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Big Lurch: Hip Hop Cannibal · DISGRACELAND

0:00
Speaker 1: Disgraceland is a production of Double Elvis. Well It's Happened Again,
0:10
Speaker 1: a story by a musician behaving so badly that said
0:13
Speaker 1: behavior warranted yet another disclaimer. At the beginning of a
0:16
Speaker 1: Disgraceland episode, Guys, I'm warning you this story is more
0:20
Speaker 1: fed up than the gg Allen one. And speaking of
0:23
Speaker 1: fed up, I say the word fuck a lot, as
0:25
Speaker 1: you know. But that's not the reason the story needs
0:27
Speaker 1: a disclaimer. This story deals with cannibalism and abuse that
0:31
Speaker 1: is truly horrific, and for whatever reason I spare zero
0:34
Speaker 1: gory details. Maybe because it's October and I'm feeling the
0:38
Speaker 1: Halloween vibe. To paraphrase Ryan Adams, I've got a Halloween
0:42
Speaker 1: head head full of tricks and treats. It leads me
0:44
Speaker 1: through these Compton streets. What is wrong with me? Metotron?
0:59
Speaker 1: The story about tech This rapper Big Lurch is one,
1:02
Speaker 1: if not the most insane story you'll ever hear about
1:05
Speaker 1: a musician. Big Lurch didn't like to just get high.
1:09
Speaker 1: He liked to smoke from aldehyde, the chemical used to
1:11
Speaker 1: embalm dead bodies. And Big Lurch didn't just rap about
1:15
Speaker 1: standard hip hop culture. He rapped about serial killers. Like
1:19
Speaker 1: Jeffrey Dahmer in horror movie villains like Jason Vorhees and
1:22
Speaker 1: Freddy Krueger, and in the process contributed to a growing
1:26
Speaker 1: new subgenre of hip hop called horror core. Big Lurch
1:31
Speaker 1: was six foot seven with deep set eyes, a deep voice,
1:34
Speaker 1: and a deep hunger for PCP. An intimidating looking dude
1:38
Speaker 1: who grew up in the East Dallas projects but made
1:41
Speaker 1: his name on the West Coast, first up in Oakland
1:44
Speaker 1: and then by infiltrating the Cali g funk world of
1:47
Speaker 1: South central Los Angeles. Lurch was paranoid, dangerous, and totally
1:53
Speaker 1: out of his mind on drugs, to the point where
1:55
Speaker 1: he would disappear for weeks into PCP induced comas in
2:00
Speaker 1: a merge, with little to no memory of his time
2:02
Speaker 1: on the drug. It's no stretch to say that rapper
2:06
Speaker 1: Big Lurch was completely fucked up. But Big Lurch made
2:10
Speaker 1: some great music. Actually, no, he didn't. His music was
2:14
Speaker 1: pretty much total shit, just like the music I played
2:16
Speaker 1: you at the top of the show, and that was
2:18
Speaker 1: a preset loop from my melochron called Ballero Woodwind Brass
2:22
Speaker 1: Low MK two. I played you that loop because I
2:26
Speaker 1: can't afford the rights for Ain't It Funny? By Jennifer
2:29
Speaker 1: Lopez and Joe Ruhle, And why would I play you
2:32
Speaker 1: that specific slice of remixed murder incorporated on the Block Cheese?
2:36
Speaker 1: Could I afford it? Because that was the number one
2:39
Speaker 1: song in America on April tenth, two thousand and two,
2:43
Speaker 1: And that was the day that rapper in Texas Boy,
2:46
Speaker 1: Big Lurch, ran down the street naked in the middle
2:49
Speaker 1: of the afternoon, covered in blood, chewing on his roommates
2:53
Speaker 1: long on this episode Murder on the Block brass Ballero's
2:58
Speaker 1: cannibalism horror chord In Big Lurch, I'm Jake Brennan, and
3:03
Speaker 1: this is disgraceful. Big Lurch depicted his life growing up
3:32
Speaker 1: in the East Dallas projects, slinging dope and gang banging
3:36
Speaker 1: in his own songs, songs like Texas Boy from his
3:39
Speaker 1: two thousand and four album It's All Bad. Big Lurch,
3:45
Speaker 1: six foot seven and with a wild imagination, according to him,
3:49
Speaker 1: had only two options growing up become a drug dealer
3:53
Speaker 1: or become a rapper, which of course is total bullshit.
3:57
Speaker 1: Lots of people grow up in the projects and live
3:58
Speaker 1: happy lives and don't be dope dealers or hip hop stars,
4:01
Speaker 1: But for whatever reason, when assessing his career opportunities, Big
4:05
Speaker 1: Lurch Born and Tron Singleton believed he was limited to
4:09
Speaker 1: either a life of crime or a life of stardom,
4:13
Speaker 1: and given the environment he grew up in, it's hard
4:15
Speaker 1: to blame him for this assessment. The East Dallas projects,
4:18
Speaker 1: like most public housing projects in America, are rough tough living.
4:23
Speaker 1: The United States Public Housing program was conceived with the
4:26
Speaker 1: best intentions, a way to provide families at the bottom
4:30
Speaker 1: of the economic ladder a place to live within city
4:32
Speaker 1: limits while working the way up from poverty and into
4:36
Speaker 1: the working and middle classes of American society. But this
4:40
Speaker 1: did not happen. For whatever reasons, mismanagement of the federal
4:43
Speaker 1: program at the local level, insufficient funding from Congress, a
4:47
Speaker 1: lowering of standards for occupancy. For whatever reasons, the projects
4:51
Speaker 1: never became the low incomestansion of upward mobility that they
4:54
Speaker 1: were intended to be. Instead, they became areas of concentrated
4:59
Speaker 1: poverty in America, riddled with drugs, crime, and gang violence,
5:03
Speaker 1: and for Big Lurch, a place of bleakness. The Fraser
5:08
Speaker 1: Courts Projects is located about five miles east of downtown Dallas,
5:13
Speaker 1: but it might as well be a world away from
5:15
Speaker 1: the land of tall buildings that Big Lurch raps about
5:18
Speaker 1: in Texas. Boy Fraser Courts is a neighborhood of one story,
5:22
Speaker 1: single family subsidized homes. The concrete landscape is weathered and
5:27
Speaker 1: where there is grass that has overgrown and unkept, and
5:30
Speaker 1: the area is a far cry from the Romanesque revival
5:33
Speaker 1: architecture of the Big d but there is pride. You
5:37
Speaker 1: get a sense of the people of these East Dallas
5:39
Speaker 1: projects from their Facebook page, an unofficial page set up
5:43
Speaker 1: to digitally corral and organize community interests. There are the
5:47
Speaker 1: posts about the great time at the throwback block party,
5:50
Speaker 1: pictures of locals canvassing for voter registration. There's a post
5:54
Speaker 1: about the mouth watering chili cheese dog from Nothing's, and
5:57
Speaker 1: multiple posts about chilling at home with the family. But
6:00
Speaker 1: there is also a darker side revealed from both the
6:03
Speaker 1: Facebook group page and from searching hashtag East Dallas Projects
6:07
Speaker 1: on Instagram. A pitbull stares menacingly into the camera in
6:11
Speaker 1: front of an abandoned backyard solo flex. There are photos
6:15
Speaker 1: of AK forty seven's twelve inch stacks of one hundred
6:18
Speaker 1: dollars bills, young kids outfitted in blood red flashing gang signs,
6:22
Speaker 1: and a meme featuring a cute girl hanging on the
6:25
Speaker 1: corner at night with the caption quote when you hanging
6:28
Speaker 1: out with your hood boo and he got you on
6:30
Speaker 1: the block where everybody be shooting unquote. Each post gives
6:34
Speaker 1: a glimpse into real life in the East Dallas projects,
6:37
Speaker 1: where gang life is a reality and where Big Lurge
6:41
Speaker 1: grew up, and depending on how you look at it,
6:43
Speaker 1: either paid tribute to or exploited in his lyrics. Exploiting
6:48
Speaker 1: one's background for artistic means is nothing new. It's a
6:52
Speaker 1: time honored creative tradition. In fact, it's almost expected of
6:57
Speaker 1: artists as a way to express themselves. Where you come
7:01
Speaker 1: from is typically a badge of honor, a hallmark of
7:04
Speaker 1: your authenticity, and how you live your life is equally important.
7:08
Speaker 1: Slinging dope, gangbanging, and getting fucked up are required courses
7:12
Speaker 1: of the hip hop curriculum, and Big Lurch took the
7:15
Speaker 1: getting fucked up part to extra credit level gin and
7:19
Speaker 1: juice Nah, the chronic not strong enough. Big Lurch fucked
7:24
Speaker 1: with those wet cigarettes or quote unquote smoking wet as
7:27
Speaker 1: it was sometimes called, the practice of dipping a joint
7:30
Speaker 1: and for malde hide before smoking. It turns out for
7:34
Speaker 1: malde hide, the highly flammable chemical substance used by morticians
7:38
Speaker 1: to preserve dead bodies, when saturating a joint, will get
7:42
Speaker 1: you high as fuck and even cause psychotic reactions similar
7:47
Speaker 1: to PCP, a drug that Big Lurch would soon find
7:50
Speaker 1: his way to smoking regularly. And PCP can of course
7:55
Speaker 1: kill you. You know what else can kill you? Six foot
7:58
Speaker 1: seven psychopaths with bad drug habits. By the late nineties,
8:19
Speaker 1: Big Lurch began making a name for himself around Dallas
8:22
Speaker 1: as an underground rapper. Somehow he managed to grab the
8:26
Speaker 1: attention of Oakland, California hip hop producer Rick Rock and
8:30
Speaker 1: headed west to manifest his own destiny. Once there, he
8:35
Speaker 1: teamed with Rock and Marvin Dooney Baby Selman to form
8:38
Speaker 1: the group Cosmic Slop Shop and released an album called
8:42
Speaker 1: The Family. The record failed to set the charts on fire,
8:45
Speaker 1: but it didn't really matter. Big Lurch was now in
8:48
Speaker 1: the game in the hip hop game in the late nineties,
8:52
Speaker 1: was going through a bit of an identity crisis. Tupac
8:55
Speaker 1: was dead, so was Biggie sug Knight was in jail.
8:58
Speaker 1: Gangster rap as a geen seemed to be waning in
9:01
Speaker 1: influence over mainstream America, and a young white kid from
9:05
Speaker 1: Detroit had cornered the market on the charts, selling four
9:09
Speaker 1: million copies of his Doctor dre produced debut album, The
9:13
Speaker 1: Slim Shady LP. Eminem had captured the minds of American
9:17
Speaker 1: youth with his new and different brand of over the top,
9:21
Speaker 1: violent and misogynistic lyrics. This wasn't drive by some big asses.
9:26
Speaker 1: This was fuck you, bitch, I'm gonna cut you up
9:29
Speaker 1: and bury you so you can't see our kid. Incredibly
9:32
Speaker 1: dark stuff and incredibly personal. Eminem's lyrics for Kim, where
9:37
Speaker 1: he details the murder of his estranged wife in the
9:41
Speaker 1: first person, or his lyrics for Bonnie and Clyde or
9:44
Speaker 1: he takes a drive with his daughter to bury her
9:46
Speaker 1: mom's body, were both examples of just how far a
9:49
Speaker 1: hip hop had come from dealing dope on the corner.
9:52
Speaker 1: And this was no longer street trade. This was cinematic.
9:56
Speaker 1: This was personal and way dark, almost novelistic in a way.
10:01
Speaker 1: Eminem's lyrics had more to do with Stephen kingbooks than
10:03
Speaker 1: Nate dog hooks. Eminem's whole unique approach caught the attention
10:08
Speaker 1: of not only the record buying public, but of course
10:11
Speaker 1: of the music industry and enterprising producers and record label heads.
10:16
Speaker 1: And this new style that Eminem was messing with was
10:18
Speaker 1: called horror core. It had its roots in mainstream eighties
10:23
Speaker 1: rap with djjse Jeff and the Fresh Princess A Nightmare
10:26
Speaker 1: on My Street and was later refined by Cool Keith
10:29
Speaker 1: and then the Ghetto Boys, and by the mid nineties,
10:32
Speaker 1: the hip hop group the Flatliners would bring the genre
10:35
Speaker 1: to greater prominence, along with Detroit hip hop duo Insane
10:39
Speaker 1: Clown Posse, who no doubt had some influence on Eminem
10:43
Speaker 1: despite their very public beef. So by the year two thousand,
10:48
Speaker 1: horror core was a thing, and Big Lurch was listening.
10:51
Speaker 1: That is, he was listening when he wasn't tripping out
10:53
Speaker 1: on sherm also known as PCP and smoking formaldehyde. We'll
10:58
Speaker 1: be right back this word word word. Lurch sat in
11:14
Speaker 1: the studio and took in the sounds around him, banging.
11:18
Speaker 1: These West Coast dudes knew what was up. The producer
11:21
Speaker 1: Roger Troutman, Junior, son of legendary funk musician and founder
11:25
Speaker 1: of Zapp, Roger Troutman Senior, who was dialing Lurch into
11:29
Speaker 1: what he was going for musically. Lurch could feel it. Musically,
11:34
Speaker 1: These California dudes had that West Coast five and seventies
11:37
Speaker 1: funk influence on Locke, Zapp, the Brothers Johnson, Charles Wright,
11:41
Speaker 1: and the Wats, one hundred and third Street rhythm band
11:44
Speaker 1: shoogy Otis. Even the fucking Doobie Brothers sounded good coming
11:47
Speaker 1: out of Troutman and speakers, which Doobi u B Lurch
11:50
Speaker 1: wondered an existential question to be answered another time. Lurch
11:57
Speaker 1: was into it all, but his mind was wandering to
11:59
Speaker 1: a dark place. He had rented and watched Silence of
12:03
Speaker 1: the Lambs over the weekend, and Lurch couldn't get the
12:05
Speaker 1: movie out of his head. Hannibal, the Cannibal and what
12:09
Speaker 1: a sick fuck imagine that eating another person. Just then,
12:15
Speaker 1: the vibe in the studio changed. It went from West
12:18
Speaker 1: Coast party to backstreet ominous and the time it took
12:21
Speaker 1: war to take the Cisco Kid to the breakdown and
12:24
Speaker 1: back again to the chorus blasting out through the studio speakers.
12:28
Speaker 1: But had the vibe actually changed or was Lurch just
12:30
Speaker 1: being paranoid. Some roughnecks entered the control room wearing blue crips.
12:36
Speaker 1: Lurch rode with the bloods back in Big d and
12:39
Speaker 1: repped red up in Oakland. The crips freaked him out.
12:42
Speaker 1: Lurch didn't know if they were vibing him or if
12:44
Speaker 1: the weed he was smoking had him paranoid. Either way,
12:48
Speaker 1: shit was bad to bust the vibe. Lurch bounced out
12:52
Speaker 1: of his seat and told Troutman to get the track ready.
12:55
Speaker 1: He then headed into the vocal booths to jump on
12:57
Speaker 1: the mic. The track playing back and who his phones
13:00
Speaker 1: was hot, low, thirty, mean, but funky at the same
13:04
Speaker 1: time quintessential g funk. Troutman knew what he was doing
13:10
Speaker 1: when it came to putting a track together anyways, but
13:12
Speaker 1: Lurch wasn't into the lyrics. Troutman and the scogled out
13:15
Speaker 1: the hook, consisting of trite West Coast shoutouts, ghetto whistles
13:19
Speaker 1: and good times, shorties on the block and steady passes,
13:22
Speaker 1: big bouncing grills and bigger bouncing asses. Lurch wasn't buying
13:26
Speaker 1: it and dropped the lyric sheet to the ground, and
13:29
Speaker 1: when his qu came freestyled into the mic lines about
13:32
Speaker 1: being a vampire and wielding a syringe with battery acid.
13:38
Speaker 1: The fuck was this? Troutman looked at his engineer. His
13:41
Speaker 1: engineer shrugged. Troutman stopped the tape, pushed the talkback button
13:45
Speaker 1: on the board, and instructed Lurch to take it again,
13:47
Speaker 1: but from the top, and this time to give him
13:50
Speaker 1: a little intro vocal riff. He then rebounded the two
13:53
Speaker 1: inch on the reeled real and hit record. The track
13:56
Speaker 1: washed over Lurch in the booth. He closed eyes, thought
14:01
Speaker 1: once again of Hannibal Lecter. His queue came and he
14:04
Speaker 1: spat out murderous lines at name check Jason Vorhees, Freddy Krueger,
14:09
Speaker 1: Charles Manson, and Jeffrey Dahmer. Seriously, just exactly what the
14:14
Speaker 1: fuck was this? Troutman had no idea Lurch was one
14:18
Speaker 1: sick bastard. He let the tape roll and grabbed all
14:21
Speaker 1: the madness he could out of this big Texas boy
14:23
Speaker 1: with the horror flick tongue and scary as hell baritone.
14:28
Speaker 1: When he was done rhyming, Lurch headed back into the
14:30
Speaker 1: control room and shot a look to the roughnecks and
14:32
Speaker 1: blew that said be careful who you fuck with? I'm
14:35
Speaker 1: six foot fucking seven and on some other trip entirely
14:39
Speaker 1: Lurch bounced. He had a plane to catch back to Texas.
14:46
Speaker 1: Big Lurch was back in the Big d for his
14:48
Speaker 1: grandmother's funeral, high on chronic and behind the wheel of
14:51
Speaker 1: his mother's dusty shipbox. Watching the road was a distraction
14:55
Speaker 1: because Lurch didn't want to take his eyes off his
14:57
Speaker 1: chick in the passenger seat. Those thighs, those bright red
15:02
Speaker 1: bike shorts would come off quick, he thought they had to.
15:06
Speaker 1: She was fine, she reminded, lerg to the big chick
15:09
Speaker 1: from Salt and Peppa. Was it Peppa or AsSalt? Lurch
15:12
Speaker 1: could never keep them straight. Spinderella was where it was
15:15
Speaker 1: at anyway. But right now, whipping around the back streets
15:18
Speaker 1: of the East Dallas projects, little miss off brand Peppa
15:21
Speaker 1: would do because he could tell that she wanted him
15:24
Speaker 1: as badly as he wanted her. He needed to keep
15:27
Speaker 1: his eyes on the road, but couldn't. The weed made
15:30
Speaker 1: him horny as fuck, and he'd been wanting to get
15:32
Speaker 1: with his chick as soon as he saw now in
15:34
Speaker 1: his mom's car, barreling around corners at a fifty mile
15:38
Speaker 1: per hour clip through a twenty five mile per hour
15:40
Speaker 1: residential neighborhood. Lurch could care less about maneuvering the shipbox.
15:45
Speaker 1: He wanted to maneuver himself onto and into the young
15:49
Speaker 1: aspiring R and b chicks sitting in the car. And
15:52
Speaker 1: it was right and it would be sweet. He thought
15:55
Speaker 1: he could picture her naked, the caramel skin, those.
15:59
Speaker 2: Thighs, that hair, big assign.
16:29
Speaker 1: Speaking to us, Skinny hind sometimes were lad a t
16:40
Speaker 1: when the fox, here's grass comes around a lot to
16:44
Speaker 1: help I ate his literally, Baba, but this is a
16:50
Speaker 1: nice Big Lurch was spinning. His head hurt, his neck
16:54
Speaker 1: kilt car accident was no joke. His broken neck meant
16:59
Speaker 1: intense pain. PCP helped dull it. Sherm made the dreams
17:03
Speaker 1: wild silence of the lambs, kianti and fava beans, big
17:08
Speaker 1: bouncing grills and big bouncing asses. The coma was one
17:12
Speaker 1: long trip, and when he awoke after the accident, the
17:15
Speaker 1: world was one big dream state. Big Lurch moved through
17:19
Speaker 1: it with caution and amusement. The fuck was going on?
17:23
Speaker 1: Was he alive? Dead? Where was his hunger coming from?
17:27
Speaker 1: He kept himself high all the time. The PCP bent
17:30
Speaker 1: the world to his will the shirm pushed the pain
17:33
Speaker 1: to the back of his brain and brought a new
17:35
Speaker 1: world into focus. He thought about his rhymes, He thought
17:40
Speaker 1: about those g funk beats, He thought about big d
17:44
Speaker 1: What happened to the girl he was riding with? And
17:45
Speaker 1: where was she? Where was he? The room stank like
17:49
Speaker 1: wet dope and dried dog food, and the pit bull
17:52
Speaker 1: was a nuisance. What's happening on in the background of
17:55
Speaker 1: the TV all the time? The dog though, always barking,
17:59
Speaker 1: shitting all over the place? Where is that costs Europe?
18:02
Speaker 1: No formaldehyde, nothing of what them cigarettes with. Let's dip
18:06
Speaker 1: them in a night quote. Let's trip the fuck out,
18:08
Speaker 1: Let's forget the pain. Let's ride this out on twenty
18:10
Speaker 1: four inch golddes slow, raise the hydraulics, bounce that base
18:15
Speaker 1: those spandex bike shorts. Believe in that big ass, believe
18:19
Speaker 1: in that big beat. The tragedy is not to die,
18:21
Speaker 1: but to be wasted. Where's the fun in dying? A
18:25
Speaker 1: man's gonna eat and give me that pipe again. Who's
18:28
Speaker 1: that knocking? What's happening? I'm wearing red? Motherfucker fuck off?
18:32
Speaker 1: You don't know who you're fucking with. Quid pro quote
18:35
Speaker 1: my ass. Shut that dog up. I'll eat a bitch
18:37
Speaker 1: before I fuck her in those shorts. Where's that goddamn lighter.
18:41
Speaker 1: Ain't nothing in the world in my stomach right now.
18:43
Speaker 1: And this ain't no disco, this ain't no fucking around
18:46
Speaker 1: No he be gb you hear that. It's the devil.
18:50
Speaker 1: Fuck off, Clarice, He's coming for you. I told you
18:53
Speaker 1: this is it world gonna end. I'm riding out on
18:56
Speaker 1: twenty four inches fourteen carrot six seven. Where the fuck
18:59
Speaker 1: are you going, Clarice? The devil. Don't answer that or
19:03
Speaker 1: he's myers Dommer. They shine my fucking shoes. Who are you?
19:07
Speaker 1: You're gonna end this world? You're gonna take me out,
19:10
Speaker 1: you blue devil. Motherfucker. Shut up when I'm talking to you,
19:14
Speaker 1: and shut that fucking dog up. Woman. I swear to God,
19:18
Speaker 1: sh hear that. I heard that. Tell me you didn't
19:24
Speaker 1: fucking hear that one more time, one more fucking time,
19:27
Speaker 1: and I swear to God. I swear to God, I'll
19:30
Speaker 1: cut your fucking head off. Say it, say it, don't
19:33
Speaker 1: you fucking say it? Big Lurch lost his mind. The
19:41
Speaker 1: PCP was in control now. His eyes were like black
19:44
Speaker 1: marbles bacont. His roommate was twenty one, stoned herself and
19:48
Speaker 1: fucking petrified, and rightly so. Lurch was hovering above her,
19:53
Speaker 1: an intimidating figure at almost seven feet tall, and she
19:56
Speaker 1: didn't know what she'd done wrong or why Lurch was
19:58
Speaker 1: so angry, and what in the hell he was ranting
20:00
Speaker 1: about blue devils, the world ending big asses, and who
20:04
Speaker 1: the hell was this Clarisse and what has she done
20:06
Speaker 1: that had him so amped up? Lurch pulled her up
20:10
Speaker 1: to her feet and got down on his knees. He
20:12
Speaker 1: pulled her shirt up, exposing her navel, and pushed his
20:14
Speaker 1: face to a half inch from her stomach skin. He
20:17
Speaker 1: stared into her belly intently and yelled, I.
20:19
Speaker 2: Know you're in there.
20:20
Speaker 1: Your mother. Fuck the roommate. She was frozen in fear.
20:26
Speaker 1: Her pipple chained to the bed, barked madly in the background.
20:30
Speaker 1: Lurch stayed still on his knees and slowly arched his
20:33
Speaker 1: head to his shoulder while continuing to stare into her belly,
20:36
Speaker 1: looking for god knows what. His face screwed itself into
20:39
Speaker 1: a look of amusement and then frustration. Come out of there,
20:43
Speaker 1: come out, Come out of there, come out, fucking come out.
20:52
Speaker 1: When nothing happened, he jumped to his feet and grabbed
20:55
Speaker 1: her by the hair with his large mit He pulled her,
20:57
Speaker 1: kicking and screaming, past the chain and barking pipple, and
21:00
Speaker 1: into the kitchen. He threw her to the floor, where
21:02
Speaker 1: she landed with a violent thud, her head bouncing off
21:05
Speaker 1: of the linoleum. Lurch grabbed the paring knife off of
21:08
Speaker 1: the cutting board in the counter and bounced down on
21:10
Speaker 1: top of his rattled roommate, straddling her in place on
21:12
Speaker 1: her back. She screamed and tried fighting him off, but
21:15
Speaker 1: he was too big a man. He grabbed her neck
21:17
Speaker 1: with his hand and squeezed. Looked again to her stomach
21:20
Speaker 1: and screamed, I know you're in there. Come the fuck out,
21:24
Speaker 1: or I'm coming in. She kicked violently, but it made
21:27
Speaker 1: no difference. Lerchi's hand was now firmly around her throat,
21:30
Speaker 1: cutting off her air supply. He moved the paring knife
21:33
Speaker 1: in his right hand slowly to her stomach and applied pressure.
21:38
Speaker 1: The blade entered with ease. Lurch sliced clockwise slowly. She
21:43
Speaker 1: screamed in horror. Lurch squeezed her throat as hard as
21:47
Speaker 1: he could with one hand, while continuing to move the
21:49
Speaker 1: knife in a large circle around with his other and
21:52
Speaker 1: into his roommate's supple stomach skin. Her body began to
21:56
Speaker 1: go limp beneath him. The kick slowed, and her legs
21:58
Speaker 1: fell flat. Feet twisched a bit, and her screams completely stopped.
22:03
Speaker 1: She was either gone or had passed out. In fear
22:06
Speaker 1: and in shocked lurch, thrust his hand into her gutted
22:09
Speaker 1: belly and felt around for the devil. He then tore
22:13
Speaker 1: into the rest of her torso violently, removing flesh, organs, bones,
22:17
Speaker 1: whatever he could in search of the devil. He feared no,
22:20
Speaker 1: the devil he knew was hiding in her belly and
22:22
Speaker 1: had been sent there to destroy the world. His hunger
22:26
Speaker 1: now raged inside of him. It had been days since
22:28
Speaker 1: he'd eaten anything, and he reached up into her chest
22:31
Speaker 1: cavity in search of her heart, but grabbed a lung instead.
22:34
Speaker 1: He pulled hard, freeing it from his roommates in her
22:37
Speaker 1: chest and mashing it into his mouth. He bit down,
22:41
Speaker 1: devouring bits of the organ with total inhumanity. The piple
22:46
Speaker 1: had stopped barking now it just looked on in horror.
22:51
Speaker 1: Lurch stood up and looked down at the blood, completely
22:54
Speaker 1: covering his hands and arms up to his elbows, and
22:56
Speaker 1: splattered all over his clothes. He stripped with one hand
23:00
Speaker 1: hand while holding tight to his roommates, half eaten lung
23:02
Speaker 1: in his other. The devil, he thought, the devil. If
23:06
Speaker 1: it wasn't in her, then where was it. Scared to
23:09
Speaker 1: death and totally naked, blood on his face, arms and
23:12
Speaker 1: chest and mouth, Big Lurch, all six feet seven inches
23:15
Speaker 1: of him, took off out of his apartment and bounded
23:17
Speaker 1: out to the street. He began frantically walking down Figaro,
23:21
Speaker 1: his head on a swivel, in search of the devil
23:23
Speaker 1: that he was convinced was sent there to destroy the world,
23:27
Speaker 1: a plot that only he knew about and that only
23:29
Speaker 1: he could foil. He moved and fits and starts, peering
23:32
Speaker 1: under cars and around street corners. Onlookers couldn't believe what
23:36
Speaker 1: they were seeing, a blood covered six foot seven madman,
23:39
Speaker 1: shoeing feverishly on something, wandering down the street naked. At
23:42
Speaker 1: two o'clock in the afternoon, when Big Lurch heard the silence,
23:47
Speaker 1: he was relieved, Finally some backup. He thought the officers
23:51
Speaker 1: were only semi shocked, and this was Los Angeles after all.
23:54
Speaker 1: But by the time they embraced Lurch, they began to
23:57
Speaker 1: sense that this wasn't any ordinary arrest. All Lurch could
24:01
Speaker 1: think of was the dog back in the apartment, barking cops,
24:04
Speaker 1: nothing but dogs themselves, Lurch thoughts, so he growled back
24:08
Speaker 1: and began howling. He was cuffed, taken into custody, and jailed.
24:14
Speaker 1: When he awoke behind bars two weeks later, he was
24:16
Speaker 1: informed that he was being held on a murder charge,
24:19
Speaker 1: and that while he'd been jailed, a medical examination had
24:23
Speaker 1: revealed human flesh in his own stomach. Authorities had found
24:27
Speaker 1: bits of his roommates Lung, Big Lurch and Tron Singleton
24:32
Speaker 1: was woken from a two week PCP induced coma to
24:35
Speaker 1: learn that not only was he a murderer, but he
24:38
Speaker 1: was also a cannibal. Big Lurch had no recollection of
24:42
Speaker 1: any of this. His attorney, Milton Grimes, the former Rodney
24:46
Speaker 1: King attorney and also the owner of the record label
24:49
Speaker 1: stress Free Records that was set to release Big Lurch's album,
24:52
Speaker 1: The puppet Master, claimed that his client was innocent. He
24:56
Speaker 1: wasn't a killer, He was a mixed up kid who
24:59
Speaker 1: got caught up and drugs and couldn't possibly be responsible
25:02
Speaker 1: for his behavior. Lurch was of unsound mind and insane
25:07
Speaker 1: in a psychotic state from PCP. The defense fell far
25:11
Speaker 1: short of being effective in court, and Big Lurch was
25:14
Speaker 1: sentenced to two life sentences in New Folsome Prison from
25:17
Speaker 1: murder and aggravated mayhem. After his conviction, Milton Grimes, his attorney,
25:23
Speaker 1: and the owner of his record label, changed the name
25:26
Speaker 1: of Big Lurch's debut album without his permission from the
25:29
Speaker 1: puppet master. It's all bad, opportunistic, exploitative both Either way,
25:37
Speaker 1: he was right the story of Big Lurch, It's All Bad.
25:42
Speaker 1: I'm Jake Brennan and miss this Disgraceland. Disgraceland was created
25:57
Speaker 1: by Yours Truly and is produced in partnership Double Elvis
26:01
Speaker 1: credits for this episode can be found on the show
26:03
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Speaker 1: Rock a Roller. He then