44
  Speaker 1: good soundtrack, and Quent and his team never miss a
• 20:47
  Speaker 1: beat with songs. Selection his movies transport me from my
• 20:50
  Speaker 1: mundane office life. I love the show and I learned
• 20:53
  Speaker 1: so much about some of my favorite singers and artists.
• 20:56
  Speaker 1: Thank you so much, Adriana. You know, Tarantino was the
• 20:59
  Speaker 1: lot to scorsesea thin I think a lot of modern
• 21:01
  Speaker 1: filmmakers do when it comes to soundtracks. Scorsese was the
• 21:03
  Speaker 1: first to really use rock and roll in a way,
• 21:07
  Speaker 1: not just just as score almost not as just needle drops,
• 21:11
  Speaker 1: but really to score the films. And you see that
• 21:14
  Speaker 1: come alive for the first time in mean streets. We
• 21:17
  Speaker 1: talked about it on Instagram this week with the Johnny
• 21:19
  Speaker 1: Boy entrance into the bar with the stones, jumping Jack,
• 21:22
  Speaker 1: flash plant, just incredible, incredible stuff. Thanks, Adriana. Appreciate the text,
• 21:27
  Speaker 1: all right. I knew this was gonna happen. I knew it.
• 21:29
  Speaker 1: I tried to head it off in this Scorsese episode,
• 21:35
  Speaker 1: and you know, I make this comment I compare filmmaking
• 21:39
  Speaker 1: the pain of filmmaking to the pain of giving birth,
• 21:42
  Speaker 1: and the seven was seven, writes in quote at the
• 21:45
  Speaker 1: most twenty four hours, quoting me here, and then she
• 21:51
  Speaker 1: goes on to just it, says.
• 21:52
  Speaker 2: Ha ha ha ha ha ha.
• 21:54
  Speaker 1: For honestly like seven lines, and then so sincerely worked
• 21:59
  Speaker 1: labor in delivery for years. I think the subtext here
• 22:04
  Speaker 1: is that I'm wrong that it's at labor. It can
• 22:07
  Speaker 1: be at most twenty four hours. I mean, how many
• 22:09
  Speaker 1: other labors are.
• 22:10
  Speaker 2: More than twenty four I'm opening the floodgates. I don't
• 22:12
  Speaker 2: mean to do so.
• 22:13
  Speaker 1: Look, I meant no disrespect to anyone out there who's
• 22:16
  Speaker 1: who's given birth for longer than twenty four hours. I
• 22:18
  Speaker 1: was just trying to make a point, and I wasn't
• 22:20
  Speaker 1: trying to, like, you know, go off on this wild tangent.
• 22:24
  Speaker 1: But I appreciate the levity within this text from the
• 22:27
  Speaker 1: seven oh seven, even though she's calling me up for it.
• 22:29
  Speaker 2: This one comes from the six to one OH. It says, Hey, Jake,
• 22:31
  Speaker 2: I was going through some photos and really.
• 22:34
  Speaker 1: And realized I forgot to send this from twenty twenty
• 22:36
  Speaker 1: four sporting my double elvis shirt at the Tiger Zoo
• 22:40
  Speaker 1: in Thailand. Rock a Rolla and this dude, Jonathan from
• 22:45
  Speaker 1: the six to one OH is just sitting there with
• 22:48
  Speaker 1: a tiger, big ass tiger in the double elvis shirt.
• 22:51
  Speaker 1: I love it. Thanks Jonathan speaking to Thailand. Do you
• 22:53
  Speaker 1: guys watching White Lotus new season?
• 22:56
  Speaker 2: What do you think?
• 22:57
  Speaker 1: It's kind of a slow burn. I'm here for it, though,
• 23:00
  Speaker 1: I'm here for anything with the Goggins. Okay, three h
• 23:03
  Speaker 1: two types in Hey.
• 23:04
  Speaker 2: When you're on your deathbed, I will be there whispering
• 23:08
  Speaker 2: in your ear. You can't compare Prince in MJ love it.
• 23:15
  Speaker 1: The Conversation that will not die. I got a couple
• 23:17
  Speaker 1: voicemails on this as well. Let's go to this one
• 23:20
  Speaker 1: from Yuri in the three one Oher.
• 23:22
  Speaker 3: Hey, Ja, this's Yuri from three one Ohero, just listening,
• 23:27
  Speaker 3: just catching up.
• 23:29
  Speaker 2: More than once.
• 23:29
  Speaker 3: I've heard you talk about Prince and Michael Jackson and
• 23:33
  Speaker 3: how you feel like they're I don't know. In the
• 23:36
  Speaker 3: same category, but they're not. They were of the same time. True,
• 23:43
  Speaker 3: they were icons. True, they were the first generation to
• 23:48
  Speaker 3: see the potential in MTV.
• 23:51
  Speaker 2: Also true.
• 23:53
  Speaker 3: But what I think where they diverge is their artistry.
• 23:57
  Speaker 3: Prince was an artist. He can play every instrument, and
• 24:01
  Speaker 3: he did on his first couple albums. He produced everything
• 24:05
  Speaker 3: that he did, his genre bending musical style, it really
• 24:11
  Speaker 3: has yet to be bibled. Michael, yes, he was a
• 24:14
  Speaker 3: king of pop, but he was almost born into that,
• 24:19
  Speaker 3: if not physically, his persona was born out of that,
• 24:24
  Speaker 3: out of the Jackson five, out of creating, image and branding.
• 24:28
  Speaker 3: And that's where I feel like Prince and Michael diverged.
• 24:31
  Speaker 3: Prince's image was built from his musical range and his diversity.
• 24:36
  Speaker 3: The fluffs and everything else came after, but that's where
• 24:39
  Speaker 3: it started. Michaels was a product, no one more thing.
• 24:46
  Speaker 3: Jake really idol saw him in Vegas like now, I
• 24:50
  Speaker 3: keep thinking it was a couple of years ago.
• 24:52
  Speaker 2: It was almost ten.
• 24:53
  Speaker 3: I saw I'm with my brother. I loved the show.
• 24:57
  Speaker 3: He was rocking at sixty at the time and he's
• 24:59
  Speaker 3: still seventy. Thank you love the show.
• 25:04
  Speaker 2: Rock and rolling all right, Juri thank you for that.
• 25:06
  Speaker 2: Appreciate that. Guys.
• 25:07
  Speaker 1: I'll keep talking Michael Jackson, Prince, as long as you
• 25:10
  Speaker 1: want to talk Michael Jackson, Prince.
• 25:12
  Speaker 2: I keep trying to get out of this conversation. I
• 25:14
  Speaker 2: really have.
• 25:15
  Speaker 1: It's been I think we're on week four right now
• 25:17
  Speaker 1: in the after party, and I mean, I'm sort of
• 25:22
  Speaker 1: not talking about it this week. I'm letting you guys
• 25:24
  Speaker 1: talk about it. I'm just here. I'm putting it out
• 25:27
  Speaker 1: in the air. If this continues next week, I'm going
• 25:32
  Speaker 1: to dive in even more fully.
• 25:33
  Speaker 2: But you know what, I'm willing. I'm not willing to
• 25:35
  Speaker 2: foster that. Okay.
• 25:37
  Speaker 1: I'm simply like Bob Dylan. I'm an antenna man. I'm
• 25:41
  Speaker 1: just kind of like tuned into what's happening around me. Okay,
• 25:44
  Speaker 1: we shall see. All right, If you guys want more
• 25:47
  Speaker 1: of this, keep it coming. I'll talk, Prince. We can
• 25:50
  Speaker 1: turn this into a Prince versus Michael Jackson podcast if
• 25:52
  Speaker 1: you're okay, we can't anyways, six one seven nine, It
• 25:55
  Speaker 1: was six six six three eight voicemail and text. Hit
• 25:59
  Speaker 1: me up for next week Question of the Week, which
• 26:00
  Speaker 1: is gonna be do you think the Kennedy's had anything
• 26:04
  Speaker 1: to do with Marilyn Monroe's death, and if so, point
• 26:08
  Speaker 1: me in the right direction, give me some research, give
• 26:10
  Speaker 1: me some docs to go look at. Okay, it's a big, big,
• 26:14
  Speaker 1: big accusation. If you're gonna think that, you gotta have
• 26:16
  Speaker 1: some bullets on your side, all right, pun intended. Or
• 26:20
  Speaker 1: you gotta have some very powerful medicine, maybe a syringe.
• 26:24
  Speaker 2: I don't know.
• 26:25
  Speaker 1: I do know that voicemail text is not the only
• 26:28
  Speaker 1: way to get in touch with me. And you guys
• 26:29
  Speaker 1: know this too. You can hit me up at Disgray
• 26:31
  Speaker 1: lampod on all the socials on X on Facebook, on Instagram,
• 26:35
  Speaker 1: Jersey Style Photography writes, Hey, this is a fantastic listen.
• 26:39
  Speaker 1: That's in response to the Scorsese episode that's on X
• 26:42
  Speaker 1: over on Instagram, Katherine Moutey moutet my saying that correctly.
• 26:46
  Speaker 1: She writes, in response to our Scorsese story, this is
• 26:50
  Speaker 1: a movie that needs to be made. Catherine, you know
• 26:53
  Speaker 1: I would love to turn this into a movie, but
• 26:56
  Speaker 1: for all the reasons I mentioned earlier in this episode,
• 26:58
  Speaker 1: I don't think it's in the car. It's for me
• 27:00
  Speaker 1: that's said, Hey, anyone wants to back up a truck?
• 27:03
  Speaker 1: Full of money and dump it on my head. I'm available,
• 27:06
  Speaker 1: or if somebody wants to, you know, clear the path
• 27:08
  Speaker 1: for this to be turned into a screenplay, you know
• 27:10
  Speaker 1: in a way that's that has a path to actually
• 27:12
  Speaker 1: getting madea I wouldn't.
• 27:13
  Speaker 2: I would, I wouldn't walk away from that. I'm just saying.
• 27:16
  Speaker 2: I'm just saying, take a lot. That's all okay, all right?
• 27:20
  Speaker 1: Six one seven nine O six sixty six three eight
• 27:21
  Speaker 1: voicemail and text at Disgrace lamdpod on the socials to
• 27:24
  Speaker 1: hit me up and take a quick break back after
• 27:27
  Speaker 1: this with the story of the week. Some of your
• 27:28
  Speaker 1: emails some reviews are also going to get into in
• 27:30
  Speaker 1: the bonus section of this episode. A little bit more
• 27:33
  Speaker 1: on our upcoming all access exclusive episode on Stevie Ray
• 27:37
  Speaker 1: Vaughan more after this. All right, welcome back the Disgrace Lands.
• 27:55
  Speaker 1: Story the Week can be any story from your rock
• 27:57
  Speaker 1: and roll past or from rock and roll history you
• 28:00
  Speaker 1: think best represents the rock and roll spirit and you
• 28:02
  Speaker 1: want to share with us this week's story of the week.
• 28:04
  Speaker 2: It comes from William's strow.
• 28:05
  Speaker 1: But William says, hey, Jake Bill from the two one five,
• 28:08
  Speaker 1: I can't believe how long it took to sink in,
• 28:10
  Speaker 1: But your amazing Miles Davis episode triggered a couple memories.
• 28:13
  Speaker 1: So where my dear friend Monty, Johnny Rotten, and Wayne
• 28:16
  Speaker 1: Shorter intersect. Monty's full name was Montraval Shorter. Wayne Shorter
• 28:21
  Speaker 1: was Monty's first cousin. He was a jazz encyclopedia. We
• 28:24
  Speaker 1: worked in kitchens together, so I got to hear some
• 28:26
  Speaker 1: amazing stories. He was quite a bit older than me,
• 28:28
  Speaker 1: and he had some wild experiences. He traveled a lot
• 28:31
  Speaker 1: and sat down in the lounge of a hotel one day.
• 28:33
  Speaker 1: A few minutes later, an interesting gentleman sat across from us.
• 28:36
  Speaker 1: They proceeded to have a lovely conversation music, jazz, current events.
• 28:41
  Speaker 1: The gentleman was Johnny Rotten of the sex Pistols of
• 28:44
  Speaker 1: Public Image Limited. The vision in my mind is of
• 28:47
  Speaker 1: a stone cool, elderly black man sitting with the sex
• 28:50
  Speaker 1: Pistols lead singer, just chopping it up. And it was
• 28:54
  Speaker 1: a real kick in the ass, and it still is.
• 28:56
  Speaker 1: Monti has since passed, but having the memory sparked made
• 28:59
  Speaker 1: me smile. Thanks for doing what you do. I've tried
• 29:01
  Speaker 1: to turn everyone I know on the disgrace. Same thanks again,
• 29:03
  Speaker 1: Bill in the two one five Bill and the two
• 29:05
  Speaker 1: one five. I love this story. I love it when
• 29:08
  Speaker 1: the punk rock guys mix themselves up with the jazz guys.
• 29:11
  Speaker 1: Of course, Iggy Pop Miles Davis were tight or not tight,
• 29:14
  Speaker 1: but they had they've crossed paths a few times, and
• 29:17
  Speaker 1: they had a mutual admiration society going on. And I
• 29:19
  Speaker 1: love this story about Wayne Shorter and Johnny Rotten. Johnny
• 29:23
  Speaker 1: Rotten might be the greatest punk rock singer of all time.
• 29:26
  Speaker 2: I said it. I don't care. I don't care what
• 29:28
  Speaker 2: anyone thinks. I think.
• 29:30
  Speaker 1: I believe that I think. Okay, I gotta do a
• 29:32
  Speaker 1: couple of reviews. You guys know the deal. You know
• 29:34
  Speaker 1: why I read these reviews. It's not just because I'm
• 29:35
  Speaker 1: a massive egomaniac. I probably am, but that's not the reason.
• 29:38
  Speaker 2: Okay.
• 29:39
  Speaker 1: The reason is I try to encourage the reviews because
• 29:42
  Speaker 1: the reviews encourage the algorithm to push the show to
• 29:45
  Speaker 1: more people. It helps with discovery. I say it every week.
• 29:47
  Speaker 1: I'm never gonna stop saying it. All Right, you guys
• 29:49
  Speaker 1: going to leave reviews on Apple podcasts, you leave them
• 29:51
  Speaker 1: on Spotify, and it.
• 29:52
  Speaker 2: Helps so Thank you very very much. I choose a
• 29:55
  Speaker 2: couple of those reviews every week. I read them right here.
• 29:56
  Speaker 1: If you hear yours read, you can hit me up
• 29:59
  Speaker 1: on your own and you could say, hey, you read
• 30:01
  Speaker 1: my review. I'm so and so, and I'll go, yeah,
• 30:03
  Speaker 1: I guess I did, and then I'll send you some
• 30:05
  Speaker 1: free merch. Whatever we get lined around the studio could
• 30:07
  Speaker 1: be a pin, could be a shirt. Sometimes I even
• 30:09
  Speaker 1: sign books. So let's see what we got here. Over
• 30:12
  Speaker 1: on the Apple Podcast Machine, Cindy thirteen writes, I recently
• 30:16
  Speaker 1: discovered your podcast. I absolutely love it. Thank you for
• 30:19
  Speaker 1: your contribution to my daily listening. See how easy was that, Cindy,
• 30:23
  Speaker 1: thank you very much. Get in touch. We'll get you
• 30:25
  Speaker 1: some merch. Over on the Spotify machine, Jared Ray writes,
• 30:28
  Speaker 1: and hey, this is my new favorite podcast. As a
• 30:30
  Speaker 1: matter of fact, it's so good it inspired me to
• 30:31
  Speaker 1: write my first review and five star rating ever. And
• 30:34
  Speaker 1: I've been listening to podcasts since before most people knew
• 30:36
  Speaker 1: what a podcast was.
• 30:38
  Speaker 2: Thank you, Jared, I appreciate it, really do.
• 30:40
  Speaker 1: Thanks for the review. Hit me up, We'll get you
• 30:42
  Speaker 1: some merch. Thanks for helping us grow the show. Guys,
• 30:45
  Speaker 1: as always, big, big, big gratitude. Listen to this this episode.
• 30:49
  Speaker 1: It's it's nearing its end, you know. Qq the sad,
• 30:54
  Speaker 1: sad closing music. Give me some sad eighties sitcom vibes,
• 30:58
  Speaker 1: you know what I mean, And that's sad. Eighty synth
• 31:01
  Speaker 1: comes in and you're a little kid. You know, it's
• 31:03
  Speaker 1: time for bed. That's what I'm feeling right now. It's
• 31:06
  Speaker 1: coming to an end. There are those of you who
• 31:08
  Speaker 1: will remain with.
• 31:09
  Speaker 2: Us in the bonus section of this All Access after
• 31:12
  Speaker 2: Party episode, those of you who are part of our
• 31:14
  Speaker 2: All Access membership club. You get a little bit more,
• 31:18
  Speaker 2: You get a little bit more.
• 31:19
  Speaker 1: This week, I'm going to give you a little more
• 31:20
  Speaker 1: about Stevie Yvon because this week is when our Stevie
• 31:22
  Speaker 1: Rayvon All Access episode comes out. Okay, last week I
• 31:25
  Speaker 1: gave you a story about a friend of mine who
• 31:27
  Speaker 1: was involved with the whole Stevie Rayvon kerfuffle. This week,
• 31:30
  Speaker 1: I'm going to give you a little bit more and
• 31:31
  Speaker 1: it's going to come up right after this real quick.
• 31:33
  Speaker 1: For those of you who are like, what the hell
• 31:34
  Speaker 1: are you talking about, Well, it's this. We do an
• 31:36
  Speaker 1: all access club. Okay, you pay five bucks, you get
• 31:39
  Speaker 1: a little bit more after Party here, okay, a little
• 31:41
  Speaker 1: bit bone, a little bit of a bonus section. You
• 31:43
  Speaker 1: get ad free listening, and you get one exclusive episode
• 31:47
  Speaker 1: per month. This month it's on Steve Rayvon. It's only
• 31:49
  Speaker 1: five bucks to join. You also get into the behind
• 31:52
  Speaker 1: the velvet rope, so to speak, in Patreon, where I'm
• 31:55
  Speaker 1: in there in the chat with all your disco is talking.
• 31:57
  Speaker 2: All right, we're in there. Every day I get to do.
• 31:59
  Speaker 1: Is go to disgrace sampod com slash membership and sign
• 32:01
  Speaker 1: up five bucks a month.
• 32:02
  Speaker 2: You know, five bucks a month.
• 32:03
  Speaker 1: That's cheaper than a beer, cheaper than a coffee, cheaper
• 32:05
  Speaker 1: than what a hot dog of Faaniway parks, cheaper than
• 32:07
  Speaker 1: a lot of things. Disgraceampod dot com slash membership. All right,
• 32:30
  Speaker 1: we are back archive episodes discussed in this year After Party.
• 32:34
  Speaker 2: Welcome the bonus section.
• 32:35
  Speaker 1: We talked about Robbie Robertson and Eric Clapton and Eddie
• 32:38
  Speaker 1: Van Halen and Jimmy Hendrix and David Bowie and the
• 32:41
  Speaker 1: Rolling Stones. And you guys are missing out, by the way,
• 32:43
  Speaker 1: if're not getting the all access portion of the AFRO party,
• 32:45
  Speaker 1: as you can hear anyway, Matt is going to have
• 32:47
  Speaker 1: info on all these episodes. Help you find these episodes
• 32:49
  Speaker 1: in our massive archive. He'll drop that info in the
• 32:52
  Speaker 1: show notes for you. Thank you, Matt. Let's recap.
• 32:55
  Speaker 2: Shall we Number one?
• 32:56
  Speaker 1: I want your story, Call me, text me, hit me
• 32:58
  Speaker 1: on the socials with your favorite story of rock and
• 33:00
  Speaker 1: roll animalism, a wild story about a rockstar that you're
• 33:02
  Speaker 1: aware of and that you want to tell. Can be
• 33:04
  Speaker 1: something that you've read in a history book, something that's
• 33:06
  Speaker 1: happened to you personally, can be anything at all. Let
• 33:08
  Speaker 1: me know number two right now in your feed, our
• 33:10
  Speaker 1: episode on Martin Scorsese and Taxi Driver. Number three coming tomorrow,
• 33:14
  Speaker 1: our rewind episode on Marilyn Monroe, and continuing with our
• 33:17
  Speaker 1: oscar team next week, you're getting a Dennis Hopper episode.
• 33:20
  Speaker 2: Number four. Merch winners, get in touch. You know who
• 33:24
  Speaker 2: you are. Number five.
• 33:25
  Speaker 1: Remember, no one cares about preserving the true spirit of
• 33:27
  Speaker 1: rock and roll more than you do. And well that's
• 33:28
  Speaker 1: a disgrace, all right. In honor of this week's episode subject,
• 33:33
  Speaker 1: Martin Scorsese, here are the Billboard charts for the day
• 33:36
  Speaker 1: Murty released his masterpiece Taxi Driver on February Tell can
• 33:40
  Speaker 1: be something that you've read in a history book, something
• 33:43
  Speaker 1: that's happened to you personally, can be anything at all.
• 33:45
  Speaker 1: Let me know number two right now in your feed,
• 33:46
  Speaker 1: our episode on Martin Scorsese and Taxi Driver, number three
• 33:49
  Speaker 1: coming tomorrow, our rewind episode on Marilyn Monroe, and continuing
• 33:53
  Speaker 1: with our Oscar team next week, You're getting a Dennis
• 33:56
  Speaker 1: Hopper episode. Number four, merch Winners, get in touch.
• 34:00
  Speaker 2: You know who you are. Number five.
• 34:01
  Speaker 1: Remember, no one cares about preserving the true spirit of
• 34:03
  Speaker 1: rock and roll more than you do. And well that's
• 34:05
  Speaker 1: a disgrace, all right. In honor of this week's episode subject,
• 34:09
  Speaker 1: Martin Scorsesey, here are the Billboard charts for the day
• 34:13
  Speaker 1: Marty released his masterpiece, Taxi Driver on February eighth, nineteen
• 34:18
  Speaker 1: seventy six. Number one, fifty Ways to Leave Your Lover
• 34:23
  Speaker 1: Paul Simon last week ten, peak position one weeks on
• 34:28
  Speaker 1: chart eight. Number two Love to Love You Baby Donna
• 34:33
  Speaker 1: Summer last week three, peak position two weeks on chart ten.
• 34:39
  Speaker 1: Number three You Sexy Things Hot Chocolate last week four,
• 34:45
  Speaker 1: peak position ten, three weeks on chart fifteen. Number seven
• 34:49
  Speaker 1: Hot number four, I Write the songs, very Man last
• 34:54
  Speaker 1: week to peak position one weeks on chart thirteen Number
• 35:00
  Speaker 1: Fust sing a song past, Win, Take five, SISI, Last Years, Seconds,
• 35:05
  Speaker 1: Take Eat Positions five weeks Chops.
• 35:09
  Speaker 2: Six, Quit talking and start mixing.
• 35:17
  Speaker 4: Cult