DISGRACELAND - Bonus: Real “Emo” Notes from the Punk Rock Museum, DIY Recording, and More Bobby Fuller

Episode Date: September 24, 2026

Notes on the emotional impact from Jake’s trip to the Punk Rock Museum, Bobby Fuller and DIY recording recs, plus your voicemails, texts, dms, and emails on how Bobby died and more.See omnystudio.com/listener for privacy information.

This is exactly right. 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. our mission to uncover the truth to confront the myth to reclaim the story. On this bonus episode, I give you my thoughts on my visit to the punk rock museum in Las Vegas, some home recording recommendations, your takes on Bobby Fuller's death with your emails,

comments, DMs, voicemails, texts, and as always, a whole lot of rosy. 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 someone else. All right, discos, let's get into it. So no one ever called Bobby Fuller punk rock because he existed before punk rock, though one of the greatest punk rock bands of all time further popularized his song. I fought the law.

I'm talking about the clash, of course. Bobby Fuller was not punk. Again, he was from the early to mid-1960s, but he was very punk rock in the way that he created his music. He was one of the first DIY artists at a time when that wasn't a thing at all. He created a real home studio in his parents' modest suburban home, so a lot of punk rock exists in Bobby Fuller. And I was thinking of Bobby Fuller this past weekend when I visited the punk rock museum in Las Vegas.

When I was there, I had an experience that I didn't think I would have. I became strangely emotional, like legit trying not to cry emotional from being. there. Laura Jane Grace from Against Me was our tour guide and she was fantastic. She said this thing that really crystallized the feeling I was having while on that tour. She said that punk rock is about broken people, broken kids coming together and being put back together again by punk rock. It's so true. It really stuck with me. It doesn't matter if we're talking about punk rock kids from the New York scene, the LA scene, the Boston hardcore scene, the Bay Area, whatever. We were all misfits. And most of us were latch key kids. You know, it didn't matter where we came from, our race, our sexuality,

our gender, how much money our parents did or didn't have. When we went to those all-age shows, we were finally part of a community. We finally identified as something other than the fuck-ups that we were told that we were. Now, sensing that feeling that, crystallization of that idea, you know, I always knew this, obviously, but a lot of that has become lost in the last 20 or 30 years of punk rock as we've gotten older. And some of us, myself included, have become more cynical when we think about what punk rock has become. It's obviously a massive business, this huge thing, but you're so reminded of the foundational, that foundational spark that punk rock gave you when you're inside the punk rock museum in

Las Vegas because of all the ephemera and the tactile nature of all the ephemera that's surrounding you. When you're looking at Johnny Thunders' guitar, you're looking at homemade flyers, you know, by Raymond Petibone for Black Flag. You're looking at these amazing zines, suburban voice from Massachusetts. What's up, Al Quint? You know, maximum rock and roll from the Bay Area. All these flyers, all this, you know, Joe Strummer's last bag of grass is there in a case. you're literally looking at Mike Ness's living room, the artifacts from his living

living room. You're looking at the sofa, the studio sofa anyways, that Kirk Cobain knotted out on. And all of that, it gives you this feeling. You really feel what it felt like to be in those rooms back then and to have those experiences. And I'm not trying to suggest that this is only for people who hung out with Kurt Cobain in the studio or Mike Ness in social distortion in Mike's living room, if you were into punk rock, if you're into DIY music, if you're putting things together in the same way that these other scene kids were, then you were using the same materials. You were sitting on the same furniture. Your living room felt like Mike Ness's living room. Your garage space that you practiced in felt like the space.

I think it's the no effects space, their garage or the Pennywise garage that they recreate in in the punk rock museum, you know, you feel it as my point. All the, the tactile nature of everything on display, it connected me back to that emotion in a very real way. It was an insane emotional feeling that I had. And it wasn't nostalgia. I mean, I guess it kind of was on some level nostalgia, but more than that, it was gratitude. This feeling of, I feel so lucky to have found this scene and the people in my life who were part of that scene then, who taught me at a young age during those very formative years, taught me how to look at the world differently in a way that allowed me to value myself and who I was in the music that I loved, which people told me

was shit, and that it was crap, and that it wasn't mainstream or whatever, that fucking dumb, tired bullshit argument that we all laugh at now. It doesn't apply anymore. But back then, it did matter. I felt grateful because all of that led me to where I am now. I had this other thought, too. The museum and the tour are set up so that you start at the beginning of punk rock with the New York dolls and with Iggy Pop, sort of pre-punk. And then you're quickly, you know, a couple years further down the line in the 70s with the Ramones and blondie and talking heads.

And then you're in Europe with the sex pistols and the clash. and you're in L.A. with Black Flag, and then New York hardcore, Boston hardcore, the Bay Area, all that stuff. You go through the whole thing chronologically, and you're traveling all over the world as punk rock traveled. And I had this feeling, again, out of gratitude, like not to be name-droppy or anything, but I had real experiences with so many of these artists that helped form me.

And I never really think about them because these artists are, are giants to me. I've met and had real experiences with so many of them. I'm so lucky. I mean, I shared a laugh with David Johansson backstage at a, I think it was a Patty Smith show. I, like, talked myself on, not talked, I just bumrushed the stage at a Patty Smith show at Carnegie Hall and was singing backup vocals. I met the Ramones, for God's sake, when I was 10 years old. And a couple of them later on when I was an adult, I once went for a walk with Debbie Harry through lower Manhattan. I recorded with John Doe from X. I toured it with John Doe. I literally once went to a bar to meet John Liden, Johnny Rotten, and have a drink with him. You know, I never really think of these things,

unless I'm talking to my kids, you know, and, you know, I talk about how I played with Blink 182 once or whatever. You know, these are just things that happened in my life. And I'm very grateful for them. I really am. I truly am. And I don't think of them enough with enough gratitude because these experiences helped form me just as all the other experiences before I kind of was even in a band and I was just a fan and when I was putting my own zine together, when I was going to matinees and just walking through that museum, it's just, damn, you know, I just felt blessed. And so many of us are. My experiences are not that unique. I'm not trying to be name-droppy again or present them as such. You know, I'm just struck by how.

important this culture, this music is to me, this scene, this community. I always, I always knew that, obviously, but it just really hit me over the head when I was there. And I mean it. I was trying not to cry. Laura Jane Grace was just fucking incredible. Like she nailed the tour and then she played at the end of this thing. And I mean, it was, it was heavy. I did not expect that. I'm just, I'm so impressed with how the ethos of, of punk and DIY culture and hardcore came across in this, in this museum. You know, this idea that we were all broken and punk rock put us back together again. You know, if I never ran with punk rock music, find out of hardcore music and wasn't in a hardcore band, my life would not be what it is now. I don't think it would be as rich

and I don't think it would be as rewarding. And it just, the museum really blew me away. I cannot, cannot recommend it highly enough. If you're in Las Vegas, make sure you check them out. Punk rock museum. You know, and again, where this all started, if Bobby Fuller was born, I don't know, 10, 15 years later, he would have been a punk kid.

He would have been DIY. He would have been in that world and he would have made his own music and he wouldn't have had to fuck with dangerous men from the music industry and ended up how things ended for him. You know, a lot of people, we talk about this in the Bobby Fuller episode, and a lot of people don't know this. I certainly didn't know this, but it was one of the things that was sold to me by my old

bandmate Seth Goodman back in the day when he was trying to sell me on Bobby Fuller and to go listen to him. He had that, what was that, Bear family record label compilation? And I remember him telling me how Bobby Fuller recorded his own stuff. Kind of did everything. He was his own little rock and roll empressario. And when I was researching Bobby Fuller for this episode, I was really blown away with how he went about recording himself.

In an era, when it was not easy. Not only was it not easy, it wasn't really even accepted. And he literally turned his parents' suburban home into a recording studio. This is not, Bobby Fuller did not grow up rich. He didn't even really grow up middle class. It was more working class. and the home was a small home and he, you know, he like, you know, got into the drywall and built a control room with a window facing the live room, which was the living room,

built his own echo chamber outside of the house, attached it like adjacent to the house, just really incredible stuff. And again, that wasn't accepted then. It wasn't done and it wasn't accepted. It wasn't until really, you know, the 80s, I guess, but not even really. I mean, the 80s, you know, the Ramones and all the sort of downtown bands could rent these, like, you know, massive loss for cheap in New York. And that's how, that's why those sounds, those songs by those bands have those massive drum sounds and big guitar sounds. And then it wasn't really until the 90s at the home recording, the lofi thing, the sebadoes, all pavements, all that stuff kind of like kind of took off and became really, accepted, I guess, is the word. And then, you know, in the early 2000s, the early

aughts, the 2010s, you know, when everything kind of started to be able to happen on your laptop, you get the whole electro-clash thing happening in New York. And, you know, that leads to the LCD sound system and all that. So this stuff fascinates me, the way it evolves over time. Zeth and I in the exclusive section of the after party are going to go through some of our favorite recommendations from sort of the home recording verse, the home recording universe and we promise there'll be some revealing stuff in here, some revelatory stuff that hopefully you're not aware of or wouldn't think of that'll send you down a rabbit hole. And we're just going to recommend some cool shit to you.

That's in the conversation is happening in the exclusive section of this episode. Go to disgracellandpod.com to sign up to unlock exclusive and ad-free content like this, become part of our all-access disgraceland community. All right. So Bobby Fuller in the feed this week in our latest episode of Disgraceland, if you haven't heard it, you got to understand that Bobby Fuller was worth more dead than alive to his record label Delphi Records because at the time Bobby Fuller was all the Delphi Records had. But Bobby Fuller was going to leave, at least that was the rumor, he was going to leave Delphi Records for Atlantic Records.

And this wasn't just a rumor. I believe it comes from his brother, Randy. There was a meeting between Bobby Fuller and Ahmed Erdogan in New York City. Now, it's believed that notorious Genevieve's family-connected businessman Morris Levy had unofficially taking control of Delphi records and that Levy had personally invested in Bobby in exchange for the rights to Bobby's hit song Let Her Dance. So if Bobby Fuller were to leave Delphi Records, the label would be done. Again, he was all that the label had. So not only would the label be done, but Morris Levy's control of Delphi would be worthless. However, Delphi Records had a million dollar insurance policy on Bobby Fuller. So if anything were to happen to Bobby Fuller, Delphi, or whoever controlled Delphi, would collect a million dollars. And if Bobby Fuller was going to leave Delphi for Atlantic and render Delphi virtually worthless,

then some believe Bobby Fuller was worth more dead than alive. on the day he called a meeting with Delphi to inform them that he was leaving, he was found dead in his mother's Oldsmobile. So who killed Bobby Fuller? Okay, we uncover the truth in our new episode of Disgraceland. Check that out. That's the Bobby Fuller story. Now, if you love Bobby Fuller's version of I fought the law and early rock and roll's impact on punk rock, then again, this Bobby Fuller episode is going to blow your mind. Okay? That's at the top of our feed right now. Coming up next in the feed right after this episode, this bonus episode, right after this, is our Rewind episode this Sunday on Lil Peep. I'm not even sure if we've ever pulled this one out of the archive for you guys and put it in the rewind slot. If we have, it was only once and it was a long, long time ago. Great story. I love this story. In 2017, fans didn't find out Lil Peep died from a headline or a radio story. They found out from an Instagram story and not like just some fan posting about his death, okay? Little Pete and two of his fans, while he was at a show, they headed to his tour bus

to get high. The bus was a mess, as you would expect. There was a little bit of a party going on. Pete was handed a Xanax, and he swallowed it and he passed out. His new friends, two of his fans, they kept partying, they kept laughing, they kept fucking around, texting their friends. Oh, we're hanging out with a rock star, blah, blah, posting on their socials, all that stuff. And sometime afterward, Lil Pete lost consciousness. and he stopped breathing. And he had fallen victim to fentanyl, which had laced the Xanax that he was taking,

that he had taken, excuse me. Now, this dude, Bexie, okay, one of Little Peep's collaborators from the UK, he walked to the back of the bus. He saw Little Peep passed out. It was close to Showtime. He didn't check, Bexie, did not check on Little Peep to see if he was all right.

Instead, the dude took out his phone, and he insta-storied himself with the passed-out Lil Peep. Others, Little Peep's fans, they're on the bus. They did the same thing. They didn't know that Little Peep wasn't passed out. Okay, it was much darker than that. You want to know more about this story? You want to know more about how Little Peep died

and how news of his death traveled in the crazy modern world fuckery of all of this. You got to check out this little peep. episode. Also, side note, those of you who are, you know, punk rock, hardcore fans, you know, when I was at the punk rock museum, there's a discussion going on about how emo music today means something completely different than it did in the 90s. In the 90s, it was more connected to what it was in the 80s to write, Rites of Spring and embrace those great DC hardcore bands. In the 90s, bands like Texas is the reason, promise ring, piebald, june, Rye Coalition, I guess, it was something else.

That was kind of when I was around emo music. And I knew a lot of those people in those bands. I saw them all karate. Anyways, Lil Peep, heavily, heavily, heavily influenced by emo. And we get into what emo is fully in this episode. and I'm pretty proud of the way we describe it and pull it together for you guys. So check that out.

Little peep, hitting your feeds next right after this bonus episode. Then that's on Sunday and in the rewind slot. And then our next new episode next week is going to be on Quincy Jones. Now Quincy Jones, arguably the greatest music producer of all time, but towards the end of his life, Quincy Jones made some truly outrageous claims.

You might have seen these when they were popping off. He said that the Beatles didn't play their instruments. his experience in the studio with Ringo Starr, that Ringo couldn't nail a simple four-bar drum part and that Quincy and George Martin had to bring in an ace jazz drummer, Ronnie Varell, to do what Ringo couldn't do. Quincy Jones also claimed that Michael Jackson stole a lot of songs. That's a direct quote.

He said that Michael stole the baseline for Billy Jean from Donna Summer's State of Independence and that the notes don't lie, man. That's what Quincy said about Michael Jackson. He also claimed that Frank Sinatra was the reason that he, Quincy Jones, knew exactly who. who killed John F. Kennedy. So was Quincy Jones, arguably, the greatest producer of all time?

Was he lying? Was he lying about these musical crimes, fraud, theft, murder, about the Beatles, about Michael Jackson, about Sinatra? We're going to find out in this upcoming episode. And we're going to get into Q's life, just an incredible life. The dude was everywhere. He played with everybody, everybody, a true giant from music history. and who at the end of his career had zero fucks to give

and said whatever the hell he wanted in, oh my, it's glorious. I'm just scratching the surface here with this stuff about Michael Jackson and the Beatles and Frank Sinatra. We unpack all that in the episode, but there's so much more. So that's a Quincy Jones episode. When you're listening to this episode, be thinking about Quincy's connection to music's greatest artists, okay? And let us know if you believe that the claims that he's made

that we unpack, let's know if you think they're true or not. if you think he was lying. I want to know. I unpack it. I litigated it. I want to know what you guys think, though. Side note, who is your favorite music producer? We've never asked this question. Which producer has made the records that you can't live without 617-90666-36-36-3-8? I'll take your answers for either of those questions. Voicemail and text. Email me, disgrace-line pot at g-mail.com. Hit me up at Disgrace-Land on the socials. Discos, we're covering a lot of ground right now on Disgrace-and this week with Bobby Fuller, the punk rock hardcore email quincy jones i want to hear from you guys we're going to be back

in a flash with your answers to last week's question of the week your voicemails text dms and more coming up right after this all right guys we're back 617 906 666 636 38 voicemail and text question of the week from our bobby fuller episode what do you think who killed them pretty simple do you believe my take i want to know let's go to the 903 well Jake i have to say being a journalist and just a general secret of information and a historian where I've had the documents things and everything, I think he did a very, very, very, very thorough job of drawing out the real story of Bobby Ford's death and pretty eloquently put it together and in my mind there's no question of what happened to him. People, I guess, are covering their ass and everything

like that in Texas, but that's Texas. So I grew up in Texas. I lived in Texas for the first you know, like 40 plus years of my life. So I know Texas corruption pretty well. And, of course, D.C. and stuff where I'm living now isn't that much better. But anyway, kudos to you for the job. Kudos for you for the story and the podcast and everything. You're honestly the only podcast that I pay to support anymore because, you know, things are not that great right out economically.

But anyway, rock and roll. Keep doing what you're doing. Bye. 903. Thank you so much for your call and thank you for support. Appreciate you being part of the disgrace and all access community and paying for that ad-free and exclusive content. You can have some good home recording wrecks for you in the exclusive section of the after party coming up. But yeah, man, I'm shocked that this isn't common knowledge.

I mean, it's pretty obvious to me when you get into the research. I appreciate you, viving on what we were saying and how we put the story together. I'm glad it resonated with you 903. Thank you. Let's go to the 915. Hey, what's up, disgrace land? Richie Valenzuela from El Paso, Texas. Man, the Bobby Fuller episode was jaw-dropping.

I knew the story being from El Paso, but I had no idea about all the extra layers. What's crazy to me is the manager Bob King. He also managed Richie Valens, and after Richie died, King came to El Paso looking for young, dumb, Mexican-American talent, and instead, he found him. a genius, Bobby Fuller. Man, crazy episode. After hearing your episode, I can't wait

but wonder how much Bob King really had to do with, to what happened to Bobby. Anyway, phenomenal story, phenomenal job, love the podcast. I'll let you later. Richie V. Peace. Hey, Richie, thanks for the call, man.

My take on Bob Keene is that he was more kind of a bystander to the more powerful powers of B who were really controlling his record label, the distributor, and, of course, the man from New York. Bob Keene, he lived.

He lived to tell his story. That's kind of telling, whereas, of course, Bobby Fuller did not. Appreciate you, man. Thanks for the call. A lot of Texans chiming in. Let's go to the 361. What's up, Jay?

This is Jessica Down from 361, Corpus County, Texas, chiming in on the best super group. ever and it has to be hands down my friend the highwayman that's all I have to say have a blessing brother take care hard to argue with the highwayman Jessica hard to hard to argue with a Texan about the highwayman I think that's how I should have put it I got to say we got a buddy Holly day the music died Richie Valance buddy Holly being from Texas so I mentioned it here episode the good doctor

Lundy is working up right now maybe something on the highwayman the future. I don't know. 617-906-66-6-6-38 voicemail and text. 404 text in Bob Marley and the Whalers Bad Card would be a great track for the casino mixtape. I stayed out of the casinos.

I mean, I walked through them, of course. You can't avoid them. I don't gamble. I don't know. You know, I come from a whole family of gamblers. Everybody in my family gambles and I'm the one person who doesn't. In both families, my wife's family as well.

It's strange. I don't know. I just have this aversion to it, except football. I bet on football. I don't know. I don't know how much of that I can talk about. I guess you can talk about it, right? 630 writes in, hey, Jake, your comments about your early 20s mirroring John Cusack's movie roles reminded me of the great opening essay. This is Emo from Chuck Klosterman's book, Sex, Drugs, and Cocoa Puffs. If you've never checked it out, please do. Thanks for everything you do. This is Rob from the 630. Rob from the 630. Thank you. I don't know this book. I love Chuck.

hear him interviewed and I read one of his books. I can't remember what it was called. I have it lying around it's behind me. I don't know where the hell it is. But I'm going to check this out because I got emo on the brain. And like I said, in a little peep episode coming up, we've got some good we get some good emo history coming at you. And we unpack that this QSAC take more fully in the upcoming episode of this film should be played loud, which hits next week on gross point blank. You're not going to want to miss that. For those of you who do not know, This film should be played loud is our monthly video podcast on the greatest music from the greatest movies. And we're doing gross point blank, which the soundtrack is just a fucking banger.

This is our second John Cusack movie. We've already done high fidelity. You want to hear this? You got to go to disgracehandpod.com. Sign up, become an all-access member to check that out. This one comes from Dee and Dallas. She says, hey, I just listened to the episode about Scorsese and other things. And there's a question about who is the best.

transition from music artists to actor. And hands down, Jared Leto, I will fight someone over that. Seriously, I'll die on this hill. It is absolutely not Will Smith. Definitely 100,000% Jared motherfucking Leto. But wasn't Jared Letto an actor before he was a musician? Not a musician who turned actor like Will Smith. Also, I don't know if you're going to be happy about this, D. Sounds like you're a Jared Leto 30 seconds to Marr's fan. but we've got to share a little episode coming up. And I got to say the shit I'm finding in the research is fucking disgusting. And there's a torrent of this information out there.

That's kind of the one theme I've found so far is that this information is abundant. First person sourced in addition to tons and tons. Even stuff people are sending me, their experiences. never mind the tons and tons and stuff on Reddit and just, you know, it's, I kind of don't even know what to do with it all, you know, but I'll figure it out. Don't worry about it. And, you know, if I piss you off, the apologies. Just remember, we've got a whole bunch of other episodes where I don't piss you off. All right. Get at me, guys. 617-906-66-3638 voicemail and text. Question of the week next week is going to be about Quincy Jones. Do you believe them? Is he lying? Is you making that shit up? Sub question, who's your favorite music producer? Who made the records you can't live without? That's what I want to know. 617-906-66-36-3-8.

Trying to keep up with the DMs on Instagram. I feel like I'm doing a better job than normal lately. At Disgracelam Pod, things are popping over there. Get on over. Give us a follow. Follow us on X and TikTok. Been a little more active there lately. Facebook.

Got some login problems, but we're figuring it out. at disgrace land pot on the socials is what I'm saying. Now, we all know Michael Jackson's thriller, but did you know that thriller, one of the greatest, most important records ever recorded almost never happened because its producer, Quincy Jones, almost died in 1974.

That was the year that he had a brain aneurysm. Doctors gave Quincy Jones a 1% chance of surviving his friends, Marvin Gay, Richard Pryor, among them began planning Quincy Jones's memorial service for him. That's how dire things were. But Quincy Jones survived and not only went on to produce Michael Jackson's first three albums, including Thriller, but he also produced many, many others. And he became the most Grammy nominated artist in history, 80 nominations and 28 wins. But all that nearly didn't happen.

Can you imagine pop history without Thriller? Without Quincy Jones? I can't. And I'm glad we don't have to. And I can't wait for you to hear our new episode on Quincy Jones. coming up next week. Coming up after this break, your emails. All right, this one comes from Jeff Smith. Hey, Jake, J.J. Smitty, living in Osaka, Japan. I went from thinking your show was just gossip to loving it. Loving isn't all caps.

Keep on rocking and rolling. First of all, before I read the rest of your email here, J.J. Smitty, whatever gave you the impression that disgrace land was gossip? This is a very serious question. I'm not just picking bones, picking nits. I want to know. This is something you heard? Certainly not the episodes. You can tell that they're all very well researched. Who told you that?

Because I'm going to fucking find them. No, I'm not. I just want to know. Okay, JJ Smitty goes on to say, as a native New Yorker, no doubt Bobby Fuller got released from any obligations, quote unquote. Bobby talked too much and threatened. And that was it. Sad story, because getting ripped off happened and happens to so many young.

artists and they really have no help. Bobby was from Texas, which meant at the time that he knew nothing about the entertainment business in New York or LA. Just too bad. Rockarola, you're a bad man. All the best and continued success. J.J. Smitty. J.J. Smitty, you are absolutely right. You nailed it. You nailed it. Texans have that thing about him. I read this in a Mario Puso book years ago. That's sort of, you know, everything's bigger in Texas. I feel like Texans have that imbued in them in the same way, you know, us from the new. from the Northeast have this like smart ass thing in us. You know, I don't even really notice it to like get out of New England.

And I think Bobby Fuller had had brass balls. I really do. And I think he felt like he could take over the world and he could stand up to guys in New York in L.A. And, uh, did not happen. Sad. Sad stuff. Disgraceampot at gmail.com.

We're going to hit us up. Talk about anything. Listen. Zeth and I are going to be talking about home recording recommendations. Now, I'm not talking about gear you use at home to record. I'm talking about home recordings that were turned into great art. We're going to get into that on the exclusive section of this after party coming up right now. Go to disgracehandpod.com to sign up become an all-access member.

Unlock, ad-free listening, and exclusive content just like this by supporting the show. And it's not expensive. It's very reasonably priced. I know things are tough right now. I get it. But this little extra bit of support every month that helps us make extra content. And that's what you guys want. So go to disgracehandpod.com to sign up.

We appreciate it. Before we get there, however, I almost forgot, we got to tell you about Hollywoodland. You know what, Hollywoodland? It's our Hollywood and True Crime podcast. That Zeth Helms, we got archive episodes. We got Will Smith in the feed this week. Zest's hitting you two times a week in the Hollywoodland feed with the rap party with my recommendations as well in the screening room. this weekend we're all going to be watching Tony Scott's Enemy of the State, which is probably my favorite

Wolfsmith movie, fantastic movie. Love this movie. Early Jack Black. So make sure you subscribe to Hollywoodland on Apple Podcasts, the IHeart Radio app, or wherever you get your podcast. Because this whole conversation I'm doing here, it's happening in a different way over there. Different conversation. More conversation. That's my point. Like I said earlier, this film should be played loud. Our new episode on Gross Point Blank. That hits next week. Okay. Disgracelandpod.com to sign up. Make sure you're in all Access members so you can cop that video episode and of course get the bonus section of the after party as well that I teased earlier that I'm about to get into right now with Dr. Zeth Lundy. All right, coming up right after this.

All right, we're back. We're ready to split before we do. I just want to say thank you. And, you know, appreciate you guys, as always. Newbies, new disgrace. Slane listeners, you want more disgrace. The whole archive, nearly 300 episodes on basically every artist you can think of. Get in there.

You got questions. Hit me up to disgrace land pod at gmail.com. I will answer them. I will point you in the right direction. All right. Let's recap. Number one, this week, our new episode on Bobby Fuller's available for you right now.

Number two in the rewind slot this weekend, our classic episode on Lil Peep. Number three, next week coming up, our next new episode on Quincy Jones. Number four, Zeth gives you those Hollywood and crime vibes in Hollywoodland. So make sure you're subscribed. And I give you my music recommendations in the rap party over in the Hollywoodland feed.

again, subscribe to Hollywoodland. Number five, this film should be played loud video podcast episode on Lickorish Pizza. That's available now. And our next new episode on Gross Point Blank is coming, September 30th. If that's next week, go to disgracelampod.com to sign up to become an all-access member and unlock exclusive content just like this, along with ad-free listening. Number 6-17-90666-638. 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. of the week who's your favorite music producer or with whatever else you want to talk about. Hit us up. Let us know. 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 in the crime and grime. It ties them all together like you do. And well, that's a disgrace. All right, back on July 18th, 1966, Bobby Fuller's body was discovered in a parking lot. And this is what America was listening to on that day according to the Billboard charts. Number one, Hanky-Panky. Tommy James.

and the shondels. Last week, one. Peak position, one. Weeks on chart, eight. Number two, Wild Thing, the Trogs. Last week, two. Peak position, two. Weeks on chart, five.

Number three, Little Red Riding, Sam the Sham and the Fathers. Last week, nine. Peak position, three, weeks on chart, seven. Number four, the Pied Pipe's on Crispian St. Peter's. Last one, ten.

Keep position. Papers. Wings on charts. Number five. You don't have to see. Stop. Quit talking and start mixing. Cut it!