DISGRACELAND - INXS Pt. 2: Rock ‘n’ Roll Riots, Radio Bans, and a Letter Bomb

Episode Date: March 3, 2026

The wild west of the Australian pub rock scene that ended in fire. A hit record stalled by controversy. A pilot passed out at 30,000 feet. And a bomb sent to a rock star’s hotel room. Listen to find out how INXS chased the world, touched a nerve, topped the charts – and learned that fame only multiplies the danger. To listen to Disgraceland ad free and get access to exclusive bonus content and more, become a Disgraceland All Access member at ⁠⁠⁠⁠⁠⁠⁠⁠⁠disgracelandpod.com/membership⁠⁠⁠⁠⁠⁠⁠⁠⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠⁠⁠⁠⁠⁠⁠⁠⁠GET THE NEWSLETTER⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Jake and DISGRACELAND: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠ (formerly Twitter)  ⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook Fan Group⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠  See omnystudio.com/listener for privacy information.

This is exactly right. Double Elvis. Disgraceland is a production of Double Elvis. This is a story about danger, about how danger never really goes away, even after you've escaped the most dangerous place you've ever known. And this is also a story about a band that survived one of the most violent, lawless music scenes on earth,

only to discover that the farther they traveled from it, the nearer danger drew them in. This is about riots and near-death experiences, about criminals hiding out in mining camps. It's about crossing over, about paying a price and about controversy. It's a story about how even the bands that make it out alive don't always make it out unscathed. This is the story of how in excess became one of the biggest rock and roll bands on the planet. So, of course, it's a story about great music. Unlike that clip I played for you at the top of the show,

that wasn't great music. That was a preset loop for my Melotron called Yana MK1. I played you that loop because I can't afford the rights to My Sharona by the knack. And why would I play you that specific slice of Kurt Cobain-inspiring cheese could I afford it? Because that was the number one song in America on September 19, 1979. And that was the day that Australia's music scene literally went up in flames. And six guys from down under forged in the white hot fire first set their sights on global superstardom. On this, a special Part 2 episode, wild places, lawless scenes, criminals, mining camps, controversy, and in excess.

I'm Jake Brennan, and this is Disgraceland. It was a land of opportunity and dust, a place for men who weren't welcome back home. Men blown west by the wind and hardened by the sun. Criminals running from their past and running from the law. It was a land without laws. Out here, there were only promises. Promises of wealth, of fame, and of a new life, a vast life, one that seemed as endless as the horizon. But those promises,

in that life were hard-earned, and they came at a price. And so this was also a land of violence. It was a land where you backed up your best shot with bare knuckles, a land where blood was spilled, and where justice came at the sharp end of a knife blade or the jagged edge of a broken bottle. This land was not the Wild West of America in the late 1800s. This was the Wild West of Australia in the 1970s.

Or should I say, the wild west of the Australian music scene in the 1970s. Of course, New York had the Ramones and suicide and Patty Smith and London had the clash and the pistols, but by 1977, Australia had something even more untamed and unchecked. The Australian rock and roll circuit was lawless. From Sydney to Melbourne to far-flung mining and fishing towns like Calgary, Port Headland and Bunbury, Australian audiences were desperate to rage,

as Midnight Oil, as Peter Garrett once put it. And whether it was Midnight Oil or The Saints or Radio Birdman or Cold Chisel or even the boys next door, that's what Nick Cave in the birthday party called themselves at first, Australian audiences were radicalized, mobilized and energized by the music.

They wanted to be part of the show, and I mean physically. Street tough sun-hardened subcultures like the Sharpies would roll up. Their crop cuts tight and their t-shirts tight and their jeans tight too. All of it tight. All of it's sharp as fuck. They'd wait for a hippie or a mod or a rocker, anyone who wasn't a Sharpie really, to do the wrong thing, to look at them the wrong way, to say the wrong word, and it was on.

And that night's entertainment would then soundtrack the raw primordial violence at ear-splitting volume. Meanwhile, a couple of truck drivers, six pints deep, would begin to beat each other's faces and while some half-baked towny at the bar weaponized a beer bottle in order to express his displeasure at the fact that he couldn't hear the football game on the shitty television set that hung above the cash register. But one venue's bar in particular served as a buffer between the audience and the band. At the Star Hotel in Newcastle, New South Wales, the band played behind the bar. While the 200 or so patrons packed inside had a stand on the bar if they wanted to really connect with the music on that untamed physical level. But the physical state of the Star Hotel was just about as dodgy as its rough around the edge's clientele.

And so on September 19, 1979, the venerable live music venue hosted its final shows before shutting down for good. The bands began playing at noon that day, and they went until 10 p.m. that night, which, per local ordinance, was curfew. The club was at capacity inside, but outside, thousands more had gathered to give their beloved star hotel the send-off it deserved. The cops walked into the star at 10 p.m. on the dot. One of the local bands, heroes, were wrapping up their final song. And the thin walls were shaking, and the stench of sweat and beer and cigarettes was a strong, as heroes were allowed. But the cops aimed to be louder, just by being present.

They forced the music to stop before that final song was technically over. But not before Heroes' lead singer leaned into the mic with a parting thought. The pigs say we gotta go. The place erupted. All that untamed energy that had been put into the music, into this codependent, symbiotic relationship, now had nowhere else to go. But to refocus itself on the one,

who had denied them their joy and communion and rage. As the cops put the heroes' defiant singer in handcuffs, the crowd emptied onto the street. And out there in the warm spring air, a riot broke out, chance of piss off pigs while the locals wrestled with police. As one bystander was led into a waiting ambulance with blood running down his face, another managed to steal a cop service revolver. A group of men rocked the police car back and forth.

finally tipping it over, and as it came to rest on its hood, fuel began to leak from the gas tank and spill onto the pavement. Some random source of ignition was then tossed onto the liquid, a stray cigarette perhaps, and within seconds the cruiser erupted in a fireball. The flames quickly spread to a nearby paddy wagon which burned alongside the cruiser. While the memories of all the shows inside the tiny star hotel drifted off into the night, like the smoke that was now billowing from the wreckage. Only a few weeks before the now infamous Star Hotel riots, the Sydney, by way of Perth band the Ferris Brothers,

had just played their first gig under the catchier new name, in excess. Just like heroes in cold chisel and midnight oil and all the rest, in excess and the Brothers Ferris, that's Andrew John and Tim, along with Gary Beers, Kirk Pengilly, and lead singer Michael Hutchins, had come up in the lawless years of the Australian pub rock circuit. They were forged by the white-hot danger of the scene. Even if your perception of Inexcess has always been

the Pretty Boys of the 1980s and early 1990s era of rock and roll, the Pretty Boy thing was just attention-getting. The Pretty Boy thing sold records, millions of records, but I'm getting ahead of myself. By matter of fact, Inexcess were a product of an exceedingly hostile environment. And this environment wasn't necessarily the Star Hotel on the evening of September 19, 1979. Instead, theirs was a mining camp in Goldsworthy, a two-day drive from Sydney, where they were offered $1,000 to entertain the workers for a week.

And like some of the crowd at the star, many of these mining workers lived one step ahead of the law. They came to Goldsworthy to hide from judges and lawyers and women. out here in the dust and the dirt all their pent-up aggression, all their violence. It ripped into the ground beneath them with their shovels, with their picks, that they held in their calloused hands. This area of Australia was unforgiving, a dystopian mad-max vision where chaos and disorder lingered in the silences,

where the miners made it through another day only because they knew that a bunch of bust-in horrors were waiting for them in the decrepit shacks' ons. site. This was a land where, as in excesses Torvan rocketed west and then north, John Ferris looked out the window only to see a pile of dead kangaroos on the side of the road. It was a land where you didn't know whether the audience was going to applaud or jump from their chair and strangle you to the life with squeeze from your body. It was a land where there was fear even in the communal bathroom, which was crawling with spiders as big as one of those working men's callous hands.

But a thousand bucks was a thousand bucks, and so John Ferris and Michael Hutchinson in excess did what any other band in Australia circa the late 1970s would do. They took the gig. Besides, some steady money meant that Kirk no longer had to sell weed out of his guitar case to make ends meet. And in making the drive

and taking the gig, surrounded by dead kangaroos and giant spiders and hardened criminals and all, in excess learned how to survive. but survival wasn't enough. John, Kirk, Michael, and the guys aspired to things bigger than the vastness of the brutal Australian scene. They wanted the world.

They wanted to cross over to the world, which was something that some of even the most popular Australian bands, like the Great Cold Chisel, were never able to achieve. In excess also didn't exactly fit in with the Australia thing. And what I mean by that is that they weren't banned for the raging crowd. They didn't inspire the Sharpies

and their rivals to bang heads. They were a band that made you shake your ass instead. And so they used that to their advantage to pull themselves up to that next rung of success. But it took more than ass-shaking funk, more than talent and drive, to realize

crossover worldwide success. It required an ever-present danger as your companion. Because once in excess left Australia to take the world, danger followed them. It rode with them in tandem until it eventually threatened their lives. It took a little over three years from their first official gig as in excess for Michael, Gary Kirk and the Ferris brothers to break into America. Three years in which they kept their

collective nose to the grindstone, recording, touring, and honing their sound, which continued to be a little more sleek and a lot more funky than most of their contemporaries back home. three years in which they went into autopilot, put in the reps, kept hammering at the dream, just like those lawless miners kept hammering at the ground with their shovels. And when at last, they hit the Golden Shores of America in March of 1983. They did so on the back of their first album to be released stateside, Shaboo Shab, which was actually their third album in Australia. The album's lead single, The One Thing, had even gone all the way to number 30,

on the Billboard Hot 100. But waiting for them at the club in San Diego, where they were to begin a tour opening for Adam and the ants, was not a crowd anywhere near the size of the crowd that had rioted outside the Star Hotel on its final night. It was even smaller than a typical audience of redneck manual laborers back in Goldsworthy. 24 people.

That's who was waiting for in excess in America. 24 people. Clearly, there was more work to do. Clearly, they had to push themselves even harder in order to set themselves apart, which meant they had to funk even harder. There was only one man in America who could take them to the promised land of funk with a touch so deft and it sounds so smooth that it could not be denied. And they found that man where all walks of funk and rock melted down into one undeniable groove.

New York City. Michael Hutchins took it all in, the pine-paneled walls, the 35-foot-high ceilings, the state-of-the-art Neve mixing console. The Hell's Kitchen Recording Studio, known as the power station, came as advertised. This was where real bands made records,

and it was where Inexcess was now beginning to make the swing, their fourth LP. But even better than the legendary location was the company. Sitting next to Michael in front of the Neve, knocking out those trademark rhythmic chunks on his stratocaster,

was now Rogers, the Nile Rogers, as in chic, as in, ah, freak out, as in the guy who had just helmed mega hits by Sister Sledge and Diana Ross, and only one year prior had produced David Bowie's album Let's Dance in this very same space. Nile cleared his calendar after seeing InexS open in Toronto for men at work, another Australian band who are having their own moment in North America with their huge hit down under. Now here was NXS at the power station, laying down Michael and Andrew's new song, Original Sin,

with Nile Rogers adding his unmistakable rhythm guitar to the track. It was just the thing. It was American groove meets Australian grit. It was minimal. It was tight. And it had style for days. Music may be the universal language, but style was the currency. And now Rogers knew this.

as did Nile's friend Darrell Hall of Hall and Oates, who sat in on the session as a favor and sang backing vocals. But style also required substance, something that Nile also knew, just like rock and roll needed that little bit of danger. So Nile pulled Michael aside when they were recording the lead vocal track, and he made a suggestion. Instead of singing,

Dream on white boy, dream on white girl in the chorus, Nile said, How about making it dream on black boy, dream on white girl? Nile came from an interracial family, so the note was personal for him. But also, this was rock and roll. It was supposed to be provocative. It was supposed to cross barriers. By blending black and white in the lyrics,

in excess could cleverly mirror how their music was now blending black R&B with white New Wave. Not only did it sound good and make a big statement, It also seemed like the perfect recipe to really cross over into America. But crossing over into America in this way would come with a price. Just like those hard-earned promises out in the wild west of the Australian music scene once came with a cost. Original Sin may have been the band's first number one hit back in their native country, but in the States, its moderate success was tinged with controversy. It seems crazy now in 2006, but in 1984, a song about,

an interracial romance could be a dangerous prospect depending on who was listening and where Darrell Hall's manager was listening and he was pissed and when he heard the final mix he wasted no time calling up now Rogers and giving him a peace of his mind who the fuck did he think he was changing that line without first getting permission dream on black boy was he fucking crazy did he understand how problematic that was how problematic that was for his client it was downright scandalous is what it was and Darrell Hall didn't do scandal. Now Rogers didn't let the criticism bother him. The rest of the country, not so much. American radio stations banned the song from rotation, thus preventing it from charting any higher

than number 58, where it stalled out on the Billboard Hot 100. One radio station in Illinois even received a bomb threat from a caller who demanded the song be taken out the air immediately. In excess, escape from the controversy relatively unscathed. After all, they've been shaped. and molded by far worse back in the down under scene. If anything, all the attention, both positive and negative, strengthened their resolve. You know, you touch a nerve, you're doing it right and all that. Andrew and Michael continued to contribute most of the band's songwriting, crafting a number of killer tracks for their next record,

1985's Listen Like Thieves. The album was made with English producer Chris Thomas, who had worked previously with the Beatles, Pink Floyd, Roxy Music, and the sex pistols. Thomas held on to the funky swagger that Nile Rogers had brought to the table, but he folded it into an album that sounded like an in excess show felt big, sweaty, sexy. The album was their first global smash, and the last song they recorded for it, the most excellent lead single, What You Need,

finally cracked the top ten in America, where the album quickly went gold. This was all happening as Australia's cultural cachet in the States was set to soar with the blockbuster movie Crocodile Dundee and those ubiquitous Foster's beer commercials right around the corner. It was also happening with the promotional arm of MTV, which put the music video for what you need into heavy rotation. All this newfound fame and success allowed in excess to settle into the welcoming arms of rock and roll excess, where they could make psychotic rock and roll choices like fly from America to Australia overnight, down and back, just so they could shoot their next music video for their song, Kiss the Dirt on a Salt Lake with Horizon for days.

It was a crazy idea. And that said, the flight there and the shoot itself, all that went just fine. But the trouble started on the flight back to the States. When Tim Ferriss woke up from his rock and roll slumber, 30,000 feet up in the air, only to find the pilot passed out. We'll be right back after this world, word, word. Okay, so we've established that when done right, rock and roll is a dangerous game. But rock and roll is also a young man's game.

And you could only pull off the kinds of stunts in excess we're pulling off in the 1980s if you were young, mid to late 20s tops, which happened to be the age of all the members of the band at the time. And incidentally, as old as you possibly can be, to hop a private plane in the States, land in Australia 15 hours later, shoot a music video on the moon planes north of Adelaide

and in the so-called Opal Capital of the World, a town called Cuber Pities, get back on the plane just a few hours later, ragged but right, ride a high-pressure system back to the good old US of A, and Bob's your uncle. Michael Hutchins was neither Bob, nor was he your uncle, but he was known to the rest of the guys as the Candyman.

On account of all the mind-altering goodies he carried in his candy bag, or candy satchel or whatever he called the receptacle in which he hid away a stash of illicit drugs. Right now, however, the Candyman was fast asleep, slumped in his sea aboard the band's private plane, high above the deep dark abyss of the Pacific, en route back to the land of the free and home of the brave. Just hours earlier, the candy man had bravely stood atop the windshield plains of Kubrapetes, the sun beating down and the sand flying in his face. Black T-shirt, jeans, big belt buckle, moves like Jagger, lip-sinking while looking like anyone's platonic ideal of a frontman,

while a director shot footage for the music video for In Excess's latest single, Kiss the Dirt, Falling Down the Mountain. Now it was the aftermath of that shoot, and most everyone was asleep on the plane, perhaps courtesy of some of the goodies in the Candyman's bag, but at some point, Tim Ferriss was shaken awake by a little burst of turbulence. He wiped his eyes, stood up, and carefully made his way from the back of the plane to the front, curious to see whether the pilot knew if they were heading into more nasty weather ahead.

As he approached the cockpit, the plane shifted again. Tim grabbed one of the overhead compartments to stabilize himself and rubbed his eyes once more, and this time because he wasn't believing what he was seeing. His brother, Andrew, was sitting in the pilot seat, frozen in fear, white knuckling the yoke in his hands. Tim's eyes then went from one shocking sight to the next, turning his head slightly to witness the plane's pilot snoring in the seat next to Andrew,

way off in Dreamland with drool running down his chin. Tim darted forward as Andrew struggled to keep the plane level. The fuck is going on, Andrew. Andrew couldn't take its eyes off the sky in front of him. I don't know, he said to his brother. The pilot asked if I wanted to steer, and the next thing I know, he's out. As Tim shook the pilot awake, he couldn't help but wonder,

what if he hadn't woken up when he did? What if the pilot hadn't woken up? All the what-ifs began to bounce around in his mind, along with this one. What if we just cheated death? That's an intoxicating thought, especially for young men playing a dangerous game. That feeling of invincibility, of being able to do anything, including flying a plane.

and that sort of high carried over into the sessions for In Excess's next album. Their follow-up to their big breakthrough listen like thieves. Once again, they worked with producer Chris Thomas, this time recording not only at a studio in Sydney, but also at a studio in Paris, where they found the recording console dusted with cocaine left behind from a recent Rolling Stone session, or so the French-speaking studio assistant assured them.

Such was rock and roll. a world of myths that is built brick by brick by the observers hanging out on the sidelines. As the sessions for album number six wound down, Chris Thomas feared they had a problem similar to one they'd had with the last album. They didn't have a strong lead single. What you need have been the last song recorded for Listen Like Thieves, written explicitly to be a hit, and it did manage to become one of Inexus' biggest singles.

So Thomas told Andrew and Michael that they had two, weeks, two weeks to write the album's best song and lead single. The pressure was intense, even for a couple of guys who felt invincible and had faced more treacherous predicaments in their past, but necessity is the mother of invention. So Andrew found himself leaving his apartment and getting into the back of a taxi waiting outside his place so that he could go to the airport and fly to Hong Kong, where he and Michael would hole up with his brother John's apartment and squeeze out a hit song. As soon as he closed the door

and the cabby began to pull away from the curb, Andrew heard it in his head. Stop, he yelled at the cab driver. Stop. I forgot something back in my place. The cabby sighed, clearly annoyed. Andrew struggled to keep the riff in his head. Dun, done, done, done.

Don da da da da da da da da da. And he threw open the door and tumbled out and ran upstairs to his apart. 40 minutes later he emerged, climbing into the backseat of the cab once more, now with a cassette tape in his hand, watching the cabby up front shifting, clearly annoyed, but not too annoyed, honestly, because the meter was running and, well, time was money. Yes, Andrew thought, time was money. And with those 40 minutes of time upstairs, he was able to lay down that razor-sharp rhythm guitar riff

that had come to him like divine intervention, along with a complimentary bass part and a drum machine beat. thus laying down the groundwork for the most money he and the guys would ever make in their lives. And when he got to Hong Kong, he played the track from Michael, who ran with it. And in far less than there were a lot of two weeks, they had their hit. Need You Tonight became in excesses' first and only number one song in America. The full album, Kick, was a certifiable sensation. A new sensation. A ubiquitous slab of funk rock that took over the world.

Even if detractors like the dean of American rock critics Robert Criscow called them silly middlebrow hacks, which is what he wrote at the time. The printed word couldn't hurt in excess, not in 1987 when they were on top of the world. Nor could have hurt them back in 1977 when they were beset on all sides by criminals and Wild West opportunists. But a few years after the smashed success of Need You Tonight, as in excess continued to solidify their. status as one of the greatest modern rock and roll bands, an envelope arrived at the hotel room of Michael Hutchins, an envelope containing not the printed word as one would expect, but something far more sinister. Because his fame, notoriety, success, as all those things increase, so too does danger. But not in direct proportion. The danger increases tenfold.

Hey guys, back in our part one episode on In Excess, I briefly mentioned how the Gallagher brothers of Oasis used their speech at an award show to throw shade at Michael Hutchins in Inexcess and how that affected Michael, how it really messed him up in a lot of ways. What we didn't have time to get into was the aftermath of that diss and how Michael eventually got his own revenge, eternal, infinite revenge, actually. It's a pretty entertaining and surprising story. And you can hear all about it in this week's description. Graceland mini episode. To do that, you got to be a member of Disgraceland All Access, sign up through

Patreon or Apple Podcasts. Go to Discracellandpod.com to do just that. All right back to our part two episode on In Excess right now. In 1993, rock and roll was in crisis. Bands that had dominated MTV in the airways for years, bands like Guns and Roses, Def Leopard, Metallica, even in excess, bands that still managed to represent a threat to the moral order of things, suddenly in the cold light of day, and the light now ushered in by the so-called grunge movement. These older bands began to feel less authentic, or even worse, uncool. By the time Nirvana released in utero in September of that year,

the very idea of the rock star had become suspect. Kurt Cobain was the biggest rock star on the planet, but then no he wasn't. Kurt was the anti-rock star. He was the flip side of what Michael Hutchins so easily and effectively embodied. The guy preening and prowling on stage with his shirt unbuttoned and rock and roll as we knew it was being reframed as nothing but myth in light of Kurt and grunge's realism. Of course, it was all opposed, whether you were in a hair band or in a Seattle band, or whether or not your band still had a saxophone player as in excesses. My point here is that as early as 1993, the writing was on the wall.

And by the end of the decade, at the turn of the century, rock and roll as we knew it would be dead. And don't get me wrong here, we still had rock bands and we still do some very good ones at that. But rock and roll as a cultural force, as a menace to society, that was long gone by 2000. All that was left was for rock to become institutional, nostalgic, and corporatized, while hip-hop, rushed in to fill the cultural void. But again, in 93, rock wasn't quite dead yet. It was simply in crisis. It would be another four years before Michael Hutchins found himself in crisis in a Sydney hotel room,

attempting to navigate the impassable, that dark night of the soul. Tonight it was a different hotel room, somewhere in Germany, where in excess were performing as part of their Get Out of the House tour. Their ninth and latest album, Full Moon, Dirty Heart, Hartz was already suffering from the grunge effect. It didn't even break the top 50 in America. A far cry from the commercial triumph of kick and its follow-up, X, no matter. This tour was all about going back.

Back to basics. Back to small clubs and even smaller audiences. Back to the way things were before In excess became worldwide superstars. But there was no going back. These guys were superstars. They've been the subjects of ads. congratulation, coveted and obsessed over and despised all the same time. They were the recipients of shrieks and screams of lovesick confessions and of strange correspondences,

and one of those correspondences, sent to Michael Hutchins at his hotel, almost went down like this. Michael turned the envelope over in his hands. It was heavier than it seemed, and oddly shaped. He was unsure if the letter had been mailed to the hotel or simply dropped off. as German was rusty and the front lobby could only help so much but there was no return address and again it was so oddly shaped

so lumpy so strange this envelope he wondered what could be inside fans said all sorts of creepy and wonderful things depended on the day and the fan Michael grabbed hold to the end of the envelope with his fingers and as he tore it open he saw the flash before he heard the explosion

and then fortunately for Michael this didn't actually happen, although he was, in fact, sent a letter bomb at his German hotel. A man who had worked for in excess for a decade after years as a police officer intercepted the envelope and identified it as an explosive device long before Michael got his hands on it. It was a poorly, cheaply made letter bomb,

but a bomb nevertheless, one that could have done significant damage to Michael had he opened it, could have even killed him. Michael and his bodyguard kept this nearly fatal incident a secret for years. And Michael took it to his grave, and the bodyguard only revealed what had happened seven years after Michael's death in 2014. He recalled that Michael was pretty even killed when he was initially informed about the letter bomb.

He understood that no one was ever really safe in this world, and that someone in his position was perhaps more susceptible to danger than most. But at the end of the day, he was an entertainer. He was a rock star, as were the other members of his band. And so it was on to the next show, and then the next town, the next country, and so on. It turns out, for Michael Hutchins at least, the real danger was hidden not in an envelope or in a spider-infested mining camp out in the wild boonies of Australia, but inside himself. And when Michael died, the danger died with him is a disgrace.

I'm Jake Brennan, and this is Disgraceland. Hey guys, thanks for checking out this episode of Disgraceland on In Excess. Listen, we're asking the question this week, which artists have had the most cultural impact that were not from the United States or England? So basically, which international artists has made the biggest cultural impact? obviously we're talking about this because in excess being from Australia, but it can be a band or an artist from any country. Let me know, 617-90666-6638 voicemail and text at Disgraceland Pot on the socials.

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