DISGRACELAND

Taylor Swift has a list of stalkers longer than her stadium tour setlists. One drove over 900 miles to hand-deliver his “love” letters to her then-record-label, Big Machine Records. Others have showed up to her homes bearing rope, lock picks, and tools to break her windows. The threats on her life have become so persistent that her security team once installed facial recognition software at the venues she performed in, specifically to distinguish her stalkers from her fans. While making some of the most recognizable pop songs in music history, Taylor Swift also became one of the most recognizable women in the celebrity sphere – a title that on many occasions has nearly cost her life.

This episode contains themes that may be disturbing to some listeners, including descriptions of stalking and sexual assault.

To see the full list of contributors, see the show notes at www.disgracelandpod.com.

This episode was originally published on January 11, 2022.

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In 1960s London, for young guitar enthusiasts, believing that “Clapton is God” was practically the 11th Commandment. In 1970 he lent his big, sticky tone to yet another band: Derek and the Dominos. The group’s white-hot blues burned bright for barely more than a year, but their impact was massive. Guided by drug, alcohol and heartbreak free-fall, Eric Clapton created one of rock’s most recognizable guitar riffs, while drummer Jim Gordon contributed God’s great piano coda. Except Gordon was guided by something far more sinister — something that started with incessant voices in his head, and ended with a hammer, a butcher knife, and a dead mother.

To see the full list of contributors see the show notes at www.disgracelandpod.com.

To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership.

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In 1960s London, for young guitar enthusiasts, believing that “Clapton is God” was practically the 11th Commandment. In 1970 he lent his big, sticky tone to yet another band: Derek and the Dominos. The group’s white-hot blues burned bright for barely more than a year, but their impact was massive. Guided by drug, alcohol and heartbreak free-fall, Eric Clapton created one of rock’s most recognizable guitar riffs, while drummer Jim Gordon contributed God’s great piano coda. Except Gordon was guided by something far more sinister — something that started with incessant voices in his head, and ended with a hammer, a butcher knife, and a dead mother.

To see the full list of contributors see the show notes at www.disgracelandpod.com.

This episode was originally published on December 6, 2021.

To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership.

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Follow Jake and DISGRACELAND:

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In 1960s London, for young guitar enthusiasts, believing that “Clapton is God” was practically the 11th Commandment. In 1970 he lent his big, sticky tone to yet another band: Derek and the Dominos. The group’s white-hot blues burned bright for barely more than a year, but their impact was massive. Guided by drug, alcohol and heartbreak free-fall, Eric Clapton created one of rock’s most recognizable guitar riffs, while drummer Jim Gordon contributed God’s great piano coda. Except Gordon was guided by something far more sinister — something that started with incessant voices in his head, and ended with a hammer, a butcher knife, and a dead mother.

To see the full list of contributors see the show notes at ⁠www.disgracelandpod.com.⁠

This episode was originally published on December 6, 2021.

To listen to Disgraceland ad free and get access to weekly bonus content and more, become a Disgraceland All Access member at ⁠disgracelandpod.com

Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠

Follow Jake and DISGRACELAND:

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⁠YouTube⁠

⁠X⁠ (formerly Twitter) 

⁠Facebook Fan Group⁠

⁠TikTok

See omnystudio.com/listener for privacy information.

The original Woodstock was a literal disaster, declared so on its first day by the state of New York. There were fights, onstage, armed black-shirted hippie gestapo on patrol, and most notably, two dead kids on record. The festival was born of violence, sparked into existence out of organizer Michael Lang’s standoff with hillbilly armed guards and cops from down in Florida. The lasting image of Woodstock as a time of idyllic harmony is a nostalgic gimmick, as is the 1970 documentary about the events that took place up in Bethel, New York that fateful weekend. If any director were to make a truly realistic movie about Woodstock, their film would be an unhinged disaster movie.

To see the full list of contributors, see the show notes at www.disgracelandpod.com.

To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership.

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Woodstock is remembered as the generation-defining moment when the baby boomers demonstrated to the world the power of peace, love and communalism. In reality, what went down at Old Man Yasgur’s farm in August 1969 involved extortion, deaths, countless overdoses, near-mass electrocution, and a state of emergency. Not to mention a restless crowd that doubled in size seemingly every time festival producer Micheal Lang lifted his head to survey the drug-addled chaos. All he wanted was a new kind of festival—a celebration of utopian hippie idealism. Instead, for three long, lawless days, Lang got much more than he bargained for during one of the messiest moments in American music history.

To see the full list of contributors, see the show notes at www.disgracelandpod.com.

To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership.

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Black Sabbath are solely responsible for conjuring the diabolical power of heavy metal. When guitarist Tony Iommi lost his fingertips as a teenager, he turned to a less painful style of playing— a style that produced a new, genre-defining type of gloom and heaviness. The band climbed through the seven circles of British podunk hell to international rock star success, but the lore of their dark imagery compelled the freaks to flood out of the woodwork and to their shows. Despite composing songs that warned against the evils of the occult, Black Sabbath attracted legions of devil worshippers, occultists and 1970s freak-flag-flying practitioners of the dark arts. Kids went mad for their metal. Critics hated it. And much to the band’s dismay, Satanists found their battle cry in the heavy gloom that Black Sabbath had awakened.

To see the full list of contributors, see the show notes at www.disgracelandpod.com.

To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership.

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Black Sabbath are solely responsible for conjuring the diabolical power of heavy metal. When guitarist Tony Iommi lost his fingertips as a teenager, he turned to a less painful style of playing— a style that produced a new, genre-defining type of gloom and heaviness. The band climbed through the seven circles of British podunk hell to international rock star success, but the lore of their dark imagery compelled the freaks to flood out of the woodwork and to their shows. Despite composing songs that warned against the evils of the occult, Black Sabbath attracted legions of devil worshippers, occultists and 1970s freak-flag-flying practitioners of the dark arts. Kids went mad for their metal. Critics hated it. And much to the band’s dismay, Satanists found their battle cry in the heavy gloom that Black Sabbath had awakened.

This episode was originally published on October 26, 2021.

To see the full list of contributors, see the show notes at ⁠www.disgracelandpod.com⁠.

To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly 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:

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⁠Facebook Fan Group⁠

⁠TikTok

See omnystudio.com/listener for privacy information.

Black Sabbath are solely responsible for conjuring the diabolical power of heavy metal. When guitarist Tony Iommi lost his fingertips as a teenager, he turned to a less painful style of playing— a style that produced a new, genre-defining type of gloom and heaviness. The band climbed through the seven circles of British podunk hell to international rock star success, but the lore of their dark imagery compelled the freaks to flood out of the woodwork and to their shows. Despite composing songs that warned against the evils of the occult, Black Sabbath attracted legions of devil worshippers, occultists and 1970s freak-flag-flying practitioners of the dark arts. Kids went mad for their metal. Critics hated it. And much to the band’s dismay, Satanists found their battle cry in the heavy gloom that Black Sabbath had awakened.

This episode was originally published on October 26, 2021.

To see the full list of contributors, see the show notes at www.disgracelandpod.com.

To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly 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:

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To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy

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Fleetwood Mac’s mid-’70s merger with the musical duo of Lindsey Buckingham and Stevie Nicks changed the course of the band forever, propelling them to Top 40 mega-fame and cocaine-fueled excess. At the core of it all were rampant Rumours — both the album and the literal gossip. Breakups, divorce, drama: the same intra-band personal dynamics that stressed the group simultaneously led to the creation of one of the top-selling albums of all time. For Fleetwood Mac, Rumours was how the truth came out. And over 40 years later, there’s still a lot that needs clearing up.

To see the full list of contributors, see the show notes at www.disgracelandpod.com.

To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership.

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Follow Jake and DISGRACELAND:

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To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy

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