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Jake Brennan (14:17)

Okay, so Sometime back around 2017, I was working at an ad agency, if you can believe that, as a music supervisor. Basically, you know the music that you hear in commercials? Well, there are people who source and arrange for that music to be in those commercials. And I was one of those dudes for a minute, sort of. I say sort of because I was really bad at my job and I knew that I was going to get fired and I was thinking about what I was going to do for work to support my family. This is a time when I had gotten like a lot of people super into podcasts. I was really into what was sort of the first generation of elevated storytelling and podcasting shows like Crime Town and Serial S Town. My favorite murder. These shows had just launched and I was obsessed. So I thought I'd make a podcast and by doing so, I Demonstrate that I could work with audio, I could work in audio, and then maybe someone would hire me in some capacity to work for them, like maybe I get a gig making podcasts for some cool company or something. This thinking happened because at the time when I knew that I was going to get fired and I was about to need a job, I asked my wife and I asked my friend Adam the same question. If you could hire me to do one job for you, what would it be? And they both gave me the same answer. They both said a different version of, I'd pay you to tell me stories. Now, this came as a surprise because after years of being in bands and driving around the country in shitty vans with my bandmates who were telling me the opposite, telling me that I needed to go get myself kidnapped so that I'd have some new stories to tell, you know, I was kind of pumped to learn that there were actually people interested in what I had to say, even if it was just my wife and one of my best friends. And the point is, I got this validation, this sort of vote of confidence right as I was becoming a podcast listener. So naturally, I decided to start my own podcast, and I wanted to start a podcast that. That I wanted to listen to, a music podcast. I'd just become a dad a couple years before this, and I was. I was reading Legs McNeil in Jillian McCain's excellent book, please Kill Me, which is an oral history about the origins of punk rock. If you haven't read it, you have to read it. It's great. It's got all these great stories about Lou Reed, Iggy Pop, the Ramones. And I remember thinking, again, this is right after becoming a dad. You become a dad, you become a parent. I don't know what it's like for moms. For me, just a lot of. A lot of shit changes. Perspective shifts. I remember thinking, wow, I love the music these people make, and I always have and I always will, but I wouldn't let these dudes in the same room with my children. That was an actual thought that I had. I may have been sleep deprived at the time, but I did have it. And then I thought about all the music history that I'd read throughout my life and the stories that I like to retell, that I like to recount. And they were always the stories that were most revealing, sure, but they were the stories that involve crimes that these rock stars either committed or got caught up in. And this is because as a kid, I was absolutely captivated, owned actually by the book. Helter Skelter. And then about a year later, I read Truman Capote's In Cold Blood, which aside from the Old Testament, is like the first true crime book. And more on the Old Testament comment in the Patti Smith episode. You'll know what I'm talking about. But I digress. True crime books owned me in high school. And then later as a young adult, the historical fiction of James Ellroy, that got its claws into me as well. So I thought, well, I want to make a music podcast that I want to listen to. I want to hear the stories from music history that aren't surface level, that aren't on the rock star's Wikipedia pages, the stories that oftentimes aren't part of the musician's chosen narrative, the stories that didn't make it into the cheesy biopics. And I want these stories told to me like my favorite directors tell stories with their own point of view and with dramatic edge of your seat in your face action and gripping theater of the mind. All these ideas came to me and gave me my building blocks for what this show would become and what it has become. And I knew that the first story I had to tell was the story about Jerry Lee Lewis, the story of the rock and roll pioneer, the one they literally nicknamed the Killer, and how he allegedly got away with murdering his wife. Now, Jerry Lee Lewis lived about half an hour from Elvis Presley's Graceland. But what did they call Jerry Lee's home? Disgraceland. My first podcast episode gave me the title of this show. Here's a clip. The first thing they noticed was the absence of Mr. Lewis. The second thing they noticed was how the body of Mrs. Lewis was situated. Were placed neatly on a fully made bed in a guest room, not in her bedroom with her newlywed husband in a guest room. The EMTs checked for vitals while Lottie Jackson, Jerry Lee's caretaker of more than 10 years, knocked on his bedroom door. Within seconds, the killer emerged. The EMTs quickly noticed the bright red scratches on the back of Jerry Lee's hand. You know, the kind of. They kind of looked like scratches your cat would make. Except Jerry Lee didn't own a cat. Blood was also visible on Jerry Lee's robe and on his slippers. There was a pile of bloody clothes in the bathroom. A rivulet of blood on a door, more blood on the carpet. Broken glass was scattered across the floor throughout the house. There was blood on Sean's dead hand, in her hair, on her clothes, and on a bra that was in another room. Dirt all over her body, bruises on her arms, on her hip, her fingernails were broken with something that looked a lot like blood underneath them. All of this physical evidence on and around a woman lying dead on top of a neatly made bed that wasn't hers, in a guest room in her own home. Home down the hall from where her newlywed husband slept alone. Stranger than that, the evidence wouldn't even be reported until after the grand jury convened. Is it any wonder that they found no indication of foul play? All right, guys, if you know Disgraceland, if you're one of our longtime listeners, you know that we've come a long way from that episode, episode one. And I know many of you, most of you, have been here since episode one, and I thank you. I am so grateful to you guys for your commitment to this show. It means more than I can possibly express, and I'm stoked for you to hear where we're taking this. I'm stoked for the new listeners that are coming into the show every week. I see you, I see your DMs, I get your emails, the comments on Spotify, on Apple podcasts. I want you guys to know that was episode one. Okay? Our next episode on Patti Smith will be episode number 270. 270. And the Patty episode is not about Patti Smith murdering anyone. Like that Jerry Lee Lewis episode, allegedly. But it's super true crimey. More on that and the other artists that we're covering coming up in the coming months right here after this break in Disgraceland. We'll be right back after this.

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Jake Brennan (23:22)

Smith is about as beloved an artist as you can find. Mainly because, well, her music is incredible and she's just a great all around artist. A multi hyphenate artist. She's a writer, a musician, obviously a poet. She's also a survivor. Now, unlike so many of the artists that Patty Smith admired, some of them, like William S. Burrows, themselves criminals. Unlike those artists she admired, and unlike many of the artists that she came up with, Patti Smith survived. And I argue in this new episode on Patty that true crime is the reason that Patti Smith survived. More specifically, what Hattie Smith learned from true crime. It taught her how to avoid being a victim of a crime. How to avoid being a rock and roll casualty. Everything from the crime and grime and death that she was exposed to when she was living at the Chelsea Hotel with Robert Mapplethorpe, to her time in New York in the late 70s during the.44 caliber son of Sam killings, to her mother's fascination with the first true crime of the century, the kidnapping and the limberg baby. All that plus Patti getting up close and personal with 70s New York street hustling pimps, heroin, the blood stained apartment walls and chalk outlined sidewalks that she was forced to live in and around. All of it. All of this true crime taught the quote unquote godmother of punk how to not become a victim and how to survive and also develop some pretty surprising tastes in television. Okay, this is the most revealing thing to me. Serial crime fiction. Patti Smith, the high priestess of art, binging CSI in Law and Order. I did not see that coming. Guys. She's just like us. Just like us. Patti Smith. Anyways, that Patti Smith episode. I'm beyond excited for you to hear this. It's coming next week, I promise you. You may know the Patti Smith story, but you're not gonna. You don't know this story. You're not gonna hear it like this. Okay, now before that Patti Smith episode, we're gonna have a bonus afterparty episode that's coming up on Thursday per usual. Typically for new listeners, Disgrace Land releases new stories every Tuesday. These are the artist centered music and true crime scripted and sound designed episodes that I' about each on a different artist and the crime or crimes that they've been involved with it being Tuesday, when the episode that you're listening to right now is released. Normally you'd get a fully scripted sound designed episode here on an artist, but we do trailers a couple times a year. And rather than just dropping a trailer into the feed that was like three or four minutes long that just had clips from shows, I figured I'd put a little more meat on the bone, give a little bit more of an explanation in here, spend some time discussing, you know, where Disgraceland's at, where it's been. We blew by 200 episodes. We didn't even mention it. 250 episodes as well. We're at 270. So I just felt like it was time, you know, we're gonna, we're gonna, we're gonna wake up in a, in a couple months, we're gonna be at 300 episodes. So I just figured it was time to kind of reset as we share what's coming up with the discos who have been listening forever and give a lay of the land to the new listeners who have come in over the past few months, weeks, days, whatever. Okay, so that's what we're doing here. So that's the Patti Smith episode. There will be a bonus after party episode before that released on Thursday per usual. So typically for new listeners here, Disgraceland releases new stories every Tuesday. These are our artist centered music and true crime scripted and sound design episodes that I've been talking about. Now on Thursdays, we release bonus chat episodes. The bonus after party episodes are where I take your calls and respond to your texts and DMs and emails, typically in relation to questions and comments listeners have on that week's full episode. On the Artist we cover, historically, we've released our archive episodes, our rewind episodes, episodes from our archive of over 260 stories from different artists from every genre. Musicians you love, musicians you've never heard of, but are going to love their stories. These archive episodes historically were released on Fridays. They are now going to be released on Sundays. The reason we release archive episodes once a week, like think of it like a rerun on television, is because we get new listeners coming in all the time and emails and DMs requesting artists, frankly, artists that in some cases we covered years ago. So we figured resurfacing these artists made sense to give new fans exposure. You know, Plus, Disgraceland is it's evergreen content. You can re listen to these stories over and over again. Like you can rewatch a movie or re binge a TV series, et cetera. Okay, now on all those episodes, those 270 episodes, it's hard for me to pick out a favorite. But if you're looking for some highlights from the archive, some of the stories that discos regularly talk to me about are the recent Lady Gaga two part episode that got a lot of heat and the murder mystery that's at the origin of Gaga's story. The Grateful Dead unwittingly turning American youth onto LSD after being manipulated by the CIA. That's always gotten a lot of action. The story about the Norwegian black metal scene and the church burnings, the murder, the cannibalism. There's Sid and Nancy, Kurt and Courtney, the Stones, the Beatles. Amy Winehouse, that's another one that gets, always gets a lot of. A lot of mentions, a lot of action. And I'm gonna have my guy Matt here, who's producing this episode, lay a clip from the Amy Winehouse episode in right here. The cameras, their flash, the intrusive shouts from members of the paparazzi and their commands. Do this, don't do that. How's Reg? When was the last time you saw Blake? When are we getting new music? To Amy, it was white noise. As disruptive as it was, she could no longer register it. She'd walk down the street, in effect, her thousand yard junkie stare. It wasn't difficult. Difficult? She'd done her time in the shooting gallery. Even if she was off smack and even if she was drunk, she knew how to project the gaze. Amy would trick herself into thinking about something else. Music, Always music. She'd watch her voice, as if the sound of it was a physical thing that could be tracked visually. Amy would take a melody, sometimes one of her own, something she was working on, but these days it was usually a classic from the Torch songbook, from one of the jazz greats she admired and studied, Sarah Vaughan or Tony Bennett. And Amy would imagine that melody passing over her lips and rising up into the sky, floating freely without the limitations of this cruel world. It would move with ease around the clouds from left to right, slinking and sliding over the imagined bars of some cosmic scale. A sonic manifestation of the emotion welling up inside of her, a heavily mascaraed vision board, like one of those Transparent acetate sheets that music school teachers would place on old view foil projectors layered over the reality of the unwanted fame that complicated her world. The same world she tottered through alternately on 4 inch heels and bloody ballerina shoes. All right, that's Amy Winehouse. I should also probably mention that I was in Texas a little bit ago and I ran into a fan and a musician, actually, who brought up our Diddy episodes, which I love. Our Sean Comb episodes. We have two. We have part one and a part two. But if we're talking about Disgraceland hip hop episodes, the Jay Z episode is my favorite. December 1, 1990. 1999. Midtown Manhattan. The KitKat Club. The release party for the heavily anticipated solo debut by Q Tip from A Tribe Called Quest. Sean, Puffy Combs, Lil Kim, Busta Rhymes, and Lil Cease, all on the scene. Jay Z rolled up late and deep, with his entourage behind him at the bar. Lance on Rivera. Jay spied him, confronted him with a bootlegging allegation. Fuck that. Fuck you. I didn't bootleg. Who do you think you're even talking to? Out of my face. Jay headed back to the bar. Blinders on rage, pulsing darkness closing in. That feeling of being with, losing control, being disrespected, dissed and dismissed. Unacceptable. In Jay's previous occupation, when you were disrespected, and especially if someone took money out of your pocket, you not only stood your ground, you let that man know you were not to be with by any means necessary. It was survival in here, right now, in the KitKat club. That familiar survival instinct kicked in and took over. Let me justify my thug on this one right here. Feel me? It goes. Jay turned around, beat a line straight back to un. Bottle in one hand, knife in the other. He got up on him quick. Witnesses say Jay spoke directly to Allah. Michael Corleone to Fredo. Lance, you broke my heart. And then smashed the bottle over Un's brother's head. A quick distraction before plunging the 5 inch blade into Un's gut. You bootleg boy. Let that be a lesson. All right? That's Jay Z in Disgrace land. And I'll be back right after this. I know, I know. I've been saying I'm going to do this for the last two breaks, but I'll be back right after this with a reveal of which new artists we are covering in the coming months here in Disgraceland. All right, thanks for hanging out with me today in this special episode of Disgraceland. Hope you dug the peek behind the curtain a little. Disgraceland history. But now to the matter at hand. Our new episodes, Our new stories. Next week, our brand new episode on Patti Smith, which you can tell by now I'm very excited about. And then after that, our new episode on Grace Jones, who I was surprised to learn that the iconic 80s star was basically a walking true crime. Then, as I mentioned before, Depeche Mode, Foo Fighters, and after that, finally, our long requested episode on a real dirtbag, Ian Watkins from Lost Profits. The musicians crimes are unspeakable. And if I'm being honest, guys, I'm not really sure how I'm even going to tell this story, but I'm up for the challenge. Then we get into our episode on Stevie Ray Vaughan, followed by a story on Christina Grimmie, the singer from the Voice who became super famous super quick and was tragically murdered. After that, we've got episodes. Check this out on the following weezer, Adele, blur/Elastica, George Jones, Fiona Apple, Wendy O. Williams Yes, Discos. I listened to all the voicemails, read all the texts and the emails suggesting Wendy Williams. It's coming later this year. Episodes on T. Rex, Alanis Morissette, Nick Cave, maybe still haven't decided on Nick Cave, Slipknot, Nico from the Velvet Underground, Slayer, the Allman Brothers. And and and I am working my way up and into assuming I can conjure the appropriate amount of constitutional fortitude to cover Courtney Love to kick off the fall string of Disgraceland episodes. That's a lot of stories. Okay, I hope it was worth your hang here, but as always, we need more stories. Okay, I didn't even get into the 2026 fall and winter episodes aside from mentioning Courtney. So Discos, keep the recommendations coming. 617-906-6638 call and leave me a voicemail. Send me a text or an email@gracelandpodmail.com and and and and the DMs are open. Disgracelandpod on Instagram, TikTok, sometimes Facebook and pretty much never on X. But you know, sometimes I guess let me know which rock stars and musicians you want us to cover in Disgraceland again. 617-906-6638 disgracelandpodmail.com Disgraceland on the Socials and if you want a more formal say into who we cover. If you want a larger role in the selection process of artists, become a Disgraceland All Access member on Patreon or Apple podcasts and get access to the disco community chat. Connect with other Disgraceland listeners in music and true crime obsessives and unlock exclusive and ad free content by going to Disgracelandpod.com to sign up. All right, Discos. So much gratitude. I appreciate you. Thanks for hanging out with me in another episode, this one a special episode of Disgrace Land. Can't wait to talk to you all again in the afterparty coming up next. And man, I'm so looking forward to hearing what you have to say about this Patty Smith episode. All right, it's been real, but now I got to get out of here and go do some research. Rocka Roll. He's a bad, bad man.

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