Bonus: Old Rockstars With No F*cks Left To Give

Hey Discos, need a little more Disgraceland in your life? Just a touch to get you through? Yeah, me too. This is the podcast that comes after the podcast. Welcome to Disgraceland, the after party. Welcome to the Disgraceland bonus episode, a little thing we like to call the after party. This is the show after the show, the party after the party, the bridge to get you from one full episode of Disgraceland to the other, the backyard to dig into the dirt. Our mission to uncover the truth, to confront the myth, to reclaim the story on this bonus episode, we're talking about writers and the weird shit they have to do to be writers. Quincy Jones is loose lips and what other bombshells that may or may not be

dropped by aging legends with nothing to lose. We're going to get into your takes on Q's claims, plus your favorite producers with your emails, comments, DMs, and as always, a whole lot of Rosie. This is the podcast for the musically obsessed, the outsiders, the independent thinkers who know that the best history is the history that gets buried.

Disgraceland is where I tell the stories you'll end up telling to someone else. All right, discos, let's get into it. I found out today that I got nominated for a Signal Award for writing the Patti Smith episode of Disgraceland. And it got me thinking about something that I don't really talk about very much, which is writing and how fucking weird it is that this is what I do for a living. In order to become a writer, I had to become a podcaster. And now increasingly in order to maintain my living as a podcaster and grow my business, my podcast business, I have to become some sort of videographer, which is fine. It's neither good nor bad. It's just weird.

Things evolve and I get it. And I'm down for the challenge. But if you asked my high school friends what I would be when I got older, they would have told you I would have been a writer, which is It's interesting to me because that's not what I became after high school. I became a musician. And I didn't realize it at the time, but being a musician taught me how to write. And I don't mean just writing songs. That absolutely helped. But it was more about traveling the country, traveling to Europe, and just being around so many different people and seeing different people and seeing how they act, seeing how they think. or getting a glimpse into how they think. And, and I really, I really found myself becoming, you know, not, not in a

creepy way, but just like watching people constantly. I still do it. Even to this day, I was traveling yesterday. I was at Logan airport and, and I'm just, I actually had this thought. I'm like, dude, you have to stop staring at people, people watching because they're going to, they're going to think you're fucking weird. I'm constantly, constantly looking at people, trying to figure out what they're thinking, where they're going, where they're coming from. And obviously that's a very writerly thing to do. And I don't think to do it. I never thought to do it. I just do it. And I was thinking, you know, if after this award was announced, I was like, you know, I never took any writing classes. I never took one

creative writing class in my life. And if I could go back to school, I wouldn't. I think if I... could go back to school, I'd probably major in psychology because I'd want to better understand how people think so that I could become a better writer and do it that way. I don't really think about writing. I think about writing all the time, but I never really think about writing mechanics. I don't think about sentence structure. I don't think about words. I don't think about grammar. I do think a lot about story because story is– To me, the most important thing, you can be the greatest writer on the planet technically, and if you can't tell a story, well, who cares? Music taught me this. It's like you can

be the most proficient, technically astute drummer on the planet, but if you have no feel, it doesn't matter. I don't know. For what I do, podcasting for this delivery vessel especially, stories are just so much more important than the mechanics of what ends up on the page because– There is no page. I'm not writing essays for Esquire magazine like Norman Mailer. The Saturday Evening Post is not paying me to write Searching Towards Bethlehem because the Saturday Evening Post no longer exists. And if Joan Didion or Norman Mailer were alive today, they'd be writing in some form of new media or they'd be unemployed. And their writing would definitely be different. It would suit whatever medium they were writing for. And we don't know if their

writing would be better or worse. That's impossible to say. But I do strongly believe that it would be different. And I guess what I am saying is that I'm grateful for this new media. Without it, I'm sure I wouldn't have gotten through the gatekeepers and been able to turn myself into a writer. And who knows whether or not I would have ever found an audience, even if I somehow did turn myself into a writer, and whether or not you guys would have found me. We no longer have the Saturday Evening Post. We don't even really have Esquire magazine or any of the other great literary outlets that could help writers make their livings. But we do have podcasting. And I'm super grateful for that. Obviously, again,

it helped us find each other. It gave me a living, which is unbelievable when I think about it. And now we have things like the Signal Awards. that recognize the work we're doing in this evolving medium, in whatever it becomes. Podcasting, we all know, it's all turned into video somehow, gone from audio to video. I guess it's going to be both things, which is fine. But again, it's just cool that we have this sort of, in our own mechanics in this industry, our own infrastructure, things like the Signal Awards that are recognizing the work that we're doing. because it further cements this profession as being a real one.

The unfortunate thing, though, about being nominated for anything, it's a double-edged sword. Like Ernest Hemingway, another dude who cashed those fat Esquire checks, I can't stand to lose any competition. So I'm going to ask you guys shamelessly to vote for Disgraceland, the Signal Awards. You can grab the link.

Matt will have it in the show notes. I'll have it on Instagram. I'm going to do a little post about this. You'll be able to find it there. And give us a vote so that we can keep making podcasts, keep writing, keep coming at you weekly here in Disgraceland, here in this fucking weird, strange little community we've carved out on the internet. It's amazing. When I really think about it, when I take myself out of the action of doing this and I think about what I do for a living... It's fucking bizarre. Music and true crime in a whole community of listeners out there. You guys, the discos who are here for it every single week.

It blows my mind. I'm incredibly, incredibly grateful. Thank you so much. So I was talking earlier about Ernest Hemingway and Norman Mailer and Joan Didion and having to have these sort of alternate careers in order to make a living as a writer. Not necessarily side hustle, but kind of side hustley. Anyway, there are fascinating anecdotes about writers and what some of them have had to do for a living. This is kind of apropos right now because of Tony, the film about Anthony Bourdain. Bourdain had to become a chef, essentially, to become a writer. And then he had to become a TV host to continue being a writer. So this fascinates me for all the reasons you just heard. Anyways, Zeth pulled some examples of some

truly revealing anecdotes from literary history of authors and their side hustles, what they had to do to become writers. We're going to get into that in the exclusive section of this after party coming up. Go to disgracesandpod.com, sign up to become an all-access member, and you can gain access to that conversation and more exclusive content just like that, plus ad-free listening. Okay, again, Quincy Jones in the feed this week. our latest full episode of Disgraceland. Here's something that I learned while researching this episode that maybe you knew, maybe you didn't. And it's this, it's that before Quincy Jones began scoring films, major motion pictures had been scored almost exclusively by white men. Now I probably would have

assumed this if I stopped to think about it, but I did not. Not until I got into this research and that orchestral music, film scores during that time prior to Quincy Jones were by design aspirational sounding. If you drove through an American city in 1966 with your windows down and your radio on, you'd primarily be hearing R & B or R & B- influenced music. But if you went to the movies, the music you'd hear accompanying the story up on the screen would be orchestral, romantic, aspirational, more akin to classical music than the reality happening out on the streets. Quincy Jones was the first film composer to introduce rhythm and blues into motion picture scoring, and thus the first composer to implement truth into the sound. of movies.

For the first time in the history of movies, the sound of the story sounded like what life for most Americans actually felt like. America at its most violent with Quincy's score for In Cold Blood. at its most racist with Quincy Jones' score for In the Heat of the Night. Quincy Jones made movies sound the way that America felt at the time. Now, this is a technique that most every notable composer after Quincy Jones has utilized in some way, deploying reality over aspiration in film composition. And by extension, creating a permanent record for future generations like us to roll back the tape on to hear what America really sounded like back then. This is fascinating to me. I mean, this even, you know, the whole was Quincy Jones telling

the truth thing that we get into in this episode is really just a super fascinating, interesting, dramatic way in for me to figure out what Quincy Jones, what his life was like, what his career was like, what it was like, what his artistry was like. And we get into all that. It's all at the top of your feed right now, right before this bonus episode. Go back and check it out if you have not. All right.

Also for that piece of the story that I just talked about, it's totally different in the episode. Ryan Spraker, who works for us, he scored the shit out of it. He actually brought in the sounds of In Cold Blood from that score, and he brought in the sounds of– he just did a fantastic job, and Sean did a great job mixing it as well from our team. Coming up next week in your feed, right after this After Party bonus episode, coming up right next, it's going to be the Rewind episode on Sunday in our Rewind Sunday slot, two-part episode on Nirvana. Hold on. Speaking of Sundays, my favorite murder was on CBS Sunday Morning. This past Sunday, I'm in my hotel room clicking around and I see them on TV. Just incredible. So fucking cool. Check that out.

CBS Sunday Mornings, they did a big true crime piece and they talked to Georgia and Karen. And Georgia and Karen, of course, as always, they did a fantastic job of eloquently talking about the tension between true crime as an event that happens in life, in the world, crimes that happen out there in the world and the sort of entertainment side of it. It's really great, fascinating. And again, they did a fantastic job. Check that out. I also have to, since I'm shouting people out, I got to shout out Dr. Zeth Lundy here as well, who was featured on the BBC yesterday or this week for Stevie Wonder's birthday. A lot of you might not know this, but Zeth is kind of a Stevie, not kind of, he is a Stevie Wonder authority. He wrote a book

called Songs in the Key of Life for the 33 and a third series, which is excellent. I highly recommend it. And it was just Stevie's birthday. So the BBC, they did something really smart. They called up the good doctor and they got him to talk about Stevie Wonder. And I'm not exactly sure where you can hear that, but you know, shit's easy to find these days. Just Google it.

You'll figure it out. Seth Lundy, Stevie Wonder, BBC. You can hear that interview.

Okay.

As I was saying, Nirvana... Coming up in our rewind slot, Courtney Love, she didn't kill Kurt Cobain. Despite what people say, she did not kill Kurt Cobain, but she did quite literally save his life. And this is going to piss a lot of people off, but I don't care, okay? Early January 1992, Nirvana had just made their live television debut on Saturday Night Live. And that same weekend, Nevermind had also knocked Michael Jackson's Dangerous from the number one slot on the Billboard charts. Now, it's in this moment that Kurt Cobain, who was not in the mood for celebrating, decided he wanted to do something else. He didn't want to go to the SNL cast party. He wanted to get high. So, he went back to his hotel and

he slammed heroin into his arm and he drifted off. Now, later on, he began to overdose and he fell off the bed. And the sound of him falling off the bed, it woke Courtney Love up. She found Kurt on the floor. His skin was green. She straddled him and pounded his chest with her fist to get his lungs pumping. When that didn't work, she grabbed the ice bucket from the room service tray and began palming handfuls of ice into her near-dead fiancé' s asshole. When that didn't revive him, she took the Vaseline's pin off of his leather jacket, pulled his jeans down, and began poking his testicles with it.

She then started to smack him across the face. Finally, Kurt began to come back to life. She threw cold water on his face, dragged him around the room, started rotating his arms to get the blood flowing. This was all routine to Courtney Love. She had saved Kurt Cobain's life before. She was going to save his life again as well. Until, of course, Kurt would make that impossible for her to do so. If you want to know more about Kurt Cobain, Courtney Love, and the story of Nirvana, be sure to check out this two-part episode of Disgraceland from our archive coming to you in the Rewind slot in your feed this Sunday. Then following that, we've got new content for you. As always, every week, our new episode,

this one for the Halloween season on Screamin' Jay Hawkins. Now, some people think Screamin' Jay Hawkins was murdered. Yes, that's right. I put a spell on you, guy. Murdered. The official cause of Screamin' Jay Hawkins' death was organ failure following emergency surgery to treat an aneurysm. French press gave a slightly different cause of death. They credited his death to intestinal blockage, which is kind of a hysterical way for a dude who wrote a song called Constipation Blues to go out. Now, some believe Jay Hawkins, Screamin' Jay Hawkins, was slowly poisoned. Screamin' Jay Hawkins told his ex-wife Colette, okay, Colette, his ex-wife, whom he remained close with. He told Colette about his wife at the time of his death, his

current wife, a woman named Monique. Screamin' Jay told Colette that Monique's cooking was making him sick and that he needed help getting Monique and her family out of his life. Let's say Screamin' Jay Hawkins, hypothetically, that he was poisoned. Is it possible that being poisoned could have led to intestinal blockage? Yes, it is possible. I looked it up.

Screaming Jay Hawkins was dead at age 70, and his widow, Monique, took control of his things. At the time, she changed the locks on their apartment door. She wouldn't allow anyone inside. Why not? I don't know, but it's fucking weird. Just like Screaming Jay Hawkins. Pretty fucking weird. He is the best kind of weird. And this story, like Jay's life, It feels too unbelievable to be real, but we are going to find out if it is or if it isn't in the upcoming episode of the Disgraceland podcast on Screaming Jay Hawkins. All right. That's the Screaming Jay Hawkins episode.

When you're listening to this episode, be thinking about the myth versus the truth of great artists, that tension that's at the center of a lot of these Disgraceland episodes. And let us know if you believe Screaming Jay Hawkins was murdered. Give me a call. Send me a text. 617-906-6638 with your answers and you might hear yourself on next week's after party. Okay, discos, as always, we're covering a bunch of ground here in Disgraceland. Quincy Jones, Screamin' Jay Hawkins, Kurt and Courtney. And as always, I also want to hear from you guys. So we're going to be back right after this break with your voicemails, texts, DMs, emails, and more coming up. All right, so you want to be a rock and roll star? Then listen to hear

what I say. I'm in the phone booth. It's the one across the hall. I don't know. I'm mixing all my lyrics here. I don't even know what this segment is anymore. Is it the you want to be a rock and roll star segment? Or is it hanging on the telephone segment? I don't know. What even are segments? This is a podcast. This isn't a radio show. However, like the great radio shows, we do take calls. 617-906-6638.

Voicemail and text. Now, last week's question of the week relative to our Disgraceland episode on Quincy Jones, we asked you if you believe Quincy Jones's claims. And we also had a sub-question. We asked you who your favorite music producer is. Let's go to the 201.

So the Quincy Jones episode for me was one of your top five. I thought it was fantastic. There's a bunch of things I didn't know about it, especially pertaining to his early years. I think it was great. Now, moving along. You guys have spoken, or you actually, not Seth, have spoken a lot about the Kennedy assassination. And on that subject, I go back to Victor Posner's excellent book, Case Closed. I thought it was brilliant. In that book, he makes the case that an improbable set of coincidental circumstances led to Lee Harvey Oswald being in the Texas Book Depository and that day and him killing Kennedy. And honestly, I got to believe it. Now, I know you guys are, I know you're an avid reader. I know you read

quite a bit. I don't know if you've read that book or what your opinion of it is, but like the title of the book, Case Closed, I kind of think he made his point to where the only conclusion that I could come to in my amateur sleuthish frame of mind is that Lee Harvey Oswald killed Kennedy. and he did it alone, without help and without persuasion, and that's really it. But I'm just curious, did you ever read that book, Keys Closed, by the composer? And if so, I just want to know what your opinion is. Anyway, I'd really appreciate it if you could answer that for me.

Love you guys. Still the only podcast that I listen to, and I have listened to every single episode of you guys and of Hollywoodland. Thanks so much.

Bye. Hey, fantastic call. Appreciate this. Thanks for getting in touch. Thanks for listening. Thanks for the kind words that you said. Okay, let's get into this. The Rosner book, Case Closed. I have not read it, okay? but I'm interested. And, you know, I do believe Oswald was in the book depository and I do believe he was one of the gunmen. I do believe he fired a shot. I'm not entirely sure if he hit Kennedy. But here's where I depart with the Posner case closed theory. I can't, I can't, the single bullet thing just never, it defies logic that it was one gunman with who killed Kennedy and, from that angle.

It just does not make sense at all. And I do believe, I mean, I think two things can be true at one time. At the same time, I think that Lee Harvey Oswald could have been, could have shot Kennedy, but I do actually believe there were others involved. And you bring up an interesting point here with Jack Ruby.

Jack Ruby was wholly owned by the Chicago mob, like completely, completely. The thing that I found in this Quincy Jones research, specifically, when I got into that Giancana research, because of what Quincy Jones said about Giancana, I uncovered the fact that Lee Harvey Oswald, Giancana had stated to his brother, I believe, that Lee Harvey Oswald was the nephew of a Santo Traficante who was the New Orleans crime boss. Gangster. Not nephew of Traficante, but of one of his guys. It's just Oswald had so many weird connections. That's a whole other wormhole. But I'm interested in the book and I'm always interested in challenging what I believe here. So I thank you for the call and stoked that another rock

star led us into this Kennedy assassination conversation. All right. This one from the 315. on the question of greatest music producer of all time. Jake, what's up?

Great episode.

I don't really have a favorite music producer, but you want.

To know whose music I can do without?

Drake! I've never felt so seen. I've always said that my kid made up better songs than Drake, even when she was three years old and farting in the tub. Rock and rollin'. Oh, 315, you know, I want to limit the negativity I put into the world, which is hard with this gig. When we look critically at the behavior of rock stars. I'm just not a Drake fan like you. You heard what I had to say. I'm guessing Drake or whoever produces Drake's music is not your favorite producer of all time. All right, let's go to Ross in the 808. What up?

Ross in the 808.

Dude, what is the end goal?

Ross, interesting theory.

Perhaps, maybe things got out of hand. Maybe they were trying to convince him and maybe things got out of hand. Ross is talking about Bobby Fuller, guys, from the Bobby Fuller episode. And maybe that is how things ended. But I don't know. That million dollar insurance policy, collecting that when you know that your artist is no longer going to create any more value for you and you're a stone cold gangster, that million dollar insurance policy might be pretty enticing. Pretty enticing motive. 413 texts us, hey, Jake Brennan, I'm enjoying your podcast on my long commute. You're a gifted storyteller and producer. I often find myself having to pause your podcast and bring up a song or two on YouTube to listen to. This morning, it was Stairway

to Heaven as I listened to part two of your excellent Led Zeppelin story. And at the end of it, I wondered, will there be a part three? Seems like the story isn't quite over. You know what? With Bonham's death and the breakup of the band, anyway, no big deal. If not, mainly just wanted to say thanks for an enjoyable listen. I absolutely think there's more to the Led Zeppelin story than what we've spoken about. And perhaps we'll get into it at some point. We have a lot of stories to tell. And Patreon listeners, don't forget. Don't think I've forgotten about our meetup, which we have to schedule, where we can start to choose some of the episodes for next year. We'll have information on that soon. Thanks

for being patient with me. That's coming. 978 says, hey, favorite producer of all time, Andy Wallace for 40 years between producing and mastering. He's had his fingerprints on some of my favorite and some of the greatest records of all time. As a kid, it felt like every time I looked in the liner notes of a record I loved, I saw his name. And you're absolutely right. And I know I have as well, but I'm blanking and I can't pull one out of the hat right now. So I'm looking right up. Andy Wallace credits. What do we got here? Well, Nirvana, never mind. What did he do?

Engineer that? He did not produce it. Rage Against the Machine, self-titled debut. He mixed, never mind. I'm not sure if he engineered it, but he mixed it. Produced Rollins Band, End of Silence. Ned's Atomic Dustbin. Remember Ned's Atomic Dustbin? I do. Sepultura, Bad Religion, Stranger Than Fiction, Jeff Buckley, Grace.

There we go. There's the big one. Jeff. Oh, he did that fucking Weird Faith No More record, King for a Day. I say weird. It's great. It is weird, but it's great. A lot of mixing here. Anyways, Andy Wallace. All right, guys. 617-906-6638. You want to get at me about anything. Screamin' Jay Hawkins, especially. Do you think he was murdered? That's going to be the question of the week next week. Or you can get into any sort of rock and roll mysteries, rock and roll myth stuff you want to talk about. Anyways, get at me, 617-906-6638, voicemail and text. Now listen, if you traced any rock band back far enough, you are probably going to land in the same place. It's either going to be Chuck Berry for the riffs, Little Richard for the energy, Elvis

for his aura. And of course, the old blues guys who gave everybody a foundation. Every family tree and rock grows out of this soil. But there's one branch that is a little different, and it grew out of a drunk recording session and a coffin. Screamin' Jay Hawkins originally planned I Put a Spell on You as a ballad.

But when it came time to record, his whole band got shit-faced. Jay described the sound that came from it as cannibalistic, like a man eating somebody. And it was banned on radio stations once they released it. Despite that ban, the record still sold over a million copies. And then when DJ Alan Freed offered Jay $ 300 to rise out of a coffin on stage... Jay built a whole act around this tune with a cape, leopard skin, rubber snakes, voodoo props, a smoking skull on a stick that he named Henry. Alice Cooper, The Misfits, Kiss, Arthur Brown, Marilyn Manson, Rob Zombie, Gwar, Ghost, all borrowed or borrow from Screamin' Jay Hawkins' act from what he started way back in the 1950s. The irony is that Jay resented the whole

shock rock thing, felt it was a gimmick, They kept people from taking him seriously as a singer, which is all he wanted all along, was to be taken seriously as a singer. Dude could have been an opera singer if he wanted to. Fascinating guy, fascinating story. That's coming up next week in this Graceland. We're coming up right after this with your emails and more. All right, as I said, Screaming Jay Hawkins coming up next week, our next new full episode. But if you want new content right now, you can't wait. And you got to go over to Patreon. You got to become a member. Go to disgracelandpod.com to sign up, become an all-access member. Like I said earlier, you're going to get that exclusive content,

like the bonus after-party conversation I got going on with Zeth here in just a minute. But you're also going to get access to our video podcast. This film should be played loud in our new episode on Gross Point Blank. We're talking about the best music. from the best movies, and there's nowhere else you can get it besides being part of the Disgraceland All Access community. Join your fellow discos.

Go sign up now at DisgracelandPod.com. I want to read you an email, DisgracelandPod at gmail.com. A while back, I was contacted by a listener named Gina, and Gina's dad was in Bobby Fuller's band. He wasn't in the Bobby Fuller Forum, He was in Bobby's band prior to the Bobby Fuller Four, Mike Ciccarelli. And he turns up in our episode. Gina had contacted me when she heard we were doing a Bobby Fuller episode and introduced herself and was very excited. And then I, of course, got very nervous because I had just written about her dad. I had already written the episode. It wasn't released yet, but I just written about her dad. And I was fairly certain I had it nailed down And her dad is Mike Ciccarelli, who turns up in the episode, turns up

at the end of the episode. He kind of comes back into Bobby's life later after the Bobby Fuller Four moves to Los Angeles. And then, of course, they're going to break up and Bobby's going to start this new thing. Mike Ciccarelli heads to Los Angeles and he's the one in that scene in the end with the other musician whose name is escaping me at the moment, who come upon Bobby Fuller's mother being whisked away by a man in black. It's a very, very important part of the story.

And it's from the book, He Fought the Mob. That's where I got that information. And it's crucial to the theory of the mafia, the Genovese family having something to do with Bobby Fuller's death. It's hard to draw that line without the account from Mike Ciccarelli. And again, the other musician whose name is escaping me at the point.

So two people. Anyways, I was real nervous about what Gina was going to think and talk about her dad. And she hit me up. She says, damn, you nailed it. Thank you. So cathartic. I feel like I've been waiting for that story most of my life. Rock-a-rola. Actually, she says rock-a-fucking-rola. Gina Ciccarelli. Pretty cool. Thanks, Gina. I really appreciate you getting in touch. I do. Thank you. Stay in touch. And you guys can stay in touch too.

Disgracelandpod at gmail.com. At Disgracelandpod on the socials. Disgracelandpod at gmail.com. Yeah, you know where to hear us. In the Disgraceland feed. In the Hollywoodland feed. Over in Patreon. We can be tracked down just about elsewhere. We're working on other places right now. Okay? Just so you know. We're not stopping.

Like I said, thanks for everybody for listening. For engaging. If you've never written to us, if you've never called us, emailed us, now's the time. If you're just thinking like, I always got something I want to ask, but I don't do it. Or I get something I want to say, but I don't do it. Now's the time. I love everyone who consistently calls and texts and writes. Keep doing that.

Don't stop. I know there's somebody, I'm the same way. I listen to sports radio, Boston sports radio. I never call, ever, ever. I do text. Big Jim Murray, though, from the sports hub. Or not text, I DM him. But I don't call. But I know what it's like to be on the other end. And you hear something and you're like, fire! Like, come on, hit me. 617-906-6638. Voicemail and text. Good and bad. Okay, I'm here for it. You might hear yourself in the next episode of the after party. All right, as promised, Seth and I talking about writers and the weird shit they do to make a buck. That's coming up in the excuses section of this after party. You're not going to want to miss it. Go to disgracelandpod.com to sign

up to become an all-access member. All right, guys, we'll be back right after this. All right, we are back. Mentioned Alice Cooper, mentioned Chuck Berry. Sure, we mentioned some other artists, but for Alice and Chuck... We're going to have the episode information in the show notes section of this here bonus app. Matt's going to throw that in there for you so you can easily find your way to Alice and Chuck. I think we're up to 289 episodes right now of Disgraceland closing in on 300. Chuck was from season six. Alice, a couple of years ago.

Let's recap. Number one, this week, our new episode on Quincy Jones is available right now. Number two, in the rewind slot this weekend, our classic two-part episode on Nirvana. Number three, next week, coming up, our new episode on Screaming Jay Hawkins. Number four, Zeth's going to give you those Hollywood and crime vibes in the Hollywoodland feed, so make sure you are subscribed. I'm going to give you my music recs in the wrap party. Screen in Room's going to tell us all what we should be watching this weekend. Make sure you're subscribed to Hollywoodland. Number five, current This Film Should Be Played Loud video podcast. Our episode on Gross Point Blank is available right now. Go to disgracelandpod.com to sign up to become an all-access member

and unlock exclusive content just like this along with ad-free listening. Number six, 617-906-6638. Your voice keeps us digging into the dark corners of music history, so keep calling, keep texting with your answers to this week's question or with whatever else you want to talk about. Number seven, don't forget discos.

This isn't just content. It's a community, a community of the obsessed. And no one cares about music, books, records, and the grime and crime that ties them all together like you do. And well, that's a disgrace. All right, back on January 29th, 2018, Quincy Jones started making some outrageous claims. And this is what America was listening to on that day, according to the Billboard charts. Number one, perfect, Ed Sheeran. Last week, one. Peak position, one. Weeks on chart, six.

Number two, Havana. Camila Cabello featuring Young Thug. Last week, two. Peak position, two. Weeks on chart, 22. Number three, Finesse. Bruno Mars and Cardi B. Last week, 35. Peak position, three. Weeks on chart, two. Number four, Rockstar. Post Malone featuring 21 Savage. Last week. Keep positions. Weeks on show. Weeks on show. Weeks on show. Weeks on show.

Quit talking and start mixing. Cut it!

Bonus: Old Rockstars With No F*cks Left To Give

Kapitelklicken springt direkt hin

Shownotes

Transkriptvom Podcast bereitgestellt · Zeitmarken springen hin