DISGRACELAND - Bonus Episode: The Madness of Moviemaking

Episode Date: February 27, 2025

This week, Jake talks about his experience trying to get a movie made and reflects on the obsessive drive that is required for filmmakers like Martin Scorsese to take a film from concept to the screen.On Friday, we're celebrating Oscar week by bringing you our two part episode on Marilyn Monroe. Jake wants to know: Do you think the Kennedys had anything to do with Marilyn's death? Tell Jake at 617-906-6638, [e-mail], or on socials @disgracelandpod.For more great Disgraceland episodes, dive into our extensive archive, including such episodes as:Episode 167 - Van HalenEpisode 92 - Derek and the DominosEpisode 71 - David BowieTo hear an extended version of the After Party and gain access to this month's exclusive episode on guitar legend Stevie Ray Vaughan, become a Disgraceland All Access member at disgracelandpod.com/membership.Visit www.disgracelandpod.com/merch to see the latest Disgraceland merch!Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTERFollow Jake and DISGRACELAND:InstagramYouTubeX (formerly Twitter)  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoicesSee omnystudio.com/listener for privacy information.

This is exactly right. Double Elvis. Hey, Discos, need a little more disgrace land 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. On this bonus episode, we are talking about this week's episode subject, Martin Scorsese, and his violent fantasy and itty-bitty-biddy-ditty. We are also getting into the next two episodes hitting your feed in honor of the upcoming Academy Awards, our classic two-parter on Marilyn Monroe. And we get into your voicemails, text, DMs, emails, and as always, a whole lot of rosy.

All right, discos, let's get it. Between the years, 2022 and 2024, I spent a good portion of working out, but writing a script for one of the biggest stars in the world in collaboration with his production team, his key producer and in partnership with a screenwriting buddy of mine. This was a movie, a biopic, not about a rock star, but nonetheless about a legend. Someone that my buddy and I, but mainly my buddy, not me, had put all the pieces together for, including meeting with and working with this legend's family multiple times. It was all quite heady. And for the first six months or so, it was difficult, but nothing seemed too hard, and certainly nothing about the project seemed impossible, despite, you know, the people we were

working with and who we were writing this screenplay about. This, however, as they say, would not last. The project, like most film projects, crashed and burned. I was just about to say crashed and burned for reasons that were beyond my control. But if I'm being honest, some of those reasons were within my control. If only I had the insane drive that it takes to make a movie, not to write a movie necessarily, but to make it, to helmet, to direct it, to see it through from the spark of inspiration all the way to the big screen, which is a years-long process, that whole path through all the painful steps in between. Throughout this years-long process of researching and writing

this screenplay that I was on, there were lots of starts and stops. the research process was such, you know, you can only read so much, but we had to get in there. We had to get our hands dirty with the family. We had to get our hands dirty with people who knew the subject. So we would travel. We would interview people. Then we would write. We would draft.

We would submit what we wrote to our producing partner. Again, the main producer for the big Hollywood star that we were writing the script for. And then we'd have to wait, usually weeks before we would get, sometimes months, actually, before we'd get notes back and be able to dive back into the writing. in that in between time I started reading books about movies. I had no experience. I have still very little experience at all in making film. At the time, I had no experience in making movies.

And here I was working with, you know, these people with tons of experience, the cream of the crop, so to speak. So I thought, yeah, I should learn a thing or two here about the world that I'm not working in. I read two books with Martin Scorsese. One entitled A Personal Journey Through American Movies with Martin Scorsese, which is fantastic. If you ever see this book, just buy it. It's so good. It's the book, I believe, is just the book version of a documentary by the same exact name. And it's really great.

It's Scorsese taking you through the history of film. And who better a guide than Martin Scorsese. And you can feel his passion and his enthusiasm and talking about these filmmakers from different eras long ago, filmmakers, frankly, that a lot of their movies I'd never seen, I don't know the history of film like I know the history of music. So this is a really fantastic book to get into. The other Scorsese book that I read during this time is entitled Conversations with Martin Scorsese by Richard Schnickle. Also great, but totally different. This book didn't take me through the great films from Hollywood's past. It took me through all of Scorsese's films with

Scorsese commenting on them. And unlike the other book, where Scorsese is largely radiating love and affection for these films that he he reveres. And this book, the one that I'm now talking about, the vibe is kind of the opposite. Scorsesey, when talking about his films, he seems miserable. I'm not kidding. I was shocked. How would I feel if I made Goodfellas? I'd feel like a fucking golden god, as you would as well. That movie is incredible. It still gives me, I'm still thrilled every time I see it, and I've seen it well over a hundred times. But the thing I guess that I didn't fully realize. And part of this realization was starting to rear its ugly head to me in real time with the film project that I was on was this reality that is making movies. The reality

is that it is incredibly hard to make the movie you want to make. And Scorsese had a hard time throughout his career on pretty much every single movie well after he achieved success even. he had a very difficult time in making the movies that he wanted to make. And that part just blew my mind. The fact that after Martin Scorsese made taxi driver and Raging Bull and Goodfellas, that the studio executives were still insisting things like he changed the end of the departed. That's mind-blowing to me. And what does a studio executive possibly know about ending a movie that Martin Scorsese doesn't?

Making big-budget Hollywood movies with big studios and alien. celebrities directing those movies, helming those movies, making the movie you originally signed up to make within that paradigm is, in my opinion, no way to make a living. Unless you want a boss and an ulcer and a cocaine habit like Martin's Griszii had, there's just too much money at stake. In the case of the film we were trying to make, we were writing it for a $250 million budget. With that kind of money to finance a movie production, there's going to be a lot of oversight, obviously. I don't. I don't blame the studios for that.

But with that oversight, there's going to be input from people who don't share your vision, but feel that they need to do and say something to help the movie succeed. I would feel the same way if I was a producer. The reality is a lot of times they don't understand what you're trying to make. Not on a personal level. That's the problem. It's actually your problem, if you put yourself in that situation, because you took their money and decided to make a movie for them.

Okay. What Martin Scorsese in the so-called Hollywood Brats, Stephen Spielberg, Brian De Palma, the guys that this last episode of disgrace ended is about, what the Hollywood Brats did first was they took that studio money and then they made movies for themselves. Personal movies on huge studio budgets. And they did this at great personal cost to themselves. The battles they had to endure to get these films made the way they wanted to make them was huge. And there's no better example of this than Martin Scorsese. His movies almost killed him. I say all this because of this week's full episode on Martin Scorsese and taxi driver, but he went through an equally harrowing, if not more fraud experience, getting the last temptation of Christ made. Some filmmakers, of course, just give the studio what they want. And what we get under this process more often than not is just straight up garbage, your reboots, your remakes, your Marvel movies. Scorsese's right. These aren't films. because a film to Scorsese is personal. It's a personal vision, a POV expressed on film

through the characters up on the screen. And there's more artistic expression, I think, in a Marvel comic than there isn't a Marvel movie. This is a tangent, though, I'm not prepared to digress into at this moment. So I don't want to get off point. But my point is, other directors, you know, they're still making films, personal films, for sure.

Someone like, you know, he's an actor, but he's also a director, someone like Ethan Hawk comes to mind, or even Paul Schrader, who wrote Taxi Driver, who's also a director and still directing films, these are autos, okay? But they've chosen now these days to work outside of the studio system to make movies that are meaningful to them, that they can express their point of view.

And of course, they're working with smaller budgets, but they are making great movies, and they're just different. They're not part of the studio system. You also now have your anomalies like Stephen Spielberg and Quentin Tarantino, who have somehow, and I think this is part of their brilliance, figured out how to work with the studios and still get their vision across.

And, you know, Tarantino talks now about how, you know, his sets are a blast to be on, that they have fun. And he has a way of making it work. And he certainly, I believe, though I don't have any research on this, but I'm fairly certain the studios still have some input into the films that he's making, despite what he would probably want you to know. but I think, you know, he's probably figured out a way to work with them. And like I said, there's a skill in that.

There's an art in that. And it comes with time. And I'm sure Stephen Spielberg had mastered that long, long, long ago. And, you know, we're talking a lot about Martin Scorsese, but I believe Martin's Crocezi is probably at this point in his career too. They leave him alone. They let him do what he wants to do. And I think it's part of the deals that he signs nowadays, right?

It's part of what he's going to do. You can't touch him. He's going to make his movie, right? And he should be given that right, for sure. But still, I'm sure there's some studio oversight on some level for, for, for Scorsese now, Tarantino, Spielberg even. And like I said, there's an art to dealing with all that. And that's just one more superpower that these guys have that we don't,

that allows them to be able to make these movies. It's not just an ability to think out of the box and solve problems creatively, as Scorsese does with taxi driver when he finds the solution to the end of his film. That spoiler alert, if you haven't heard my episode yet, the solution that prevents him from literally killing a studio executive, but it's also the ability the ability to fight capital f i ghth fight to push to be relentless in your creative pursuit to not take no for an answer on anything ever when it comes to getting your creative point of view across your personal story across on film and getting your film made i didn't

have that fight in me frankly because i'm already in a fight i'm fighting daily to make sure that my podcast is heard by as many people as possible. I'm fighting daily to find and write the best stories that I can. I'm fighting daily to preserve the spirit of rock and roll alongside you guys. Martin Scorsese is about as rock and roll as you can get, by the way. One of the things I've learned from researching the history of rock and roll and I guess just researching history in general is you can really only take on one fight at a time. You don't want to be like the Germans in World War II. I wasn't going to risk this for that. I wasn't going to risk the thing I created disgrace land that allows me to express my personal vision and creative point of view every week

to collaborate with a small committee of people on a shared vision and to ultimately have a boss and have to beg people even in success for the right to work. Needless to say, the project I was working on did not make it on to film, but I am okay with that. I'm not Martin Scorsese, obviously, but I am Jake Brennan. And the story I wrote about Martin Scorsese that is in your podcast feed right now is some of the best writing that I've ever done and some of the of the best production we hear at Double Elvis have ever produced, and when you hear it, you'll now know why it's so personal to me. Okay? Just wanted to let you guys know. On Friday, speaking of Hollywood, we are rewinding our Maryland Monroe episodes, in part because the Oscars are coming up,

and in part because I'm hoping the disclosure gods smile upon us and drop some hot JFK assassination file awesomeness right when I resurface these Marilyn Monroe episodes. Though that seems like a pretty big ask. I'm not sure that's going to happen. Regardless, these episodes are wildly entertaining. They're classics. If you like Hollywood and you like historical conspiracy, you're going to love these if you haven't heard them. And if you have heard them, you're going to love them again when you listen to them for the second time.

These episodes, you know, I shouldn't say conspiracy. Did I say conspiracy? Part of me categorizes Marilyn Monroe's story as historical conspiracy. Not that that's an actual phrase, but that's about how I think about it in my head. But it's not conspiracy. It's more mythology. We don't know how she died. I don't care.

And the official explanation is not what happened. Okay? You got to be, I don't know, you got to really, really jump through some mental hoops to go with that theory. And these episodes get into all three theories on her death. Okay. So when you listen to them or if you relisten, maybe they'll have a new different insight into how you think Marilyn actually died. Okay. Either way, that's going to be my question of the week for next week.

When you're listening to these episodes and contemplating the supposed release of these JFK files, I want you to be thinking about the likelihood that the Kennedys had anything to do with Marilyn's death. That's going to be the question of the week. You know, I'm not going to go out Glenn Danzig and ask you who killed Maryland, but I do want to know if you guys think the Kennedys had anything to do with her death. Hit me up, but let me know, 617-906-66-3-8 and leave a voicemail or text, and you might hear it answered in next week's after party. All right, after these Maryland episodes, we're continuing in our Oscar-related run here

with a dive into legendary Hollywood Madman and a dude that was more rock and roll than most rock stars ever dreamed of being. and that's Dennis Hopper. Guys, we're coming to the end of our icon series. Dennis Hopper will be one of the last non-music-related subjects released into the disgrace land feed, and we soon will once again be all music and disgrace land. I'll have news shortly on where and when you can hear me talking Hollywood elsewhere. Okay.

I'll be back in Flash with your answers to last week's question of the week. All right, we are back. Just a quick reminder to make sure you Apple podcast listeners have auto downloads turned on so you're not missing any episodes. Diddy, Diddy, Diddy, Diddy, Diddy, just 30 seconds here real quick. After we released last week's After Party. And I talked about Sean Combs and what I think is going to happen. Like speaking of 30 seconds, about 30 seconds after that, dude's lawyer quit.

Now, I don't know what happened here. As far as I can tell, nobody else knows what happened either. There's lots of rumors on the internet as you would expect about why the lawyer quit. But I haven't seen anything substantial that tells us why. and I'm not going to pretend to understand the reasoning here because I don't, and I don't think anyone but those in Diddy's inner circle or on his legal team actually know. What is going to happen? I don't know.

I don't know. I don't know. We shall see, though, right? Let's hope. All right, that's my Diddy update. Let's move on to the question of the week. 617-90666-6-3638 to leave me a voicemail, send me a text. You can also reach me at Disgraceland Pot on Instagram, Facebook, and X.

All right, relative to this week's episode on Martin Scorsese, we asked the question. we asked the question, who's on your Mount Rushmore of directors? Who's your favorite filmmaker and why? That was the question. And we're going to go to Justin in the 540 for an answer. Yes, Mr. Brennan. This is Justin from the 540. I was replying to your question of best directors.

Well, the first one you have to look at is Sam Peck and Paul. I mean, he did a while a bunch. arguably we were talking about violent movies that's arguably one of the most violent movies I've ever seen but anyway then he went on to do Pat Garrett and Billy the Kid which is a great movie and a little known fact at the end of Pat Garrett and Billy the Kid when they shot the scene

where Billy a kid gets shot everybody said oh there's no blood there's no blood that's symbolic it means he wasn't killed he's not dead Sam Packer-Paul in an interview later said no, he just forgot to set the shot up, so they did it anyway with no blood. But anyway, the real director for me is John Carpenter. I mean, it all started with me. It was Halloween.

That movie scared the shit out of me. And then, I mean, we get escaped from New York, big trouble in a little China, they live, ghosts of Mars. For a brief time, he was married to Adrian Barbeau. that's pretty serious. But anyway, he also does his own musical scores. I just said John Carpenter is my all-time favorite. But anyway, keep up good work for I can roll it.

Later. Justin, hey, man, really appreciate the call because I appreciate any opportunity to talk about Pat Garrett and Billy the Kid by Sam Peck and Paw. I have so much to say about this. Number one, this is one of my favorite movies of all time. Definitely in my top five. I don't know why this movie doesn't get more heat. I don't know why people don't talk about it more.

It is incredible. Okay, maybe it's because people don't like westerns, but it's not, I mean, it is a Western. It's clearly a Western. However, it's more about Peck and Pause statement on 1960s counterculture at the time that this was made. And you've got to think, we were talking about the Hollywood Brats before. The Brats come in sort of right at the tail end of Peck and Paw's kind of

activity or I guess greatness. He was still chugged along in the 70s, but this is the peak of it right here. Go see Pat Garrett and Billy the Kid, if for no other reason than to watch Bob Dylan in an incredible role as alias. Okay. Just fantastic. You know, it's funny. I've been thinking about this movie a lot really, really recently because I'm re-watching Eastbound and Down, Kenny Powers story on HBO. And Wayne Kramer from MC5 does the music for Eastbound. and down. And I'm watching, it must have been season two. I'm watching season two and I'm sitting there and going, man, he is just ripping off Bob Dylan from Pat Garrett and Billy the Kid. Because Bob Dylan does the soundtrack, excellent soundtrack for the film Pat Garrett and Billy the

Kid. It's 1972, I believe, 73 for Dylan. It's where the song, Knocking on Heaven's Door comes from from this soundtrack. And there's a real feel to all the Dylan songs that make up this movie if it feels very much uh this album feels like an album you know and it feels very connected to this film it's a soundtrack and when you're when you're watching that i think it's a second season of eastbound down i'm sitting there and i'm going wow this really he's really ripping off pat garrett and billy the kid because it's the kenny power story at this point he's kenny's now in mexico staging a comeback for the majors and pat garrett and billy the kid takes place in and around mexico So I was like, yeah, Wayne Kramer's definitely seen this movie, I think, and that's what he's going for.

And lo and behold, at the end of the season, they actually use one of Dylan's songs from that soundtrack. So, Justin, if you have not watched Eastbound and Down, just, you know, Pat Garrett and Billy the Kid aside, you need to watch it. You'll appreciate this, Justin. I actually stayed in our honeymoon. I stayed in a cabin where Sam Peck and Paw stayed in for a while. It was actually the same cabin where Jack Kerouac wrote Big Sur, a huge Peck and Paw fan. And as for John Carpenter, big fan as well. Not as big. I do this every summer. I whip out the John Carpenter soundtrack. I'm sure you know John Carpenter did the music for, I think, all of his films, or most of them anyways. And the soundtrack that he did for The Fog is like, it just scares the shit out of my kids. And I put that on and I start talking in a spooky voice and it gets him every time. Thank you, John Carpenter. All right. Let's go to Adriana in the She writes in, hey, the director resonates with me.

The most would have to be Quentin Tarantino. I love how he tells the story from beginning to end and I always rewatch his movies. I'm a sucker for a good soundtrack. And Quentin and his team never miss a beat with song selection. His movies transport me from my mundane office life. I love the show. And I've learned so much about some of my favorite singers and artists. Thank you so much, Adriana.

You know, Tarantino is a lot to Scorsese. I think a lot of modern filmmakers do when it comes to soundtrack. Scorsese was the first to really use rock and roll. in a way, not just as score almost, not as just needle drops, but really to score the films. And you see that come alive for the first time in Mean Streets. We talked about it on Instagram this week

with the Johnny Boy entrance into the bar with the Stones, jumping jack flash plant. Just incredible, incredible stuff. Thanks, Adriana. Appreciate the text. All right, I knew this is going to happen. I knew it. I tried to head it off in the Scorsese episode.

And, you know, I make this call. comment, I compare filmmaking, the pain of filmmaking to the pain of giving birth. And the 707 writes in, quote, at the most 24 hours, quoting me here. And then she goes on to just, it says, ha, ha, ha, ha, ha, ha, ha, for honestly like seven lines. And then it says sincerely worked labor and delivery for years. I think the subtext here, the is that I'm wrong. It's that it's at labor can be at most 24 hours. I mean, how many other labors are more than 24? I'm opening the floodgates.

I don't mean to do so. Look, I met no disrespect to anyone out there who's given birth for longer than 24 hours. I was just trying to make a point and I wasn't trying to like, you know, go off on this wild tangent. But I appreciate the levity within this text from the 707, even though she's calling me out for it. This one comes from the 610. It says, hey, Jake, I was going through some photos and realized, and realized I forgot to send this from 2020. Sporting my double Elvis shirt at the Tiger Zoo in Thailand, Rockarola. And this dude, Jonathan from the 610, is just sitting there with a tiger.

Big ass tiger in the double Elvis shirt. I love it. Thanks, Jonathan. Speaking of Thailand, do you guys watching White Lotus, new season? What do you think? It's kind of a slow burn. I'm here for it, though. I'm here for anything with the Goggins.

Okay? 302 types in, hey, when you're on your deathbed, I will be. be there whispering in your ear you can't compare prince and mj love it uh the conversation that will not die i got a couple voicemails on this as well let's go to this one from yuri in the 310 hey j this is yurie from 310 just listening just catching up more than once i've heard you talk about prince and michael jackson and how you feel like they're i don't know in the same same category. But they're not. They were of the same time. True. They were icons. True. They were the first generation to see the potential in MTV. Also true. But what I think where

they diverge is their artistry. Prince was an artist. He could play every instrument and he did on his first couple albums, he produced everything that he did. His genre-bending musical style, it really has yet to be rivals. Michael, yes, he was the king of pop. But he was almost born into that, if not physically. His persona was born out of that, out of the Jackson Five, out of creating an image and branding. And that's where I feel like Prince and Michael diverge. Prince's image was built from his musical range and his diversity.

The fluff and everything else came after, but that's where it started. Michaels was a product. Now one more thing. Jake, Billy Idol. Saw him in Vegas. Like, now I keep thinking it was a couple years ago. It was almost 10. I saw him with my brother.

We loved the show. He was rocking at 60 at the time and he still rocks at 70. Thank you. Love the show. Rock and roll. All right, Yuri, thank you for that. Appreciate that. Guys, I'll keep talking Michael Jackson Prince as long as you want to talk Michael Jackson Prince. I keep trying to get out of this conversation. I really have. It's been, I think we're on week four right now in the after party. And I mean, I'm sort of not talking about it this week. I'm letting you guys talk about it. I'm just here. I'm putting it out in the air. If this continues next week, I'm going to dive in even more fully. But you know what?

I'm not willing to foster that, okay? I'm simply like Bob Dylan, I'm an antenna, man. I'm just kind of like tuned into what's happening around me. Okay? We shall see. All right. If you guys want more of this, keep it coming. I'll talk Prince.

We can turn this into a Prince versus Michael Jackson podcast. If you're not kidding, we can't. Anyways, 617-906-6638 voicemail and text. hit me up for next week's question of the week, which is going to be, do you think that Kennedy's had anything to do with Marilyn Monroe's death? And if so, point me in the right direction. Give me some research. Give me some docs to go look at.

Okay? It's a big, big, big accusation. If you're going to think that, you're going to have some bullets on your side, all right? Pun intended. Or you've got to have some very powerful medicine. Maybe a syringe. I don't know. I do know that voicemail a text is not the only way to be.

get in touch with me and you guys know this too you can hit me up at disgrace land pod on all the socials on x on facebook on instagram jersey style photography writes hey this is a fantastic listen that's in response to the scorsese episode that's on x over on instagram katherine mutate my saying that correctly she writes in response to our scorsese story this is a movie that needs to be made katherine you know i would love to turn this into a movie but for all the reasons i mentioned earlier in this episode. I don't think it's in the cards for me. That said, hey, anyone wants to back up a truck full of money and dump it on my head. I'm available. Or if somebody wants to, you know, clear the path for this to be turned into a screenplay, you know, in a way that's, that has a path

to actually getting made. Yeah, I wouldn't, I wouldn't walk away from that. I'm just saying, I'm just saying, take a lot. That's all. Okay. All right. 617-9066-6-38, voicemailant and text at Disgraceland Pod on the socials to hit me up. Let me take a quick break. be back after this with the story of the week some of your emails some reviews also going to get into in the bonus section of this episode a little bit more on our upcoming all access exclusive episode on stevie rave on more after this all right welcome back the disgrace land story of the week can be any story from your rock and roll past or from rock and roll history that you think best represents the rock and roll spirit and you want to share with us this week's story of the week it

comes from william strobel william says hey jake bill from the two one five i can't believe how long it took to sink in, but your amazing Miles Davis episode triggered a couple memories. It's where my dear friend Monty, Johnny Rotten, and Wayne Shorter intersect. Monty's full name was Montraval Shorter. Wayne Shorter was Monty's first cousin. He was a jazz encyclopedia. We worked in kitchens together, so I got to hear some amazing stories. He was quite a bit older than me, and he had some wild experiences. He traveled a lot and sat down in the lounge of a hotel one day. A few minutes later, an interesting gentleman sat across from us. They proceeded to have a lovely conversation, music, jazz, current events. The gentleman was Johnny Rotten of the Sex Pistols of Public Image Limited.

The vision in my mind is of a stone, cool, elderly black man sitting with the Sex Pistols lead singer, just chopping it up. And it was a real kick in the ass. And it still is. Monty has since passed, but having the memory sparked made me smile. Thanks for doing what you do. I've tried to turn everyone I know onto disgrace land. Thanks again, Bill and the 215. Bill and the 215.

I love this story. I love it when the punk rock guys mix themselves up with the jazz guys. Of course, Iggy Pop and Miles Davis were tight. We're not tight, but they had, they'd cross paths a few times, and they had a mutual admiration society going on. And I love this story about Wayne Shorter and Johnny Rotten. Johnny Rotten might be the greatest punk rock singer of all time. I said it.

I don't care. I don't care what anyone thinks. I think I believe that. I think. Okay. I'm going to do a couple reviews. You guys know why I read these reviews. It's not just because I'm a massive.

Ego Maniac. I probably am, but that's not the reason. Okay, the reason is I try to encourage the reviews, because the reviews encourage the algorithm to push the show to more people. It helps with discovery. I say it every week, I'm never going to stop saying it, all right? You guys go and you leave reviews on Apple podcast. You leave them on Spotify, and it helps. So thank you very, very much. I choose a couple of those reviews every week. I read them right here. If you hear yours read, you can hit me up on your own volition and you can say, hey, you read my review. I'm so-and-so, and I'll go, yeah, I guess I did. And then I'll send you some free merch. Whatever we got lying around the studio. Could be a pin, could be a shirt. Sometimes I even sign books. So let's see what we got here. Over on the Apple podcast machine, Cindy 13 writes,

I recently discovered your podcast. I absolutely love it. Thank you for your contribution to my daily listening. See, how easy was that? Cindy, thank you very much. Get in touch. We'll get you some merch. Over on the Spotify machine, Jared Ray writes, and hey, this is my new favorite podcast. As a matter of fact, it's so good. It inspired me to write my first review and five-star rating ever. And I've been listening to podcast since before most people knew what a podcast was. Thank you, Jared. I appreciate it. Really do. Thanks for the review. Hit me up. We'll get you some merch. Thanks for helping us grow the show, guys. As always, big, big, big gratitude. Listen, this episode, it's nearing its end. You know, cue the sad, sad, sad closing music. Give me some sad 80s sitcom vibes. You know what I mean?

And that sad 80s synth comes in and you're a little kid. You know it's time for bed. that's what I'm feeling right now. It's coming to an end. There are those of you who will remain with us in the bonus section of this All Access After Party episode. Those of you who are part of our All Access membership club, you get a little bit more.

You get a little bit more in this week. I'm going to give you a little bit more about Stevie Ray Vaughn. Because this week is when our Stevie Rayvon All Access episode comes out. Okay, last week I gave you a story about a friend of mine who was involved with the whole Stevie Rayvon curfuffle.

This week I'm going to give you a little bit more. It's going to come up right after this real quick. For those of you, you who are like, what the hell are you talking about? Well, it's this. We do an all-access club, okay? You pay five bucks. You get a little bit more after-party here. Okay? A little bit, bonus, a little bit of a bonus section. You get ad-free listening and you get one exclusive episode per month. This month, it's on Steve Ray Vaughn. It's only five bucks to join. You also get into the behind the velvet rope, so to speak, in Patreon, where I'm in there in the chat

with all you disco talking. All right. We're in there every day. How you got to do is go to disgrace Sandpod.com slash membership and sign up five bucks a month. You know, five bucks a month. That's cheaper than a beer, cheaper than a coffee, cheaper than what, a hot dog of Fenway Park. It's cheaper than a lot of things. Disgraceampod.com slash membership. All right, we are back. Archive episodes discussed in this year after party. Welcome. The bonus section. We talked about Robbie Robertson and Eric Clapton and Eddie Van Halen and Jimmy Hendrix and David Bowie in the Rolling Stones. And you guys are missing out, by the way, for not getting the all access portion of the after party as you can hear. Anyway, Matt is going to have info on all these episodes, help you find

these episodes in our massive archive. He'll drop that info in the show notes for you. Thank you, Matt. Let's recap, shall we? Number one, I want your story. Call me, text me, hit me on the socials with your favorite story of rock and roll animalism. A wild story about a rock star that you're aware of and you want to tell. It can be something that you've read in a history book, something that's happened to you personally. It can be anything at all. Let me know. Number two, right now in your feed, our episode, I'm Martin Scorsese and taxi driver. Number three, coming tomorrow. Our rewind episode on Marilyn Monroe. And continuing with our Oscar team next week, you're getting a Dennis Hopper episode. Number four, merch winners, get in touch. You know who you are. Number five,

remember, no one cares about preserving the true spirit of rock and roll more than you do. And well, that's a disgrace. All right. In honor of this week's episode subject, Martin Scorsese, here are the Billboard charts for the day. Marty released his masterpiece taxi driver on February. It can be something that you've read in a history book, something that's happened to you personally. Can be anything. at all. Let me know. Number two, right now in your feed, our episode on Martin Scorsese and taxi driver. Number three, coming tomorrow, our rewind episode on Marilyn Monroe. And continuing with our Oscar team next week, you're getting a Dennis Hopper episode. Number four, merch winners, get in touch.

You know who you are. Number five, remember, no one cares about preserving the true spirit of rock and roll more than you do. And well, that's a disgrace. All right. In honor of this week's episode subject, Martin Scorsese, here are the billboard charts for the day. Marty released his masterpiece. taxi driver on February 8, 1976. Number one, 50 ways to leave your lover. Paul Simon. Last week, 10. Peak position. One. Weeks on chart.

Eight. Number two, love to love you, baby. Donna Summer. Last week. Three. Peak position. Two. Weeks on chart. Ten. Number three, you sexy thing.

Hot chocolate. Last week. Four, peak position, three. Weeks on chart, 15. Number four, I write the songs, very now. Last week, two, peak position, one, weeks on chart, 13. Number five, sing a song. Earth, wind, and fire.

Last week. And start mixing. Cut it!