Latest / DISGRACELAND / David Bowie: The occult, cocaine, orgies, arrests, exorcisms, a weird flirtation with fascism and a dead body.

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David Bowie: The occult, cocaine, orgies, arrests, exorcisms, a weird flirtation with fascism and a dead body. · DISGRACELAND

• 0:00
  Speaker 1: Disgraceland as a production of double Elvis. The stories about
• 0:21
  Speaker 1: David Bowie are insane. He was obsessed with the occult,
• 0:25
  Speaker 1: with Aleister Crowley in The Golden Dawn. It drove him
• 0:29
  Speaker 1: to near madness, down a dark, excessive wormhole with cocaine,
• 0:33
  Speaker 1: narcissistic rockstar excess, orgies, arrests, exorcisms, a weird flirtation with fascism,
• 0:40
  Speaker 1: and a dead body. No musical artists better personified the
• 0:44
  Speaker 1: hedonism of the seventies than David Bowie. He captivated the
• 0:48
  Speaker 1: imaginations of music fans all over the world, not to
• 0:51
  Speaker 1: mention fellow artists, some of whom he confounded, alienated, and annoyed,
• 0:56
  Speaker 1: Andy Warhol, Paul McCartney, and Bob Dylan among them. Bowie
• 1:00
  Speaker 1: was unlike any singular rock star before him. He was
• 1:03
  Speaker 1: more than just David Bowie. He was a dizzying meld
• 1:06
  Speaker 1: of creative alter egos Major Tom Ziggy Stardust in the
• 1:10
  Speaker 1: Thin White Duke among the few he gave voice to
• 1:13
  Speaker 1: with his great music. Unlike that music I played for
• 1:16
  Speaker 1: you at the top of the show. That wasn't great music,
• 1:20
  Speaker 1: That was a preset loop for my mellotron called showdown
• 1:23
  Speaker 1: at the OK Space Corral MK one. I played you
• 1:28
  Speaker 1: that loop because I can't afford the rights to love
• 1:31
  Speaker 1: theme from Romeo and Juliet by Henry Mancini. And why
• 1:35
  Speaker 1: would I play you that specific slice of Starcross Lover's Cheese?
• 1:39
  Speaker 1: Could I afford it? Because that was the number one
• 1:42
  Speaker 1: song in America on July eleventh, nineteen sixty nine, And
• 1:46
  Speaker 1: that was the day David Bowie released the single Space Oddity,
• 1:50
  Speaker 1: launching into the public consciousness, his first truly great artistic vision,
• 1:55
  Speaker 1: the first of many that would significantly alter the future
• 1:58
  Speaker 1: of rock and roll. On this episode, Orgies, Exorcisms, Creative
• 2:04
  Speaker 1: Altered Egos and David Bowie, I'm Jake Brennan, and this
• 2:10
  Speaker 1: this Disgraceland. David Jones made his way through the crush
• 2:38
  Speaker 1: of fans and press up the front of the stairs
• 2:41
  Speaker 1: to the Public Safety Building at Rochester City Court in
• 2:44
  Speaker 1: upstate New York. He was up early on this March
• 2:47
  Speaker 1: morning in nineteen seventy six and had arrived early for
• 2:51
  Speaker 1: his arraignment. A lucky fan nabbed an autograph from the
• 2:54
  Speaker 1: accused outside the courthouse doors. Once inside, one of the
• 2:58
  Speaker 1: most recognizable rock stars in the world at the time,
• 3:01
  Speaker 1: was ushered into the courtroom and passed half a dozen
• 3:04
  Speaker 1: prostitutes awaiting their own arraignment in the hallway. The pros
• 3:08
  Speaker 1: erupted into cheers when they saw him pass He gave
• 3:11
  Speaker 1: them a polite smile from under his fedora.
• 3:14
  Speaker 2: Ever the gentleman.
• 3:17
  Speaker 1: Inside the courtroom, he settled in the proceedings got under weigh.
• 3:22
  Speaker 1: David Jones twenty nine and his fellow defendants James Osterberg
• 3:26
  Speaker 1: twenty eight and Dwayne Voz twenty two, were asked by
• 3:29
  Speaker 1: Judge Alphonse Cassetti how they pleaded to the charge of
• 3:32
  Speaker 1: fifth degree criminal possession of a controlled substance marijuana, about
• 3:37
  Speaker 1: half a pound of it. David Jones, in his dapper
• 3:40
  Speaker 1: three piece suit, hat in hand at his side, stood
• 3:43
  Speaker 1: alone still and politely answered in his proper English accent,
• 3:47
  Speaker 1: not guilty, sir. The judge agreed to a two thousand
• 3:51
  Speaker 1: dollars bail bond for Jones and an additional two thousand
• 3:54
  Speaker 1: dollars for his security guard, Dwayne v Oz, as well
• 3:57
  Speaker 1: as for his other friend, James Osterberg, who was popularly
• 4:01
  Speaker 1: known by at least some of the record buying public
• 4:03
  Speaker 1: as the notorious Iggy pop, one time frontman for the
• 4:07
  Speaker 1: late sixties punk rock archetypes the Stooges. David Jones kept
• 4:12
  Speaker 1: such interesting friends because he was, of course, not only
• 4:15
  Speaker 1: David Jones. He was David Bowie. He was also, most
• 4:22
  Speaker 1: famously Ziggy Stardust, the androgynist, bisexual rock star. Prior to Ziggy,
• 4:27
  Speaker 1: Major Tom, the junkie astronauts strung out in Heaven's High,
• 4:31
  Speaker 1: constantly trying to avoid the all time low. Before Major Tom,
• 4:35
  Speaker 1: he was the laughing gnome bent on bringing to the
• 4:37
  Speaker 1: masses some sort of Jacques Brell's psychedelic baroque. And before
• 4:41
  Speaker 1: that he was Davy Jones, another blue eyed soul singer
• 4:44
  Speaker 1: shuffling through London doing his best Bobby Blue Bland via
• 4:48
  Speaker 1: Brian Jones as Mick Jagger. But as of late, while
• 4:51
  Speaker 1: on tour in support of his tenth album, Stationed a Station,
• 4:55
  Speaker 1: he was the thin white duke, and his mugshot for
• 4:58
  Speaker 1: the arrest proved it. It's possibly the greatest rock star
• 5:02
  Speaker 1: mugshot ever. There he is, and he is indeed thin
• 5:05
  Speaker 1: white and with an air of nobility to him. If
• 5:08
  Speaker 1: you learned he ruled over a duchy, you would not
• 5:11
  Speaker 1: be surprised his eyes are two different colors. He's skeletal, haunting,
• 5:15
  Speaker 1: almost transparent, Sticking out of his starched collar and wild lapels.
• 5:20
  Speaker 1: He gets the sense that at one point in the
• 5:21
  Speaker 1: evening a tie was definitely in the mix. Something wid
• 5:25
  Speaker 1: a double winds or not. Perhaps his blonde hair is
• 5:28
  Speaker 1: slicked back, but there's one strand slightly askew. It suggests
• 5:32
  Speaker 1: a long night, nothing out of control, just long, most
• 5:36
  Speaker 1: likely tiring. If he's put out, you can't really tell.
• 5:39
  Speaker 1: His expression is dead serious, but not me. He is
• 5:42
  Speaker 1: beyond handsome. In a word, the mugshot is compelling. If
• 5:48
  Speaker 1: you knew nothing about the photo, or the man in it,
• 5:50
  Speaker 1: or his fame, you'd still want to know more.
• 5:52
  Speaker 2: Who was this dude and what was his deal?
• 5:55
  Speaker 1: Which was why one of the non arresting officers working
• 5:57
  Speaker 1: the station house that night he was arrested the lug
• 6:00
  Speaker 1: shot from the trash when he saw it lying there
• 6:02
  Speaker 1: on top, it was too compelling not to give it
• 6:05
  Speaker 1: a second look, to not wonder David Bowie had that
• 6:08
  Speaker 1: kind of image, and his image had that kind of power,
• 6:11
  Speaker 1: and he knew it. It was all by design, all
• 6:14
  Speaker 1: part of the creative package. It wasn't all about the music.
• 6:17
  Speaker 1: It was about so much more. There was a theory
• 6:21
  Speaker 1: that one creates a doppelganger and then imbuse that with
• 6:24
  Speaker 1: all your faults and guilts and fears, and then eventually
• 6:28
  Speaker 1: you destroy him, hopefully destroying all your guilt, fear and paranoia.
• 6:33
  Speaker 1: And I often feel that I was doing that unwittingly,
• 6:36
  Speaker 1: creating an alternative ego that would take on everything that
• 6:38
  Speaker 1: I was insecure about. That's a Bowie quote given a
• 6:42
  Speaker 1: journalist Tony Parson some years after the drug arrest in Rochester.
• 6:47
  Speaker 1: Were back in seventy six, Bowie was coming to the
• 6:50
  Speaker 1: end of the road with a thin white duke and
• 6:52
  Speaker 1: was contemplating a move to Berlin to dry out, clean
• 6:55
  Speaker 1: up and get his head out of the fame and
• 6:57
  Speaker 1: into the art.
• 6:58
  Speaker 2: The drug charge would have been actually.
• 7:00
  Speaker 1: Be dismissed by a grand jury, coming to nothing. That
• 7:03
  Speaker 1: he was in need of a new inspiration, a new muse,
• 7:06
  Speaker 1: hell even a new canvas, and creatively he'd get what
• 7:09
  Speaker 1: he needed, no matter what he'd steal if necessary. It
• 7:12
  Speaker 1: wasn't beneath him. He'd done it before. Authenticity didn't concern
• 7:17
  Speaker 1: him like it did Iggy Thievery was part of the game,
• 7:20
  Speaker 1: and he learned by watching one of the greatest art
• 7:23
  Speaker 1: thieves of all time. In nineteen sixty four, Yayoi Kusama
• 7:53
  Speaker 1: was on her way to becoming the highest paid visual
• 7:55
  Speaker 1: artist in the world. She was an innovator in pop art,
• 7:59
  Speaker 1: sculpting with soft materials and working with repetition of images
• 8:02
  Speaker 1: and symbols. Her pieces now go for an estimated seven
• 8:06
  Speaker 1: million dollars each on average. Her net worth is estimated
• 8:10
  Speaker 1: somewhere north of twenty million, and naturally, her work is
• 8:13
  Speaker 1: highly sought after. In nineteen sixty four, it wasn't just
• 8:16
  Speaker 1: collectors and curators who had their.
• 8:18
  Speaker 2: Eyes on Kusama's art.
• 8:20
  Speaker 1: Thieves were circling two one In particular, he cased the
• 8:25
  Speaker 1: gallery where Kusama show was happening. That evening in the
• 8:28
  Speaker 1: open minimalist space of the Gertrude Stein Gallery was buzzing
• 8:32
  Speaker 1: with women in maud fashions and thin men suited up
• 8:35
  Speaker 1: in thin ties. Cigarettes smoke spiral through the air. Downtown hipsters,
• 8:40
  Speaker 1: a major art critic, zigzag between gallery rooms, taking in
• 8:43
  Speaker 1: the latest work from the newest movement in the art world, popart.
• 8:48
  Speaker 1: Yayoi Kusama's work was staggering. It knocked the thief out
• 8:53
  Speaker 1: it overtook his senses. Kusama's artistic philosophy of self obliteration,
• 8:57
  Speaker 1: as she called it, was on full display. As a child,
• 9:01
  Speaker 1: Kusama suffered from hallucinations, the result of which was a
• 9:05
  Speaker 1: traumatic overtaking of her own senses that she now channeled
• 9:08
  Speaker 1: into her art through an applied perspective of what she
• 9:11
  Speaker 1: believed the nineteen sixties would bring, a technicolor vision of
• 9:15
  Speaker 1: cultural subversion, celebrity, and fame. Her work exploded off of
• 9:20
  Speaker 1: the gallery's walls, its floor, and even its ceiling. Her piece,
• 9:23
  Speaker 1: entitled Aggregation one thousand Boat Show, was immersive and all encompassing.
• 9:29
  Speaker 1: Yayoi Kusama had papered the gallery with the same tiled
• 9:32
  Speaker 1: image of a rowboat, over and over and over again.
• 9:35
  Speaker 1: A larger sculpture of a rowboat anchored the piece in
• 9:38
  Speaker 1: the gallery. It was covered in stuffed and sown phallic protrusions.
• 9:44
  Speaker 1: The value of the thest's heist would be infinite.
• 9:47
  Speaker 2: He knew it.
• 9:48
  Speaker 1: He had a plan, a way to procure the goods
• 9:50
  Speaker 1: without damaging or devaluing them. He wasn't like some other thieves,
• 9:54
  Speaker 1: wasn't about to slash a painting from its frame. With
• 9:56
  Speaker 1: a razor and then clumsily roll it up. He wasn't brazen,
• 10:00
  Speaker 1: are stupid enough to grab a sculpture in his arms
• 10:02
  Speaker 1: and risk dropping and damaging it on escape. No, he
• 10:05
  Speaker 1: had a different method, creative appropriation. It was safer to
• 10:10
  Speaker 1: just steal another artist's ideas than it was to steal
• 10:13
  Speaker 1: her work. So that's what Andy Warhol did. Five months later,
• 10:18
  Speaker 1: in April nineteen sixty six, Warhol's exhibition at the Leo
• 10:22
  Speaker 1: Castelli Gallery featured a room completely tiled with only one image,
• 10:27
  Speaker 1: that of a cow's head in pink and yellow. Colorful playful,
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  Speaker 1: Warhol's own borrowed contribution to the fast developing technicolor cultural
• 10:35
  Speaker 1: subversion of the sixties. When asked where he got the
• 10:38
  Speaker 1: inspiration for such a quote unquote unique exhibition, Warhol credited
• 10:43
  Speaker 1: an art dealer friend who suggested he play it safe
• 10:45
  Speaker 1: and paint some pastoral cows, but that he himself took
• 10:48
  Speaker 1: the suggestion to this shocking and now celebrated end. Andy
• 10:55
  Speaker 1: Warhol's thievery didn't stop there. Like all great artists, war
• 11:00
  Speaker 1: heartily appropriated into his work the influence of others. This
• 11:04
  Speaker 1: is not lost on David Bowie in nineteen seventy two,
• 11:08
  Speaker 1: Bowie set London on fire with the release of the
• 11:10
  Speaker 1: Rise of Ziggy, Stardust and the Spiders from Mars, which
• 11:14
  Speaker 1: was a dizzying, up to that point, incomprehensible and seamless
• 11:17
  Speaker 1: melding of a multitude of influences that included Pink Floyd,
• 11:21
  Speaker 1: Elvis Presley, composer Claudio Monteverdi, and French musical fabulous Michael Polnerev,
• 11:26
  Speaker 1: among others. But one year before Ziggy, David Bowie released
• 11:30
  Speaker 1: what Is to my Ears nothing less than another masterpiece
• 11:34
  Speaker 1: honky Dory. On it, he paid tribute to Andy Warhol
• 11:38
  Speaker 1: with the far out, acoustic, driving impossibly original track directly
• 11:42
  Speaker 1: titled Andy Warhol and Andy Warhol was not impressed, which
• 11:50
  Speaker 1: is ironic given that the song and the album that
• 11:52
  Speaker 1: appears on her as originally compelling as any Warhol creation
• 11:56
  Speaker 1: before or since. Like Warhol, Bowie appropriated the world of others,
• 12:01
  Speaker 1: and also, like Warhol, Bowie funneled that appropriation through a
• 12:04
  Speaker 1: thoroughly unique point of view into something original. And again,
• 12:08
  Speaker 1: like Warhol, Bowie's originality was not limited to his music.
• 12:11
  Speaker 1: In this appearance, his whole approach was unique Bowie was
• 12:15
  Speaker 1: obviously eager to meet the man who sold the world,
• 12:17
  Speaker 1: the man from whom he appropriated his habit of appropriation.
• 12:21
  Speaker 1: At his side that night at Andy Warhol's famed factory
• 12:25
  Speaker 1: on Union Square West in Manhattan was his manager main man,
• 12:29
  Speaker 1: Tony de Friese Defrieze. Wasn't an ordinary rock and roll manager.
• 12:33
  Speaker 1: He demanded his star client live up to his aspiration
• 12:36
  Speaker 1: of becoming the greatest rock and roll star on this
• 12:38
  Speaker 1: world or any other.
• 12:40
  Speaker 2: So David Bowie did what he was told.
• 12:43
  Speaker 1: He wasn't dressed in alter Ego Ziggi attire that night
• 12:45
  Speaker 1: at the factory, but he was affecting the persona of
• 12:48
  Speaker 1: a super famous pop star, which, of course, at least
• 12:52
  Speaker 1: in America he had yet to become. His records were selling,
• 12:55
  Speaker 1: and there was an awareness of who he was and
• 12:57
  Speaker 1: what he was doing, but he was far from the
• 12:59
  Speaker 1: international music sensation he would become a few years later,
• 13:02
  Speaker 1: and in the States he wasn't even yet approaching the
• 13:04
  Speaker 1: star status he'd already achieved in London. Nevertheless, he traveled
• 13:10
  Speaker 1: everywhere by limousine, and, apart from his band, refused whenever
• 13:14
  Speaker 1: possible to avoid leaving his hotel during daylight hours, and
• 13:18
  Speaker 1: when he did, he did so address to the hilt.
• 13:21
  Speaker 1: He avoided restaurants and other public places at all costs.
• 13:24
  Speaker 1: He never picked up a bag, an instrument, or even
• 13:26
  Speaker 1: opened his own door, instead adopting a tactic of simply
• 13:30
  Speaker 1: standing in front of every door he encountered awkwardly until
• 13:33
  Speaker 1: someone offered to open it for him. He was privately
• 13:37
  Speaker 1: doubted by Bob Dylan, who, upon seeing Bowie once enter
• 13:40
  Speaker 1: a party, snidely asked George Harrison, who the thug this
• 13:44
  Speaker 1: Guynegy is? And he was iced out by Paul and
• 13:47
  Speaker 1: Linda McCartney, who, upon a visit to their hotel suite
• 13:50
  Speaker 1: from Bowie in a female guest, did all they could
• 13:53
  Speaker 1: to avoid eye contact and conversation until it was very
• 13:56
  Speaker 1: clear that they'd rather the up and coming space crooner
• 13:59
  Speaker 1: take his freaky presence elsewhere. Didn't matter. David Bowie was
• 14:04
  Speaker 1: undeterred by the old guard. He had a vision of
• 14:07
  Speaker 1: this new decade, the seventies, and it didn't involve Bob
• 14:10
  Speaker 1: Dylan or Paul McCartney. It involved him in his multitude
• 14:13
  Speaker 1: of creative personalities. As a young adult, David Bowie watched
• 14:23
  Speaker 1: his older brother a schizophrenic struggled to navigate this cruel
• 14:27
  Speaker 1: world with multiple personalities, and he'd of course witnessed first
• 14:30
  Speaker 1: hand his own struggles as an artist throughout the previous decade,
• 14:34
  Speaker 1: the sixties, where he'd bounced from one musical style and
• 14:37
  Speaker 1: image to another as a folk artist, the blues front man,
• 14:41
  Speaker 1: a crooner. None of it worked. Nothing worked until he
• 14:44
  Speaker 1: synthesized it all into the supernatural multi image artist named
• 14:48
  Speaker 1: David Bowie, whose first real creation, the Ziggy Stardus persona,
• 14:53
  Speaker 1: would allow Bowie the space to conquer the seventies with
• 14:56
  Speaker 1: an even greater array of creative characters. Unlike the rocks
• 15:00
  Speaker 1: stars born from the previous decade, who valued authenticity over
• 15:03
  Speaker 1: all else, David Bowie would be a vessel, and he
• 15:06
  Speaker 1: would serve that vessel everywhere, all the time, an act
• 15:09
  Speaker 1: that would also distinguish him from the theatrical rock artist
• 15:12
  Speaker 1: to come, Alice Cooper and Kiss, who wore their characters
• 15:16
  Speaker 1: on stage but took the makeup off when the lights
• 15:19
  Speaker 1: came on. Boie didn't impersonate. Bowie became so even at
• 15:26
  Speaker 1: a time when he couldn't afford it. He and his
• 15:28
  Speaker 1: manager kept up the rock star ruse and lavishly spent money.
• 15:32
  Speaker 2: They did not have record label money.
• 15:35
  Speaker 1: He seldom spoke in public unless there was something in
• 15:38
  Speaker 1: it for him, and when he did speak, he summoned
• 15:40
  Speaker 1: the most proper of British accents. He may not have
• 15:43
  Speaker 1: been an actual alien, but compared to the rough trade
• 15:45
  Speaker 1: avant garde melding of high and low art at Andy
• 15:48
  Speaker 1: Warhol's factory in seventy one, David Bowie was clearly not
• 15:52
  Speaker 1: of this world. He glided across the dance floor. Edie
• 15:56
  Speaker 1: Sedgwick noticed him, lou reed didn't care. Flash of bulbs
• 16:00
  Speaker 1: popped glittered against the tinfoil wrapped silver walls. Andy Warhol,
• 16:05
  Speaker 1: the ultimate blank slave, listened to the conversation of others
• 16:08
  Speaker 1: in the crowd, dressed in black with his slack silver
• 16:11
  Speaker 1: hair cutting. An unimpressive figure compared to well everyone, but
• 16:14
  Speaker 1: still radiant is a disco ball in his role was
• 16:17
  Speaker 1: center of gravity for the Knight's Downtown Carnival. Tony Defreese
• 16:22
  Speaker 1: was there that night to lock down Warhol actor Paul
• 16:24
  Speaker 1: Morrissey for a film he was producing. David Bowie was
• 16:28
  Speaker 1: there to kiss the ring when he met Andy, but
• 16:31
  Speaker 1: we awkwardly played him his song Andy Warhol. It was
• 16:34
  Speaker 1: clear from the silence afterward that Andy hated it. David Bowie,
• 16:39
  Speaker 1: if he was affected by the diss.
• 16:41
  Speaker 2: Didn't let it show.
• 16:43
  Speaker 1: He was going to make it in America, with or
• 16:45
  Speaker 1: without Andy Warhol's blessing. Eventually, Ziggy Starred Us broke through
• 16:52
  Speaker 1: in the States, and with it a mainstream cult of
• 16:54
  Speaker 1: Bowie fanaticism.
• 16:56
  Speaker 2: Fans would come to.
• 16:57
  Speaker 1: Shows just as Bowie's alter ego, faces painted with lightning bolts,
• 17:01
  Speaker 1: hair teased or covered with flaming red wigs to mob
• 17:04
  Speaker 1: their idol, and a sea of imitations of this version
• 17:07
  Speaker 1: of himself Pact Arena sang along to Ziggy tunes on
• 17:11
  Speaker 1: mass The image first philosophy of Tony de Friese was
• 17:14
  Speaker 1: finally paying off. In the summer of nineteen seventy two,
• 17:17
  Speaker 1: the album had peaked on the US charts at are
• 17:19
  Speaker 1: respectable seventy five on the Billboard two hundred, but by
• 17:23
  Speaker 1: the fall, the massively successful Ziggy Stardus Tour had come
• 17:26
  Speaker 1: to the US for the start of its North American leg,
• 17:30
  Speaker 1: and Bowie was playing Carnegie Hall and inviting Andy war
• 17:33
  Speaker 1: Hall in his famed factory entourage to come visit his show.
• 17:38
  Speaker 1: And the success, of course, came with perks. To call
• 17:41
  Speaker 1: David Bowie sexually adventurous would not be an overstatement, but
• 17:45
  Speaker 1: more than that, he was a sexual opportunist. The conquests
• 17:49
  Speaker 1: of his wife Angelo Bowie where as notorious as her
• 17:52
  Speaker 1: rock star husbands, and sometimes even too much for him
• 17:55
  Speaker 1: to handle despite their open marriage. Their home on Street
• 18:00
  Speaker 1: in London had what Angie and David's friends referred to
• 18:03
  Speaker 1: as the Pit, a sunken room with a big bed
• 18:07
  Speaker 1: covered in furs plush carpet, perfect for sexual exhibitionism and voyeurism.
• 18:13
  Speaker 1: The orgies of mister and missus David Bowie were the
• 18:16
  Speaker 1: stuff of legend, and there it was all twelve inches
• 18:23
  Speaker 1: John Binden, the infamous London gangster's famous penis. It was
• 18:27
  Speaker 1: every bit as prodigious as Princess Margaret had described. For her,
• 18:31
  Speaker 1: John would stack five pint glasses on top of it,
• 18:34
  Speaker 1: using its strength and girth to keep the glasses from falling.
• 18:37
  Speaker 1: For Angela Bowie, he'd take on five women for the
• 18:40
  Speaker 1: viewing pleasure of her and her friends, until, of course,
• 18:43
  Speaker 1: they could no longer stand the sight of it and
• 18:45
  Speaker 1: be forced by their own lust to join in on
• 18:47
  Speaker 1: the fun. Inside the pit. But for David there was
• 18:51
  Speaker 1: no upside.
• 18:51
  Speaker 2: In this particular orgy.
• 18:53
  Speaker 1: It was all spectacle, lacking an opportunity. There was nothing
• 18:57
  Speaker 1: to gain from sex with John Bindon was no magic
• 19:00
  Speaker 1: and therefore no power. But he knew of sexual magic,
• 19:05
  Speaker 1: and he knew of the power it was rumored to summit.
• 19:07
  Speaker 1: The type of power you couldn't find in smart set
• 19:10
  Speaker 1: orgies or in Andy Warhol's factory. The type of power
• 19:13
  Speaker 1: that brought you closer to the golden dawn. The type
• 19:16
  Speaker 1: of power that frightened drew you into the ragged hole
• 19:19
  Speaker 1: that tore you between light and dark. The type of
• 19:22
  Speaker 1: power that was found in the occult, specifically in the
• 19:25
  Speaker 1: writings of Alistair Crowley, dark power.
• 19:33
  Speaker 2: We'll be right back after this work, work work.
• 19:44
  Speaker 1: Of all the drugs readily available for rock stars in
• 19:47
  Speaker 1: the nineteen seventies, none gave more of a false sense
• 19:50
  Speaker 1: of self than cocaine. The drug gave you a blast
• 19:54
  Speaker 1: of energy, only to have you crash for days. It
• 19:56
  Speaker 1: filled you with confidence before hallowing you out with paranoid
• 20:00
  Speaker 1: Nothing felt more real than the way one felt during
• 20:03
  Speaker 1: the night spent hoovering Escobar's finest yet made you feel
• 20:06
  Speaker 1: like more of a fraud the next morning. Cocaine. It's
• 20:10
  Speaker 1: a hell of a drug, so real but so funny.
• 20:14
  Speaker 1: This conflict was very much on the mind of David
• 20:17
  Speaker 1: Bowie when he set out to record the album Young Americans.
• 20:22
  Speaker 1: Having grown up around musicians as a teenager and a
• 20:24
  Speaker 1: young adult, I have regrettably been on the wrong side
• 20:27
  Speaker 1: of five AM in some stranger's kitchen, listening to some
• 20:30
  Speaker 1: stone talentless moron blather on about the new record they
• 20:33
  Speaker 1: had conceived of that was gonna blow your mind. Man.
• 20:37
  Speaker 1: Bowie's Young Americans is what happens when that stone moron
• 20:40
  Speaker 1: actually has talent and just.
• 20:42
  Speaker 2: As important ambition.
• 20:44
  Speaker 1: Young Americans is the five Am Cocaine concept album come
• 20:48
  Speaker 1: to life, and it's fucking glorious. The album is unlike
• 20:51
  Speaker 1: anything Bowie had attempted before, and in typical David Bowie fashion,
• 20:55
  Speaker 1: it sounded like nothing the world but ever heard. It
• 20:58
  Speaker 1: was Bowie's concept of plastics, a modernized, unapologetically Anglo version
• 21:03
  Speaker 1: of seventy soul im poppy as all help, and for
• 21:06
  Speaker 1: the recording session, Bowie brought together a murderous row of
• 21:09
  Speaker 1: emerging talent to record in Philadelphia with Tony Visconsin's trusted
• 21:13
  Speaker 1: production tying it off together. Bowie was in search of
• 21:16
  Speaker 1: that Philly soul sound, and to that end, a baby
• 21:19
  Speaker 1: faced twenty three year old Carlos Alomar held down the
• 21:22
  Speaker 1: guitar while a co writer and vocal arranger named Luther
• 21:25
  Speaker 1: Vandros was overheard singing along in the control room and
• 21:29
  Speaker 1: hired as an additional backup singer in one of his
• 21:31
  Speaker 1: first big breaks. Bowie had a nose for talent, among
• 21:35
  Speaker 1: other things. Of course, calling his version of soul plastic
• 21:39
  Speaker 1: gave the white musical interlope for cover provided a stylish
• 21:42
  Speaker 1: slide of hand misdirection to obscure the appropriation. But appropriation aside,
• 21:48
  Speaker 1: the album truly doesn't sound like anything before it. The
• 21:51
  Speaker 1: songs are so classic now that we take them for
• 21:53
  Speaker 1: granted fascination fame, young Americans. We are so accustomed to
• 21:57
  Speaker 1: hearing these songs as part of our rock and roll
• 21:59
  Speaker 1: lineage staples of the seventies, that we, especially if we
• 22:02
  Speaker 1: were born after the release, are denied the context from
• 22:05
  Speaker 1: which those songs first hit the airways. Nothing sounded like
• 22:09
  Speaker 1: them before. Now they just sound like David Bowie's songs.
• 22:12
  Speaker 1: But in nineteen seventy five on the radio. Anyway, they
• 22:15
  Speaker 1: sounded as an alien as Ziggy Stardust had looked in
• 22:18
  Speaker 1: nineteen seventy two. And we have cocaine to thank for
• 22:21
  Speaker 1: this album. It fueled Bowie during the conception and creation
• 22:25
  Speaker 1: of Young Americans, just as it fueled one of Bowie's
• 22:30
  Speaker 1: fascinations at the time, occultist Alistair Crowley. The prolific nineteenth
• 22:36
  Speaker 1: century writer. Crowley had declared himself a prophet of a
• 22:39
  Speaker 1: new religion that glorified the self and the pursuit of
• 22:42
  Speaker 1: individual will. Crowley's deep belief in occult magic met his
• 22:46
  Speaker 1: vision of freedom and enlightenment. Included ritualistic orgies and mind
• 22:50
  Speaker 1: expanding drug experiences, And for Crowley, the most tempting drug
• 22:55
  Speaker 1: was cocaine. Give cocaine to a man already wise, and
• 22:59
  Speaker 1: if he'd be really of himself, it will do him
• 23:01
  Speaker 1: no harm, Crowley said, before warning alas the power of
• 23:05
  Speaker 1: the drug diminishes with a fearful pace, the doses wax,
• 23:08
  Speaker 1: the pleasures wan side issues invisible at first arise. They
• 23:12
  Speaker 1: were like devils with flaming pitchforks in their hands. Bowie
• 23:17
  Speaker 1: sought to explore the mystic depths of Crowley's teachings. He
• 23:21
  Speaker 1: began attending seances where he saw clear evidence of the
• 23:24
  Speaker 1: activation of.
• 23:25
  Speaker 2: The dark Arts.
• 23:26
  Speaker 1: It freaked him out, and the cocaine fueled his paranoia.
• 23:33
  Speaker 1: David Bowie wanted to know where the guns were. He
• 23:36
  Speaker 1: was scared. The cocaine had him wired uptight and fear.
• 23:40
  Speaker 1: Paranoia brought on from not just the coke, but some
• 23:43
  Speaker 1: twisted sense of guilt. At least it did during that
• 23:48
  Speaker 1: dark year nineteen seventy five, pulled up in a drug
• 23:52
  Speaker 1: stoopor in Los Angeles, seventy five, La Fame Beyond as
• 23:56
  Speaker 1: wild as dreams.
• 23:58
  Speaker 2: The future was bright, but his head was.
• 24:00
  Speaker 1: Dark and stuck back in seventy two, after Carnegie Hall,
• 24:04
  Speaker 1: after Springsteen at Maxis, after the Asbury Park pilgrimage, mining
• 24:08
  Speaker 1: the Boss's truly unique American gold. It was Philadelphia, the
• 24:12
  Speaker 1: Benjamin Franklin Hotel, talk of Freud, holding Coffield, Picasso and
• 24:17
  Speaker 1: the Pedophiles. It was before Lori Maddox on the West Coast,
• 24:20
  Speaker 1: and there was no.
• 24:21
  Speaker 2: Excuse for that one. It burned in retrospect.
• 24:24
  Speaker 1: She was fifteen, a baby groupie.
• 24:26
  Speaker 2: He was a man.
• 24:27
  Speaker 1: He took a virginity, she willingly obliged. If it wasn't
• 24:30
  Speaker 1: going to be him, it was going to be Paige
• 24:32
  Speaker 1: or Planned or Rod or Todd. So gross a different time,
• 24:36
  Speaker 1: but still so gross, but not as gross as the
• 24:39
  Speaker 1: Ben Franklin and Philly back in seventy two, Caruso, that
• 24:43
  Speaker 1: Jersey Shore goddess, straight out of wild Billy's back seat,
• 24:46
  Speaker 1: Greasy sheets, greasy Lake. Down on the dark side of
• 24:49
  Speaker 1: Rude eighty eight, City of Brotherly Love, Generosity, freak Show,
• 24:53
  Speaker 1: a true walk on.
• 24:54
  Speaker 2: The wild Side.
• 24:55
  Speaker 1: Lou would approve the hotel's Sweet. Doorbell rang, his security answer.
• 25:00
  Speaker 1: He went to see what the fuss was about, and
• 25:02
  Speaker 1: there it was. His security guards were shocked into silence,
• 25:07
  Speaker 1: so was he, and they just stared at it. The
• 25:09
  Speaker 1: fan who brought it up to the Sweet stood wild eyed.
• 25:12
  Speaker 1: When the fan spoke, he filled the room with a
• 25:15
  Speaker 1: dark insanity that was palpable. See what I did for you?
• 25:19
  Speaker 1: You deserve this, You're Bowie man, This is yours.
• 25:22
  Speaker 2: Take it.
• 25:23
  Speaker 1: It's for you for sex. David was immediately nauseous. There
• 25:29
  Speaker 1: in a suite, just inside the door, a gurney on it,
• 25:33
  Speaker 1: a dead body. Still more, he quickly retreated back to
• 25:37
  Speaker 1: his hotel suite bedroom to hide under the covers with Crusoe.
• 25:41
  Speaker 1: It was horrifying, He asked her, Why would someone do this?
• 25:45
  Speaker 1: Who do they think I am? The memory still gripped him.
• 26:02
  Speaker 1: It was a bridge too far, a bridge that he
• 26:04
  Speaker 1: was still connected to through the dark power of Crowley
• 26:07
  Speaker 1: Cocaine in Sex Magic. He tripped some invisible wire. He
• 26:11
  Speaker 1: knew it, and now his whole world was unraveling. Dark
• 26:14
  Speaker 1: power conjured haphazardly or neglected, can run amok. It can
• 26:18
  Speaker 1: consume you, become you. David Bowie's cocaine induced obsession with
• 26:23
  Speaker 1: Crowley in the Occult let him around some dark corners.
• 26:26
  Speaker 2: Particularly to fascism.
• 26:28
  Speaker 1: He stayed up into the early morning hours, getting high
• 26:30
  Speaker 1: and viewing old, real real Nazi propaganda films. He was
• 26:34
  Speaker 1: fascinated by the imagery, the narcissism, the occultish symbolism, the pageantry.
• 26:39
  Speaker 1: It had little to do with the politics. It was
• 26:41
  Speaker 1: all style, gall hubris. The theater of it all gripped him.
• 26:45
  Speaker 1: This around the same time he'd recorded and released The
• 26:48
  Speaker 1: Black Inspired Young Americans, an album widely accepted by the
• 26:52
  Speaker 1: black record buying public, an album that led to him
• 26:55
  Speaker 1: being the first white musician to appear on Soul Train Power.
• 27:01
  Speaker 1: They work in strange ways. They can consume you, yes,
• 27:04
  Speaker 1: and propel you sure, but they can.
• 27:05
  Speaker 2: Also defeat you.
• 27:10
  Speaker 1: Bowie knew this, and it's what had him freak the
• 27:12
  Speaker 1: fuck out in his Los Angeles home back in seventy five.
• 27:19
  Speaker 1: David heard his name whispered at night from out of nowhere.
• 27:22
  Speaker 1: He saw things in the sky that weren't there, ghostly
• 27:25
  Speaker 1: visions of Aleister Crowley. He felt cold air blow through
• 27:28
  Speaker 1: the sweltering summer nights, tasted nothing, sustained himself almost entirely
• 27:33
  Speaker 1: on milk, kilapeno peppers, cocaine and cigarettes. He had lost
• 27:37
  Speaker 1: touch with himself, whoever that was anyway, who do they
• 27:41
  Speaker 1: think I am? The power was clearly in the hands
• 27:46
  Speaker 1: of someone else.
• 27:46
  Speaker 2: Now.
• 27:47
  Speaker 1: David knew this, so again he wanted the guns. His
• 27:53
  Speaker 1: friend slash BFF slash botonic lover slash sometime roommate slash
• 27:57
  Speaker 1: Coke buddied Glenn Hughes of Deep Purples.
• 28:00
  Speaker 2: No help.
• 28:01
  Speaker 1: Glenn was smart enough to not tell Bowie where he
• 28:03
  Speaker 1: kept the guns. But Bowie needed something to fend off
• 28:06
  Speaker 1: the demon, the very real demon living among them, possibly
• 28:11
  Speaker 1: within him, along with as many other alter egos jockey
• 28:14
  Speaker 1: and form position within the vessel that was David Bowie,
• 28:17
  Speaker 1: his ego, his super ego, Major Tom, the Laughing Gnome, Ziggi,
• 28:21
  Speaker 1: the sin white Duke, all battling it out in subservience
• 28:25
  Speaker 1: to his unfettered inn Without guns, another solution was needed,
• 28:30
  Speaker 1: so Bowie commenced to have an exorcism in his backyard
• 28:34
  Speaker 1: to rid the demon who'd taken up residence in his
• 28:37
  Speaker 1: swimming pool. Glenn didn't believe him at first, who would
• 28:41
  Speaker 1: It was crazy, but he saw it with his own eyes,
• 28:44
  Speaker 1: or at least he saw what he believed to be
• 28:45
  Speaker 1: the work of the devil. There they stood Bowie, Glenn,
• 28:49
  Speaker 1: o priestess, another witness in Bowie's backyard be a protection
• 28:54
  Speaker 1: against the wickedness and snares of the devil. The water
• 28:57
  Speaker 1: in the pool was still. May God repeat you, kid,
• 29:00
  Speaker 1: we humbly prayed. Then a ripple and do thou, old
• 29:04
  Speaker 1: Prince of the heavenly host. The water started to roll slowly.
• 29:08
  Speaker 1: Boie's stomach churned with fear. Glenn felt his jaw come
• 29:12
  Speaker 1: unhinged by the power of God, thrust into hell Satan.
• 29:16
  Speaker 1: Now the water in the pool begin to boil, to thrash,
• 29:19
  Speaker 1: small ways crashed into and around each other, and all
• 29:22
  Speaker 1: evil spirits who wandered through the world for the ruin
• 29:25
  Speaker 1: of souls, and with that an intense thundercloud a blinding
• 29:30
  Speaker 1: flash of light. Instinctively, they covered their ears with their hands,
• 29:34
  Speaker 1: ducked and looked away. They turned back to the pool,
• 29:39
  Speaker 1: and it was once again still calm. A sense of
• 29:43
  Speaker 1: relief washed over them all. David Bowie knew it then.
• 29:46
  Speaker 1: He needed to pull his head together, pull himself together,
• 29:50
  Speaker 1: regain his sense of self, clean up, dry out, and
• 29:53
  Speaker 1: exercise his own demons, or he'd be dead before the
• 29:56
  Speaker 1: end of the decade. The Hermetic Order of the Golden Dawn,
• 30:15
  Speaker 1: a late nineteenth early twentieth century secret society, set up
• 30:19
  Speaker 1: shop in Great Britain toward the end of the eighteen hundreds.
• 30:22
  Speaker 1: Their influence was so great that members of the Golden
• 30:25
  Speaker 1: Dawn could be found in every class of Victorian society.
• 30:29
  Speaker 1: Celebrities of the day included poet William Butler, Yates, actress
• 30:32
  Speaker 1: Florence Farr, and, of course, the occultist renaissance man himself,
• 30:36
  Speaker 1: Alistair Crowley. Strong dynamic personalities, all their writings, rituals, and
• 30:42
  Speaker 1: transgressive behavior would come to dominate the imaginations of many.
• 30:47
  Speaker 1: The allure of a new kind of power attainable through
• 30:49
  Speaker 1: occult magic drugs, particularly cocaine, and gloriously hedonistic sociosexual ritual
• 30:55
  Speaker 1: that encouraged bisexuality in polyamory was, to put it, mildly,
• 31:00
  Speaker 1: wildly subversive for the time, which is kind of the point,
• 31:04
  Speaker 1: subverting conventional society and norms. It wasn't all that dissimilar
• 31:08
  Speaker 1: to popular thinking in the nineteen sixties. England's progressive pull
• 31:13
  Speaker 1: from the establishment that began in Swinging London, in America's
• 31:16
  Speaker 1: new hippie utopia that sprung from beatenick coffee shops in
• 31:19
  Speaker 1: college campuses started with the best of intentions, but by
• 31:23
  Speaker 1: the time the nineteen seventies rolled around, that idealism had
• 31:26
  Speaker 1: been obliterated by excess nihilism and narcissism, and David Bowie
• 31:31
  Speaker 1: was most definitely aware of the hermetic order. He explicitly
• 31:35
  Speaker 1: spoke of the Golden Dawn on Honky Dory's Quicksand and
• 31:39
  Speaker 1: his dedication to the philosophy and its focus on the
• 31:41
  Speaker 1: needs of the individual over all else nearly broke him.
• 31:45
  Speaker 1: Do what thou wilt is all well and good when
• 31:47
  Speaker 1: you're servicing one individual. But in Bowie's case it was
• 31:51
  Speaker 1: many Ziggy, the thin white Duke, Little Davy Jones, etc.
• 31:55
  Speaker 1: What began as a creative assortment of alter egos had
• 31:58
  Speaker 1: become a schizophrenic secret society run amook in his own mind,
• 32:02
  Speaker 1: fueled by cocaine, mad for sex, and completely subverting his
• 32:06
  Speaker 1: sense of self. It propelled him towards madness. We all
• 32:12
  Speaker 1: answer to many masters, or what one guru called the
• 32:15
  Speaker 1: many eyes. We think we are one, a singular being
• 32:19
  Speaker 1: charting our course in life or our daily rituals, as
• 32:22
  Speaker 1: innocuous in comparison to David Bowie or Alistair Crowley's as
• 32:25
  Speaker 1: those rituals may be. But the reality is we are
• 32:28
  Speaker 1: many people at once. We think of ourselves in the
• 32:31
  Speaker 1: singular I am, I want, I do.
• 32:33
  Speaker 2: Et cetera.
• 32:34
  Speaker 1: But the reality is we are constantly conflicted by our
• 32:38
  Speaker 1: true desires, our true selves, our many true selves. You
• 32:43
  Speaker 1: go to bed at night and pledge to get up
• 32:45
  Speaker 1: at six am to exercise. You not only set your alarm,
• 32:48
  Speaker 1: you even lay your workout, close out and get your
• 32:50
  Speaker 1: coffee maker ready. But that alarm goes off, and despite
• 32:53
  Speaker 1: your best intentions, the night before the morning version of
• 32:56
  Speaker 1: you hit snooze, grabs that extra hour of sleep and
• 32:59
  Speaker 1: pledges to work out the next day. You commit to
• 33:02
  Speaker 1: reading more nonfiction to educate yourself, put twenty pages into
• 33:05
  Speaker 1: that new Eric Larsen book on Churchill, and you're reaching
• 33:08
  Speaker 1: for the remote to binge the Flora's Lava on Netflix.
• 33:12
  Speaker 1: Are you a hypocrite? Are you weak minded, schizophrenic? No,
• 33:16
  Speaker 1: of course not. You're human. We all are, and we
• 33:20
  Speaker 1: are not singular beings. We are many eyes, all with
• 33:23
  Speaker 1: competing agendas. It's our great challenge to unify our desires,
• 33:28
  Speaker 1: our thinking, our beings and attain some sort of conscious peace,
• 33:32
  Speaker 1: a proposition that was nearly impossible for David Bowie, for
• 33:36
  Speaker 1: as many eyes were incredibly strong manifestations of his wild
• 33:40
  Speaker 1: imagination and creativity. Next time you're struggling to get out
• 33:43
  Speaker 1: of bed for a six am run, imagine trying to
• 33:46
  Speaker 1: do so with ziggy Stardust in your head telling you
• 33:48
  Speaker 1: to give it another romp, with the two models lying
• 33:50
  Speaker 1: next to you, while the thin white duke chimes in
• 33:52
  Speaker 1: than in order to do that, more cocaine is needed,
• 33:55
  Speaker 1: stat and oh, by the way. The tin Man is calling,
• 33:58
  Speaker 1: and Lazarus refuses to be ignored. Tom is floating around
• 34:01
  Speaker 1: your bed in his tin can, but David Bowie eventually
• 34:05
  Speaker 1: silenced them all. He ended the seventies by drying out
• 34:08
  Speaker 1: with his friend Iggy Pop in Berlin and completing a
• 34:11
  Speaker 1: trilogy of great long Players, Low Heroes and Lodger. He
• 34:15
  Speaker 1: then conquered the age of video in the eighties, a
• 34:17
  Speaker 1: medium he was uniquely suited for, and continued throughout the
• 34:20
  Speaker 1: nineties and early two thousands to release compelling music up
• 34:24
  Speaker 1: until his passing in twenty sixteen with the release of
• 34:27
  Speaker 1: his final album, Blackstar. But before passing from this world
• 34:32
  Speaker 1: to the next, David Bowie had some unfinished business. He
• 34:38
  Speaker 1: knew his death was coming, but it wasn't the end,
• 34:41
  Speaker 1: It was the beginning. Transcending this life to the next.
• 34:45
  Speaker 1: Passage on the astral plane is not a given for any,
• 34:48
  Speaker 1: and definitely not for many. Unification was necessary. Major Tom
• 34:53
  Speaker 1: had ascended some years ago, untethered, yes, but forever bound
• 34:57
  Speaker 1: to Boie, Ziggy Stardus had to ended not of this
• 35:00
  Speaker 1: world too charismatic to ever fully fade, and the thin
• 35:04
  Speaker 1: White Duke had pillaged his way out of control, only
• 35:07
  Speaker 1: to be excommunicated, but forever capable of ruling an exile
• 35:11
  Speaker 1: via proxy. They were still all there with him in
• 35:14
  Speaker 1: the end, despite their diminished capacity and influence on his
• 35:18
  Speaker 1: life and career over his last few decades, they were
• 35:21
  Speaker 1: all still there, and so too was Crowley. Incanting an
• 35:26
  Speaker 1: occult ritual. On the title track from Blackstar. In the
• 35:29
  Speaker 1: first verse from David Bowie's final creative contribution, Bowie sings
• 35:33
  Speaker 1: about the Villa of Ormon in a solitary candle, solitary singular.
• 35:40
  Speaker 1: David Bowie was tying together russens, unifying the symbolism of
• 35:45
  Speaker 1: Blackstar in its lyrics. In its video, released two days
• 35:48
  Speaker 1: before David Bowie died, is filled with references to Bowie's
• 35:52
  Speaker 1: many eyes, not to mention to the occult. It was
• 35:55
  Speaker 1: directed by self proclaimed Crowley fanatic director Johann Wreck. From
• 36:00
  Speaker 1: the Black Star title itself a reference to the occult
• 36:03
  Speaker 1: concept of the midnight sun or the spirit of man
• 36:06
  Speaker 1: shining through the darkness, Bowie sings about something happening on
• 36:10
  Speaker 1: the day he died and about meter traveling through light,
• 36:13
  Speaker 1: meter the length of the path traveled by light, the
• 36:17
  Speaker 1: midnight sun, man shining through the Darkness the Black Star.
• 36:22
  Speaker 1: Major Tom Way past one hundred thousand miles forty seven
• 36:25
  Speaker 1: years later, finally located dead in a spacesuit on a
• 36:29
  Speaker 1: distant planet as portrayed in the Blackstar video. The skull
• 36:33
  Speaker 1: in Major Tom's helmet is no ordinary skull. It's ornie,
• 36:37
  Speaker 1: a gift from the royals, a parting acknowledgment of defeat
• 36:40
  Speaker 1: from the Duke, the Thin White Duke, a priceless artifact
• 36:44
  Speaker 1: of the gods of one god, in particular, the rock
• 36:47
  Speaker 1: god Ziggy, a god whose influence on his subject of
• 36:50
  Speaker 1: want had finally ceased. Bowie emotes near the song's end
• 36:55
  Speaker 1: that it was somebody else who took his place. He sings,
• 36:58
  Speaker 1: I'm a black Star, a Blackstar. Finally, David Bowie had
• 37:04
  Speaker 1: reconciled his alter egos, unified one absolute or, as he said,
• 37:11
  Speaker 1: I'm the Great, I am I'm the Blackstar, a conscious
• 37:16
  Speaker 1: piece at last, unity fuel for the astral plane.
• 37:21
  Speaker 2: Far from this world, Far.
• 37:23
  Speaker 1: From Disgrace, I'm Jake Brennan, and this is Disgraceland. Disgraceland
• 37:39
  Speaker 1: was created by Yours Truly and is produced in partnership
• 37:42
  Speaker 1: with Double Elvis. Credits for this episode can be found
• 37:45
  Speaker 1: on the show notes page at disgracelampod dot com. If
• 37:49
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• 37:52
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• 37:55
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• 38:01
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• 38:25
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