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Bonus Episode: Another Biopic Bites the Dust · DISGRACELAND

• 0:01
  Speaker 1: Hey Discos, need a little more Disgraceland in your life?
• 0:05
  Speaker 1: Just a touch to get you through? Yeah, me too.
• 0:08
  Speaker 1: This is the podcast that comes after the podcast. Welcome
• 0:12
  Speaker 1: to Disgraceland, the after party. Welcome to the Disgraceland bonus episode,
• 0:30
  Speaker 1: a little thing we like to call the after party.
• 0:33
  Speaker 1: This is the show after the show, the party after
• 0:35
  Speaker 1: the party, the bridge to get you from one full
• 0:36
  Speaker 1: episode of Disgraceland to the other, the backyard to dig
• 0:40
  Speaker 1: into the dirt. Our mission, as always, guys, to uncover
• 0:43
  Speaker 1: the truth, to confront the myth, to reclaim the story.
• 0:46
  Speaker 1: And boy, howdy, do we have a subject for that
• 0:48
  Speaker 1: this week for you with our new Queen episode. On
• 0:51
  Speaker 1: this bonus episode, we're going to get into the truth
• 0:54
  Speaker 1: behind the Queen story and what was eventually put up
• 0:57
  Speaker 1: on screen and and Bohemian Rhapsody. We're also going to
• 1:00
  Speaker 1: dig into some of the treatment that the critics gave
• 1:03
  Speaker 1: to Queen, the band, not the biopic, the Bohemian Rhapsody
• 1:06
  Speaker 1: biopic anyways. Plus, we're going to get into your emails, comments, DMs,
• 1:09
  Speaker 1: and as always, a whole lot of Rosie. This is
• 1:12
  Speaker 1: the podcast for the musically obsessed, the outsiders, just like you,
• 1:16
  Speaker 1: the independent thinkers who know that the best history is
• 1:18
  Speaker 1: the history that gets buried. Disgraceland is where I tell
• 1:21
  Speaker 1: the stories you'll end up telling someone else. All right, discos,
• 1:24
  Speaker 1: let's get into it. By 1973, when Queen's first self-titled
• 1:39
  Speaker 1: album was released, a critic from the New Musical Express
• 1:44
  Speaker 1: tore it apart like a wolverine breaking its fast. He
• 1:47
  Speaker 1: compared the group's debut with a quote-unquote bucket of urine.
• 1:52
  Speaker 1: A few years later, in 1975, when Queen released A
• 1:57
  Speaker 1: Night at the Opera, the LP containing what would become
• 2:00
  Speaker 1: Queen's iconic masterpiece, Bohemian Rhapsody, Melody Maker described that track as,
• 2:05
  Speaker 1: Bohemian Rhapsody, as a pastiche of superficial ideas. The Sunday
• 2:11
  Speaker 1: Times questioned the, quote, legitimacy of its audience's hearing. Talking
• 2:17
  Speaker 1: about Queen's audience there. Quantifying the success of Bohemian Rhapsody
• 2:23
  Speaker 1: is unnecessary. But just a massively successful song. You can
• 2:27
  Speaker 1: just look around and see and hear the impact of
• 2:31
  Speaker 1: the song. That's how successful it is. Just open your
• 2:33
  Speaker 1: eyes and your ears. It's been in our culture for
• 2:36
  Speaker 1: the past 50 years. It has been impacting our culture
• 2:39
  Speaker 1: for the past 50 years in movies, on TV, streaming
• 2:43
  Speaker 1: billions of times over. It's been parodied. It's been mimicked.
• 2:46
  Speaker 1: It's been covered. And of course, it is playing right
• 2:50
  Speaker 1: now on a classic rock radio station near you. Now, critics...
• 2:55
  Speaker 1: especially those who came up in the 1970s, will tell
• 2:58
  Speaker 1: you that this doesn't change a thing. To a critic,
• 3:03
  Speaker 1: creative merit cannot be measured by mass appeal. In fact,
• 3:09
  Speaker 1: serious cultural critics will argue that achieving mainstream acceptance only
• 3:13
  Speaker 1: proves that the art in question isn't serious, because commercial
• 3:18
  Speaker 1: success is only rewarded to safe works of art that
• 3:22
  Speaker 1: conform to to what the mainstream audience wants, and that
• 3:26
  Speaker 1: true art, art worthy of critical acclaim, can only be
• 3:31
  Speaker 1: found in risk-taking works that push the medium, in this case,
• 3:36
  Speaker 1: rock and roll, forward. So this, as my mother would say,
• 3:40
  Speaker 1: is a crock of shit. The Beatles, Sgt. Pepper's Lonely
• 3:44
  Speaker 1: Hearts Club Band, Stephen King's Salem's Lot, Steven Spielberg's Jaws,
• 3:49
  Speaker 1: three examples, one an album, one a book, and another
• 3:52
  Speaker 1: a movie that all defy the definition of serious critical
• 3:57
  Speaker 1: merit from serious cultural critics. Sgt. Pepper's abandoned traditional pop
• 4:02
  Speaker 1: single-song format and production for avant-garde orchestral arrangements and instrumentation.
• 4:08
  Speaker 1: And the result was not only a creative masterpiece, but
• 4:11
  Speaker 1: an instant commercial success as well. In Salem's Lot, Stephen
• 4:15
  Speaker 1: King teamed his plot-driven horror with blue-collar character studies. It
• 4:20
  Speaker 1: was a combination nobody asked for, nobody wanted, and nobody
• 4:24
  Speaker 1: saw coming. And initially, the critics relegated his bestseller to downseller,
• 4:28
  Speaker 1: but once it went paperback a few months after its release,
• 4:32
  Speaker 1: they came around. Spielberg's Jaws was an instant cultural phenomenon,
• 4:37
  Speaker 1: a monster movie that didn't fully show the monster until
• 4:41
  Speaker 1: the third act. It was a genius move and a
• 4:45
  Speaker 1: genius movie that no serious critic could deny. None of
• 4:49
  Speaker 1: these works conformed to what mainstream audiences wanted in order
• 4:55
  Speaker 1: to obtain mainstream success. Like Queen's Bohemian Rhapsody, a song
• 5:00
  Speaker 1: that still, to this day, defies explanation, these works were
• 5:05
  Speaker 1: previously unimaginable by anyone but their creators. So why was
• 5:10
  Speaker 1: Queen's work panned and the others weren't? That I can't answer.
• 5:15
  Speaker 1: But I think it has something to do with the
• 5:17
  Speaker 1: fact that most critics aren't writing about the thing they're
• 5:21
  Speaker 1: writing about. They're writing about themselves. It's like when someone
• 5:26
  Speaker 1: you know judges you in person, or someone you don't
• 5:29
  Speaker 1: know online comes at you in a comment. The critique
• 5:32
  Speaker 1: is almost never about you. It's about them. And that's
• 5:37
  Speaker 1: what music and cultural criticism is all about. It's about
• 5:41
  Speaker 1: the self-important critic. The writer from Rolling Stone magazine who
• 5:47
  Speaker 1: called Led Zeppelin weak. the writer from Cream magazine who
• 5:51
  Speaker 1: said the Stones' Exile was the worst studio album they'd made,
• 5:55
  Speaker 1: or the writer from NME who compared Queen's debut to
• 5:57
  Speaker 1: a bucket of urine. You'll notice I didn't mention these
• 6:01
  Speaker 1: critics by name because, well, why give them the satisfaction?
• 6:04
  Speaker 1: Most have been forgotten, yet the music lives on. Queen,
• 6:09
  Speaker 1: the Rolling Stones, Led Zeppelin, Steven Spielberg, Stephen King, the Beatles,
• 6:13
  Speaker 1: pick your example. These artists risked failure and by not
• 6:17
  Speaker 1: only creating something previously unforeseen, but they dragged the culture
• 6:21
  Speaker 1: along with them when they did it. It's one thing
• 6:24
  Speaker 1: for an artist to hide behind the novelty of their
• 6:26
  Speaker 1: creation and claim that the world just isn't ready for them.
• 6:29
  Speaker 1: And it's quite another thing for an artist to take
• 6:32
  Speaker 1: something equally novel and execute it so brilliantly that it
• 6:36
  Speaker 1: cannot be ignored. This is the difference between great artists
• 6:41
  Speaker 1: and good artists. And the critics would know that if
• 6:44
  Speaker 1: they weren't so busy exercising their own creative failures in
• 6:47
  Speaker 1: the prose of their reviews. Now, I'm going to put
• 6:50
  Speaker 1: my critic's hat on and completely contradict myself. Not really,
• 6:54
  Speaker 1: but some might think so. The Queen biopic, Bohemian Rhapsody,
• 6:58
  Speaker 1: is bad. That's my one-word review. I'm going to let
• 7:02
  Speaker 1: this week's Disgraceland episode do the talking for me on
• 7:05
  Speaker 1: this one. Listen to that episode if you haven't already,
• 7:07
  Speaker 1: and you will understand my opinion, my review, my one-word
• 7:10
  Speaker 1: review a little more fully. I gave it a one-word
• 7:13
  Speaker 1: review because I'm not making it about me, okay? That's
• 7:15
  Speaker 1: the point I'm trying to make. We talk about music
• 7:18
  Speaker 1: biopics a lot here, and you know the ones that
• 7:20
  Speaker 1: I like and dislike by now, but there's a ton
• 7:22
  Speaker 1: of great non-music biopics that are worth discussing as well
• 7:25
  Speaker 1: and recommending to you guys. And Zeth and I are
• 7:27
  Speaker 1: going to be digging into them in the exclusive section
• 7:29
  Speaker 1: of this afterparty at the end of the bonus episode
• 7:31
  Speaker 1: for our All Access members. Go to disgracehandpod.com to sign
• 7:34
  Speaker 1: up to become an All Access member if you're not
• 7:36
  Speaker 1: one already. And you can unlock exclusive content like this
• 7:40
  Speaker 1: plus ad-free listening. On this week's Queen episode, our full episode,
• 7:45
  Speaker 1: we get into the following, okay? No studio on earth
• 7:48
  Speaker 1: would have greenlit the real story of Bohemian Rhapsody. Some
• 7:52
  Speaker 1: people might think they know the Queen story because they
• 7:54
  Speaker 1: saw the movie, but the movie didn't want to show
• 7:57
  Speaker 1: you this other side of Queen, all right? Halloween 1978,
• 8:02
  Speaker 1: Queen's having a party to celebrate their new album, Jazz.
• 8:06
  Speaker 1: You show up, a greeter meets you at the door,
• 8:08
  Speaker 1: and the first thing you're offered is oral sex. Your choice,
• 8:12
  Speaker 1: man or woman, Queen has got you covered. But this
• 8:14
  Speaker 1: isn't all Queen is offering their guests on this night
• 8:17
  Speaker 1: at their party. This is the Fairmont Hotel, by the way,
• 8:19
  Speaker 1: in New Orleans. Inside, naked women are spread across banquet tables,
• 8:23
  Speaker 1: smoking cigarettes somehow from their vaginas. Don't ask me how,
• 8:26
  Speaker 1: I don't know. But there's more. There's little people walking
• 8:28
  Speaker 1: around the room with silver trays of cocaine strapped to
• 8:31
  Speaker 1: their heads. There are strippers dressed as nuns and dancing
• 8:35
  Speaker 1: in bamboo cages. Fire eaters are swallowing flames while performers
• 8:39
  Speaker 1: bite the heads off live chickens. I don't know if
• 8:41
  Speaker 1: Ozzy was there or if this is where Ozzy got
• 8:43
  Speaker 1: it from, but this was going on. There's also minstrels
• 8:46
  Speaker 1: in blackface because strippers dressed as nuns just wasn't offensive enough.
• 8:49
  Speaker 1: There's lobster, oysters, caviar, Cristal by the bottle. The final
• 8:53
  Speaker 1: bill is 200,000 pounds, over a million dollars today. And
• 8:56
  Speaker 1: to Freddie Mercury and to Queen, this was pretty much
• 9:00
  Speaker 1: just a fucking Tuesday, all right? This is the real
• 9:03
  Speaker 1: story of Queen. Bohemian Rhapsody, the biopic. It may have
• 9:08
  Speaker 1: given you the songs, but it did not give you
• 9:11
  Speaker 1: the story. Now that's just a taste of the Queen episode.
• 9:15
  Speaker 1: Our most recent new full episode that we released this week.
• 9:18
  Speaker 1: Go check that out. Now coming up next in the feed,
• 9:21
  Speaker 1: right after this bonus episode, we're rewinding to our Blink-182
• 9:26
  Speaker 1: Tom DeLonge story. Now in 2015, Tom DeLonge quit Blink-182,
• 9:31
  Speaker 1: one of the planet's biggest rock bands, to go and
• 9:34
  Speaker 1: chase UFOs. But before he quit, back in 2014, Tom
• 9:39
  Speaker 1: took a trip out to the desert, out to Area
• 9:41
  Speaker 1: 51 in the middle of the night. Tom woke up
• 9:44
  Speaker 1: in his tent because he heard voices outside, too many
• 9:46
  Speaker 1: voices to count. They woke him up and these voices,
• 9:49
  Speaker 1: they were not human. These sounds were unearthly, but still
• 9:54
  Speaker 1: they were strangely familiar, murmuring, whispering, freaking Tom out. Now,
• 9:59
  Speaker 1: whatever Tom's heard out in the desert on that night
• 10:02
  Speaker 1: in 2014, it was enough to compel him to quit
• 10:06
  Speaker 1: Blink-182 and dedicate his life to learning more and compelling
• 10:10
  Speaker 1: those in power to share what they had already learned
• 10:13
  Speaker 1: with the American public about those voices, about extra and
• 10:18
  Speaker 1: ultra-terrestrials about UFOs and UAPs. Tom DeLonge was mocked mercilessly
• 10:25
  Speaker 1: by an incurious press with headlines like, Blink-182's Tom DeLonge
• 10:29
  Speaker 1: describes alien counter, says authorities tapped his phone. Tom DeLonge
• 10:33
  Speaker 1: just proved he's gone completely insane during alien rant. I'm
• 10:37
  Speaker 1: not going to say Tom DeLonge is batshit crazy, but
• 10:40
  Speaker 1: Tom DeLonge ignored these stupid headlines and he used a
• 10:44
  Speaker 1: mix of his Celebrity and skills at politicking to set
• 10:48
  Speaker 1: a meeting with a bunch of government aerospace contractors. The
• 10:51
  Speaker 1: stakes of this meeting could not have been higher. There
• 10:53
  Speaker 1: were four layers of security, armed guards, white noise pumping
• 10:56
  Speaker 1: in through the speakers to scramble any listening devices inside
• 10:59
  Speaker 1: the dark windowless room where they were meeting. One of
• 11:02
  Speaker 1: the contractors told Tom he was a fucking lunatic, a
• 11:04
  Speaker 1: conspiracy theorist that was wasting his time, and he got
• 11:07
  Speaker 1: up and left the room. Other contractors followed, all but one,
• 11:11
  Speaker 1: all but the lead contractor who listened to more of
• 11:13
  Speaker 1: Tom's pitch. When Tom finished, the government contractor, to Tom's amazement,
• 11:19
  Speaker 1: agreed that slow disclosure of the UFO phenomenon via culture,
• 11:24
  Speaker 1: via a rock star like him, rather than exclusively through
• 11:29
  Speaker 1: the incurious traditional media, could perhaps responsibly bring the public
• 11:33
  Speaker 1: around to the mind-bending notion that, yes, aliens are real.
• 11:39
  Speaker 1: Tom was right. Now, if you want to know exactly
• 11:43
  Speaker 1: how Tom DeLonge proved that he was right... and the
• 11:45
  Speaker 1: road that Blink-182 took to put Tom DeLonge in position
• 11:48
  Speaker 1: to make the moves he eventually made around the topic
• 11:51
  Speaker 1: of UFO and UAP disclosure, be sure to check out
• 11:54
  Speaker 1: this episode. Finally, next week, our next new episode is
• 11:59
  Speaker 1: on the one and the only, the extremely talented and
• 12:03
  Speaker 1: extremely unlikable, by my estimation anyway, David Crosby. Now, did
• 12:09
  Speaker 1: you know David Crosby carried a loaded gun everywhere he went?
• 12:11
  Speaker 1: Doesn't feel like he's the type of guy who would
• 12:13
  Speaker 1: do that, but he did. And when cops asked why,
• 12:16
  Speaker 1: he gave them two words, John Lennon. It was five
• 12:20
  Speaker 1: years after Lennon was gunned down in the street, and
• 12:22
  Speaker 1: David Crosby wasn't wrong to be scared. But he also
• 12:26
  Speaker 1: wasn't just scared, he was paranoid. And that kind of
• 12:29
  Speaker 1: paranoia was just what David Crosby was showing on the surface.
• 12:32
  Speaker 1: Underneath was one of the gnarliest freebase addictions you'll ever
• 12:37
  Speaker 1: hear about. A home invasion, a gunshot to the face,
• 12:40
  Speaker 1: a getaway plane that turned the softest voice in rock
• 12:43
  Speaker 1: and roll into an actual FBI fugitive who was arrested
• 12:47
  Speaker 1: just down the road from where I'm sitting right now.
• 12:50
  Speaker 1: All right, that's the David Crosby episode. When you're listening
• 12:53
  Speaker 1: to this episode, be thinking about Crosby, be thinking about
• 12:57
  Speaker 1: his bands, be thinking about the Byrds. Laurel Canyon in
• 13:01
  Speaker 1: the 60s and 70s. How three guys from three broken
• 13:05
  Speaker 1: up bands turned themselves into one of the greatest supergroups
• 13:09
  Speaker 1: of all time, Crosby, Stills, Nash, and Young. And let
• 13:12
  Speaker 1: us know what's your favorite supergroup. Okay, it doesn't have
• 13:15
  Speaker 1: to be a group that was actually massive like, you know,
• 13:19
  Speaker 1: Van Hagar or whatever. It can be, we can go
• 13:23
  Speaker 1: indie here. When I say supergroup, I'm just talking more
• 13:26
  Speaker 1: about super musicians coming together, joining forces. more so than
• 13:31
  Speaker 1: I am sort of super popularity like Crosby, Stills, Nash,
• 13:34
  Speaker 1: and Young. The coming together of it all is what
• 13:36
  Speaker 1: I'm interested. Give me a call. Let me know your
• 13:38
  Speaker 1: favorite super groups. You might hear yourself in next week's
• 13:41
  Speaker 1: after party, 617-906-6638, voicemail and text at disgracelandpod on the socials,
• 13:47
  Speaker 1: disgracelandpod at gmail.com for email. I'll be back right after
• 13:52
  Speaker 1: this with your answers to last week's question of the week,
• 13:54
  Speaker 1: your voicemails, your texts, DMs, emails, and more. All right,
• 14:11
  Speaker 1: I'm back in the phone booth. The one across the hall.
• 14:15
  Speaker 1: My coffee's getting cold. I don't know how that's possible.
• 14:17
  Speaker 1: I just made this thing. Not hot enough. The older
• 14:26
  Speaker 1: I get, the hotter I like my coffee. What's that
• 14:27
  Speaker 1: all about? I feel like that's very David Lynchian. Anyhow,
• 14:33
  Speaker 1: we got a show to do. Why am I blabbing
• 14:34
  Speaker 1: about coffee? Okay, 617-906-6638. Last week's question of the week
• 14:41
  Speaker 1: relative to our episode on Queen. We wanted to know
• 14:46
  Speaker 1: who you think the real Freddie Mercury was and what
• 14:50
  Speaker 1: the best biopic and what the best music biopic is.
• 14:54
  Speaker 1: Let's go to Junior in the 714. Hey, Jake, this.
• 14:59
  Speaker 2: Is Junior, 714. Appreciate what you're doing. Like always, one
• 15:04
  Speaker 2: of my favorite biopics, Control by Ian Curtis from Joy Division.
• 15:09
  Speaker 2: We don't know much about Ian Curtis's life, only what
• 15:12
  Speaker 2: we hear from the guys from New Order and his
• 15:16
  Speaker 2: wife and books and biographies.
• 15:19
  Speaker 3: But the movie was done in black and white because
• 15:23
  Speaker 3: the director says you don't get a lot of color
• 15:25
  Speaker 3: photos of Ian Curtis. Secondly, at the suicide scene, unfortunately,
• 15:31
  Speaker 3: the idiot was playing on his turntable in the movie,
• 15:35
  Speaker 3: which is documented here.
• 15:38
  Speaker 2: And he loved that album. But other than that, the
• 15:41
  Speaker 2: movie was beautiful. It was believable. And it was fast. Jake,
• 15:47
  Speaker 2: take it easy. Good talking to you.
• 15:49
  Speaker 1: Peace.
• 15:51
  Speaker 2: Keep doing what you're doing.
• 15:53
  Speaker 1: Rock and roll up. 714 Junior. Thanks, man. It's a
• 15:57
  Speaker 1: dark one. And I haven't seen it, even though we've
• 16:01
  Speaker 1: produced an episode on Joy Division and New Order. I
• 16:05
  Speaker 1: have not seen this. It's dark. There's a real darkness there.
• 16:11
  Speaker 1: I haven't quite given myself over to Ian Curtis because,
• 16:15
  Speaker 1: I don't know, man, not in the headspace. And I
• 16:19
  Speaker 1: kind of missed it when it was happening. I was
• 16:20
  Speaker 1: a little too young, but I understand the greatness. And
• 16:24
  Speaker 1: I'm sure I've heard a lot of people, a lot
• 16:25
  Speaker 1: of people just outside of Disgraceland, just friends of mine,
• 16:28
  Speaker 1: people I know in the world love this film. And
• 16:32
  Speaker 1: I don't doubt that what you're saying is spot on, Junior.
• 16:35
  Speaker 1: Thanks for getting in touch. This one from the 731.
• 16:38
  Speaker 2: To me, the best biopic of an artist would have
• 16:44
  Speaker 2: to be The Doors.
• 16:46
  Speaker 1: Jim Morrison. Thanks.
• 16:50
  Speaker 2: 731.
• 16:50
  Speaker 1: I love Oliver Stone's The Doors. People rag on it.
• 16:55
  Speaker 1: They drag it. And I kind of get it. It
• 16:59
  Speaker 1: is sensationalized filmmaking. but it's kind of the best version
• 17:03
  Speaker 1: of that. And it kind of broke the mold in
• 17:05
  Speaker 1: a lot of ways. It really, really took the biopic,
• 17:07
  Speaker 1: the music biopic, Hollywood, uh, took it to Hollywood in
• 17:10
  Speaker 1: a way that hadn't been done prior to that. I
• 17:13
  Speaker 1: don't think there's great biopics beforehand, but sort of don't
• 17:17
  Speaker 1: have the spectacle that the doors has. I heard a
• 17:21
  Speaker 1: great thing about Val Kilmer when he died, you know,
• 17:24
  Speaker 1: just happened with Dolly Parton where folks pass away and
• 17:28
  Speaker 1: people jump online and start sharing stories. And it was somebody, um,
• 17:31
  Speaker 1: I think it was Meg Ryan. I could be wrong.
• 17:33
  Speaker 1: It was somebody who was ultimately cast in The Doors,
• 17:35
  Speaker 1: I believe. And they're at casting and they're all kind
• 17:38
  Speaker 1: of like, you know, it's like typically, you know, what
• 17:40
  Speaker 1: you'd think of. They're all, you know, waiting in a hallway,
• 17:42
  Speaker 1: sitting next to each other to go in and audition.
• 17:45
  Speaker 1: And they're all just kind of in their street clothes,
• 17:47
  Speaker 1: all the actors, not Val Kilmer. He rolled up in
• 17:52
  Speaker 1: a 1960s Mustang, just like Jim Morrison drove, like in
• 17:55
  Speaker 1: full Morrison style. like leather pants, shirtless, the whole thing.
• 17:59
  Speaker 1: I think he had a bottle with him and he
• 18:01
  Speaker 1: fucking stumbles. He's just fully in character for the audition.
• 18:05
  Speaker 1: And of course he nailed it. And he was great.
• 18:08
  Speaker 1: He was amazing. Amazing.
• 18:10
  Speaker 2: 617-906-6638.
• 18:10
  Speaker 1: You guys want to be part of the conversation, hit
• 18:13
  Speaker 1: us up. Jason in the 416 comes at us with this.
• 18:17
  Speaker 1: Running through my woes in the 416. Great episode on
• 18:21
  Speaker 1: Freddie Mercury. Obviously, I grew up loving their music. I
• 18:25
  Speaker 1: still keep my Moet et Chandon in a pretty cabinet.
• 18:29
  Speaker 1: The movie Bohemian Rhapsody is another story, but I ask you,
• 18:34
  Speaker 1: which movie is the biggest perversion of music history, Bohemian
• 18:37
  Speaker 1: Rhapsody or Amadeus? I can't answer this question, Jason, and
• 18:40
  Speaker 1: I'm embarrassed by it because I love Amadeus, but I
• 18:44
  Speaker 1: do not know the history of Mozart well enough to comment.
• 18:49
  Speaker 1: So Jason, I'm asking you, write us back, text us back,
• 18:55
  Speaker 1: And we will get into it here. Okay. Tell me
• 18:58
  Speaker 1: what they got wrong. Tell me what the perversion was.
• 19:01
  Speaker 1: I want to rewatch it. I love the movie. I really,
• 19:03
  Speaker 1: really do. I think it's great. Appreciate it. 416 Jason.
• 19:07
  Speaker 1: 808 Texan. I'm going to go out of the box here,
• 19:10
  Speaker 1: but as far as accurate biopics, I'd say Almost Famous.
• 19:15
  Speaker 1: Although the characters are fictional, it's pretty accurate to a
• 19:17
  Speaker 1: Cameron Crowe experience. So The one that's 100% accurate is
• 19:22
  Speaker 1: Spinal Tap 1 plus 2. For those who don't know,
• 19:25
  Speaker 1: let's not ruin the twist. Okay, we will not. The
• 19:28
  Speaker 1: Cameron Crowe thing, I haven't read his book, so I
• 19:30
  Speaker 1: can't fully comment. I'm supposed to make a comment about
• 19:34
  Speaker 1: the sentimentality in Almost Famous. Usually when you say that,
• 19:38
  Speaker 1: it means you're being negative and I'm not. I love
• 19:39
  Speaker 1: that movie. But it makes you think that maybe it's
• 19:45
  Speaker 1: not that accurate. But I haven't read the book. It
• 19:47
  Speaker 1: sounds like you have. So I'm going to go with. you.
• 19:50
  Speaker 1: I like it. Thank you. Appreciate this. We got to
• 19:54
  Speaker 1: cover Almost Famous in, this film should be played loud.
• 19:59
  Speaker 1: Eventually we'll do that. Hey, Jake. Bex from the 410.
• 20:03
  Speaker 1: Just listened to the Allman Brothers episode. Great info. Funny coincidence.
• 20:07
  Speaker 1: I was listening to the episode while grocery shopping and
• 20:09
  Speaker 1: turn back time started playing after you mentioned Cher. Sometimes
• 20:12
  Speaker 1: things just come together like that. Can't say enough how
• 20:15
  Speaker 1: much I've been enjoying the show. Thanks. You got it, Bex. 617-906-6638.
• 20:19
  Speaker 1: Y'all want to hit us up about biopics, about David Crosby,
• 20:25
  Speaker 1: about supergroups. Let's get into the supergroups conversation. I want
• 20:30
  Speaker 1: like a sub-genre supergroups, punk rock scene supergroups, hardcore, hip hop.
• 20:38
  Speaker 1: What do you got? Hit me. Don't say Wu-Tang. They
• 20:41
  Speaker 1: were a group that became a supergroup. That's an interesting topic, however, though.
• 20:45
  Speaker 1: Kind of like Fleetwood Mac. All right, listen. Bohemian Rhapsody,
• 20:49
  Speaker 1: massive undertaking. Freddie Mercury's nearly six-minute song consists of five
• 20:54
  Speaker 1: distinct parts, including an operatic middle section, of course, required
• 20:59
  Speaker 1: hundreds of vocal and instrumental overdubs, It was funny, it
• 21:02
  Speaker 1: was sad, it was exhilarating. But executives from EMI Records
• 21:06
  Speaker 1: in the UK and Elektra Records in the US demanded
• 21:09
  Speaker 1: that it be edited for radio. So you know what happened?
• 21:12
  Speaker 1: Freddie Mercury slipped a copy of the song to London
• 21:14
  Speaker 1: DJ Kenny Everett, who played it something like 14 times
• 21:17
  Speaker 1: over the course of a couple of days. And then listeners,
• 21:20
  Speaker 1: they decided, they loved it. They demanded that the radio
• 21:23
  Speaker 1: stations keep playing it. They forced the record label's hands down.
• 21:27
  Speaker 1: So on Halloween in 1975, Bohemian Rhapsody was released as
• 21:31
  Speaker 1: a single at its intended length, five minutes and 55 seconds.
• 21:35
  Speaker 1: And one month later, it became a number one hit
• 21:38
  Speaker 1: on the UK chart. How's that? There you go. A
• 21:41
  Speaker 1: little history there for Bohemian Rhapsody from our Queen episode
• 21:44
  Speaker 1: this week. I'll be back in a flash with your emails.
• 22:00
  Speaker 1: All right, guys, we are rounding the corner, heading into
• 22:02
  Speaker 1: the home stretch here in the after party, into the
• 22:06
  Speaker 1: third act, so to speak. I cannot let you guys go, though,
• 22:10
  Speaker 1: without getting into some of these emails. Jessica writes in, hey,
• 22:14
  Speaker 1: it's your friendly massage therapist friend. Queen is one of
• 22:17
  Speaker 1: my all-time favorite bands, and I loved this episode. I
• 22:20
  Speaker 1: loved how true you were to Freddie's life and personality.
• 22:23
  Speaker 1: I was saying almost exactly what you were saying as
• 22:25
  Speaker 1: this episode unfolded. I discovered Queen when I was about 13,
• 22:29
  Speaker 1: and I became obsessed and had to know everything I
• 22:31
  Speaker 1: could about Freddie, and now I only date guys who
• 22:33
  Speaker 1: look similar. Wow. You know what you like, Jessica. There
• 22:38
  Speaker 1: you go. Thanks for the message. Stoked you liked the episode.
• 22:42
  Speaker 1: Got a couple comments on Instagram. This one from Michael.
• 22:46
  Speaker 1: Great episode. Any chance for an Elton John one coming soon?
• 22:52
  Speaker 2: Maybe.
• 22:52
  Speaker 1: I don't know. That one's complicated for reasons I don't
• 22:55
  Speaker 1: want to go into. Pete writes in, hey, the Freddie, Kenny,
• 22:59
  Speaker 1: and Di story was filmed for a British show called
• 23:03
  Speaker 1: Urban Myths, which you can find on YouTube. And there's
• 23:06
  Speaker 1: another story from Brian May that while recording the show
• 23:09
  Speaker 1: must go on, Freddie was in a bad way. And
• 23:11
  Speaker 1: I said, Fred, I don't know if this is going
• 23:13
  Speaker 1: to be possible to sing. And he went, I'll fucking
• 23:15
  Speaker 1: do it, darling. Vodk it down and went in and
• 23:17
  Speaker 1: killed it. Completely lacerated his vocals. That's how the movie
• 23:22
  Speaker 1: should have ended. There you go. All right. That's from,
• 23:25
  Speaker 1: who's that from? Pete. Tim writes in, I'm going to
• 23:27
  Speaker 1: say that the Liberace biopic is definitely the most accurate.
• 23:30
  Speaker 1: Matt Damon definitely likes, okay. Okay. All right. Tim, Tim, Tim, Tim, Tim.
• 23:42
  Speaker 1: All right, so I was talking about Salem's Lot earlier.
• 23:45
  Speaker 1: This one comes from Delbert Brown, I think because I
• 23:48
  Speaker 1: mentioned Salem's Lot with Zeth in the Hollywoodland episode we
• 23:51
  Speaker 1: did this week in the Rap Party. Delbert writes, and man,
• 23:54
  Speaker 1: Salem's Lot was the first time as a terrified 10-year-old
• 23:58
  Speaker 1: that I could not sleep until I turned the last
• 24:00
  Speaker 1: page and made sure that Barlow wasn't under my bed.
• 24:04
  Speaker 1: Definitely a classic. My personal favorite, though, is Duma Key.
• 24:09
  Speaker 1: There's something so unsettling, yet sad and hopeful. I couldn't
• 24:12
  Speaker 1: put that one down either. Would definitely check it out.
• 24:15
  Speaker 1: And as a Bostonian, you, not me, the girl who
• 24:18
  Speaker 1: loved Tom Gordon is required while some of the survival
• 24:20
  Speaker 1: tropes were thin. The fact that her love for a
• 24:23
  Speaker 1: Red Sox fan keeps it going. The Mr. Mercedes trilogy
• 24:26
  Speaker 1: is fantastic. Honestly, the Brendan Gleeson TV adaptation isn't too
• 24:30
  Speaker 1: shabby either. It's good stuff. Hearts in Atlantis, A Sleeper 2. Okay,
• 24:34
  Speaker 1: I'm going to go through this. Salem's Lot. I don't
• 24:36
  Speaker 1: remember it being this good. I really don't. I don't
• 24:39
  Speaker 1: remember Stephen King being this good. And I say this
• 24:41
  Speaker 1: as a Stephen King fan. I love Stephen King. I've
• 24:44
  Speaker 1: read many of his books, many of his classic books,
• 24:47
  Speaker 1: some of the new ones. I read Mr. Mercedes. I
• 24:50
  Speaker 1: don't remember it being a trilogy though, so maybe I
• 24:52
  Speaker 1: only read one of the books. I read The Girl
• 24:54
  Speaker 1: Who Loved Tom Gordon a long, long time ago. And
• 24:57
  Speaker 1: I've read a bunch of the classics, The Shining, etc.,
• 25:02
  Speaker 1: I think there's even a sequel to The Shining. I
• 25:03
  Speaker 1: think I read that. I don't remember it being this good.
• 25:06
  Speaker 1: I don't remember. I've always thought he was great. Don't
• 25:09
  Speaker 1: get me wrong. But Salem's Lot is exceptionally good. And
• 25:16
  Speaker 1: I did start, I tried reading a new Stephen King
• 25:19
  Speaker 1: book recently and I got two chapters in and I
• 25:22
  Speaker 1: put it down. I just, it just all felt very,
• 25:26
  Speaker 1: it felt kind of tired to me, felt very rote.
• 25:28
  Speaker 1: It felt not like Stephen King. So what I'm going
• 25:33
  Speaker 1: to do actually after I finish Salem's Lot, Halloween's coming, St.
• 25:37
  Speaker 1: Michael's Lent as well. I'm going to read The Exorcist again.
• 25:41
  Speaker 1: I'm going to reread it because I want to compare
• 25:44
  Speaker 1: that to Salem's Lot. And then I'm going to go
• 25:47
  Speaker 1: and I'm going to read Carrie after that because I
• 25:49
  Speaker 1: have not read Carrie yet. I read Cujo. I read
• 25:54
  Speaker 1: Pet Sematary, Shining, like I said, different seasons. I'm going
• 25:59
  Speaker 1: to see if like Salem's Lot. So Carrie was number one,
• 26:01
  Speaker 1: Salem's Lot was number two in Stephen King's releases. And
• 26:05
  Speaker 1: I just want to see if like it was all
• 26:08
  Speaker 1: heat in the beginning, all fastballs. Or if Salem's Lot
• 26:12
  Speaker 1: is an outlier, if it's just really the real exceptional one.
• 26:17
  Speaker 1: I'm interested. Fascinated by this all of a sudden. Thanks
• 26:21
  Speaker 1: for indulging me. And Delbert, thank you for your email.
• 26:24
  Speaker 1: I mentioned Hollywoodland. We have our first Hollywoodland episode that
• 26:28
  Speaker 1: we ever Or second, actually. Marilyn Monroe was one. Our
• 26:30
  Speaker 1: second was this one, Fatty Arbuckle. That's available for you.
• 26:34
  Speaker 1: You want to check that out over there. We got
• 26:36
  Speaker 1: into a great kind of weird conversation, Zeth and I,
• 26:39
  Speaker 1: in the wrap party. Did some recommendations on fantasy and
• 26:44
  Speaker 1: scandal content. Songs about fantasy and movies about scandals, obviously,
• 26:50
  Speaker 1: relative to Roscoe, Fatty Arbuckle. Get over to the Hollywoodland
• 26:55
  Speaker 1: feed and subscribe to Hollywoodland if you're not already on
• 26:58
  Speaker 1: Apple Podcasts, iHeartRadio app, or wherever you get your podcasts.
• 27:02
  Speaker 1: Filming a new, I got all this new equipment here
• 27:04
  Speaker 1: on my desk. I got to put this together tomorrow
• 27:07
  Speaker 1: because Zeth and I are kind of up in the
• 27:10
  Speaker 1: production a little bit for this film. Should be played loud.
• 27:12
  Speaker 1: We're filming a new one next week on Gross Point Blank.
• 27:18
  Speaker 1: Fantastic movie with an excellent soundtrack. If you're not watching
• 27:23
  Speaker 1: our video podcast, this film should be played loud and
• 27:26
  Speaker 1: get over to Patreon and sign up to become an
• 27:28
  Speaker 1: all access member so that you don't miss the greatest
• 27:31
  Speaker 1: podcast ever about movies and music, the movies you love
• 27:36
  Speaker 1: and the music in them that you love. Okay. It's just,
• 27:38
  Speaker 1: it's the only movies and music podcast that matters. Joe
• 27:43
  Speaker 1: Stormer said that you can look it up. It's true.
• 27:45
  Speaker 1: That's this film should be played loud. You know what
• 27:48
  Speaker 1: you also get if you're an All Access member? You
• 27:50
  Speaker 1: get this conversation coming up right now with Zeth and
• 27:52
  Speaker 1: I about biopics that are not about musicians but are fantastic.
• 27:57
  Speaker 1: That's coming up right now. If you're not an All
• 27:59
  Speaker 1: Access member, go to disgracelandpod.com to sign up and become one.
• 28:02
  Speaker 1: We'll be back right after this. All right, we are
• 28:18
  Speaker 1: back and ready to split. But before we do, get
• 28:21
  Speaker 1: into that archive of nearly 300 episodes of Disgraceland. New listeners, 300, nearly,
• 28:27
  Speaker 1: nearly 300 episodes of Disgraceland on artists from every genre,
• 28:32
  Speaker 1: pretty much. And I don't know, you get a favorite
• 28:36
  Speaker 1: artist and you're like, damn, why hasn't Disgraceland covered Jeff Buckley? Well,
• 28:39
  Speaker 1: we have, and you can go find that in our archive.
• 28:42
  Speaker 1: Why hasn't Disgraceland covered Lil Peep. Well, we have, and
• 28:46
  Speaker 1: you can go find that in our archive. Why hasn't
• 28:48
  Speaker 1: Disgraceland covered Gigi Allen? There's a Gigi Allen biopic coming out.
• 28:52
  Speaker 1: Why hasn't that been covered? Well, we did. We did
• 28:55
  Speaker 1: cover Gigi Allen back in, I believe, season one. Matt
• 28:58
  Speaker 1: will put the episode information in the show notes section
• 29:01
  Speaker 1: of this here bonus episode to make it easy to
• 29:03
  Speaker 1: navigate to those stories. Hit me up directly at DisgracelandPod, 617-906-6638,
• 29:09
  Speaker 1: voicemail and text DisgracelandPod at gmail.com. If you have an
• 29:14
  Speaker 1: episode you're curious about, an artist you're curious about, you
• 29:17
  Speaker 1: want to know if we covered them or not, or
• 29:18
  Speaker 1: if you think you have an artist that would make
• 29:20
  Speaker 1: for a great episode of Disgraceland, let us know. I
• 29:24
  Speaker 1: got to get out of here. Number one, this week,
• 29:26
  Speaker 1: our new episode on Queen is available for you right now.
• 29:28
  Speaker 1: Number two, in the rewind slot this weekend, our classic
• 29:31
  Speaker 1: episode on Tom DeLonge in Blink-182. Number three, next week,
• 29:34
  Speaker 1: our next new episode, that's on David Crosby. Numero cuatro,
• 29:38
  Speaker 1: Zeth is giving you those Hollywood and crime vibes in Hollywoodland,
• 29:40
  Speaker 1: so make sure you're subscribed. I'm going to give you
• 29:43
  Speaker 1: my music recommendations in the rap party over in the
• 29:45
  Speaker 1: Hollywoodland feed every week. Make sure you're subscribed to Hollywoodland
• 29:49
  Speaker 1: on Apple Podcasts or Spotify or the iHeartRadio app or
• 29:53
  Speaker 1: wherever you get your podcasts. Someone just walked into my house.
• 29:55
  Speaker 1: I can hear him blabbing over there. Number five, This
• 29:57
  Speaker 1: film should be played loud. Our video podcast episode on
• 30:01
  Speaker 1: licorice pizza is available for you right now. Our next
• 30:04
  Speaker 1: episode on gross point blank is coming September 23rd. Go
• 30:07
  Speaker 1: to disgracelandpod.com. Sign up to become an all access member.
• 30:10
  Speaker 1: I can lower my voice now. They stopped talking. Number six, 617-906-6638.
• 30:16
  Speaker 1: Your voice keeps us digging into the dark corners of
• 30:18
  Speaker 1: music history. So keep calling, texting with your answers to
• 30:20
  Speaker 1: this week's question of the week or with whatever else
• 30:22
  Speaker 1: you want to talk about. Number seven, don't forget discos.
• 30:25
  Speaker 1: This isn't just content. It's a community, a community of
• 30:27
  Speaker 1: the obsessed. And no one cares about music, books, records,
• 30:30
  Speaker 1: and the crime and grime that ties them all together
• 30:32
  Speaker 1: like you do. And well, that's a disgrace. All right.
• 30:35
  Speaker 1: Back on November 2nd, 2018, Bohemian Rhapsody, the biopic, was released.
• 30:41
  Speaker 1: And this is what America was listening to on that day,
• 30:44
  Speaker 1: according to the Billboard charts. Number one, thank you. Next,
• 30:49
  Speaker 1: Ariana Grande. Last week, not applicable. Weeks on chart, one.
• 30:54
  Speaker 1: Peak position, one. Number two, Girls Like You, Maroon 5,
• 30:59
  Speaker 1: featuring Cardi B. Last week, one. Peak position, one. Weeks
• 31:05
  Speaker 1: on Charge, 24. Number three, Sicko Mode, Travis Scott. Last
• 31:10
  Speaker 1: week's on two. Peak position, two. Weeks on Charge, 14.
• 31:16
  Speaker 1: Number four, Happy. Marshmallow and Biscuit. Last week's on six.
• 31:21
  Speaker 1: Peak position, three. Weeks on Charge, 12. Number five, Lucid Dreams.
• 31:26
  Speaker 1: Last week's on four. Quit talking and start mixing.