Latest / DISGRACELAND / Bonus Episode: Rap-Metal Schlock, A DAT Dilemma, and It's All Folk Music

Transcript

Bonus Episode: Rap-Metal Schlock, A DAT Dilemma, and It's All Folk Music · DISGRACELAND

• 0:00
  Speaker 1: Hey discos, you can listen to an extended version of
• 0:02
  Speaker 1: this after Party episode by becoming a member of Disgraceland
• 0:06
  Speaker 1: All Access. Just go to disgracelampod dot com slash membership
• 0:11
  Speaker 1: for more details and to sign up. Hey guys, welcome
• 0:14
  Speaker 1: to the Disgracelam podcast, which is brought to you by
• 0:16
  Speaker 1: Double Elvis. This week, we have a brand new episode
• 0:20
  Speaker 1: on Public Enemy in the Disgraceland feed, and for our
• 0:23
  Speaker 1: All Access members and our Patreon and Apple subscription feeds,
• 0:27
  Speaker 1: We've got a brand new episode today on baskyad, So
• 0:30
  Speaker 1: be sure to make sure you're all signed up for
• 0:32
  Speaker 1: our all access content either on Apple Podcasts or on
• 0:35
  Speaker 1: Patreon to hear those episodes and over in the Shred
• 0:38
  Speaker 1: with Shifty Feed, that's our show, hosted by Chris Shifflett
• 0:42
  Speaker 1: of The Foo Fighters. He's talking with guitarist Phil Collin
• 0:46
  Speaker 1: from def Leppard about def Leppard's incredible song Photograph.
• 0:49
  Speaker 2: Go check that out, Hey discos.
• 0:54
  Speaker 1: Need a little more Disgraceland in your life, just to
• 0:57
  Speaker 1: touch to get you through?
• 0:59
  Speaker 2: Yeah, me too.
• 1:00
  Speaker 1: This is the podcast that comes after the podcast. Welcome
• 1:03
  Speaker 1: to Disgraceland The after Party. Welcome to the Disgraceland bonus episode,
• 1:21
  Speaker 1: a little thing we'd like to call the after party.
• 1:24
  Speaker 1: This is the show after the show, the party after
• 1:26
  Speaker 1: the party, the bridge to get you from one full
• 1:28
  Speaker 1: episode or Disgraceland to the other, the backyard to dig
• 1:32
  Speaker 1: into the dirt. On this episode we are talking about
• 1:36
  Speaker 1: Public Enemy, the sources that we use for this Public
• 1:39
  Speaker 1: Enemy episode, which helped us uncover an insane story that
• 1:42
  Speaker 1: we weren't able to use. But you're gonna hear about
• 1:44
  Speaker 1: it here, and of course your voicemails, texts, dms and more,
• 1:48
  Speaker 1: and as always, a whole lot of rosie all right,
• 1:50
  Speaker 1: disc goes, let's get into it, hybrids, mashups, collaborations on
• 2:09
  Speaker 1: the whole. When it comes to artists we love, these
• 2:11
  Speaker 1: are usually positive efforts The Band and Bob Dylan's Basement tapes,
• 2:16
  Speaker 1: Robert de Niro and Al Pacino, and Heat, Taylor Swift
• 2:19
  Speaker 1: and Post Malone, I guess, but sometimes the melding of
• 2:22
  Speaker 1: two different artists or artistic elements is not so great.
• 2:26
  Speaker 1: Metallica and lou Reid come to mind, as does the
• 2:28
  Speaker 1: site of Mick Jagger and David Bowie dancing in the street.
• 2:31
  Speaker 1: But sometimes in the case of Public Enemy anyway, the
• 2:35
  Speaker 1: collaboration is a massive headfake. When Public Enemy and Anthrax
• 2:39
  Speaker 1: released their collaborative version of the pe song Bring the Noise,
• 2:44
  Speaker 1: if you were me seventeen years old when this happened,
• 2:48
  Speaker 1: the world stood still. It may seem cheesy now in retrospect,
• 2:52
  Speaker 1: but I am telling you back then, hearing Chuck D
• 2:55
  Speaker 1: rap over the massive groove that a thrash band was
• 2:58
  Speaker 1: providing for him, it was as if a whole new
• 3:01
  Speaker 1: musical dimension had been discovered. I couldn't fucking believe the
• 3:05
  Speaker 1: awesomeness that I was hearing rap and metal together? Are
• 3:09
  Speaker 1: you kidding me? Howoud no one ever thought of this before? Sure,
• 3:12
  Speaker 1: the Beastie Boys came close with their Slayer samples on
• 3:15
  Speaker 1: Licensed to Ill, but that was more of a wink
• 3:17
  Speaker 1: and a nod and he got run DMC with Arrowsmith
• 3:21
  Speaker 1: and walked this way. But honestly, that felt more like
• 3:23
  Speaker 1: a novelty song. Chuck D in Flavor Flave, earnestly rapping
• 3:28
  Speaker 1: the hard hitting lyrics of their tune Bring the Noise,
• 3:30
  Speaker 1: with Anthrax killing it underneath, rap and metal together for
• 3:34
  Speaker 1: the first time in a serious way. Sign me the
• 3:37
  Speaker 1: fuck up? What kind of gilded path of creative, genre
• 3:40
  Speaker 1: bending enlightenment. Were the nineties about to thrust upon us?
• 3:43
  Speaker 1: How good could the future of music be? If this
• 3:46
  Speaker 1: Public Enemy and Anthrax rap and metal were the vanguard.
• 3:49
  Speaker 1: I was pumped. This was revolutionary shit. My parents might
• 3:53
  Speaker 1: have had the Sixties in Motown and Crosby Stills in
• 3:56
  Speaker 1: fucking Nash, but I had Hank Shockley and Charlie Bonante.
• 3:59
  Speaker 1: So suck it, hippie. If the blues came together with
• 4:02
  Speaker 1: country music to create rock and roll, what were rap
• 4:05
  Speaker 1: in metal going to create for us? I didn't know,
• 4:08
  Speaker 1: but I was there for it. And then Rage against
• 4:12
  Speaker 1: the Machine. Okay, yeah, this, this is the shit. This
• 4:16
  Speaker 1: is what I'm talking about. Rage was the natural next
• 4:19
  Speaker 1: step from Public Enemy and Anthrax, a revolutionary combo of
• 4:23
  Speaker 1: genres and revolutionary lyrically, just like pe was. I could
• 4:28
  Speaker 1: definitely get with this. I saw Rage the first time,
• 4:30
  Speaker 1: the second time, the third, and probably the fourth time
• 4:33
  Speaker 1: that they came to Boston. I saw them open for
• 4:35
  Speaker 1: House of Pain that first time. House of Pain, jump around,
• 4:39
  Speaker 1: Guinness fights in Selthie. It's not my thing, but it
• 4:42
  Speaker 1: made sense. Okay, I'm not gonna love every child that
• 4:45
  Speaker 1: spawns from the beautiful rap metal marriage from our Public
• 4:48
  Speaker 1: Enemy and Anthrax, Mommy and Daddy. But okay, what's next?
• 4:51
  Speaker 1: Who else you got? And the next thing we got
• 4:54
  Speaker 1: was the Judgment Night soundtrack, Shitty movie on Paper, an
• 4:59
  Speaker 1: incredible sound track of rap and metal collaborations the aforementioned
• 5:03
  Speaker 1: House of Pain with Helmet de La Soul and teenage
• 5:07
  Speaker 1: fanclub Cypress Hill in Sonic Youth. But wait a minute,
• 5:13
  Speaker 1: this actually wasn't that good. It was more run DMC
• 5:16
  Speaker 1: Aerosmith schlock than the genre busting revolution that I was
• 5:19
  Speaker 1: waiting for post Public Enemy and Anthrax. Surely though it'd
• 5:24
  Speaker 1: be coming soon. This new music the second coming of culture,
• 5:28
  Speaker 1: defining tunes that would take the world by storm, and
• 5:31
  Speaker 1: that we would name organically and irreverently at a later
• 5:34
  Speaker 1: date of our choosing. In other words, when the musical
• 5:36
  Speaker 1: Messiah appears, he who shall be named will be done
• 5:38
  Speaker 1: so whenever the fuck we of the generation known as
• 5:40
  Speaker 1: Ax get around to it. And then he appeared, not
• 5:46
  Speaker 1: as a pure natural revolutionary progression from Public Enemy to
• 5:50
  Speaker 1: Rage against the Machine, but as some red hatted clown
• 5:54
  Speaker 1: with pussy and weed only on the brain. It was
• 5:58
  Speaker 1: Fred fucking of Limp Biscuit. This this, this doing it
• 6:05
  Speaker 1: all for the nookie bullshit was basically all we had
• 6:08
  Speaker 1: to show culturally. From the promise of the Public Enemy
• 6:12
  Speaker 1: and Anthrax collaboration, rap and metal had gone horribly wrong,
• 6:17
  Speaker 1: like some fucked up cannibal Frankenstein descending upon our village
• 6:20
  Speaker 1: to feast upon our souls. How how is this the outcome?
• 6:24
  Speaker 1: How did something with so much promise and so much
• 6:27
  Speaker 1: awesomeness produced basically garbage? The answer, I don't know. Public
• 6:34
  Speaker 1: Enemy and Anthrax's incredible melding of rap and metal would
• 6:38
  Speaker 1: bring the noise was basically just lightning in a bottle.
• 6:42
  Speaker 1: Those two groups were basically from the same place, and
• 6:45
  Speaker 1: though musically one was Venus and the other Mars rap
• 6:48
  Speaker 1: and metal from New York City, at that time, it
• 6:51
  Speaker 1: wasn't all that different. The sensibilities were very similar amongst
• 6:55
  Speaker 1: kids who were making that type of music, but spread
• 6:58
  Speaker 1: out culturally from Sir Makes a Lot all the way
• 7:01
  Speaker 1: to Fucking Mud Honey and back again. Things got entirely
• 7:04
  Speaker 1: fucked and ended with Fred Durst running the music industry
• 7:07
  Speaker 1: for a minute. But hey, that wasn't all that bad.
• 7:09
  Speaker 1: At least it resulted in some awesome Queens of the
• 7:12
  Speaker 1: Stone Age. But I digress. For more on Public Enemy,
• 7:16
  Speaker 1: you can listen to this week's Disgrace That episode on PE,
• 7:19
  Speaker 1: and for a taste of another bonker's collaboration, you can
• 7:22
  Speaker 1: listen to our All Access Members episode this week on
• 7:26
  Speaker 1: Basquiat to hear about, among other things, Bascot's collaboration with
• 7:29
  Speaker 1: Andy Warhol.
• 7:30
  Speaker 3: I'll be back in a flash.
• 7:53
  Speaker 1: All right, Let's talk for a minute about the sources
• 7:55
  Speaker 1: we used for this Public Enemy episode. First, I have
• 7:57
  Speaker 1: to mention Can't Stop, Won't Stop History of the hip
• 8:00
  Speaker 1: Hop Generation by Jeff Chang, and also check the Technique
• 8:04
  Speaker 1: liner Notes for hip Hop Junkies by Brian Coleman, two
• 8:07
  Speaker 1: books that any hip hop fan should have on their shelf.
• 8:10
  Speaker 1: These are full of a ton of history, a ton
• 8:12
  Speaker 1: of insight into hip hop that anytime we make an
• 8:16
  Speaker 1: episode on a hip hop artist, were honestly, we're cracking
• 8:18
  Speaker 1: these books like we did for this episode. Chuck D himself.
• 8:23
  Speaker 1: This is very helpful. Chuck D himself is super vocal
• 8:26
  Speaker 1: out there, giving lots of interviews, lots of talks, so
• 8:28
  Speaker 1: we used his appearances on shows like People's Party with
• 8:31
  Speaker 1: Tali Kuali and drink Champs to get inside his head
• 8:34
  Speaker 1: and formulate his point of view, which drives a lot
• 8:38
  Speaker 1: of this episode, which was not an easy episode to
• 8:41
  Speaker 1: write for a ton of different reasons. The primary biography
• 8:45
  Speaker 1: of the group that we used for this episode is
• 8:47
  Speaker 1: a book called Public Enemy Inside the Terror Dome by
• 8:49
  Speaker 1: Tim Grierson. This had so much information from how Chuck
• 8:54
  Speaker 1: d found his voice by doing an imitation of sportscaster
• 8:57
  Speaker 1: Marv Albert to flavor flaves, numerous run ins with the
• 9:00
  Speaker 1: law inside baseball stuff here too, like how You're Gonna
• 9:03
  Speaker 1: Get Yours to kickoff track on PE's debut albums, originally
• 9:06
  Speaker 1: titled You're Going to Get Yours, as in Bernard gets
• 9:10
  Speaker 1: the Vigilanti, the white vigil anie who shot four black
• 9:13
  Speaker 1: men on a New York City subway train in nineteen
• 9:16
  Speaker 1: eighty four, saying that they tried to rob him. It
• 9:19
  Speaker 1: was later, of course, found not guilty of attempted murder.
• 9:23
  Speaker 1: Public Enemies music was literally ripped from the headlines music.
• 9:27
  Speaker 1: It's part of what made it so fucking awesome. You
• 9:29
  Speaker 1: could feel it back then, you can feel it now
• 9:31
  Speaker 1: when you listen too, And we try to illustrate that
• 9:34
  Speaker 1: with the way that we arranged the narrative of this
• 9:36
  Speaker 1: episode to have Public Enemy story told in a way
• 9:40
  Speaker 1: that weaves these other stories about the death of aspiring
• 9:44
  Speaker 1: artist Michael Stewart at the hands of the New York
• 9:47
  Speaker 1: Transit cops. There's the secure, dramatic jail break in the
• 9:51
  Speaker 1: case of the Central Park five. For research on all
• 9:54
  Speaker 1: of those things, who went outside The Public Enemy bios
• 9:56
  Speaker 1: to some great articles in the New York Times and elsewhere.
• 10:00
  Speaker 1: But I want to know this is trying to make
• 10:03
  Speaker 1: this question as direct as possible. I gotta give a
• 10:05
  Speaker 1: little more background here. So Public Enemy to me have
• 10:08
  Speaker 1: always been I recognize this even at a young age.
• 10:11
  Speaker 1: They've always been folk music. Okay, clearly they wrapped their
• 10:15
  Speaker 1: hip hop I get it, and revolutionary at that, you know,
• 10:19
  Speaker 1: their genre defining at that, but still lyrically they are
• 10:25
  Speaker 1: folk music even more than an NWA. We talked a
• 10:28
  Speaker 1: little bit earlier about how you know, their songs were
• 10:31
  Speaker 1: ripped from the headlines. NWA's were more caricature based, I
• 10:37
  Speaker 1: think is the way to put it. Public Enemies was
• 10:40
  Speaker 1: just was so much more real. Their stories were so real,
• 10:46
  Speaker 1: so representative of what was happening culturally to the members
• 10:52
  Speaker 1: of that group and to their families at the time
• 10:54
  Speaker 1: that that music was being made in the place that
• 10:56
  Speaker 1: it was being made in New York in America. So
• 11:00
  Speaker 1: Public Enemy to me, we're always they had as much
• 11:03
  Speaker 1: akin to Woody Guthrie and Bob Dylan as they did
• 11:08
  Speaker 1: with NWA and Iced Tea, and even more so in
• 11:13
  Speaker 1: some ways so to me, folk music, okay, And that's
• 11:17
  Speaker 1: the question I want to get at. We asked a
• 11:19
  Speaker 1: while back. I think it was during Yeah, it was definitely.
• 11:22
  Speaker 1: It was during hip Hop's sort of fiftieth anniversary thing
• 11:26
  Speaker 1: that was going on last year. We asked what was
• 11:28
  Speaker 1: the greatest hip hop group of all time? And I
• 11:31
  Speaker 1: think we landed on NWA. Public Enemy probably a close second,
• 11:35
  Speaker 1: I can't remember, honestly. And instead of asking that question,
• 11:39
  Speaker 1: I want to ask you who is the greatest folk
• 11:43
  Speaker 1: artist of all time? And I don't mean Newport Folk
• 11:47
  Speaker 1: Festival twenty twenty four, not that there's anything wrong with that,
• 11:50
  Speaker 1: That's not what I'm talking about. I'm talking about which
• 11:54
  Speaker 1: artist was it? Chuck d Woody Guthrie, Nina Simone, Bob Dylan,
• 12:00
  Speaker 1: Snead O'Connor, Bob Marley, pick your poison. Who best represented
• 12:05
  Speaker 1: the people folk as in people, Which artist was the
• 12:11
  Speaker 1: wolf Blitzer of their day in the music business, out
• 12:15
  Speaker 1: there on the street, reflecting back to the people their
• 12:18
  Speaker 1: world through the music they were creating. To me, it
• 12:22
  Speaker 1: takes a nation of millions to hold us back. By
• 12:25
  Speaker 1: Public Enemy is the most compelling representation of that type
• 12:29
  Speaker 1: of folk music that I've ever heard. Maybe if I
• 12:32
  Speaker 1: was born forty years earlier, i'd say the same thing
• 12:34
  Speaker 1: about Woody Guthrie, or twenty years earlier i'd say the
• 12:37
  Speaker 1: same thing about Bob Dylan, But I wasn't. I came
• 12:40
  Speaker 1: of age with that Public Enemy music. So to me,
• 12:44
  Speaker 1: it was like, fuck, we're not hearing this shit anywhere
• 12:48
  Speaker 1: but here on record, and it was revolutionary, It was
• 12:51
  Speaker 1: awe inspiring. And I want to know from you guys,
• 12:55
  Speaker 1: who has done that for you? Which artist has best
• 12:57
  Speaker 1: represented the world at large to you in a journalistic
• 13:02
  Speaker 1: folk music type of way. Let me know six one
• 13:05
  Speaker 1: seven nine oh six six six three eight text voicemail
• 13:09
  Speaker 1: hit me out, just like the twoh six who called
• 13:12
  Speaker 1: in with this voicemail.
• 13:13
  Speaker 4: Here, Hey Jake, I know it's been a while to
• 13:17
  Speaker 4: Tony from the two five to three. Hope everything's going well. Listen.
• 13:21
  Speaker 5: I just got done listening to the public end of
• 13:23
  Speaker 5: the episode.
• 13:24
  Speaker 4: Man, I tell you I have it takes a nation
• 13:26
  Speaker 4: a million to hold us back on vinyl and I
• 13:29
  Speaker 4: have it on CD. But you also mentioned a group
• 13:34
  Speaker 4: on that episode.
• 13:35
  Speaker 5: And that was Milli Vanilli And I was just wondering,
• 13:37
  Speaker 5: is there any chance you might get a million Vanilli
• 13:39
  Speaker 5: episode in the future If you haven't done so, please
• 13:43
  Speaker 5: check out the documentary that they did on Paramount Plus.
• 13:45
  Speaker 6: It is La Chef's Kiss.
• 13:48
  Speaker 4: You have to check it out.
• 13:49
  Speaker 6: My brother much love from two to.
• 13:51
  Speaker 4: Five to three and uh yeah, I'll look forward to
• 13:55
  Speaker 4: hearing from it.
• 13:55
  Speaker 6: Also dug back into the archives and heard the Marvin
• 13:58
  Speaker 6: Gay episode.
• 14:01
  Speaker 5: Man oh man, I'm about to listen to to.
• 14:05
  Speaker 4: What's going on album right now? All right, big man,
• 14:07
  Speaker 4: I talkulater Bye.
• 14:09
  Speaker 1: Tony from the two five to three awesome message. Thank
• 14:12
  Speaker 1: you first of all, Stoke you like the Public Enemy
• 14:15
  Speaker 1: episode and good to hear from you again. Millie Vanilly. No,
• 14:19
  Speaker 1: you know I've this has been requested from way back
• 14:21
  Speaker 1: and I've never really never really given it any serious
• 14:25
  Speaker 1: consideration for an episode until the last couple of weeks.
• 14:28
  Speaker 1: I saw this really funny meme that sparked something in me.
• 14:33
  Speaker 1: There was like, ah, that'd be a cool angle into
• 14:35
  Speaker 1: telling them Millie Vanilly story. And it's basically Millie Vanilli
• 14:40
  Speaker 1: standing next to each other, those two dudes looking pissed,
• 14:43
  Speaker 1: and it says Millie Vanilli is standing by watching people
• 14:46
  Speaker 1: get famous for lip syncing on TikTok in twenty twenty three,
• 14:49
  Speaker 1: and I just thought, Oh, that's too good. That irony
• 14:52
  Speaker 1: is too good. I didn't know there was a documentary
• 14:55
  Speaker 1: on Paramount. I'm stoked to watch this now. Thank you
• 14:59
  Speaker 1: for hitping me to that, and also thanks for getting
• 15:02
  Speaker 1: back into the archive there with Marvin Gaye. All right
• 15:04
  Speaker 1: six one seven nine oh six six six three eight call,
• 15:06
  Speaker 1: leave me a voicemail whatever you want. This one comes
• 15:09
  Speaker 1: from the five six three.
• 15:12
  Speaker 7: Hey, Jake, this is Judy from the three nine and
• 15:19
  Speaker 7: Tarantino Films.
• 15:20
  Speaker 5: Top five.
• 15:22
  Speaker 6: I was with you. I was right there with you,
• 15:25
  Speaker 6: side by side on.
• 15:27
  Speaker 7: Your list until you move Jackie Brown down to five.
• 15:30
  Speaker 7: I get it. I understand why Reservoir Dogs is. You know,
• 15:35
  Speaker 7: it's undeniable, but I relate to Jackie Brown so much
• 15:39
  Speaker 7: more so I would have to go he fiction Jackie
• 15:45
  Speaker 7: Brown Once upon a Time in Hollywood read four Dogs
• 15:49
  Speaker 7: and I don't know, We'll just.
• 15:52
  Speaker 6: While a car for number five.
• 15:53
  Speaker 7: Whatever you want, anyone wants, I don't care.
• 15:55
  Speaker 1: All right, that's the five six three. Uh, Judy, I
• 15:59
  Speaker 1: love the love for Jackie Brown. I'm actually stoked to
• 16:03
  Speaker 1: hear you repping Jackie Brown because I figured I was
• 16:06
  Speaker 1: going to be alone in doing that. So yeah, fuck
• 16:09
  Speaker 1: you appreciate it. Nine to seven. Oh, let's see what
• 16:12
  Speaker 1: the nine seven O is saying. And we talked about
• 16:14
  Speaker 1: what the five greatest fight scenes were. Why did we
• 16:15
  Speaker 1: get into that? Was that because of Tarantino? It was
• 16:19
  Speaker 1: fight scenes came from Tarantino. Tarantino came from Kill Bill.
• 16:22
  Speaker 1: Kill Bill came from the Kobe Bryant up. So we did, okay,
• 16:24
  Speaker 1: this is the nine to seven oh calling.
• 16:25
  Speaker 6: It Hey, Jacobs Dyll and uh. Five greatest fight scenes
• 16:30
  Speaker 6: for me? I have to say five would be Steven
• 16:34
  Speaker 6: Seagal and Mark for death against the Two Twins, and
• 16:39
  Speaker 6: then four would it be bon Dom and Kickboxer, three
• 16:44
  Speaker 6: Bondam and blood Sport at the end, and two I'd
• 16:50
  Speaker 6: have to say Rocky three was a good one for
• 16:52
  Speaker 6: me when he beats clubber Lang and Number one. I
• 16:56
  Speaker 6: don't know if anyone has said this yet, but they
• 16:59
  Speaker 6: live David and Roddy Roddy Piper probably one of the
• 17:02
  Speaker 6: longest fight scenes, but it's also one of my favorites.
• 17:05
  Speaker 4: So here they are.
• 17:06
  Speaker 6: Thanks fucking rolling all right?
• 17:09
  Speaker 1: Nine to seven. Oh, you're into some deep fight scenes there.
• 17:11
  Speaker 1: I'll take your word for it. I haven't seen a
• 17:13
  Speaker 1: lot of those Rocky three of course. Amazing seven eight
• 17:16
  Speaker 1: one calls in, who's this? This our boy ish jake?
• 17:20
  Speaker 8: What up? It's your boy ish Long time, my man.
• 17:25
  Speaker 8: It's been hectic out there, just checking in resarding best
• 17:30
  Speaker 8: Hollywood fight scenes.
• 17:32
  Speaker 6: I got three for you.
• 17:34
  Speaker 8: It's pretty Brad Pitt heavy. So we'll go with Brad Pitt,
• 17:38
  Speaker 8: Nagelina Jolie and mister and Missus Smith. I'm gonna go
• 17:42
  Speaker 8: Brad Pitt and Ed Norton Fight Club, and we're gonna
• 17:45
  Speaker 8: go Brad Pitt and.
• 17:46
  Speaker 6: Some Pikey ver enuckle.
• 17:49
  Speaker 8: Fight in Snatch, Greg Snatch. Let me know what you think, Deuce.
• 17:56
  Speaker 1: Is you know ish? Good to hear your voice, man,
• 17:59
  Speaker 1: I hope things are evening out for you out there.
• 18:01
  Speaker 1: They're a little less hectic I love you know, the
• 18:05
  Speaker 1: concept of one of the five greatest Brad Pitt fights,
• 18:09
  Speaker 1: that's a whole question onto its own. I think he
• 18:11
  Speaker 1: knocked it down here, but I would add Brad Pitt
• 18:14
  Speaker 1: and Bruce Lee, or I should say Cliff. Is he Cliff? Yeah,
• 18:19
  Speaker 1: he's Cliff from Once upon a Time in Hollywood with
• 18:22
  Speaker 1: Bruce Lee. I would add that to the list, and
• 18:24
  Speaker 1: I'm sure we can find a fifth as well. Good call,
• 18:26
  Speaker 1: good calls this week, guys, good work. I want you
• 18:29
  Speaker 1: to call back, and I want you to tell me
• 18:31
  Speaker 1: who's the greatest folk artist? And you know what I
• 18:34
  Speaker 1: mean by my definition of folk here? Okay again, I'm
• 18:37
  Speaker 1: not talking, you know, just an acoustic guitar and an
• 18:40
  Speaker 1: open mic inside a coffee shop folk music. I'm talking
• 18:44
  Speaker 1: who's out there best repping the people, the folk Okay,
• 18:48
  Speaker 1: who's the fucking wolf Blitzer, the CNN of music in
• 18:52
  Speaker 1: your eyes? Who is best representing the world they come from,
• 18:57
  Speaker 1: the world at large, the world we see in the
• 18:59
  Speaker 1: world that is hidden from us. Which musician is that?
• 19:03
  Speaker 9: Is it?
• 19:03
  Speaker 1: Public enemy? Public enemy? Prompted this question. I want to
• 19:06
  Speaker 1: know what you guys think. Six one seven nine oh
• 19:08
  Speaker 1: six six six three eight voicemail and text seven to
• 19:11
  Speaker 1: one six texts in Hey, I don't know about the
• 19:13
  Speaker 1: top five fight scenes, but two of my favorite are
• 19:15
  Speaker 1: the Bride versus Orrin and her entire entourage and Kill
• 19:19
  Speaker 1: Bill and Peter versus the Chicken in Family Guy A
• 19:23
  Speaker 1: great one seven six one six one seven nine oh
• 19:25
  Speaker 1: six six six three eight. That's how you guys get
• 19:27
  Speaker 1: in touch with me? All right? Also at this Gray
• 19:29
  Speaker 1: Slam pod on the Socials, I'm gonna take a quick break,
• 19:31
  Speaker 1: be right back. All right, We are back. And as
• 19:48
  Speaker 1: I mentioned at the top of the episode, not only
• 19:50
  Speaker 1: do we have a new episode out this week on
• 19:51
  Speaker 1: Public Enemy, but we also just dropped today another brand
• 19:54
  Speaker 1: new episode on Basquiat. And maybe you're looking at your
• 19:57
  Speaker 1: feet right now going wait a minute, wait, where the
• 19:59
  Speaker 1: fuck is this bot.
• 20:00
  Speaker 2: Episode that you're speaking about.
• 20:01
  Speaker 1: Well, here's the deal. The way to hear this Baskeyot episode,
• 20:04
  Speaker 1: as well as other Disgraceland episodes that you may not
• 20:07
  Speaker 1: have in your regular disgrace Land feed episodes on Hunter S.
• 20:10
  Speaker 1: Thompson and Lane Staley, in upcoming episodes on Chris Cornell
• 20:14
  Speaker 1: and Waylon Jennings and more. In order to hear these episodes.
• 20:18
  Speaker 1: You have got to become a member of Disgraceland All Access.
• 20:22
  Speaker 1: It's super simple. Just go to disgrace lampod dot com
• 20:24
  Speaker 1: slash membership and for just five bucks a month, even less,
• 20:27
  Speaker 1: if you sign up for an annual membership, you will
• 20:29
  Speaker 1: get these exclusive full episodes of Disgraceland, one of them
• 20:32
  Speaker 1: every month, and also weekly bonus content like an extended
• 20:35
  Speaker 1: version of this here After Party bonus episode that you're
• 20:37
  Speaker 1: listening to right now. That's right, I'm gonna go a
• 20:39
  Speaker 1: little deeper with the All Access guys. Okay, you get
• 20:42
  Speaker 1: a longer bonus episode. We're gonna get into this insane
• 20:45
  Speaker 1: story that we weren't able to fit into the Public
• 20:47
  Speaker 1: Enemy episode. So you want to hear that. Just sign up,
• 20:49
  Speaker 1: Just sign up becoming All Access member. It's easy. You
• 20:51
  Speaker 1: can choose between Apple Podcasts and Patreon for your membership.
• 20:55
  Speaker 1: But if you choose Patreon, you can also jump into
• 20:57
  Speaker 1: an always on chat.
• 20:59
  Speaker 2: With me in fellow discos.
• 21:01
  Speaker 1: So to give you a little taste to what you're missing,
• 21:03
  Speaker 1: I got a clip for you here from the brand
• 21:05
  Speaker 1: new Baskeyout episode that we just dropped in the All
• 21:07
  Speaker 1: Access feed today to give you some context This clip
• 21:11
  Speaker 1: takes place early in Jean Michelle Boscaut's career, when he's
• 21:14
  Speaker 1: still a struggling artist, but he's already part of the
• 21:17
  Speaker 1: music scene, in the arts scene that's happening in New
• 21:18
  Speaker 1: York's Lower East Side, And by being a part of
• 21:21
  Speaker 1: that scene, he's just managed to snag a cameo appearance
• 21:24
  Speaker 1: in the music video that Debbie Harry and her van
• 21:27
  Speaker 1: Blondie are filming for their soon to be smash hit Rapture.
• 21:30
  Speaker 1: All right, take a listen, and within months, Americans were
• 21:35
  Speaker 1: unknowingly getting their first look at Jean Michelle on MTV,
• 21:39
  Speaker 1: with the Rapture video not only the first hip hop
• 21:41
  Speaker 1: video shown on the brand new cable channel, but one
• 21:44
  Speaker 1: of the videos selected for the network's first rotation block.
• 21:48
  Speaker 1: This was happening at the same time that Jean Michelle
• 21:51
  Speaker 1: was feverishly working on a dozen pieces for his first
• 21:54
  Speaker 1: solo gallery show. But he wasn't listening to Blondie while
• 21:59
  Speaker 1: he worked, and he wasn't listening to the hip hop
• 22:01
  Speaker 1: currently dominating his home neighborhood in Brooklyn. He was listening
• 22:06
  Speaker 1: to jazz, specifically to the alto saxophone of Charlie Parker.
• 22:12
  Speaker 1: Charlie Parker aka Bird reminded him of childhood, a scribbling
• 22:18
  Speaker 1: on scraps of paper while lying on the floor, his
• 22:21
  Speaker 1: father in an armchair, his mother smiling before her trouble
• 22:26
  Speaker 1: started and she was institutionalized, and before his father remarried.
• 22:32
  Speaker 1: Jean Michel Basquiaal left home at sixteen, but no matter
• 22:36
  Speaker 1: where he was sleeping or how he was scraping by,
• 22:39
  Speaker 1: he always found a way to listen to Bird. Jean
• 22:43
  Speaker 1: Michel wanted to paint the way that Charlie Parker played
• 22:47
  Speaker 1: the saxophone. Charlie Parker played his way, setting fire to
• 22:53
  Speaker 1: the rules of jazz harmony. He wove bits of melodies
• 22:57
  Speaker 1: from spirituals, show tunes and Stravinsky into his playing, and
• 23:00
  Speaker 1: then he shifted keys and bent them.
• 23:03
  Speaker 2: Into something new.
• 23:04
  Speaker 1: He played hard, and he lived hard, and he gave
• 23:07
  Speaker 1: everything to his art. That's the way Jean Michel would
• 23:11
  Speaker 1: paint Bird blue sweet, and Jean Michel had long strokes
• 23:16
  Speaker 1: of bright yellow acrylic across the canvas.
• 23:19
  Speaker 2: Bird's horn picked up its.
• 23:20
  Speaker 1: Pace, and Jean Michel sketched a quickyardbird on the center
• 23:24
  Speaker 1: of the canvas that Charlie Parker bird was wailing now
• 23:29
  Speaker 1: and Jean Michel felt the energy surge from the speakers
• 23:33
  Speaker 1: toward his canvas. He didn't think, He just let the
• 23:36
  Speaker 1: feelings wash over. Swirls of notes filled the studio, then
• 23:42
  Speaker 1: his canvas, then the whole city, all the way home
• 23:46
  Speaker 1: to Brooklyn. Waking the dead in Greenwood Cemetery, Jean Michel
• 23:51
  Speaker 1: scrawled paramoura to die across the canvas and laid down
• 23:57
  Speaker 1: his brush. He was finished. He called it bird on Money.
• 24:05
  Speaker 1: Like Charlie Parker, Jean Michel set fire to the rules.
• 24:09
  Speaker 1: He gave everything to his heart. He lived hard and
• 24:12
  Speaker 1: worked hard. It was nineteen eighty one, less than seven
• 24:17
  Speaker 1: months since he painted his first canvas, less than seven
• 24:21
  Speaker 1: years before we would paint his last. All right. That
• 24:27
  Speaker 1: was a clip from our other brand new episode, this
• 24:29
  Speaker 1: weekend episode on Basquiacht, which you can hear in full
• 24:32
  Speaker 1: by becoming a member of the Disgraceland All Access Club again.
• 24:36
  Speaker 1: Hop on over to disgrace landpod dot com slash membership
• 24:39
  Speaker 1: to sign up. It is quick, it is easy, and
• 24:41
  Speaker 1: you'll be getting all this extra content we're dishing out
• 24:44
  Speaker 1: to you on a weekly basis in no time.
• 24:46
  Speaker 9: Okay, okay, hang tight, I'll be back in a flash.
• 25:02
  Speaker 1: All right, let's recap, shall we. Number one, it's more
• 25:05
  Speaker 1: after party to listen to. Right now, all you gotta
• 25:06
  Speaker 1: do is go to disgracelamdpod dot com slash membership and
• 25:09
  Speaker 1: sign up to become an all Access member. But if
• 25:11
  Speaker 1: that ain't your bag, then number two right now in
• 25:13
  Speaker 1: your feed, this week's brand new episode on Public Enemy,
• 25:16
  Speaker 1: plus another brand new episode on Basquiacht for all our
• 25:19
  Speaker 1: all Access members. Number three coming tomorrow, a rewind episode
• 25:22
  Speaker 1: on Frank Sinatra, and one of my favorite Disgraceland episodes
• 25:25
  Speaker 1: of all time.
• 25:26
  Speaker 2: Number four.
• 25:27
  Speaker 1: Over in the Badlands Feed, we've got our classic two
• 25:29
  Speaker 1: part episode on Sharon Tate. Number five. Next week in
• 25:32
  Speaker 1: the Disgraceland Feed, a brand new episode on Garth Brooks.
• 25:35
  Speaker 1: Number six. My number is six one seven, nine oh
• 25:37
  Speaker 1: six six sixty three eight call me on the telephone
• 25:39
  Speaker 1: or text me in seven. Remember that no one cares
• 25:41
  Speaker 1: about the music you love more than you do, and
• 25:43
  Speaker 1: well that is a disgrace. And now my moment of
• 25:46
  Speaker 1: bliss in honor of this week's episode on Public Enemy
• 25:48
  Speaker 1: me reading you the Billboard Hot one hundred and the
• 25:50
  Speaker 1: week of February tenth, nineteen eighty seven, the week that
• 25:53
  Speaker 1: Public Enemy dropped their debut album, Yo Bum rushed the
• 25:56
  Speaker 1: show and changed hip hop.
• 25:57
  Speaker 2: And music forever.
• 26:00
  Speaker 1: Number one, Open Your Heart but Donna last week two,
• 26:05
  Speaker 1: peak position, one weeks on Chart ten, Number two at
• 26:12
  Speaker 1: this Moment, Billy Vera and the Beaters last week one,
• 26:17
  Speaker 1: peak physician, one weeks on Chart fourteen, number three, Living
• 26:24
  Speaker 1: on a Prayer bon Jovi last week nine, peak physician visition,
• 26:29
  Speaker 1: three weeks on Chart nine, number four, Change of Heart
• 26:36
  Speaker 1: last and then five last week peak position, peak position
• 26:41
  Speaker 1: weeks on chart, weeks on shark weeks on number five,
• 26:44
  Speaker 1: Can't Touch Me, I Want Through a Body Joe last
• 26:49
  Speaker 1: week last year peak positions number quit talking and start mixing,
• 27:00
  Speaker 1: Cut It