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Sonic Youth: The Murders Behind One of the Coolest Album Covers of All Time · DISGRACELAND

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Speaker 1: This episode contains content that may be disturbing to some listeners.
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Speaker 1: Please check the show notes for more information. Disgraceland is
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Speaker 1: a production of Double Elvis. This is the story of
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Speaker 1: one of the coolest album covers of all time, an
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Speaker 1: album by one of the coolest bands of all time,
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Speaker 1: A band that was unaware of the true crime story
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Speaker 1: behind that album art, a true crime involving a pair
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Speaker 1: of serial killers and an unlikely hero, a hero obsessed
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Speaker 1: with rock and roll music that taught this hero how
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Speaker 1: to keep his cool and playing it cool allowed him
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Speaker 1: to escape from and ultimately bring down two of England's
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Speaker 1: most notorious murderers, in part because of great music. Unlike
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Speaker 1: that music I played for you at the top of
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Speaker 1: the show. That wasn't great music. That was a preset
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Speaker 1: loop from my mellotron called Guided by the Fright MK one.
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Speaker 1: I played you that loop because I can't afford the
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Speaker 1: rights to it. Must have been love by Roxette. And
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Speaker 1: why would I play you that specific slice of Swiss
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Speaker 1: cheese pop? Could I afford it? Because that was the
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Speaker 1: number one song in America on June twenty sixth, nineteen
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Speaker 1: ninety and that was the day Sonic Youth released their
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Speaker 1: major label debut album Goop, the one with the drawing
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Speaker 1: of two teenage rock and rollers caught up in one
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Speaker 1: of England's most violent and disturbing true crimes.
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Speaker 2: On this episode the wild true crime story behind Sonic
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Speaker 2: Youth's Goop, the Moors murders in an unlikely rock and
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Speaker 2: roll hero.
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Speaker 1: I'm Jake Brennan, and this is Disgraceland. I have to
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Speaker 1: read these words straight off of this album cover to
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Speaker 1: make sure that I get them right. I stole my
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Speaker 1: sister's boyfriend. It was all whirlwind, heat and flash. Within
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Speaker 1: a week, we killed my parents and hit the road.
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Speaker 1: I still remember where I was when I read those words,
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Speaker 1: standing in the Harvard Square Newberry Comics in Cambridge, Massachusetts,
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Speaker 1: holding this album. I couldn't have been older than sixteen,
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Speaker 1: and I was mesmerized. What did these words mean? And
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Speaker 1: what was this album that they were written on seemingly
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Speaker 1: and sharpie by some crazed punk kid. What was this
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Speaker 1: album album all about goo? And who was this band,
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Speaker 1: Sonic Youth. I'd heard of Sonic Youth by that point.
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Speaker 1: I'd probably seen their earlier albums on EPs, perhaps from
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Speaker 1: the SST label listed in fanzine adverts, or maybe I
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Speaker 1: spied their logo on a patch on the back of
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Speaker 1: one of the cooler punk rock kids that used to
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Speaker 1: hang outside the Rat in Boston's Kenmore Square, or maybe
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Speaker 1: on a sticker on the bathroom wall at one of
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Speaker 1: the hardcore matinees that had recently begun Frequenting. But I'd
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Speaker 1: never heard Sonic Youth. I didn't yet know that what
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Speaker 1: was in the grus of that record was as cool
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Speaker 1: as the caption on its cover. I stole my sister's boyfriend.
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Speaker 1: It was all whirlwind, heat and flash. Within a week,
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Speaker 1: we killed my parents and hit the road. What the
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Speaker 1: hell was this? Were these lyrics from one of Sonic
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Speaker 1: Youth's songs? And who was this couple illustrated on the
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Speaker 1: cover of this album next to this caption? I knew
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Speaker 1: that Sonic Youth had a girl in the band? Was
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Speaker 1: this her? Was the dude next to her in the
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Speaker 1: illustration her boyfriend or something one of the others from
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Speaker 1: the band? And what did this caption mean? These two
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Speaker 1: killed the girl's parents? Was this what Sonic Youth's songs
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Speaker 1: were about? Murder? By the year nineteen ninety, Sonic Youth
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Speaker 1: was poised to break out of the underground music scene
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Speaker 1: and into the mainstream. Their nineteen ninety album Goo was
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Speaker 1: to be their major label debut for DGC, the David
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Speaker 1: Geffen Company. Up to this point, Sonic Youth had built
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Speaker 1: a loyal fan base of punk's hardcore kids, arts, school
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Speaker 1: and college students, music fans, mostly youth, who identified with
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Speaker 1: the band's sonic assault on convention both musically and socially.
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Speaker 1: Sonic Youth. When Sonic Youth began back in nineteen eighty one,
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Speaker 1: they weren't punk. Punk was dead, and they weren't new wave.
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Speaker 1: They were no wave, and they weren't just loud. They
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Speaker 1: were noise, and they weren't your typical rock and roll
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Speaker 1: band set up. There was a girl in the band
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Speaker 1: and her name was Kim Kim Gordon, and she was badass,
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Speaker 1: not some cutesy ornament, not some sultry front woman. She
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Speaker 1: was gorgeous, sure, but beyond stereotyping. Her beauty seemed to
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Speaker 1: spring from strength, not polish. And she played her bass
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Speaker 1: with power and in a conventional tuning which anchored the
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Speaker 1: noisy chaos created by the squalling feedback of guitarists Thurston
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Speaker 1: Moore and Lee Ronaldo, and by the year nineteen eighty five,
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Speaker 1: when drummer Steve Shelley joined the band, Kim Gordon had
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Speaker 1: helped create what was at once one of the most
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Speaker 1: driving and danceable rhythm sections in popular music, and she
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Speaker 1: was married to Thurston More. Sonic Youth was not fronted
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Speaker 1: by a groupie, hustling alpha duche as were other rock bands.
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Speaker 1: Sonic Youth contemporaries on MTV and countless groups for music history.
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Speaker 1: No Sonic use guitarist and co singer on most of
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Speaker 1: their tracks. Their creative instigator the six foot eight inch
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Speaker 1: guitar player who sometimes played a stringed instrument with a
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Speaker 1: screwdriver in order to elicit the appropriate type of drone
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Speaker 1: to compliment his compositions. This dude was not Nicky six
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Speaker 1: for Motley Crue. He was an artist in love with
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Speaker 1: a fellow artist who happened to play bass in the
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Speaker 1: same band with him and his other artist friends. In
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Speaker 1: nineteen ninety this was damn near revolutionary. Still kind of
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Speaker 1: is actually. Go ahead and try to think of another
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Speaker 1: culture defining rock band with a married couple in it.
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Speaker 1: I'll wait see the closest you're going to come is
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Speaker 1: the White Stripes, but they're an anomaly. And there's also
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Speaker 1: Lindsay Buckingham and Stevie Nicks from Fleetwood Mac, but they
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Speaker 1: weren't married and that relationship was a romantic shit show.
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Speaker 1: It was completely cliche, one band member cheating on his
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Speaker 1: female band member partner while she was exploring the wonders
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Speaker 1: of cocaine Enemas with the group Roadies, it was all convention,
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Speaker 1: as cliche as a rock star dying at the age
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Speaker 1: of twenty seven. Sonic Youth didn't do convention. Sonic Youth
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Speaker 1: didn't do cliche, not on record, not on stage, not
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Speaker 1: off stage, not in Kim in Thurston's relationship. The band
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Speaker 1: was as anti cliche as could be and cool in
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Speaker 1: an entirely new kind of way. The way they sounded
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Speaker 1: was cool the power of Sonic Youth shows, their East
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Speaker 1: Coast no way of avant garde esthetic and their West
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Speaker 1: Coast hardcore energy. The way they looked was cool Oxford
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Speaker 1: shirts and velvet underground wrapped around shades with Kim's single
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Speaker 1: striped mod dresses. And like I said, in the way
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Speaker 1: they seemed to live as a band with a married
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Speaker 1: couple at the core of the group's artist collective vibe.
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Speaker 1: All of it signaled cool in a way you hadn't
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Speaker 1: thought about before, not unless you were living on New
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Speaker 1: York's Lower East Side or in Greg Ginn's shack back
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Speaker 1: in the year eighties. And even if you were What's
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Speaker 1: up Henry Rowlinson, Oh hey, Glenn Bronca, you weren't thinking
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Speaker 1: about all of these different layers of coolness and executing
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Speaker 1: them at the same time, alchemizing some sort of new
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Speaker 1: cool thing that was about to turn on a new generation.
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Speaker 1: Otherwise you would have been in Sonic Youth and you weren't.
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Speaker 1: They were, and they were cooler than we were. But
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Speaker 1: was Sonic Youth cooler than the couple on the cover
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Speaker 1: of their album Goo, cool enough to escape the glare
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Speaker 1: of the international paparazzi, cool enough to escape murder? David
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Speaker 1: Smith was fifteen years old when Pauline Reid disappeared from
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Speaker 1: the Gordon district of Manchester, a city one hundred and
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Speaker 1: fifty miles north of London. Pauline Reid was only sixteen.
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Speaker 1: It was nineteen sixty three. David Smith wasn't concerned with
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Speaker 1: his community's missing girl. As a member of the Taylor
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Speaker 1: Street Boys gang. He was busy fighting off the Open
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Speaker 1: Shops who had invaded David's gang's turf in Gordon's Housing
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Speaker 1: estates low income terrorists living no money, no jobs, no future,
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Speaker 1: just violence and rock and roll. David could still hear
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Speaker 1: the Dwayne Eddie riff echoing in his head. When the
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Speaker 1: first punch hit, the bit of blood in his mouth
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Speaker 1: fueled him. He swung back wildly, connecting with the jaw
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Speaker 1: one of the open shop boys. The brass knuckles David
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Speaker 1: wore ensured that the open chow boy wouldn't be coming
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Speaker 1: back for more. David fought his way through the melee
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Speaker 1: on the street. His boys, the Taylor Street Gang, had
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Speaker 1: the situation under control. David could keep the knife in
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Speaker 1: his pocket. He pushed through the street fight and up
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Speaker 1: onto the sidewalk. David knew she was watching him from
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Speaker 1: inside Savori's cafe, and he knew what type of Imagy cut.
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Speaker 1: As he emerged from the brawling bodies on the street,
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Speaker 1: a street walking cheetah perched on cuban kill cowboy boots,
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Speaker 1: drain pipe, skinny black jeans cuffed high to reveal a
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Speaker 1: shocking dash of his pink socks. Studded belt, buttoned down
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Speaker 1: black shirt, crucifix for protection hanging over his chest, perfectly styled,
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Speaker 1: greased pompadora, slick, wet with sweat, slightly bloodied, sixteen and dangerous.
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Speaker 1: David Smith pushed open the door of the cafe into
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Speaker 1: the sounds of Elvis Presley's It's Now Are Never blasting
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Speaker 1: from the jukebox and made immediate eye contact with the
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Speaker 1: girl with the dusty springfield makeup, lacquered beehive hairdoo and
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Speaker 1: poodled skirt, seventeen year old Maureen Henley. David b lined
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Speaker 1: it to Marene, grabbed her by the hips, pulled her
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Speaker 1: toward him, and confidently swayed to the sounds of the King.
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Speaker 1: Their union was as inevitable as rock and roll, and
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Speaker 1: little did either know the murders they would get swept
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Speaker 1: up in would soon make them infamous. Their images blasted
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Speaker 1: across the covers of newspapers all over the world, sensationalized
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Speaker 1: in true crime scandal racks, and eventually on the cover
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Speaker 1: on one of the coolest albums of all time. The
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Speaker 1: illustration on the cover of Sonic Yus Goo is a
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Speaker 1: depiction of David Smith and Maureen Henley, the boy with
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Speaker 1: the rock and roll street gang look and the girl
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Speaker 1: with the dusty Springfield makeup. If they appear to be
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Speaker 1: more mod looking on the cover of Goo, that's purely accidental.
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Speaker 1: They weren't mods, they were rockers. The artist who depicted
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Speaker 1: the couple on the newt Famous album is Raymond Petibone,
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Speaker 1: brother of Black Flag guitarist at SST Records founder Greg Ginn.
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Speaker 1: Prior to nineteen ninety, Sonic Youths had released two full
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Speaker 1: length albums on SST, Evil and Sister. They then jumped
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Speaker 1: ship to the Enigma label to release daydream Nation in
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Speaker 1: nineteen eighty nine. At some point they became not just
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Speaker 1: fans of, but friends with, Raymond Pettibone. Petibone, at the
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Speaker 1: time was known for the album already created for Black
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Speaker 1: Flag and other West Coast hardcore groups, stark, violent, anti
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Speaker 1: authoritative illustrations and imagery that recontextualized images source from books, magazines, cartoons,
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Speaker 1: often accompanied by dark and quippi text that recontextualized the
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Speaker 1: imagery into something unique. In a word, Petabone's work is punk.
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Speaker 1: Here are some other words subversive, dangerous, larcenous, and again
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Speaker 1: unique like real punk, no matter the context seventies eighties
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Speaker 1: East West Coast, US UK. You know it when you
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Speaker 1: hear it. With petobones art, you know it when you
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Speaker 1: see it. Contextualization is at the heart of Raymond Petobone's work,
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Speaker 1: or rather recontextualization, and the cover of Goo is no
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Speaker 1: different that illustration of David Smith and Maureen Hinley. It's
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Speaker 1: accompanied by those chilling words I stole my sister's boyfriend.
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Speaker 1: It was all whirlwind, heat and flash. Within a week,
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Speaker 1: we killed my parents and hit the road. Without those words,
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Speaker 1: it's just a cool image, and with those words, the
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Speaker 1: image is arresting. And that's how sonic youth Thurston Moore
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Speaker 1: felt when he saw that piece of Petobone Aret arrested.
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Speaker 1: Petobone took the image from an old true crime magazine
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Speaker 1: called True Detective. There's still by my research anyway, no
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Speaker 1: telling where those words came from. Did Petobone write them?
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Speaker 1: Did those words relate to the couple in the illustration,
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Speaker 1: to David and Marene, to the crime and they were
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Speaker 1: caught up in No? Did Thurston More draft those words
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Speaker 1: in collaboration with the artist. He did not. Those words
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Speaker 1: likely came from another true crime magazine or true crime article,
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Speaker 1: some other bit of sensationalized history that the artists felt
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Speaker 1: better fit this image. That recontextualization is in part what
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Speaker 1: makes the image so cool. Recontextualization was also at the
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Speaker 1: heart of Sonic Youth's art their music. Ever since their
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Speaker 1: second studio album, Bad Moon Rising, released back in nineteen
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Speaker 1: eighty five on the Homestead label, Sonic Youth began recontextualizing
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Speaker 1: classic rock and American true crime and appropriating these elements
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Speaker 1: from the mainstream into underground culture. Bad Moon Rising was
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Speaker 1: the title of a Creden's Clear Outer revival to a
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Speaker 1: song by a band from the Bay Area that presented
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Speaker 1: themselves as swamp creatures from the Bayou, and they wrote big,
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Speaker 1: hook key radio hits designed to sell gazillions of albums
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Speaker 1: to stone hippies for their corporate record label, Overlords. Sonic
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Speaker 1: Youth was an experimental noise outfit from the East Coast
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Speaker 1: who presented themselves as the antithesis of everything CCR stood for,
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Speaker 1: and they wrote long, sometimes droney, sometimes driving sonic opuses
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Speaker 1: that were designed to blow out your radio speakers. Bad
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Speaker 1: Moon Rising may have nodded to CCR's swamps, but it
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Speaker 1: sounded like the New York City Thurston Moore moved to
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Speaker 1: from the Connecticut suburbs in the seventies. Dissonant and extreme
15:41
Speaker 1: New York City at the time was a true crime.
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Speaker 1: It was not entirely dissimilar from the creepy Crowley true
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Speaker 1: crime cloud Kim Gordon grew up under in California a
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Speaker 1: decade earlier. That was an American facade of normal ripped
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Speaker 1: apart by Charles Manson's death Cult, a community living on
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Speaker 1: the razor's edge of para rock stars and celebrities, fearing
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Speaker 1: that the next home invasion making headlines might be their
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Speaker 1: own young kids, tormented by thoughts of lunatic killers on
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Speaker 1: the loose, prowling the streets, and sixty nine Mustangs for
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Speaker 1: unsuspecting teenage hitchhikers to sacrifice in some hippie dippy occult
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Speaker 1: blood ritual. That's what the song Death Valley sixty nine
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Speaker 1: from Bad Moon Rising was about, a dark true crime
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Speaker 1: exploration of the American underbelly. It was more about Thurston
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Speaker 1: Moor's and co writer No Wave collaborator Lyda Lunch's fascination
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Speaker 1: with the Manson saga than it was about their own
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Speaker 1: subjective fear fear, real fear, real, true crime paranoia that
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Speaker 1: was reserved for the song Pacific Coast Highway, written by
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Speaker 1: Kim Gordon for Sonic Youth's sister album. It's lyrics come on,
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Speaker 1: get in the car, let's go for a ride somewhere.
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Speaker 1: I won't hurt you as much as you hurt me.
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Speaker 1: Those lyrics trade the fear. Kim grew up in in
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Speaker 1: southern California, in the shadow of Charles Manson's nihilistic True Crimes.
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Speaker 1: Back in England in nineteen sixty six, nihilism was suddenly
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Speaker 1: a concern of David Smith's. David Smith, the rock and
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Speaker 1: roll street tough from Manchester, ended up marrying Mareen Hinley,
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Speaker 1: the girl with the dusty Springfield makeup. He was just
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Speaker 1: sixteen and she was eighteen. The two became fast friends
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Speaker 1: with Maureene's sister Myra and Myra's husband, Ian Brady. Myra
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Speaker 1: was twenty two, Ian was twenty six. It was August
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Speaker 1: nineteen sixty four in the Gordon community of Manchester, another
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Speaker 1: child had gone missing. Keith Bennett's parents joined Pauline Reid's
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Speaker 1: in despair. David Smith's precious rock and roll wasn't on
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Speaker 1: the turntable or the radio. In Ian and Myra's home
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Speaker 1: were the two couples hung out. Ian was decidedly not
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Speaker 1: rock and roll. He had what he considered to be
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Speaker 1: refined taste, preferring the sounds of Richard Wagner, the favorite
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Speaker 1: composer of his hero Adolf Hitler. Ian had offensive tastes,
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Speaker 1: and David hated him for it, but sixteen year old
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Speaker 1: David tolerated his brother in law for the sake of
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Speaker 1: his new wife. Ian was older than he was now family,
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Speaker 1: and the two couples drank heavily together, and the drunker
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Speaker 1: they got the weirder. Ian got Ian was a nihilist.
18:35
Speaker 1: Ian believed life was meaningless and that the universe had
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Speaker 1: no intrinsic purpose. Ian vibed on historical atrocities in his
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Speaker 1: suit and tie. He affected the look of an intellectual
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Speaker 1: who espoused the views of fellow nihilists like the Marquis
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Speaker 1: de Sade and Frederic Nietzsche, and that morality was just
18:54
Speaker 1: a construct invented to protect the weak. Ian owned a
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Speaker 1: copy of the Band Book just by the Marquis de Sade,
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Speaker 1: and the book depicted extreme sexual violence and was widely
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Speaker 1: viewed as an instrument of morals ab version. Ian made
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Speaker 1: David read Justine, He made David provide notes on the
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Speaker 1: band book. Ian wouldn't shut up about it, and David
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Speaker 1: complied just to get Ian off his back. Ian and
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Speaker 1: his wife Myra brought David and Myra's sister Mareene closer
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Speaker 1: into their twisted philosophy. David did his best to ignore
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Speaker 1: Ian's eccentricities, and so did Maureen. But family is family,
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Speaker 1: and the forsome picnicked out on the moors. The Moor's
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Speaker 1: a bleak highland, a vast and isolated landscape, just a
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Speaker 1: few miles outside Gordon, Manchester. It was the scene of
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Speaker 1: one of Ian and Myra's sickest jokes, the older couple
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Speaker 1: inviting the younger couple for a day out of wine
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Speaker 1: and food out on the moors, picnicking on the precise
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Speaker 1: patch of land where Ian and Myra had buried the body.
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Speaker 1: We'll be right back after this word word word chuck
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Speaker 1: d from Public Enemy didn't want to hear the new
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Speaker 1: song from Sonic Youth, which he was about to lay
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Speaker 1: down a vocal for. He just wanted to get into
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Speaker 1: the booth and cut it. He trusted Thurston More and
20:31
Speaker 1: he trusted Kim Gordon. The couple in their band, by
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Speaker 1: nineteen ninety were synonymous with downtown cool. Chuck didn't even
20:39
Speaker 1: want to read Kim's lyrics. He just wanted to jump
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Speaker 1: into the vocal booth and respond to whatever she sang
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Speaker 1: and what Kim Gordon sang on What was to become
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Speaker 1: the lead single off Sonic Youth's forthcoming major label debut,
20:54
Speaker 1: Goo was an empowerment manifesto cut from the cloth of
20:58
Speaker 1: a new kind of feminism. Her words were steeped in irony, intelligence,
21:04
Speaker 1: and sex. It was a new decade, and Kim Gordon
21:08
Speaker 1: had some questions. I just want to know what are
21:11
Speaker 1: you going to do for me? I mean, are you
21:14
Speaker 1: going to liberate us girls from male, white corporate oppression?
21:20
Speaker 1: Chuck de responded with tell it like it is. Prior
21:28
Speaker 1: to this impromptu collab, Chuck had been recording down the
21:31
Speaker 1: Hall from Sonic Youth with his group Public Enemy. Thurston
21:35
Speaker 1: Moore was a massive hip hop fan and had been
21:39
Speaker 1: since the new genre exploded across the streets of New
21:42
Speaker 1: York and beyond over the past decade. Chuck didn't know
21:45
Speaker 1: that Sonic Youth knew somehow before anyone else the Public
21:50
Speaker 1: Enemy was going to call their new album Fear of
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Speaker 1: a Black Planet. So when Chuck de sat in the
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Speaker 1: vocal booth recording his guest spot on Sonic Youth's new tune,
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Speaker 1: a song he'd never heard before, he was mildly shocked
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Speaker 1: when he heard Kim Gordon's vocal crackle in through his
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Speaker 1: headphones with the lyrics don't be shy fear of a
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Speaker 1: Female Planet. Chuck played it cool, grinning slightly while improvising
22:15
Speaker 1: his next lines, fear Baby. Let everybody know. That song
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Speaker 1: was called cool Thing, and it's one of the coolest
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Speaker 1: vocal duet performances you'll ever hear. Leave it to Thurston
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Speaker 1: More to help orchestrate one of the coolest recordings to
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Speaker 1: come out of the nineties, because for a decade and
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Speaker 1: a half up to that point, Thurst and More have
22:36
Speaker 1: been burnishing his underground credentials and organically creating the undeniably
22:41
Speaker 1: cool aesthetic that his band would project. And this is
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Speaker 1: because since the moment Thurston Moore arrived in New York
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Speaker 1: City in nineteen seventy six from his suburban hometown of Bethel, Connecticut,
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Speaker 1: the dude was at almost every seminal rock and roll moment.
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Speaker 1: The city had hosted all of that cool sprouting up
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Speaker 1: from the cracks of the Lower East Side and throughout
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Speaker 1: the Five Borrows, all the early punk, the New Wave explosion,
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Speaker 1: the No Wave response, the early days of hip hop,
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Speaker 1: the art pop exhibitions, the hardcore matinees, grunge, metal, college rock,
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Speaker 1: avant garde, you name it. If it was cool, and
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Speaker 1: if it had to do with music and was happening
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Speaker 1: in New York, then Thurston Moore's record collection reflected that
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Speaker 1: cool because Thurston Moore was there.
23:35
Speaker 2: Yeah, Thurston was there. Thurston Moore, the tall kid who
23:47
Speaker 2: came up from behind from Connecticut, from the coachman with
24:00
Speaker 2: the kids.
24:02
Speaker 1: From Risney in south of Houston. But Thurston was there.
24:11
Speaker 2: He was there in nineteen seventy eight, he was there
24:17
Speaker 2: at the first SID show at Maxis, But Thurston was there.
24:34
Speaker 1: He was there because he was there. But Thurston was there.
24:43
Speaker 3: He was there in nineteen seventy six when the pumps
24:46
Speaker 3: over Kablondi.
24:48
Speaker 1: At Sebbe Genis, he was vibing on.
24:52
Speaker 2: The keyboard sounds without irony. He was the first guy
24:56
Speaker 2: playing Madonna to the punk kids.
25:00
Speaker 1: He heard it at dance Materia. Everybody thought he was crazy,
25:04
Speaker 1: so they don't know. But Thurston was there.
25:11
Speaker 2: With the better looking people with better ideas and more talent.
25:17
Speaker 2: They were actually.
25:18
Speaker 1: Really, really nice.
25:23
Speaker 2: I heard Thurston press the seven inch of every live
25:26
Speaker 2: song ever done by Venom at City.
25:30
Speaker 1: Gardens, but with no music we shall.
25:32
Speaker 2: See on stage rants none of the black metal tracks.
25:37
Speaker 2: I heard.
25:38
Speaker 1: Thurston was on the guest list for the Richard ll
25:41
Speaker 1: show at the Saint Mark's Poetry Project.
25:44
Speaker 2: When Elvis Costello sagd he wants to make a noise record.
25:49
Speaker 2: I hear that Thurston and his band has sold their
25:52
Speaker 2: guitar picks and bought screwdrivers. I hear that Thurston and
25:58
Speaker 2: his band has so the screwdrivers at bod Guitar Picks.
26:04
Speaker 2: I hear everybody that Thurston knows is more relevant than.
26:09
Speaker 1: Everybody I know. But have you seen Thurston.
26:13
Speaker 3: Record Johnson and Ma'am I'm dam Love of the Terror Calls, Swans, Kingsman,
26:18
Speaker 3: The Black Flag, Glenn Branco, The Germs, the.
26:21
Speaker 1: Gray Recording, Henry and Nita double Nicholas on the game.
26:26
Speaker 2: That's Klein, Ma'am Pussy Galora seven inches before they wrote it.
26:30
Speaker 2: Who's could do Agnostic Front, the Weirdo's Red Cross, Sunny
26:33
Speaker 2: Shak X.
26:34
Speaker 3: Nirvana, or that Cole Birthday party on the raincoat, I screamed,
26:39
Speaker 3: Derek b and Rakim kleenex CHACONI Youth, the Young, alber Riches,
26:43
Speaker 3: saque chart Alas Kochhe, the X, Race, FECs, Faith Boyd, Split,
26:48
Speaker 3: the Slit SAgs, Philip Glass, She did, Jesus and the Jerks,
26:54
Speaker 3: the Jills, the Obsessed.
26:56
Speaker 1: The botoms, the bottoms, the bottoms, the bottoms. Thurston Moore
27:45
Speaker 1: was very much there in his apartment in nineteen ninety,
27:50
Speaker 1: rifling through some handmade Raymond Pettobone magazines zines, hunting for
27:54
Speaker 1: an image to use for his band's next album's cover art.
27:58
Speaker 1: He and the rest of the band wanted to use
28:00
Speaker 1: a petabone illustration of Joan Crawford with their lips puckered out,
28:04
Speaker 1: and to call their major label debut album, Blowjob. There's
28:07
Speaker 1: a question mark the end of Blowjob. The subversiveness of
28:11
Speaker 1: such a move is so thick that I'm not going
28:13
Speaker 1: to ruin it here with an explanation, but I will
28:15
Speaker 1: say that this idea did not go over well with
28:17
Speaker 1: Gary Gersh Their a and r Man at DGC, Thurston
28:21
Speaker 1: played it cool. There was plenty more subversiveness to mine. Instead,
28:26
Speaker 1: he landed upon a petobone image of a teenage looking
28:28
Speaker 1: couple in wrap around shades, one smoking a cigarette and
28:32
Speaker 1: the other looking down. The caption read, I stole my
28:36
Speaker 1: sister's boyfriend. It was all whirlwind, heat in flash. Within
28:41
Speaker 1: a week, we killed my parents and hit the road.
28:46
Speaker 1: What it all meant, Thurston didn't know or care. All
28:50
Speaker 1: he knew was that it was, in a word, cool.
28:54
Speaker 1: The crime at the core of that image was a mystery,
28:58
Speaker 1: just as the crime of the missing children in Manchester
29:00
Speaker 1: back in nineteen sixty five was a mystery, a mystery
29:04
Speaker 1: that David Smith was about to unintentionally solve. By the
29:12
Speaker 1: fall of nineteen sixty five, a total of four children
29:15
Speaker 1: had been reported missing in Manchester, going back as far
29:18
Speaker 1: as July nineteen sixty three. They included, in order of
29:22
Speaker 1: their disappearance, Pauline Reid sixteen, John Kilbride twelve, Keith Bennett twelve,
29:29
Speaker 1: and Leslie Anne Downey, aged ten. On the night of
29:33
Speaker 1: October seventh, nineteen sixty five, David Smith left his wife
29:37
Speaker 1: Maureen at home and went by his brother and sister
29:39
Speaker 1: in laws place, Ian Brady and Myra Henley had summoned David.
29:44
Speaker 1: They had some wine they wanted to give him. When
29:47
Speaker 1: David arrived, Myra quickly ushered him inside and closed the door.
29:52
Speaker 1: Things were very wrong in the living room. Before he
29:58
Speaker 1: could even react, David saw Ian standing over a young
30:01
Speaker 1: man lying on a piece of furniture. In a split second,
30:05
Speaker 1: David saw an axe in Ian's hands rise up above
30:07
Speaker 1: his head, and in another instant, before David could say
30:11
Speaker 1: or do anything, Ian's axe came down hard into the
30:15
Speaker 1: young man. The young man fell off the furniture, screaming
30:19
Speaker 1: bloody murder as he made a feeble attempt to crawl away.
30:22
Speaker 1: David stood and shot. Ian brought the axe down again.
30:27
Speaker 1: That stopped the young man from moving. All of a
30:30
Speaker 1: sudden there was blood everywhere on the walls, on Ian's face,
30:35
Speaker 1: all over the axe, running across the living room's hardwood floor,
30:39
Speaker 1: covering it in black. Again, Ian brought down the axe,
30:44
Speaker 1: more blood, a final screen, and then the axe again,
30:48
Speaker 1: more blood. Ian through the axe and then straddled the
30:52
Speaker 1: young man and began strangling him. The white snow from
30:56
Speaker 1: the television was the room's only light, and the sound
30:59
Speaker 1: of the TV's speaker's white noise overtook the fading gurgle
31:02
Speaker 1: of the strangled young man, and then the gurgling stopped completely.
31:08
Speaker 1: Ian let go of his neck and Myra shut off
31:10
Speaker 1: the television. There was just silence. David was frozen in fear.
31:18
Speaker 1: Myra broke the tension, saying, that's it, that's the messiest one.
31:22
Speaker 1: Yet David snapped too. He knew, he knew in that
31:27
Speaker 1: moment who he was with, the murderers behind Manchester's missing children.
31:33
Speaker 1: Fear overtook him. He was next. He was certain Ian
31:37
Speaker 1: and Myra were going to kill him. But Ian had
31:39
Speaker 1: other plans. He wanted David in on his murderous, nihilistic action.
31:44
Speaker 1: He wanted another serial killer, a third partner in crime.
31:48
Speaker 1: This murder that Ian and Myra had staged in front
31:51
Speaker 1: of David was designed to entrap David, to make him complicit,
31:55
Speaker 1: to pull him into their crime along with his wife.
31:59
Speaker 1: But that wasn't all. Now the scene needed cleaning up.
32:02
Speaker 1: Disposing of dead bodies was hard work. Three sets of
32:05
Speaker 1: hands were better than two. David played it cool. He
32:09
Speaker 1: did what Ian and Myra said. He was afraid that
32:12
Speaker 1: that axe would be brought down on his skull. Next,
32:16
Speaker 1: he swallowed whatever fear he had in him, tamped down
32:19
Speaker 1: the revolting feeling in his stomach, and went to work
32:22
Speaker 1: with Ian and Myra. They trust the body a victim
32:26
Speaker 1: whose name was Edward Evans, and they carried Edward's body
32:30
Speaker 1: into an upstairs bedroom. And then they got on their
32:32
Speaker 1: knees and sopped up the spilled blood with rags, removed
32:36
Speaker 1: the bits of brains from the walls, and when it
32:38
Speaker 1: was all done, the three of them sat in the
32:41
Speaker 1: rising morning sunlight and drank tea. David played along. It
32:47
Speaker 1: was the only thing he could do. It was the
32:50
Speaker 1: only way of escaping, of getting out of this house alive.
32:53
Speaker 1: Go along, do what they said, get it all over
32:56
Speaker 1: with and get out with your life like Elvis and
32:59
Speaker 1: King Creole. Play it cool, and that's exactly what he did.
33:05
Speaker 1: Ian and Myra were confident in David's complicity. They made
33:09
Speaker 1: plans to see each other later in the day to
33:11
Speaker 1: dispose of the body. David walked out of their apartment
33:15
Speaker 1: away from the murder scene, went straight home, told his wife,
33:19
Speaker 1: Myra's sister Maureen, exactly what happened, and then they called
33:24
Speaker 1: the cops. In nineteen eighty six, Thurston Moore sang the
33:54
Speaker 1: words We're going to kill the California Girls in the
33:58
Speaker 1: song Expressway to Your Skull also known as Madonna Sean
34:03
Speaker 1: in Me from the band's third studio album Evil. A
34:07
Speaker 1: year later, Kim Gordon saying come on, get in the car,
34:11
Speaker 1: Let's go for a drive somewhere. I won't hurt you
34:14
Speaker 1: as much as you'll hurt me. In the song Pacific
34:16
Speaker 1: Coast Highway from Sonic Youth's next album, Sister. In one,
34:22
Speaker 1: lyric Thurston Moore personifies the deepest fear Kim Gordon had
34:26
Speaker 1: as a teenager growing up in California being abducted and
34:30
Speaker 1: murdered by a West Coast sociopath, being a victim of
34:34
Speaker 1: the Manson family. We're gonna kill the California Girls. In
34:39
Speaker 1: the other Kim puts herself on the side of the
34:41
Speaker 1: road with that killer as he manipulates her into his grip.
34:45
Speaker 1: Come on, get in the car, Let's go for a
34:48
Speaker 1: drive somewhere. I won't hurt you as much as you'll
34:51
Speaker 1: hurt me. Both songs Expressway to Your Skull and Pacific
34:56
Speaker 1: Coast Highway continued the Sonic Youth tradition of subverting class
35:00
Speaker 1: to rock cliche. The We're Gonna Kill the California Girls
35:04
Speaker 1: lyric takes direct aim at the heart of the Beach
35:06
Speaker 1: Boys American dream, while Pacific Coast Highway indirectly crawls its
35:11
Speaker 1: way into the American prime of the century, the one
35:14
Speaker 1: that was supposedly inspired by a Beatles song Helter Skelter.
35:19
Speaker 1: Both songs Ooh's paranoid weirdness, that feeling you get when
35:23
Speaker 1: the moment you're in turns surreal when you see yourself
35:26
Speaker 1: in the movie you never wanted to be in. It
35:29
Speaker 1: was the same feeling David Smith had when he arrived
35:32
Speaker 1: at Ian and Myra's home the night Edward Evans was murdered.
35:36
Speaker 1: The feeling David Smith now once again had sitting in
35:40
Speaker 1: the backseat of a police car with his wife Maureen,
35:43
Speaker 1: both feeling the harsh glare of the public spotlight for
35:46
Speaker 1: David's part and what had come to be known as
35:50
Speaker 1: the Moore's murders. After he escaped from the murder scene,
35:56
Speaker 1: David Smith, along with Maureen Henley, his wife, armed themselves
36:00
Speaker 1: with a knife and a screwdriver and went to the
36:03
Speaker 1: nearest phone booth, called the police and turned Ian Brady
36:06
Speaker 1: and Myra Henley In. David accompanied the police to Ian
36:12
Speaker 1: and Myra's home, where the body of Edward Evans was
36:15
Speaker 1: quickly discovered. So were two luggage tickets from the Manchester
36:19
Speaker 1: Central Railway station. Ian's luggage at the station was located
36:23
Speaker 1: and searched. In it and audio tape on it the
36:28
Speaker 1: horrifying sounds of ten year old Leslian Downey being murdered
36:32
Speaker 1: and pleading for her life. Also in the luggage photographs
36:38
Speaker 1: of Ian and Myra posing out on the moors in
36:41
Speaker 1: different locations. The investigators realized that Ian and Myra's photos
36:47
Speaker 1: were markers. It was their sick way of remembering where
36:51
Speaker 1: they'd buried the bodies, remembering so they could bring David
36:54
Speaker 1: and Maureen out to picnic on top of the buried bodies.
36:59
Speaker 1: In the weeks to come, the bodies of Lesliean Downey
37:02
Speaker 1: and John Kilbride were disinterred. Pauline Reid's remains were not
37:06
Speaker 1: found until twenty years later. To this day, the remains
37:10
Speaker 1: of Keith Bennett have never been found. With Ian and
37:14
Speaker 1: eventually Myra under arrest, a trial was set. Both pleaded
37:19
Speaker 1: not guilty. Incredibly, both strategically lied on the stand to
37:24
Speaker 1: implicate David Smith as the driving force behind the murder
37:28
Speaker 1: of Edward Evans. Their lies were widely believed to be true.
37:32
Speaker 1: From the minute the news broke, the public suspected David
37:36
Speaker 1: Smith of being a child murderer. The Moore's murders were
37:40
Speaker 1: instantly international news. A global press corps in snarled Manchester,
37:45
Speaker 1: and the need for storylines surrounding the murder was set.
37:49
Speaker 1: Over one hundred and fifty journalists secured press credentials for
37:52
Speaker 1: the trial. They all needed an angle. Some approached David
37:57
Speaker 1: Smith with intellectual laziness. Looked like a punk with that
38:01
Speaker 1: greasy rock and roll pompadour, clad and all black. He
38:05
Speaker 1: must be guilty. He had a juvenile delinquent passed, he
38:09
Speaker 1: was part of a street gang. Of course, he's a murderer.
38:12
Speaker 1: He was seventeen years old and clearly part of all
38:15
Speaker 1: that was wrong with this generation. Lock him up, and
38:19
Speaker 1: David did himself no favors when he accepted payments from
38:23
Speaker 1: News of the World to tell his side of the story.
38:26
Speaker 1: David was broke, and yes, he was seventeen, and now
38:30
Speaker 1: he was internationally known as a rock and roll sociopath.
38:34
Speaker 1: His job prospects were less than zero. The money for
38:37
Speaker 1: his story was the only way to survive, as he
38:40
Speaker 1: saw it, but the public didn't see it that way.
38:47
Speaker 1: The newspapers and the news programs covered two trials, the
38:51
Speaker 1: official trial of Ian Brady and Myra Henley and the
38:54
Speaker 1: unofficial public opinion trial of the Rock and Roll juvenile
38:57
Speaker 1: delinquent David Smith and his wife. David and Maureene were vilified, slurred,
39:04
Speaker 1: dragged in the press. Their lives threatened. David was under
39:08
Speaker 1: attack everywhere he went, verbally and physically. Many in Manchester
39:12
Speaker 1: and across the globe wanted him dead. The story was
39:16
Speaker 1: front page news in the New York Times. The trial
39:19
Speaker 1: was widely anticipated, and the guilt of David and Maureen
39:23
Speaker 1: hotly debated. On the way to the courthouse, the two
39:30
Speaker 1: sat in the back seat of a police car as
39:32
Speaker 1: they were being escorted to the proceedings through a massive
39:35
Speaker 1: crowd on the street, not just journalists and photographers and
39:40
Speaker 1: news program cameramen, but ordinary onlookers, all trying to sneak
39:44
Speaker 1: a peek at the now infamous juvenile delinquents, whom many
39:48
Speaker 1: believed to be guilty of murder. The crowd screamed for David.
39:53
Speaker 1: It reminded him of the Beatlemanian newsreels he'd seen. The
39:57
Speaker 1: crowd swarmed the police car, which was moving at a
40:00
Speaker 1: snail's pace. David and Maureen were terrified. The crowd beat
40:05
Speaker 1: their fists on the car, screaming bloody murder at the
40:07
Speaker 1: petrified couple. Maureen fingered her pack of cigarettes. David adjusted
40:12
Speaker 1: the sunglasses. The cop behind the wheel managed to quiten
40:16
Speaker 1: the pace a bit, and the panda car slowly parted
40:18
Speaker 1: the sea of people, and they continued moving slowly, careful
40:22
Speaker 1: not to run anyone over. David spotted a journalist jogging
40:26
Speaker 1: alongside the car. Photographers are stapping picks mid chase. He
40:31
Speaker 1: pushed his bangs from his forehead. He was sweating profusely,
40:35
Speaker 1: so much so that no amount of hair grease was
40:37
Speaker 1: going to hold that pompadoor in place. Maureen lit her
40:40
Speaker 1: cigarette to calmer nerves. Their car stopped at a red light.
40:45
Speaker 1: The courthouse was almost in sight just around the corner.
40:49
Speaker 1: The cop in the passenger seat turned to the couple
40:51
Speaker 1: in the back and they were almost relieved for a second,
40:55
Speaker 1: and then the cop said, prepare yourself for a bumpy ride.
41:02
Speaker 1: Just then the car turned onto the street with the courthouse,
41:05
Speaker 1: and an ocean of people rushed toward them. The car
41:09
Speaker 1: was engulfed. They were moving once again the snail space.
41:12
Speaker 1: The screams outside got louder, and the pounding on the
41:15
Speaker 1: windows got more intense. The flashbulbs brighter, the fear inside
41:20
Speaker 1: the car white hot. David and Maureene were dripping in sweat,
41:25
Speaker 1: but chill into the unfocused eye, keeping their cool outside,
41:31
Speaker 1: David spied a photographer breaking through the crowd beyond Marene's
41:34
Speaker 1: window to her right. He looked ahead, careful not to
41:38
Speaker 1: give the vulture anything. Mareen ignored the photographer too. She
41:42
Speaker 1: dragged from her smoke, played a coolerself, stared ahead, and
41:48
Speaker 1: the picture was taken. The picture that would later bring
41:53
Speaker 1: even more cool to what was already one of the
41:56
Speaker 1: coolest bands of all time. The couple immortalized in one shot.
42:02
Speaker 1: They weren't captured for all time looking scared. They weren't
42:06
Speaker 1: captured for all time looking like victims, and they weren't
42:10
Speaker 1: captured for all time looking like villains either. Instead, David
42:14
Speaker 1: and Maureen were captured looking cool, like Dwayne Eddie and
42:19
Speaker 1: Dusty Springfield, not like two kids being scared to death
42:23
Speaker 1: by a Hornet's nest of public judgment. David and Maureen
42:30
Speaker 1: made it through the trial. Ian Brady was convicted of
42:33
Speaker 1: murdering Edward Evans, Leslie Anne Downey, and John Kilbride. Myra
42:38
Speaker 1: was convicted of murdering Leslie Ann Edward and as an
42:41
Speaker 1: accessory after the fact in the John Kilbrad murder, the
42:45
Speaker 1: two later confessed to the murders of Pauline Reid and
42:48
Speaker 1: Keith Bennett. Ian was sentenced to three concurrent life sentences.
42:52
Speaker 1: He died in prison at age seventy nine in twenty seventeen.
42:57
Speaker 1: Myra was sentenced to life, and she also died in
43:00
Speaker 1: at the age of sixty in two thousand and two.
43:04
Speaker 1: David and Maureen barely survived the public scrutiny after the trial.
43:08
Speaker 1: They divorced in nineteen seventy three. David Smith lived under
43:13
Speaker 1: constant suspicion and threat. Part of the public always blamed
43:17
Speaker 1: him for not stopping Ian Brady from murdering Edward Evans,
43:21
Speaker 1: but the reality was that David survived Ian Brady's murder
43:24
Speaker 1: of Edward Evans and lived to help bring Ian and
43:27
Speaker 1: Myra to justice. Most importantly, he prevented the killing of
43:32
Speaker 1: more children and brought an end to the Moore's murders.
43:36
Speaker 1: David Smith was a hero, He just looked like a
43:40
Speaker 1: juvenile delinquent. That type of superficial judgment David Smith fell under.
43:45
Speaker 1: It's a cliche, the dangerous looking rock and roll youth.
43:50
Speaker 1: It was one of many classic rock and roll cliches
43:53
Speaker 1: that Sonic Youth subverted. There was no glossy imagery on
43:57
Speaker 1: the cover of their major label debut album Goo. There
44:00
Speaker 1: was a black and white illustration of two mysterious teenagers
44:03
Speaker 1: who unknowingly got caught up with some serial killers. And
44:07
Speaker 1: there were no type liner notes espousing the virtues of
44:10
Speaker 1: the musicians who played on Goo. There was sharp eyed
44:13
Speaker 1: texts that said, I stole my sister's boyfriend. It was
44:16
Speaker 1: all whirlwind, heat and flash. Within a week, we killed
44:20
Speaker 1: my parents and hit the road. Sonic Youth didn't sing
44:24
Speaker 1: songs about cliched unrequited rock and roll love. They sang
44:28
Speaker 1: about Death Valley in nineteen sixty nine, killing the California
44:32
Speaker 1: girls on an expressway to your Skull, and spree killers
44:35
Speaker 1: on the Pacific Coast Highway. They didn't affect your typical
44:39
Speaker 1: rock and roll image either. They took the stage and
44:41
Speaker 1: called Oxford shirts and with a quote unquote girl in
44:45
Speaker 1: the band. But for all their subversiveness, Sonic Youth did
44:52
Speaker 1: become the victim of one rock and roll cliche, the
44:55
Speaker 1: twenty seventh Club. In October twenty eleven, twenty seven years
45:01
Speaker 1: after they were married, Thurston Moore and Kim Gordon, announced
45:05
Speaker 1: they were separating. Thirst and Moore, after avoiding the cliche
45:09
Speaker 1: trappings of the chick shagging rock and roll front man,
45:13
Speaker 1: have been discovered having an affair with another woman. His
45:16
Speaker 1: marriage was dead at just twenty seven years old, and
45:20
Speaker 1: his band was dead too. Sonic Youth played their last
45:25
Speaker 1: show on November twenty fourth, twenty eleven. But like that
45:29
Speaker 1: image of David Smith and his wife Maureen on the
45:32
Speaker 1: cover of Goo Sonic Youth, the band remains eternally cool
45:38
Speaker 1: despite any connection to Disgrace. I'm Jake Brennan and this
45:45
Speaker 1: is Disgrace Land.
46:10
Speaker 2: All right, guys, thanks for checking out this episode on
46:12
Speaker 2: Sonic Youth. Hope you doug it listen. Question of the
46:14
Speaker 2: Week This week coolest.
46:15
Speaker 1: Album cover of all time?
46:16
Speaker 3: What is it?
46:17
Speaker 1: Let Me Know? Six one seven nine O six six
46:19
Speaker 1: six three eight is it Goo?
46:20
Speaker 2: By Sonic Youth is it something else I want to
46:23
Speaker 2: hear from y'all at Disgrace sampod, on thesocials, disgrace lampod.
46:26
Speaker 1: At gmail dot com, on email.
46:28
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Speaker 2: Apple Podcasts so you don't miss any of our episodes.
46:34
Speaker 1: Here comes some credits. Disgraceland was created by Yours Truly
46:40
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