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December 1, 2023 โ€ข 261 mins

N.O.R.E. & DJ EFN are the Drink Champs. In this episode the Champs chop it up with the legendary, DMC from RUN-DMC!DMC joins us to share his journey. From the early RUN-DMC days to his solo career, DMC shares stories of Jam Master Jay, The Notorious B.I.G. and much much more! Lots of great stories that you donโ€™t want to miss! Listen as we continue to celebrate 50 Years of Hip-Hop!!Make some noise for DMC!!! ๐Ÿ’๐Ÿ’๐Ÿ’๐Ÿ†๐Ÿ†๐Ÿ†

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ย DJ EFN

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ย N.O.R.E.

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Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
He is drinks chants, motherfucking podcast makes He's a legendary
queens rapper.

Speaker 2 (00:17):
He ain't s agreed as your boy in O r E.

Speaker 1 (00:18):
He's a Miami hip hop mionneer up as d J
e f N. Together they drink it up with some.

Speaker 3 (00:24):
Of the biggest players you know what I mean, and.

Speaker 1 (00:26):
The most professional unprofessional podcast and your number one source
for drunk.

Speaker 2 (00:31):
Drink chans post days New Year's Csten, It's time for
drink Champions.

Speaker 3 (00:37):
Drink up, motherfuck.

Speaker 2 (00:44):
Would a good be hoping this super This is your
boy in O R E.

Speaker 3 (00:47):
What up his DJ e f N.

Speaker 2 (00:48):
This is Midle Tapa, crazy wall Y Happy Hour, Drinks
Yeppy Hour, make some Nu. Now, when me and e
FN started this show, we said that we wanted to
highlight like icons, we wanted to highlight legends. We want
to highlight people who paved the way for us. Now,
when we talk about this brother that we were about
to introduce in a lot of ways, if it wasn't

(01:09):
for him, they might not be a drink champs because
of the DJ, you following the DJ, I following the MC,
and us you know, somewhat calling ourselves, you know, a
different version of them. These people have. They come from
my barrel, They come from my hood. One of my
first inspirations, I remember me buying a fake leather jacket.

(01:31):
It was pletho. I didn't know there was a such
thing at the time. I put it on and it
didn't feel right. I had to figure it. But I
was trying to imitate them. I went and got gazelles,
I went and did everything. I went and got the hats.
I wanted to be like them, and in a lot
of ways, if it wasn't for them, it wouldn't be me.

(01:52):
It wouldn't be this show. These guys are legends. They
are icons. They are tycoons. They are the definition of pop.
They are the definition of of of keeping it real.
They are the definition of legends. They are a definition
of icons. When I think of this, when I think
of these people, that's who I got. When my dictionary,

(02:13):
when I look up icon, that's who I see. In
case you don't know who the fuck were talking about,
We're talking about the one, the only, motherfucking d m
c yo. I got a lie, crazy, what what is this? Okay?
I want to start with this. This is a comic.

Speaker 3 (02:32):
Holy comic book I made for a song that I
did with Chuck Dy, iced T and Jesse Jeff. He produced.

Speaker 2 (02:39):
It was Freddy rap on this one. He did okay.

Speaker 3 (02:42):
He was like, yo, I got icy Chuck Dy and
d J J Jeff and d m C in the room.
I don't need to be on it because he was
like a fan, like he couldn't believe the moment. Song
inspired the comic book. Yeah, the song is fun the
comic book. Yeah, because bum was like, you guys the
my superheroes.

Speaker 2 (02:59):
Yeah, you guys are my superheroes. Let's face anoy for that,
spacenoy for that. So let's let's take it from the beginning, right.
We just had Leo Cohns on right, and Leo Leo
used to share rooms. He was yes, and he was
only seeing with me because that was in neat cleaning.

(03:19):
So we had him on and his claim to fame
or his first you know a thing in this music
business was he said role managing you guys. And then
I asked him, I said, how did you become road
manager for run DMC and he said simply because he
had a passport. Yeah, was that how it happened?

Speaker 4 (03:39):
Well?

Speaker 3 (03:40):
Yeah, because our first manager got fired. Oh wow, and
then we needed a road manager and Lee was like,
I'll do it correct and it was like, do you
have a passport? But what was he But prior to that, well,
Leo was in promoting hip hop parties. Really did have
long hair. I feel like he had a long.

Speaker 2 (04:03):
You know, he didn't have hair.

Speaker 3 (04:04):
No, he was just a younger version of rocket hair
with this guy and had this hip hop club in
l a Wow, and once a week he would throw
hip hop parties. So he booked run DMC. And when
he booked run DMC, we played the show. You know,
Damn Master Jay rest in peace. He was like, Yo,
come hang with us. So Leo just started hanging out

(04:24):
with us, and then I think he booked us again.
But his was crazy after he booked run DMC because
look now he got run DMC, right, you know what
I'm saying, and it starts calling everybody I see this
and that. But we were like to you know this,
we was We was the ones that had all the
hope to you know, part the red sea for hip hop.

(04:46):
So Lea was funny every day he would call deaf
jail after he booked Run DMC. Every go leo this,
and NBA people hang up on him.

Speaker 2 (04:57):
He called back the mad Russell now Russell for assistance.

Speaker 3 (05:02):
So what had happened was he just woke up one
day and just came to New York, showed up his
office and we would go to death Gym every day,
show up at the office. This and then Russell was funny.
Russell would just give him crazy ship to do and
he would make it happen right, right.

Speaker 2 (05:18):
So we had this.

Speaker 3 (05:20):
One of Jay's friends was in romanage, but he got
fired because he was smoking crack on the plane.

Speaker 2 (05:25):
This is noise smoking crack on.

Speaker 5 (05:27):
The plane crack, But this is like one crack want
I guess remember when crack first came up, he was
smoking woolies.

Speaker 2 (05:39):
You know, a lot of.

Speaker 3 (05:41):
A lot of normal people. But when it started turning
the crack they was able to stop from in the beginning.

Speaker 2 (05:47):
But yeah, the Jay's friend road manager was a crack fiend.

Speaker 3 (05:54):
The first day he spoke, he had to smoke it
on a plane.

Speaker 2 (05:56):
So he got fired. But this was the time where
you were suppos cigarettes a plane. Yes, okay, yeah, I've
been traveling since there was and that shit made no
sense because everybody's right here. Remember remember the other line
USA Express Okay, okay, which directly the lad y'all remember
that you would just take all your ship and get

(06:18):
on a plane. So long story short, the manager got
fired and Leo was always around. Okay.

Speaker 3 (06:23):
First he would call every day. Then he showed up
just hanging out the office. Now, for anybody listening, that's
very aggressive. Yeah, in that room all too right, you
know what I'm saying. Cousins, Look, yes, a man on
the mission. So we needed a road manager. I'll do
it all right. And the question was you had a passport?

(06:45):
And then ever since then, Wow, that's how it was,
you know what I'm saying.

Speaker 2 (06:49):
For me, it was like a blip. It was like
Leo in New York was my role manage, shared movies
with me, and in the next day they called them an
executive Wow, which is a beautiful thing. Now, when I
signed a deaf jam, I remember me walking in the building. Remember,
I of God, He's telling me, he's like, you signed
the death jam. I said yeah. He said, well, don't

(07:09):
celebrate because you ain't win nothing. I was like, damn,
that was hard. And then I went to Leoll's office
and Leon had this picture in his office with a
bloody nose, and I said to Leon, did you have
a fight, And he goes, no, I did so much
blow that night.

Speaker 3 (07:28):
He said, he's in the road a lot of lot
a lot of coke, like a whole lot of a
lot of a lot of and my man Combat Jack.

Speaker 2 (07:38):
Recipes, Yes, great, so this and that.

Speaker 3 (07:42):
Man Cow from Chicago, big radio journalistic personality. Me and
Combat and man Col we said, please, people, little kids,
boys and girls, don't take this wrong way. And he
said it though, Man Col said them and me and
Combat we verified this.

Speaker 2 (08:02):
On his show. You know, the coke in the eighties
was real good. Did you say the coke in the eighties,
I'm keeping up right.

Speaker 6 (08:11):
For people it was it was it was like they
cared about Did it influence the music? No, to coke
was everywhere. For Leo to say that, that ship was
every where.

Speaker 3 (08:27):
We used to just go to radio stations to give
the program directors coke. I don't think it was even
illegal when it first came on the scenes.

Speaker 2 (08:34):
What it was it was, it was it was an
upscale social it was it was champagne, right.

Speaker 3 (08:40):
So I mean it's wrong for me to say that.
So it's like me saying, you know, the champagne back
then was very good. Right, that champagne has got has
gotten better, right, coke has gotten worse. But for Leo
to say that coke was every way like it was everywhere.

Speaker 2 (09:00):
Man, it's oh man when we came here, when we
came here on the raising, hell too, we ain't see
for three days running.

Speaker 3 (09:09):
You see hod L B C. But l didn't get high.
But yo, I was doing it. Yeah, L was in
the gym every morning. Lion said he had had it.
It was hereditary.

Speaker 2 (09:24):
He said, I get all. He's there getting like that.
But you know, the coke was everywhere. Forhlil to say that,
I a lot of a whole lot of.

Speaker 3 (09:36):
Like Dad, I keep it real too, okay where I'm at,
Like we had a high school. If you was able
to go back and talk to the young Daryl mcdanneus
when you first started the don't spend so much money
on drugs.

Speaker 2 (09:49):
You know a lot of money, probably half a mill
and half him three hundred and seventy two thousand.

Speaker 3 (09:54):
Me and sure was giving you for free.

Speaker 2 (09:57):
Oh yeah, yeah, okay, cold ship just to know a
drug dealer. He looked at me like, I'm not sure,
and I feel like is gonna come out Leo for
Leo the City. He sniffed a whole lot of cook
One of the one of the things that's so mysterious

(10:19):
is I might have lost this argument. I never realized
that you guys wasn't on depth Jam. I always always,
I did everybody still we was on deaf Jam.

Speaker 3 (10:31):
So we were deaf Jam water coats.

Speaker 2 (10:37):
I'm from christ when that happened, What what what what happened?

Speaker 3 (10:43):
I think doctor dre Our doctor was in the room
when Russell went to go start def Jam and it
was basically, okay, mister Simmons, you know you're Curtius managing,
and why should we give you a record deal? Well
they did was just show a picture of the three

(11:03):
baddest things in existence at the time we were. We
were never able to get on different team because world understand,
we were signed the Profile Record.

Speaker 2 (11:14):
Before the album. This is Profile Records exactly.

Speaker 3 (11:19):
So he was always on Profile Records and so so.

Speaker 2 (11:23):
It was Rush Management, which officially became Rush Management became
Violator all years years okay, the little Violator became a
part of Rush manage to get that whole thing. Random
c was always on Profile records, came out on Profile
records with its light than circum Seeds put the record out.

(11:47):
It worked, sucam Seeds. Now a lot of people think
it was.

Speaker 1 (11:54):
Well.

Speaker 2 (11:54):
Rock Box was the first hip hop video on MTV TV. Yes,
and and it wasn't walked this way. It's a tongue twister,
walked this way. The first rock rap record isn't walked
this way. The first rock rap record is rock Box,
which is a thing to put hip hop on MTV.
But y'all record box, Yeah, okay, okay. What I'm trying

(12:16):
to say is our our our abilities started with Sucker
and ceased because if you remember hip hop, everything was
very musical in the beginning of everybody, which is sample
the hot record on the radio. Oh let's do heartbeat,
the R and B record, this and that. When when

(12:38):
they c came along, we didn't use good Times, we
didn't use ring my bell. We fucking came with boom
tet tette in just the beat. And I remember that
year the record dropped, hating my own record because everywhere
I went, which season challenge because what you was doing

(13:05):
is what I was.

Speaker 3 (13:06):
Doing for The Treacherous Three. Those were the records that.

Speaker 2 (13:11):
I want to hear.

Speaker 3 (13:12):
I don't want to even watch it, you know what
I'm saying.

Speaker 2 (13:15):
So when my record started playing more than bands and flashing,
it hurt. It bugged me up. Run knew what was
going on because what people don't know. Run was a
professional rapper at fifteen. He was the son of Curtis Blow.

Speaker 3 (13:29):
Run saw the business that's now in his living room.

Speaker 2 (13:35):
As a kid. He would come downstairs and curt As
sleep on the chair. Jimmy Spice is over the hood.
He needs over their Grandmaster Flash. Everybody's because Russ, who
was Rus Russ Rushed Productions was a party. He was
a party, put on it right, and he would hire
a flashing bad He was so Run saw hip hop

(13:56):
what the world is seeing now.

Speaker 3 (13:58):
Run saw that in his living room for four rappers
to light drop Runners there. So Run new to business
and this and that and run new entertainment. Shoub said me,
I'm just a fucking kid hearing this hip hop. Shiit
me and Run Running. Me and Run didn't meet until
eighth grade. We didn't grow up together. Wow, my best

(14:19):
friend growing up with this guy named Douglas Hayes. That's
who I ran at and that's how I met Jane.
That's how I met Hurricane, jam Messa J. You met
jam Mester J before you met Run. Yes, Okay, continue.
I met the jam Mass J through DJ Hurricane, who
was EMC Hurricane down with Davy d and had a group.

Speaker 2 (14:37):
Called Solo Sounds Wiley Queens. So but the thing growing
up the Run DMC is was how jam Master J.

Speaker 3 (14:48):
Hurricane was dressing in high school. Caine and Jay was
going to school with the Godfather Heads and the matt
Necks and Nadidas and the leather black in high school. Right,
So that's why our style came.

Speaker 2 (15:03):
But what I wanted to say about circumcis when Sucker
and Seas dropped, it was a game, and a lot
of people and hip hop say, yeah, that's true.

Speaker 3 (15:11):
It was the game change because it was just the beat.
It was the tape. We didn't want to do records.
We wanted to me and Run had this team. We
make beat jams, we make what's on the Haarlem World tape,
we make what they doing in the te connection and
the you know I'm saying. So when succer Seas came,
it was the game changer and then everybody's oh, wow,

(15:34):
you can do because.

Speaker 2 (15:36):
The greatest hip hop rappers in history. The greatest period
in hip hop is the history before recorded rap.

Speaker 3 (15:44):
Now I can say that because I lived it. I
understand the gams, the park jams. Yeah, just before rappers
are like before we started making records. That was the
best period of hip hop, which nobody even cares about now.
I ain't even bring that ship up during the fiftieth
year celebration hip Hop. I was saying about the fiftieth celebration,

(16:05):
hipp only celebrated record making motherfuckers.

Speaker 2 (16:08):
Yeah, they didn't. It wasn't. It wasn't the fiftieth It
wasn't they said it was.

Speaker 3 (16:15):
It wasn't, And I can say this, It wasn't the
fiftieth anniversary of hip hop. It was the fifty anniversary
of recorded guarded records.

Speaker 2 (16:24):
Go back and look at all the things and crazy.

Speaker 3 (16:27):
It wasn't about DJ and MC and break dancing, graffiti
and the whole like the whole ship.

Speaker 2 (16:33):
So this is what I'm talking about. Said it wasn't
or was it wasn't It was it was only a
boy motherfuckers that make records.

Speaker 3 (16:38):
He said year, the celebration of it.

Speaker 2 (16:41):
What happened in the Bronx. You know what I'm saying.
I want to see the fantastic fucking five we talked
about all.

Speaker 3 (16:49):
I did shut it down. I didn't want to go
so happy.

Speaker 2 (16:54):
Together. How long was that since y'all performed together? Since
no we was doing show Okay, I wasn't.

Speaker 3 (17:01):
We was RENDMC was only doing festivals because I heard
you guys wouldn't perform together since jam Master Jay had passed.
We didn't want to, okay, but some of the checks
were very nice.

Speaker 2 (17:15):
You know what I'm saying. Yeah, yeah, So that was it.

Speaker 3 (17:18):
But what I wanted to say about sucking, see, it
was just about making be gems and we wanted to do.
When we came in hip hop, we knew we had
a responsibility for this. Anything that is wholly a sacred
to a nation or community or of people whould get diluted,
polluted and destroyed once it's commercialized. And a lot of

(17:40):
the commercialization of that is very.

Speaker 2 (17:42):
Good, you know, financially in this and for the expansion
of it. MTV and US being on records aided in
the expansion of hip hop. But if there was no
music business. We still had hip hop. So when Ren
DMC and jmster J showed up, we wasn't thinking, you know,
let's have hit records again. Money and this snana that
run was doing it a little bit because you see

(18:03):
you've been like that. But our things was to be
the best DJs in MC's that people would ever see forever.
Right Why because the people before us that art form
the Melly Mels right to see. Everybody only knows Melly
Mel for the message, but I got tapes of Melly
Mel and Scorpio when he was mister ness.

Speaker 3 (18:26):
Rhyman like me and running.

Speaker 2 (18:29):
Nobody knows Melly Mel was Melly em Me, Ellie, em
Me l and Melly Mel. Y'all rock well with echo
chambers and flash drop and pieces of shiitn't nobody knows
that I know that this record making ship don't excite me.
So what you had to triple plattin that shit don't
mean nothing because you didn't play Harlem World, motherfucker. So

(18:50):
me and Ron came from that. We said we're gonna
do and that ate it in our success. Everything we did.

Speaker 3 (18:55):
Was we were imagining.

Speaker 2 (18:57):
It was a cassette recording of us live, so we
wanted to make rhyme routines. So when we did Suck
and Seas, it gave permission everybody. Oh shit, we.

Speaker 3 (19:08):
Don't got the first rappers or the greatest rappers ever,
But what was that Floyd? They had no rappers to
look up to. So when the first rappers got into
the music, you gotta understand what happened to our culture.

Speaker 2 (19:18):
We were a culture that is eternal, that never changes,
That innovation gets better and better as we grow. Not
that ship when you're thirty five and forty you can't rap.
No is anybody going to go to Stevie Wonder and say, Stevie,
you're fifty now you can't sit. Is anybody going to
go to Patty Labella said, excuse me, Patty, you're fifty,

(19:41):
you can't. Or Mick Jagger neither. The roman Stones won't
have a fucking tour when they died and going. So
we knew that before that, the ship that was going
on that we were doing before rappers, the Light, that's
the fucking its fucking turn. They could never take that

(20:02):
ship from us. So we said we're gonna do that
ship on records. And that's the thing that made the
Jay never used the dat machine. They never did. It
was when we played live Aid Motherfuckers that she was
vinyl on the turntables enough rhyming.

Speaker 3 (20:22):
From sucking c to fucking jam ass to Jay.

Speaker 2 (20:28):
When we did hard Times, it's like that was Russell
in the business.

Speaker 3 (20:32):
You got to make a commercial record. It's like so
what we did was like that. We took because if
you remember, the message came out first. So the message
was the message. It's like a Jung Goose times broken
last everywhere.

Speaker 2 (20:44):
But after that hip hop.

Speaker 3 (20:46):
Was able to say we can take you all to
where you'll need to go. So bam and I'm so
sounid force and so sound for Africa band, butter so
solid force. They may't plant it rock. So when we
made it like that, we said, you know what, we're
tired of shit being separate. Let's put the message and
the vision of Planet Rock. We know a place where

(21:06):
everybody's eating and as safe. The students' like that. So
when we did that with it, say if you.

Speaker 2 (21:10):
Listen to Planet Rock, if we were trying to make
I mean, if you listen, it's like that we're trying
to make Planet of Rocks and and but we wasn't
good at it.

Speaker 3 (21:23):
We were just trying to make raw beats the way
it was done in the streets.

Speaker 2 (21:27):
If you listen, you know it was the key to
run to see success. It was It's like comic book
Easter X. It was right up on your nose. When
we made Adidas, we took the beat from the street
and put it on TV as it is and it's
formed no.

Speaker 3 (21:41):
Explanations to the ship. Take the beat like on DJ.
But by us doing that, what the fuck were you?
Nobody had never seen what we did in the hip
hop be The people before us that created it didn't
do it.

Speaker 2 (21:56):
You know what I'm saying. Meland Kas and all of
them was mad at us when we first came out. Wait,
what do you mean? We were fucking who the fuck
is that they had on spikes? The fuck it was
these motherfuckers from Queens with this badass attitude and they
had on spikes. But you understand, that's what I wanted
to say to you, Nori. The first MC, the first
hip hoppers in the game, had no hip hoppers to

(22:18):
look up to. But who were their idols in show business?
Rolling Stones, Rick James and Bulman.

Speaker 3 (22:24):
Phone conte so because they coming into the music business
and a lot of people do this in all forms
of art and all forms of creativity. Now I'm in
this Hollywood bullshit, so I got to change who I am.
But they rightfully so, because what did I say when
I first walked in there? This is like soul drainer,
because this is what you're y'all are my Mike Douglass show.

Speaker 2 (22:46):
I don't think you're that young, So that's what you
know what I'm saying that.

Speaker 3 (22:54):
So when the first hip hoppers got in a hip
hop there was no fucking cool motherfucker because they were
the cool motherfuck but because it was show business or
I need to dress like bamin them.

Speaker 2 (23:03):
I mean, I need to dress like.

Speaker 3 (23:05):
You came doing this ship that they created. Russell being
the show biz guy, entrepreneur, you know what I'm saying,
He's hitting me and run every minute. Y'all need stage clothes,
y'all needed to y'all need to get me and rama say, yeah,
we do, Russell, but we ain't war.

Speaker 2 (23:22):
But is it true that he told y'all to dress
like the drug dealers from around the way. No, he didn't.
He wanted us to. He wanted us to. I will
look came from this. There's picture. There's a famous picture
of me and Runner to Fever with check and jackets
on no ants. Y'all might have seen his Me and
run no Jay running now Russell at the fucking Fever.

(23:53):
So what we I used to do? I used to
go on my farmer closet. Okay, take this suit jacket.
I had no fucking money and it so what ha
happened once when we put Ja down the the DJ
Jay's not in that picture because our first show at
the Fever, our first show at the Fever, Jim Message
Jay missed it because he went down to Jamaica Avenue
the shop for year Rebel Knock Central E.

Speaker 3 (24:18):
I M so you know about this thing called sound check.
So we played a Fever damn A six thirty. We
had to leave Ja, so Jacob cried all ninety six.
So the second time we played the Fever, Jay wasn't
going to be late. But when we pull up to
pick up Jake, like in the beginning, I was wearing
Pullmans at show at in the beginning, blue poom with

(24:38):
blue sweave pool with the white striped black flat lazers,
a black yeah, flat.

Speaker 2 (24:42):
Lazers, Okay, yeah, yeah, okay, okay.

Speaker 3 (24:46):
Blue soup jacket and Kangles I was Kangle run was
just his curly hair, side burned fly.

Speaker 2 (24:53):
You know what I'm saying. Sexy motherfucker. So this show,
we pull up to Jay's.

Speaker 3 (24:57):
House on two thirty Hollards and Jay we beat him
Horn for J and Larry Smith, the greatest hip hop
producer ever that nobody knows about. Larry Smith, who held
down four decades, I mean four years of hip hop
by hisself. He produced the whole Rundium See album by herself,
He produced the King of Rock album by himself, and

(25:18):
he produced who Denie's groundbreaking the album French Freets Come
Out the Night five by himself. So Larry Smith needs
a movie, and he needs a documentary, and he fucking
needs a fucking Rock and Roll Hall of Fame Award.

Speaker 2 (25:32):
Talk to d talk to Premier, talk to Doctor Dre,
talk to Pete Rock, Talk to these DJ's Larry Smith.

Speaker 3 (25:42):
Our success was on Larry Smith. So lonso show, we
pull up to Jay's house. He comes out the front
door of his crib.

Speaker 2 (25:49):
He got the Godfather had on right, He got the
black with the white stripe Adida jacking on.

Speaker 3 (25:56):
He got the black Lee's on. He got the brand
new white Superstars with the black stripe on the side
and the tongues is sticking up like tombstone. And he
got the four speaker JVC box. As soon as he
stepped on his stoop before Russell said that issue, Me
and Room was like, that's our looks. So Jay was

(26:18):
not only the sound, it was the.

Speaker 2 (26:20):
Fucking Me and Run was all over the place, Wow,
all over the place. And you said your first was
a seal sucker checker all tell all type of ship.
But I was a cool motherfucker though, because I knew
BVD nylons bb that motherfucker. I just a lot though

(26:41):
that day were the worst for that. BBD have my
red BBD all of that ship.

Speaker 3 (26:46):
Boy, Me and Run was all over the place until
Jay came along and brought us together.

Speaker 2 (26:50):
J brought it all together. Now was was the gazelles.
A part of that was this is funny.

Speaker 3 (26:56):
I love this because you said you never knew he
wasn't on death Gennad something else I never wore as else.
The glasses I wore were alter goliaths. They had the
shape of the gazelles, but they never I never wore
as else. Go back and look at all my pictures
and before the offer and Leo had something to do

(27:19):
with the altar garlias, before the alter calias. They were
just my basic Cohen lenses that I was wearing the
school wall, and Run was actually the guy that told
me to wear the glasses because we went to I
went to Catholic school my whole life, so I'm funny.
I was always in the smart class. Rum was always
in the other class because there was it was like

(27:39):
one one one two two one two two. It's only
two class and two grades for these class so Rum
was always another class.

Speaker 2 (27:46):
I didn't know Run.

Speaker 3 (27:47):
The only reason Running I knew Running knew me is
that when they do the rogue call in the morning
and they founded the students things.

Speaker 2 (27:53):
You know what I said, Deborah Hamilton, So the whole
school looks whole ship. That's never that's how you identify.

Speaker 3 (27:58):
So I'm in one day Joseph Simon, everybody, Oh that
Joey the curly motherfucker, and then John mcdanels, Oh the
big head motherfucker. Classes that read comic books and know
how to jarge. So what had happened in eighth grade?
This is how I mean and run at in eighth
grade and we went to Saint Pascal Baylon Elementary School.
It was the last Catholic school in the hood of Hollis.

Speaker 2 (28:20):
Wow. The nuns in the priests said, we can't give
up on the black kids. We're gonna stay here for him.
And they trooped that. We had a cool fucking basketball
coach named Father Rudlaw who fucking left the priesthood because
he found a black woman in the hood.

Speaker 3 (28:34):
Okay, so shout out the father.

Speaker 2 (28:36):
You know what I say. He was like, I ain't
trying none of this pope shit and stuff like that.

Speaker 3 (28:42):
Comrades abusing the kids.

Speaker 2 (28:45):
I'm gonna go out and give me some. So we
had one rim in the bat in the school yard.

Speaker 3 (28:51):
And for the Catholic school kids, you couldn't go nowhere
unless you went home and put on your play Clothes's
in your uniform, yo, take your money, Smack you up
sides your head.

Speaker 2 (29:02):
Take your kids. Are fucking mean. They would take other
kid's shoes just to fucking take them and all that.

Speaker 3 (29:08):
So in eighth grade, David Mideachier, David mcgeecher comes to
Saint Pascos and he's like six three and he dunks.

Speaker 2 (29:19):
On the rim and breaks it. So all the Catholic
school we cried, hold on.

Speaker 3 (29:27):
You know, I got the best parents in the world,
son of byfriend, brother of al Banna's. My mother runs
my pal. It's McDaniel's, not McDonald's. These rhyms are darrels.
Those Burghers are Ronald's. I ran down my family tree,
my mother and father, my brother and me. I had
the best parents in the world. My father put a
rim in the backyard.

Speaker 2 (29:44):
So now don't cry, kids, The McDaniel's family got your back.
Now all the kids after school could come to my house,
which is like a five minute walter from school. Wow.

Speaker 3 (29:53):
So every every day after school it's about thirty kids
from school playing ball. One particular day is just Joseph
Simon home with his basketball. Comes over. I'm like, yo,
we're Doug with Craig. Tell God to go to the dinners.
Craig is on punishment. Okay, it's just me and you.
So we play ball, right, one played one on one.
I need to know who won this run? He was

(30:14):
he was running, was running table the balls. I wasn't glad.
I just played like you know, I just well, I'm
trying to be cool.

Speaker 2 (30:20):
I'm a common real nerve.

Speaker 3 (30:22):
I'm trying to you know what I'm saying.

Speaker 2 (30:26):
I'm only playing ball for the same reason that I
started fucking smoking weed and became an alcoholic. Now I
didn't like I said no, So we played ball and
we would get out of school too. Ten.

Speaker 3 (30:41):
My mother and father they get home from work at
four pm. So when you was little, what was the
rule when your parents wasn't home?

Speaker 2 (30:48):
No company? Yeah, no company, that's right kind now company.
So what I usually do is when we finished playing ball,
I go and get the juggle water. And you remember, Dixie,
are they selling me cups?

Speaker 3 (31:01):
Yeah?

Speaker 2 (31:02):
You sure that not. I'm gonna be Daryl makes cups,
bring back fucking cups. Don't wear disposable cups. Why is
this Dixie stilling? Is this? It's how did the cookies
in comic books. I'm just say she MOTHERFUCKERSNA say do
that ship And I said, so run is the only
kid this.

Speaker 3 (31:19):
So instead of bringing the water to him, I say,
come in the house. So he comes in the house.
He sees my brother's turntables and he goes, yo, do
you do that?

Speaker 2 (31:27):
And I got to know because that was my hip
hop to me was my little secret thing. But then
he goes, yo, my brother is Russell Simmons this and
they starts laying out to four women. Russell Simmons was
known at this time huge. Okay, go ahead, continue, huge
rush party.

Speaker 3 (31:40):
He was like, do you own the telephone poles? You
ever see the flyers and the posters of the Rush party?
So Russell was huge. Russell was known for arross was
getting money.

Speaker 2 (31:48):
You know. Back then. He was like, I'm the son
of Curtis Blow.

Speaker 3 (31:51):
So what we would do is before my mother and
father come up, we played one game of basketball and
going to basement and DJ.

Speaker 2 (31:57):
So that's how he knew that I had skilled.

Speaker 3 (32:00):
So when he was going to make a record as
a solo artist because he was the son of Curtis Blow,
Curtis Blower put out the Brakes, the first Christmas record
DoD y'all know before Christmas in Hollis.

Speaker 2 (32:12):
It was a that was Curtis Christmas wrapping. Yeah yeah, yeah.
So run was always in Russel. Let me make a record,
Let me make a record, Let me make a record,
Let me make a record. Russell was like, no, no, no, no, no,
no no no, you're too young. You're too young, too young.
So Joe was persistent, and Russell says this to Joe. Okay, Joey,
that's what Russell want to get last. Okay, Joey, you

(32:34):
show me a high school diploma. I'll let you go
in the studio and make a record. So Run was like, okay,
I don't remember that. He was in what tenth grade,
tenth grade, eleventh grade, twelfth grade. Here you go, Russell.
So Run was going in the studio to make a record.

Speaker 3 (32:47):
He remembered the kid with the big hair and the
glasses in the comic book dmc Darryl McDaniel's got some rhymes.

Speaker 2 (32:55):
So he calls me up, Chris, me and a group.
That's what got me sitting here today. Well, like I
wanted to do none of the show. I wrote rhymes
for me, Nourie, not for you. They hate him.

Speaker 3 (33:05):
Shit, that's crazy, and I didn't want nobody that shit
was like my diary.

Speaker 2 (33:10):
So you're telling me.

Speaker 3 (33:12):
This is damn near happened by accident.

Speaker 2 (33:14):
Run had a chance to go solo. He had a
chance to do whatever he had a record court. He
came over my house. He would he would come to
my house and play me tape show last night. I
was with Juelo Nation last night, I was with the
Crash Crew. Shout out to the Crash Crew, one of
the greatest groups in hip hop that they always forget about.
He would show me these tapes of stuff. So he's

(33:35):
I'm a fan and he's doing it. So I'm looking
at him in awe and respect because he's doing He
was with.

Speaker 3 (33:42):
Flash last night.

Speaker 2 (33:44):
You know what I'm saying.

Speaker 3 (33:45):
When he was going to make his record, he had
a record called street Kid, I'm Just a street Kid.

Speaker 2 (33:52):
Street Kid, I'm just the street.

Speaker 3 (33:55):
Member rap used to be trying to make it and
the music would play and sit like that, and he
had his old record run out of his old raps,
and I was like, O Joe and whatever whatever.

Speaker 2 (34:05):
But then he said, nah, fuck that DMC. I was
int DMC. I was easy, D easy easy.

Speaker 3 (34:12):
They used to call me EASD because a rapt on
a mic, so easily now they called me. I didn't
become DMC. Tell Room put me in the group because
then I had to go up another level. But that's
a whole on story. So Run was going to be
a solo artist, had a recon and everything was his
name Run. Yeah, it was DJ Run, DJ DJ Run.
But then when he was about to go in to

(34:34):
get the deal, he said, nah, putting my man now.
And he called me up and he was like you
and he told me this in eighth grade, d whenever
Russell lets me make a record, I'm putting you in
my group now. I remember that when he said that
shit to me, it was like a foreign language. The
fuck you. I don't do this, you mold y'all motherfuckers

(34:55):
do this. And he said watch.

Speaker 2 (34:57):
So this was eighth grade, ninth grade, tenth grade, eleventh grade,
twelve grade. We went to totally different schools. Run and
Jay went to Andrew Jackson including Aja Ball and like that.
I went to a school called Right High.

Speaker 3 (35:10):
School, call what Rice High School one hundred and twenty
fourth Street and Lenox Avenue was boys Athletic School, Parl
Memorial Rice High School. So during that time Joe is
getting his deal together, I'm just in Rice High School.
But the beautiful thing for me, what happened to me

(35:32):
is the reason why I'm so passionate about hip hop.

Speaker 2 (35:36):
I understand this. There's a dichotomy with our culture. Now
there's the music business and then there's the culture. Right,
I'm one hundred and fifty thousand percent culture that just
happens to be in the music business. So that's why
I didn't talk that much in the beginning.

Speaker 3 (35:53):
Let run all the talk. I'm just going to say
my rom and go to fuck home.

Speaker 2 (35:56):
So what happened to me was this, So Nouri and
e I get to Rice High School. It's one hundred
and twenty fourth Street in Harlem, all boys, Catholic high school,
congregation of Irish Christian brothers.

Speaker 3 (36:08):
But what is so unique about this? Now, I don't
know what's about to happen to me. This is purpose
and destiny. I just go to Rice because my best
friend Doug told me, We're going to Rice. Motherfucker.

Speaker 2 (36:19):
Okay, So I get to Rice. But I get to
Rice the boys and girls. The boys because of the
old boys school, they would go to Rice. They from
the Bronx, They from Harlem, from Manhattan. So when I
get to Rice in ninth grade, they got all of
the performances of hip hop before rappers Delight. So Terrorce

(36:39):
Washington would come at the end of every school week
with a cassette tape holder, open it up and he
would sell the tapes like it was drugs, and it
would be in the school, in the school, in the school.
And what was beautiful about the congregation of Irish Christian
Brothers to connect with the black kids. This is a
lesson for the educational something about they let us do

(37:02):
our hip hop, They let us do our graffiti, They
let they they wanted our right on them do all
that shit. And by letting us doing that, we had
great students, no trouble or did trouble. Sent kid was
a straight a student because he got to rhyme and
beat on the table, he got to do his art.
But Terrence Washington would have you know Funky four plus

(37:24):
one nineteen seventy nine, Wow, Curtis Blow nineteen seventy seven,
when Curtis Blow was Flash MC Grandmaster Flash in the
Furious Four because Raheem wasn't in the group yet, because
Raheem was a member of the Funky Four. So I'm

(37:44):
saving my allowance because i didn't have a job, and
I'm buying all of these tapes. So from ninth grade
to twelfth grade, I'm getting the first and course on
how to be this hip hop shit, not how to
do it how to beat the ship. So long story
show again. Twelfth grade. I'm graduating, set out my resume

(38:10):
to all the schools I get home from to college school. Yeah,
there's no emails back then. You know what I'm saying.
It's still using payphones all that shit. There's a letter
says Saint John's University on it. I opened up the letter.

Speaker 3 (38:24):
We're probably to inform you, mister McDaniels, and I felt
good that they called me mister.

Speaker 2 (38:30):
Oh just you know what I'm saying, like, oh shit,
isn't it? But I was also scared because that means
I gotta grow up right.

Speaker 3 (38:37):
Saint John's is still on Queen's Correct.

Speaker 2 (38:38):
Yeah, still there, Stell there, fucking Lucronoseca and fucking Walter Burry.
I said, oh shit, I got accepted to Saint John's University.
I run past my mother and father with the letter
down into the basement to my turntables, put on Apache,
and I write my rhyme, I'm dmc not go because

(38:59):
I wasn't in it. I'm going to Saint John's University
since kindergarten our quiet and knowledge, and that was just
then we just so you got the college letter and
you go downstairs and you premeditate, right Ryn ship get

(39:24):
that's that's iconic. B get you.

Speaker 3 (39:29):
I go back uptairs. Mom, I got accepted Saint John's University.
But again in Saint John's University and stuff like that.
The phone rings, it's Joe run the same day. It's
not the same day I get in. This is probably
like the like the first week, because I'm an orient
orientation college. It's Joe, yo, what's up? Deep? Remember four

(39:51):
years ago when I said, if Russell lets me make
correct it, Yeah, grab your ron book, We're going to
make correct it. We go to Green Street Recording Student.
It's like that and Suckerham seas Russell goals around the labels.
Every label tells them, noahccept this one independent called Profile Records.

Speaker 2 (40:09):
Profile Records takes a chance with us. Here I am today.
And then we made singles. Remember hip hop was your singles.
So then we made another single called hard Times Jam Message.
And that's why I brung rustling with the commercial things
like that. Everybody say I did it.

Speaker 3 (40:31):
Everybody say that. So we made hard Times. Check this out.
This is how deep this sh it is.

Speaker 2 (40:36):
We made hard Times, which is a Curtis Blow song.
It's one of the first hip hop remakes. We heard it.
What was Yeah, it was a cover song. Curtis Ball
had a song called hard Times on his album where
he wrapped it.

Speaker 3 (40:50):
We took it and did it.

Speaker 2 (40:51):
It's like this.

Speaker 3 (40:52):
So but at that time when we made us like
that seas, we didn't have j yet. That's why the
group's just run DMC. So after we put it the
circum seas out. The record is getting hot, it's blowing
up on the radio. Circum Season is killing the street,
and it's like that. It's becoming a head across the nation.
But people thought he was an R and B group.
Oh shit, know what they thought?

Speaker 2 (41:13):
We was kind of like the TIMEX social club type group.
We go on the shows. We're opening for Marvin Gaye,
God damn it. We opening for Parliament Funk of delic
We open him for the ZZ Top. How was the
reception in the audience?

Speaker 3 (41:28):
How were they? I tell you we had twenty minutes.
He was opening for the Barcades and Confunction and the
Gap Band and all that shit. So we had twenty
minutes on these only and that is because it's like that.
It's on the radio and it's like that. So they
thought we was a band. Russell was getting this cause
and then we sent us we'd show up at sound
check me Larry Smith running Jay with.

Speaker 2 (41:50):
Two turntables and a record bag. They wouldn't let us
in BECAUSEFC you know you ain't.

Speaker 3 (41:58):
I mean we're talking yo word knocking three and four
times where the bouncers go, motherfuckers, if you knock on
this fucking door again, but we'll run DMC. Don't get
the fucking promoter this and the promoter came to the door.

Speaker 2 (42:11):
This is him. But the promoters we was getting like
because they didn't know how y'all look it was a promoter. Yes,
so you understand what time this was. This is crazy.

Speaker 3 (42:21):
And the promoters would always go, you mean to pay
I'm paying you twenty five hundred dollars was a lot
of and that's a lot of money.

Speaker 2 (42:28):
Yeah, The pomos like, we're paying your twenty five hundred
fucking dollars just to play records.

Speaker 3 (42:33):
We say, yep, So you want to know what the
reception is. We got twenty minutes. All right, Jay, go
out to ladies and gentlemen, run DMC. Crowdler's like, okay,
we're a fucking bad y'all wants up.

Speaker 2 (42:43):
Your My name is Shane Massa jay boom, boom, boom,
put your hands in the air, boom. Somebody say run
call me called DMC. I call run out, yo, killing them,
killing them to the point where sometimes the whole audience
we have twenty minutes during the Marvin Gaye show, no, no,
bring them back on the brow?

Speaker 7 (43:04):
Is that hell?

Speaker 2 (43:05):
Yeah? Hol It felt fucking crazy, amazing, and we was
opening up for fucking Marvin. It's crazy. So that's also
where our great showmanship came. And we was like, Yo,
this audience is like loving this ship that we do.
So we we're not trying to be the best entertainers.

(43:27):
We're trying to be the best DJs in them sees
motherfuckers we've ever seen.

Speaker 3 (43:31):
Which set up all of that exhilaration and influence for
everybody following us. You know what I'm saying, because now
we are. But when we was doing that, we knew
damn we representing the fucking culture right, And Jave was like,
we always got to watch what we say and we
would never go for any fake shit, no fucking sarand rapping,

(43:54):
no parody ship. We always got to be live, like
it was a huge responsibility, Like it was so dope.

Speaker 2 (44:01):
I'm sorry to bounce around. It was so dope to
see you and Run on stage. And then it was
even it was even more passionate. It almost made me
feel like my childhood because he distinguished that this is
not Reverend Run on stage right he started cursing. I
was like, oh, you know what I'm saying, Like to

(44:23):
see that, and it was like my childhood, you know
what I mean, Like I can understand that, Like I
just I just was like it felt so right, like
to see y'all together, you know what I mean, and
the way you want to see us exactly and headlining
goddamn Yankee Stadium before.

Speaker 3 (44:40):
We went on Run. It's like, yo, d I guess
we did something that all these mother focus want us
to go on. Yes, that's what I think, you know,
and you know, and it's just the thing that we
feel that that thing that makes snoop, that thing that
makes on face is the thing that might not have

(45:03):
been there if it wasn't for RENDYMC.

Speaker 2 (45:05):
Yeah, that's a fact. They could have.

Speaker 3 (45:07):
Would have died with flashing them, even to the point where,
like I said, Flash and Melon, all of them was
mad at us ntil he started seeing our interviews.

Speaker 2 (45:16):
We would talk about them. And when you say that
it was a mattitude, you say because of the commercial
appealed that you guys was because.

Speaker 3 (45:21):
It changed the shift that they created. Yeah, we telled
the ship.

Speaker 2 (45:24):
We came with fucking Adidas angles and gold and you
could go find there's pictures of meiling them with sheep
sins and shit. Like even Calz always says, damn man,
if we had put those routines on records right nineteen
eighty one and before this year is done, then motherfuckers
said that's crazy. Catz said, and this is good for

(45:50):
this time. What he said, anyone can ride around, he said,
any this is what the rappers should be saying now.
He said.

Speaker 3 (45:58):
Anyone could write a rap and say yes, sure, but
a real MC you do not call because you can't
ride a rhyme at a quarter to two to be
a real MC before the jam is true. For all
you MC's that are like that, you gotta take a
lesson from the good old Cap. You need a voice
that is clear, a DJ like Chase, a good imagination
and a strong, steady pace. You gotta have both feet

(46:20):
on the ground and you can't be a duck. You
gotta be down. You gotta represent the hood at all times. Plush,
you gotta have tough and original rocks.

Speaker 2 (46:29):
Put all that together and you know what it brings
The grand Master and I'm a running thing.

Speaker 3 (46:34):
So JD l hat over Big Beat.

Speaker 2 (46:37):
So we was like, we're gonna do this ship. You
not fucking doing them.

Speaker 4 (46:42):
You're really influenced by them, that's the thing. But it
was influenced by them.

Speaker 2 (46:47):
Yes, we Peter Piper, Pick Peppers.

Speaker 3 (46:50):
It was a party nine. Everybody was come on. Imagine
if that was meiling a national record before the message,
then it would be able to be doing that record
and then the message. So that's why when we came along,
we didn't want to separate what hip hop is.

Speaker 2 (47:08):
You know what I'm saying.

Speaker 3 (47:09):
Even Mo D before he battled out, most people know
Mod from when he was a regarding artist, you know
what I'm saying. But before that, Mod and the motherfuckers
was Beace. You know what I'm saying. It's like the
old school isn't a time period. The old school is
a consciousness of how you present yourself, and that could
be as a DJ could be, as an MC could be,

(47:31):
as a graffiti artists could be as a break dancer.
But if you break it down, could be as the music,
could be, as the language, could be as the art,
or could be as the fashion of it.

Speaker 2 (47:42):
So we knew we always got to be those elements.
Let me ask you something because at one point, like
when you hear like Eric being rock Kim, like the
DJ came like before the act and the DJ was
so much important, and then at some point it almost
seemed like the DJ was obsolete. It seemed like nobody
kids about the DJ more as opposed to your era,
where the djk every minute. I was gonna say, we

(48:04):
made hard times, right, So now we're doing all of
these shows, barkads, Barkad's.

Speaker 3 (48:10):
Confunction and this and that. So the question is, Okay,
I know that's Run and that's d MC, or okay,
that's Run, that's d Where's and where's C? Where's the band?
So there was confusion. They were C Run, DMC and
the street people on stage.

Speaker 2 (48:28):
Who's that back there? Why is it? Why is that
guy back there?

Speaker 3 (48:31):
Oh, y'all need and y'all need to know what this
ship is doing.

Speaker 2 (48:34):
So I'm the run.

Speaker 3 (48:36):
Put me in the group because all I did was
eat sleep hip hop.

Speaker 2 (48:41):
All I did eat sleep hip hop tapes. Who's the
new tape? Who's a new song? He hated me because
I would listen to the corny shit. But I wasn't
trying to let anything get right exactly. I was like,
this ship is on the record, It's gotta be some
reason why this should be on earth. It might not
even been the rabbit, might have just been the beat sound.
So I was like the scientist of the group. So

(49:03):
everybody was asking me, why is it three people? Don't
worry j I got you. When we put j first down,
he was jazzy J. Jazzy J.

Speaker 3 (49:11):
He can't be jazzy j J. I'm I'm I go
to write song. Jay, you can't be Jazzy J. That's biting,
you know. And Jay's so you know, Jaseke's looking at me.
It's weird, motherfucker just biting you. You can't do that.

Speaker 2 (49:25):
Don't worry. J I got you. So I went home
and I was like, Okay, what we're gonna call it? Jason.
I was like, okay, if you remember, the jam had
two meetings back then, So DJ play my favorite jam.

Speaker 3 (49:40):
This right is the record and jar last night. Yes,
I'm sitting there.

Speaker 2 (49:45):
Oh my god. Jay's the master of it all, and
it just so happened his name was JA. So when
I said he's.

Speaker 3 (49:52):
Gonna be he can't be the grand Master. We got
a bunch of those motherfuckers. Definitely can't be grand with it,
Like you can fuck with grand Mess, but you've got
grahams it and you've got grand Mixer. I'm like, I'm
my whole thing is I gotta even now at fifty
nine years old, we gotta take caip up one more
step than nobody hasn't done. So I was like, we're
gonna name him the jam Master. So I go back

(50:13):
to Janie College.

Speaker 2 (50:14):
Oh, Jay, I got it.

Speaker 3 (50:15):
Drum roll, your name is gonna be the jam master J.
You see the way that hit jam master J.

Speaker 2 (50:20):
And then Jay's funny, he said, he says it to
herself like this is gonna be in a movie, the
active playing J gotta go master, and should motherfucker went out.
I got a JMJ JJJ. You know what I'm saying,
so all of the it's like you said, all of
the pieces were just falling in place, all right, And

(50:42):
you and you used to DJ as well. Before run
came in my basement, I had every Marvel comic book
in existence.

Speaker 3 (50:54):
Stan Lee shut out to stan Lee. Now I'm gonna
tell you what. My brother still got his. Stan Lee
created d m C. Stan Here's crazy. Stanley in the
cold Crush created m C. But I had a huge
All I used to do was read collect drawer, read
collect draw Batman, Flash Green Lantern were all cool.

Speaker 2 (51:17):
But what was bad about d C was like, I
don't like fake ship. I hate fake ship. So d
C was cool to superhero but d C had a
fake Metropolis and a fake god my mother trying to
be New York. Stan Lee blew my fucking mind. He
put to superheroes really right, So that ship is real
to me. Spider Man from Wiside Queen, Yeah, sorry, I

(51:41):
wasn't shouting out Queen's my whole record creator rep the
fucking hood. I was shouting at because spider Man comes
from where I come from. When I found I was,
oh ship, you know what I'm saying. The other dude,
he shouting grew. I don't know that shit. I can't

(52:01):
leave the block.

Speaker 3 (52:02):
But I'm all I did was recollect and your comic books.
So when hip hop came over the bridge from the Bronx.
My brother's older than me, fifteen, the kids fifteen, eighteen
years old, all of a sudden, everybody's getting turntables and
queens in my neighborhood. And I remember Anthony Wallace was
the first of my brother's friends to get turntable, but
he had to make ship set. He had the BSR turntable,

(52:24):
but the other mitchmatch one from your mother's high five stereo.

Speaker 2 (52:28):
Shit.

Speaker 3 (52:29):
Anthley was dope.

Speaker 2 (52:29):
He would take all the speakers and make his own
sound system, so he had the creative records. He had
all that bam shit. You know what I'm saying. I
was full of bam shit. I ain't know what it was.

Speaker 3 (52:38):
And yet and then Booby Long, my brother's other friend. See,
Booby had it better than me and my brother because
you couldn't get no turntables back in the days.

Speaker 2 (52:48):
If you didn't sell reefer, right, guys, all right, cool,
I'm trying to put people there. You don't sell reefer,
You're not a stick up kid. You don't rob houses
and you don't steal cars. So me and my brother
we Catholic.

Speaker 3 (53:08):
School, you know, suburban queens. Motherfuckers. We ain't got no money.
But then my brother goes yo, and it was for him.
He comes to me one day, Yo, Daryl, man, he's weed,
but it's really him. We gotta get turned right, and
he's like looking around the fucking attic at my shit,
and I'm like, oh no, we need oh mother. He's like, Yo,

(53:30):
come on, man, we gotta get turntables. This hip hop shit.
You know, everybody's doing whatever whatever.

Speaker 2 (53:35):
So I give in.

Speaker 3 (53:36):
So we do a comic book sale, right, and I
checked this out. This is seventh grade, before run even
came playball. We do a comic book sale. The McDaniels
brothers is doing a comic book sales.

Speaker 2 (53:48):
So the doorbell was ringing all day.

Speaker 3 (53:51):
All we need to do is get one turntable because
we had a high five system and a forty dollars
Gemini mix up and down one the lowest one and
then cross me. So we gotta get that. The doorbells
ringing all days. Kiss from my neighborhood. Kiss from a
school doorbell rings. It's Joseph Simmons. The other kid from
the other class comes in with his friend Harold. He

(54:11):
buys comic books and he goes home eight I mean
a year later that happens.

Speaker 2 (54:16):
So we by the turntables. We get to turntables in
the basement. Everybody's djaming, right, So I hear a Grand
Master Flash tape of him spinning good times. You know
what I'm saying.

Speaker 3 (54:29):
When I'm fourteen years old, So I hear this Grandmaster
flash tape. The thing that caught my eye was Flash and.

Speaker 2 (54:37):
The comic book that's my fucking name is itself flash Tention.
Now you know what I'm saying. It probably was always
there because it was blocklast Gordon at right, Flash not Flash.
Flash and a comic Bookarabos was my connection with that.
So I hear Grandmaster flashap and he's spending good times,
good times. Boom boom, but no boom boom boom, boom bron.

Speaker 3 (54:59):
Now you usually prior to the hip hop the DJ's
is the block parties were the older DJs who would
just play the records all the way through, play the
record or the trou So I'm here in this flash
tape this good Time's break comes, then it comes again.
Now there's no video of this ship and it's just
on the box playing and it does it again, good time,

(55:20):
good time, and he makes it go.

Speaker 2 (55:21):
Good good, good good.

Speaker 3 (55:22):
I'm like, I gotta learn how to do that ship.
So my brother when we brought the turntables, he scratch
with my no that came. No, he's being brother who
used my comic books to get this turntable, tells me
this is big brother shit.

Speaker 2 (55:38):
Yo, when I'm not home, don't touch my turn what.
I'm looking at that empty attic and I'm like, what
the fuck you mean my turn to? I don't say this.
I'm just thinking this ship. But did I he sold
your comic books to get Every time he would.

Speaker 3 (55:52):
Leave, I would go on the basement and I'm trying
to figure out how flat.

Speaker 2 (55:56):
Like Step Brothers. You see the movie Step Brothers. Yeah,
I would go.

Speaker 3 (55:58):
Down in the basement to a touch of ship. So
I learned to DJ Good Times. I learned the DJ
super sperm soup soups. I learned the DJ Paradise.

Speaker 2 (56:07):
It's very nice, paraded, Yeah, I got nice.

Speaker 3 (56:14):
So in my basement, norry. Before I was M. C.
Eazy D like the m cum ship didn't come yet.
I didn't hear that ship yet. I was grand Master
to get high in my basement. Grandmaster, Yeah, because you
didn't right now, you didn't need to read for alcohol
to get intoxicated because my music was in.

Speaker 2 (56:37):
You know, so ding.

Speaker 3 (56:38):
When Joe came in my basement, I showed him with Grandmaster,
Grandmaster get high. I could do me writing rhymes to
where Joe discovered it when he saw after hanging with
me came about because of this.

Speaker 2 (56:51):
I had heard spoony g the spoony gs. Okay, spoony
gm boom boom, you say one for the oh yes, yeah,
y'are a freak freak y'all. And I was driving down
the street on the storm at night and then up
the head. It was a terrible fight. It was a
big Finally, so I heard spoony Gee's first one with

(57:12):
the whistle work in the base of woom boom boom.

Speaker 3 (57:15):
So I had heard that, still didn't care about it yet.
Then right after I heard that, I heard Rappers of Light.
So everybody is getting turntables and all of a sudden,
this record rappers. The light is everywhere, But I still
didn't care until I had Big Bang Hanks rhyme about Superman.

(57:37):
Oh shit, like, I don't care about hip hop to
him because people that mod talks about this too. At
that time, I didn't notice there was an older hip
hop and the younger hip hop. There was the DJ
Hollywoods and the Eddie Cheebers and the Pete DJ Jones
and those. There was the disco DJ rapping man, clap
your hands.

Speaker 2 (57:57):
I'm in the disco. It was all disco, just sto
he I'm a rapping man and on my hands. So
it was those dudes, you know what I'm saying, The
rappers the Light.

Speaker 3 (58:06):
That first rhyme was that to me, But then I
heard Banks rhyme, not knowing that I would discover later
on when the Cold Crush tapes came out dude that
wrote that, but his was different.

Speaker 2 (58:17):
Emp to them. The ladies pimp the women, fight for
my delight because I'm the grand master with the three
because he was grand Master Kaz and he had he
was a DJ and stuff that so long, Sir short,
I hear Rappers the Light and the only reason I
listen to Rappers of Light.

Speaker 3 (58:32):
Put it on the record and listen to it three
times from start to finish.

Speaker 2 (58:35):
Wow.

Speaker 3 (58:35):
But that got me in trouble because now all the
bullies and the hard rocks, you know, thugs, they were
put hard rocks back.

Speaker 2 (58:44):
He got a fresh nigg and he walk hard. You
gonna watch out put all rocks, you know, say go
down the block. That's me.

Speaker 3 (58:50):
But now by me knowing Rappers of Light from start
to finish, your motherfucker come over here.

Speaker 2 (58:57):
Sing Rappers.

Speaker 3 (59:00):
Wasn't a box around and how was that dude? So
this happened on My brother brought Rappers the Light home,
and I tell the story of the time. It was
very attractive, light blue label with the rainbow, so it
stood out. A couple of weeks later, he brings home
this land. It was a white cutcase. In the red label.
It just said in joy right.

Speaker 2 (59:21):
Wow.

Speaker 3 (59:21):
So I'm busy doing the grand Master Flash it I
read the label. It says grand Master Flash and the
Furies Fire.

Speaker 2 (59:30):
I'm like, oh ship, what the fuck like I'm trying
to do that? Now?

Speaker 3 (59:34):
He got other motherfucker. But I didn't know what was
about to happen to me. There was Grandmaster flashing Furries five,
and I was like Okay, my brother put that ship
on the turntable.

Speaker 2 (59:50):
Now if you put.

Speaker 3 (59:51):
Rappers of Light on Bloom Gloom. But it was dope
because nobody was hearing it when you first heard that ship.

Speaker 2 (59:59):
But it ain't this ship. My father put that shit on.
This ship said it was a party night. Everybody was
breaking in the highs. What's screaming in the base, what's
shaking in It won't be long till everybody knowing that
flashes on the be box going and and then it
goes shinin down. Now, if you listen to Rappers the Light,

(01:00:20):
this ship is a long ash record eight minutes right
with three motherfuckers rhyming individually, very long rhymes.

Speaker 3 (01:00:28):
My motherfucker go third month, second, third, break and do.

Speaker 2 (01:00:32):
It all again. This shit says shot out now and
then the voice says this this blue my mom. I
had heard Eddie Cheeba shout out to him one of
the first radio hip hop radio shows. He was on
w f u V.

Speaker 3 (01:00:46):
I couldn't get it in Queens unless I turned the
antenna a certain way, but it was still statically. So
I had first heard, excuse me, I had first heard
Eddie Cheevers saying rhyme. He said, when you mess around
in New York Town, you go down with the disco
Chieber clown.

Speaker 2 (01:01:02):
You go down, go down, go down. You just keep
the pep. It was very inspirational too. Keep the pep
in your step. You don't stop till you get on
the mountain top. And when you reach the top, you
reach the peak. And then he says, that's when you
hear Eddie Cheeber speak. And I'm like this motherfucker on
top of mountains. You know, I'm a kid. I don't know.

Speaker 3 (01:01:22):
I'm it's going at the box. But this shit said,
shot on now. And then the voice goes Italian, Caucasian, Japanese, Spanish, Indian,
knee grow v at the knees, M see this jockeys,
y'all fly kids for the young ladies.

Speaker 2 (01:01:38):
And then the beat drop, and this motherfucker said, introducing
the crew, you got to see the belief. Five different
voices were one, two, three, four, five, and sees. The
first motherfucker said, I'm Melly Mail and a rocket so well.
The second motherfucker said, and I'm missing this because I
rocked the best. Third dude said rahem and all the
ladies dreaming and the fourth dude said cow boy, and
I make it jump for joy in the fifth dude

(01:02:00):
just yells creole. The other forur motherfucker's gonna solid gold
kid creole. They're going playing a role. And then Mel says,
dig this where the furrious five plus grand Master flash
giving you a blast to show enough class. So to
prove to you all that was second enough, We're gonna
make five MC sound like one. I went running, get
me up.

Speaker 3 (01:02:21):
I'm running in the house getting me up.

Speaker 2 (01:02:24):
So that day this is how it became easy D
in my basement. In my basement, I'm grand Master get high.
But that just taught me the DJ. The grand Master
has these rappers, so I also became MC easy D.
I was my own MC in my basement. Oh shit.
So by the time Run call, all of that shit
was piled up.

Speaker 3 (01:02:44):
That's why I run said grab you around book when
going to the studio, So all I had to do
when it was time to make records, Run had the
idea for us like that, Yo, we're gonna make he
called me up. Yo, We're gonna write a record about
how the world is. Because I was a straight a student,
just write a bunch of rounds about how the world
is cool.

Speaker 2 (01:03:00):
So we go in the studio.

Speaker 3 (01:03:01):
We make it like that, unemployed switching off stuff like that.
Russell's still not impressed with me. People don't notice. Originally
I think, I think search talk to you about this.
Originally he's there, I saw that episode.

Speaker 2 (01:03:18):
Huh, he said. Run was originally a solo group.

Speaker 3 (01:03:21):
What Russell was gonna do is remember the early disco
records where the fat black lady would sing, but the
pretty model girls would go in to wash. So Russell
let me make and perform in the studio. It's like
that with Joe, but he was going to tour by hisself.
And it was lucky I was Run DMC because if

(01:03:45):
I didn't work out, it would have been Run the MC.
So but this is what happened.

Speaker 2 (01:03:52):
We do it like that cool, and Russell was like,
yode ghost to fuck down, get out the way.

Speaker 4 (01:03:56):
He's about to be the first ghost writer, not the first,
but a ghost writer basically.

Speaker 3 (01:04:00):
So Run goes in there. He got sucking seeds already written.
Why do you think he rhyme three times on a
record that was one of his solo records for his career.
So he go and drop the rhymes and then he
comes out to booth and he says, d going in
saying rhyme, and I go, nah man, trying to get
me in trouble with this because Russell would come and
after I made this, like russellould be on some ship

(01:04:20):
like that.

Speaker 2 (01:04:21):
You know you're still here. It's like his whole ship
was for his brother.

Speaker 3 (01:04:27):
He had, oh ship, Curtis Blow, You're gonna go to
Europe just and that. Matter of fact, here's what's crazy
runs D and and one of the reasons Runs wanted
me in the group.

Speaker 2 (01:04:36):
And he was crying to me.

Speaker 3 (01:04:38):
Russell was going to have and she's documented in in London,
there was a DJ named DJ Lady Blue and she
was She was one of the first people to play
hip hop. Russell was gonna make Lady Blue Runs DJ.
But Lady Blue had a pantomime pop dancer, Crazy Ship,
a pantomime locker dancer, and.

Speaker 2 (01:05:01):
Run with good. You gotta be in the group. He
says to go, I want to be from the Pandemon
saying back then it was like.

Speaker 3 (01:05:09):
So Brun says, motherfucker, just go in the booth and
say your new rhyme.

Speaker 2 (01:05:15):
So I go in the room.

Speaker 3 (01:05:16):
I'm gonna pass the mic with you, DMC. And if
you're ready to people rock and steady. You're driving big cars.
Get your gash from Getty, say something, motherfucker. So I'm
in the boob.

Speaker 2 (01:05:24):
Okay, he going there, he lays it. I go in
the booth.

Speaker 3 (01:05:28):
And then what did I do When I got my
acceptance letter? He said, say your newest rhyme. I'm DMC
and the place to be ill go to Saint John's University.
And since kennygarn And out cried the knowledge and I'm
gonna Shay Collins, I'm lights. That was really funny. People
say you ain't light back then, I was like lighter.

Speaker 2 (01:05:48):
I'll show you.

Speaker 3 (01:05:51):
Be cause you ain't light skinned.

Speaker 2 (01:05:52):
No, back then I was really nice. No, I was red,
like you could touch my skin. And on the turn
I was light.

Speaker 3 (01:06:00):
So I kicked the rhyme of Larry Smith Roddy Hew
engineer at Green Street.

Speaker 2 (01:06:07):
They're fucking losing it. But hold on, let me stop
you for a second. Do you know how legendary that
rhyme is? So you're telling me that's your first rhyme
on record, can we say that over the town? The
whole one I'm DMC in the place to be. I'll
go to Saint Johne University. And since Kindergartland, I quiet
and knowledge that the twelfth grade I went straight to college.

(01:06:29):
I'm light skin. I love in Queens. I love it
live in Queens. I love each chicken and college. Hold on, yeah,
nobody was doing that ship right.

Speaker 3 (01:06:41):
That was like I thought I owned.

Speaker 2 (01:06:42):
I was only a nigga eat chicken colle Queens at
that time. And I said, wait a minute, Yeah, that's
the beauty on my round. I dressed to kill. I
love this stuff imming them. You know who's versatile, said,
got good credit in your regards. I got my name,
not numbers on my credit cards. Go uptown a come

(01:07:05):
back home with foo, me and myself and my microphone.

Speaker 3 (01:07:08):
All my rhyms a sweet delight. So here's another one
for y'all to bite. When a rhyme, I never quit
and then forgot a new rhyme.

Speaker 2 (01:07:15):
I'll just say it because it takes a lot to entertain,
and sucking cease can be a pain.

Speaker 3 (01:07:20):
You can't rock a party with a hip in hop.
You gotta let him know you'll never stop. Your rhym's
gotta make a lot of sense. You gotta know when
to start one the beast coming.

Speaker 2 (01:07:31):
That one verse.

Speaker 3 (01:07:32):
It's like my introduction and my solidification.

Speaker 2 (01:07:36):
But here's a man dollar question. Yep, did you have
good credit back then?

Speaker 7 (01:07:40):
No?

Speaker 2 (01:07:40):
I have no credit. I ain't no credit. Sorry.

Speaker 3 (01:07:44):
What the beauty about hip hoty? You don't realize how
prophetic it is? All of before recorded wrap? What didn't meld?
What did the first five four, Cold Course, Fantastic five,
Crash Crew, Treacherous, three, Busy Beat, Starsky Love Books, Starsky.

Speaker 2 (01:08:03):
Uh spoony g? What did they all prophesy?

Speaker 3 (01:08:07):
Rock, shocking, amazing and make you feel shame one day?

Speaker 2 (01:08:10):
Our names that we found in the Hall of Fame, Yeah,
they predicted it. Yeah. Man. So speaking on prediction, ship,
my whole ship came from stan Lee because if you
if you look at Wu Tang with the alter egos
on the stocks that ship. Yeah, so we are all
products of pop culture.

Speaker 3 (01:08:30):
All as I said before you, Yes, I'm cold crushed, Yes,
all the metal songs that are there, but I'm also
the Brady Bunch and Adams Fan and the Flintstones. All
of that ship is like a part of me and
Jeffersons and the Jeffersons and Archie Bunker.

Speaker 2 (01:08:47):
Queens.

Speaker 3 (01:08:48):
Fucking yes, the Honeymooners.

Speaker 2 (01:08:54):
On Sunday and.

Speaker 3 (01:08:55):
What's what's my girl?

Speaker 2 (01:08:56):
What's my girl? Lucy? All right, that's the first Cuban
exactly when you be a Dominican too, you're talking about
Chester you and me? Was wrong? No, it was he
was about to say that.

Speaker 4 (01:09:18):
Day. He was like, we went before we get into
that point, before we leave the Stanley's. Did did you
get to meet Stanley? When I met him two times?
We became homeboys. And it's crazy that because obviously this
is you know, comic books were a passion that you
sold stuff that was your passion for another passion and

(01:09:39):
the full circle. Now come back and be able to
do something that you were about and not planning on
that crazy, that's Miles.

Speaker 2 (01:09:46):
But stan Lee came out and he talked, I go
to schools and I talk about this ship. How did
you meet him at Comic Connor said, I gotta go, mister,
you're like some nurse. Listen, if you go over comic books,
that's the really you gotta know about that weekend. You

(01:10:07):
gotta you gotta be in tune to know about you
know what I'm gonna be honest. I watched uh arentearage
where they where they went to comic com everybody is
dressed like the superheroes that they like.

Speaker 3 (01:10:25):
Yeah, superheroes is comic books, as TV shows, the Star Wars,
it's all of that ship. But stan Lee taught me
something that set me up greatly to to fucking prosper
in this ship. And I tell cares about this.

Speaker 2 (01:10:39):
Stan Lee taught me like when when when when I
was reading the comic books, and I'm a school kid,
so I was like, you know what the funk? I
gotta know what the adjective is for. But the fact
that I got taught with the adjective for, I noticed,
if you notice what all the superheroes they ain't just
who they are. If I say the amazing, you'll say

(01:11:00):
if I say the amazing, you'll say.

Speaker 4 (01:11:03):
If I say the invincible, you'll say incredible, Hulk incredible.

Speaker 2 (01:11:08):
If I say incredible, you'll say the guy to him,
or if I say mighty. So Stanley, tell who you are.

Speaker 3 (01:11:17):
Find an adjective this powerful, productive and positive, and put
it before it so I get to rise high school.
Spider Man's amazing, Iron Man's invincible Hulk is incredible, Thora
is mighty. So I get to Rice High School now
and I'm realizing, oh, this shit ain't just about making records.
It's just like some real cultural way of life shit.

(01:11:38):
So I'm buying all the tapes from Terrence Washington and
this is twelfth grade now, so nine, ten, eleven, twelve,
because I'm spending all my money on these tapes hearing
the beats. When I was a kid, I grew up
loving seventies rock radio. I'm here in Theodore and Bam
and all of them used to break rock records to
wrap over run MC didn't great rock wrap dated. We

(01:12:02):
just did in the record and got all the money.

Speaker 2 (01:12:04):
Well, you popularized it, right. So I get the twelfth
grade and there's one tape in the middle of the
cassette thing. It says twelve dollars. I'm like, damn, I
ain't got twelve dollars. Was that expecific back then? Yeah? Okay,
what was the tape? Five dollars? Yeah, the typical tapes
was three to seven. Oh okay, oh wow, And that's good.

(01:12:25):
Just you get caught, but.

Speaker 3 (01:12:26):
You're getting You're not a kid fight dolls in that era. Yeah,
is there no fucking money and you broke it. Shit,
I'm lying every day. My father was like starting to
bug out on me. It was like, how come every
day you fucking need a book?

Speaker 2 (01:12:39):
Dad? I need so you buy it. Tape somebody takes.

Speaker 3 (01:12:43):
But there was the one tape in the middle and
that just said twelve dollars and it says c C
four versus the Fantastic five. At harlemor So, I asked
Tim and show what's that one?

Speaker 2 (01:12:54):
You can't have that one? No time with it. They
don't even pay attention to that one. Wow.

Speaker 3 (01:13:00):
And then he hits me with this CEC is Cold Crush. Okay,
I don't know that yet, Like, what's the CC four
because I'm used to Treacher Street right, Funky four plus one,
Fantastic five, first five, double trouble. He goes, that's the
Cold Crush four. Now I had never heard. Fuck, it's
the Now why can't it be the Fantastic for it?

(01:13:21):
He says, you can't have that one?

Speaker 2 (01:13:23):
Now you know I want it.

Speaker 3 (01:13:25):
That was it's like telling us, now, what are you
gonna do one?

Speaker 2 (01:13:28):
That's what you want? Cold Crush four vers The Fantastic five,
And had the world you can't have that one yo.
I gotta have that one man. Yo, I got eight
dollars like he was, okay, here take this ship.

Speaker 3 (01:13:44):
You owe me four dollars, Get the fuck away from
me like type like I took that ship home. Note
heard yes, yes, y'are to the beach.

Speaker 2 (01:13:53):
Y'all Apache, super Sperm, Coumo d with the super Duper Party,
Pooper Man with full of super due for disco band
fast Fire and all of that ship.

Speaker 3 (01:14:02):
I hurd melly mal. I heard Shah Rock who inspired me?

Speaker 2 (01:14:08):
Yeah, yeah, yeah, I got my style. Using an echo
from Shah Rock. A girl female, you say, I heard
her go to all of you. My name is shah
not a millionaire. I want to do that jay so Ja,
my name is dm C see all time great great,
but the most round rounds New York State, producing yap
from Sharrock. I have Wow Rock you never smoked weed?

(01:14:32):
You wo remember everything? No, it is smoked weed and
he didn't some cocaine.

Speaker 3 (01:14:37):
Yes, that's the picture.

Speaker 2 (01:14:40):
He was a rock. I said, you know, we didn't
know get down like twenty second Street. You know what
I'm saying. Forget, I'm sorry.

Speaker 3 (01:14:55):
So I take this tape home and and and I
remember when I played it for Joe too, it had
the same effect. I put the tape on and my
brother Samuel Box not too speaking. This single one for boomboxes.
You know hip hop's crazy ear ring jukie ear rings.

(01:15:17):
So this is before the Boom Boom box, okay everywhere.
My brother didn't have enough money to look at Boom yet. Okay,
So I put the ship on. This ship goes what's up?

Speaker 2 (01:15:27):
Fly Girls? No, what's up fly guy? Her little fly girls.

Speaker 3 (01:15:31):
It's the big throw down at Harlem World called Crush
four versus Fantastic five. They ain't no cop.

Speaker 2 (01:15:38):
We'll eat them alive because we're the best when it
comes to wrapping. And like the fly I said, it
is bound to happen. So the bat time is now.

Speaker 3 (01:15:46):
Let the battle begin and let the crowd be the
judge off who win, because we don't need tuxedos, because
all we want to do is Dog Kevin Dot Master,
Robin Whip and Ruby D like we always do, say
what we bad Old Fantastic and here's a little gift
so before they go, they all can know.

Speaker 2 (01:16:07):
Just who they're fucking that ship, like whoa what this is?
And then it was where Charlie chased Tony Tone and
I never heard this, the cold crushing, mother fucking tough
ast for MC. Charlie chases to the Puerto Rican. Yeah,

(01:16:28):
Puerto Rican DJ named John once again North, give me
a pen, right, give me a pain, changing all of
that living queens, and I'm just and that shit. I'm
getting ready to fucking destroy motherfuckers.

Speaker 3 (01:16:42):
Devastating by control of DMC and carectation. But here's what
the reason why I made the comic book Amazing, Spider Man, Incredible,
Hulk Invincible.

Speaker 2 (01:16:51):
I am inn.

Speaker 3 (01:16:52):
On that tape, they had names the Hutton Maker, J
D L, The Almighty KD, the Girl Take It Easy
a D.

Speaker 2 (01:17:01):
So I'm in Rice High School. I'm listening to this tape.
I'm taking typing and that's the end of a letter.
You're supposed to type your initials, right, So I'm still
easy D. They drop rocking in the pocket Joom koom
joom jen joom doom joom jun j joom dune joom
jin juomo joo jump. Then they go, we're not talking

(01:17:21):
about your mother, your mother, not talking about your uncle,
your uncle, not talking about your father, your father, not
your mother, no other, no other other other, and then
over rocking in the pocket they start doing Yeah, all
the other MC's can't deal with us because we are
the four and on as the cold crush, putting fellas
on the jock making fly girls rock. You know, we

(01:17:43):
got a funky song and you can come and sing
and dance up. Guse you g We got the two
ms two DJs on the wheels are steal Charlie chasing
tony tone at the top of the field telling all
the competition got the b for real. We rock a
party to the break of day, and this since our
sound one we play. We are the four mcs with

(01:18:03):
the most respect and if you want to throw joints,
you gotta come correct. We might have to take you
out and keep your crew in check because the CC
four is number one. They got the walk before you won.
What hell?

Speaker 3 (01:18:15):
The initials of my name g MC and it's gonna
get the higher power body rocket in the galaxy. Oh
my god.

Speaker 2 (01:18:24):
Then the L comes on the initials of my name
jd L. I wanna go to heaven for I go
to hell because I'm pushing more power than a door,
self better than the oldest and the newest.

Speaker 3 (01:18:36):
What's your name? My name is Sherry d Lewis. Tenn
has killed me. The initials of my name E A D.
The baddest thing to hit New York since O E
lost it. So I said, Darryl McDaniels is the initials
of my name.

Speaker 2 (01:18:52):
D from Daryl. I'm becoming d m C because of GMC,
and flat and Cast hated me. But then when I
met him and told him that, he almost cried Grandma's cast. Yeah,
he hated you came d m C because of GMC,
but he hated Holy Ship, hated us because they were like,

(01:19:16):
who the fuck? Because we now, no, no, we had
areas in Queens that f Hollis. No way, I didn't
know that. No, No, that frack was known. Hollis got known.
Hollis started to get known around when everybody was saying

(01:19:38):
do a diabet side, okay, But we was this little
click we was. We was a little and we was
only like ten blocks and stuff. But we started getting
known because we was fighting every We was fighting all
the south side, the south side. This is Hollie, right,
that little jigger night you said. But what I'm trying
to say is they were like who are they now?
If you listen to step off my grandmaster flashing the

(01:20:04):
first fire, they were talking about us, saying all yourself here,
and she's a perpetrating the fraud. Well, what did Mel say?
What did Mel say? On the step step step step?
I was sitting on the corner just to waste my time.

Speaker 3 (01:20:21):
When I realized it was the King of the rhyme,
I got on the microphone and what do you see?

Speaker 2 (01:20:25):
The rest was my legacy. I was born to be
the king of this bi boy thing, to have stallions
and my downs, big diamond rings, hold a mansion in
the rock, food men in the go because rap is
the game. Because I like Shakespeare, I'm a pion. Then
because there may wrap something people wanted there because before.

Speaker 3 (01:20:39):
My right now, he said, little pieces of a dream
is all you mean?

Speaker 2 (01:20:43):
Ever since you stepped on the ncccene, biting your moves,
taking fake awards, seeing everyone else was perpetrating the fraud,
but you nothing, Mel says that on it, Mel thought
he told you that we were getting on there at
the New York Music he was getting.

Speaker 3 (01:21:03):
Yeah, you guys were the eighty five getting.

Speaker 2 (01:21:05):
All those Never seemed happy. No, he's not but that's Mel.
But Mel said he thought Run was talking about him
on Stucker and seas you.

Speaker 4 (01:21:15):
Didn't feel brittle that they were coming at you. I
would have thought them coming at Yeah, I don't know.

Speaker 2 (01:21:20):
I was scared that.

Speaker 3 (01:21:22):
This is new to me, this is the hold, this
is that like, and they was just I didn't know
it was that level of competitive. Yes, and it was
almost like I was Run got real mad at me.

Speaker 2 (01:21:36):
I was like, I gotta stop rapping, oh ship, And
he was like wow, because Mel, but come on, man,
but you got it. I don't know.

Speaker 3 (01:21:45):
I'm a bedroom rapper, so this is Mel and more
they mad at me. You know, you're like, the real
dudes is mad right now.

Speaker 4 (01:21:53):
Yeah, It's like it's like.

Speaker 3 (01:21:54):
The ship where you're growing up in the hood and
the dude say don't do that, and you don't do
it like this fucking ship.

Speaker 2 (01:22:01):
So it's like, I can't do it no more because
they don't want me to. Ron was like my Run
rapp motherfucker.

Speaker 3 (01:22:07):
There was a time we was at the New York
Music Awards and it was Run to him see Houdini,
Curtis blow, Jimmy Spicer. So we was all together and
Run was the son of Curtis Blow. So this day
they the son grew up and cursed the father. We're
sitting in the dressing room, so we had king I'm

(01:22:29):
the King of rob. I'm saying this eighty five.

Speaker 2 (01:22:31):
I'm the king.

Speaker 3 (01:22:32):
I'm the King, I'm the King. Kurt was known as
the King of Rap at the time. If you go
look at Flyers and he was king of self imposed
king of Rap was a King of Rap too.

Speaker 2 (01:22:41):
But run leaves the dressing room and I'm sitting in
there with Kurk. Curtis Blow comes over to me and
he says, now, you gotta understand, this is Curtis Blow
to me. I don't know.

Speaker 3 (01:22:53):
I'm like Joe, I don't know Harlem, like I've never
been to one hundred and twenty fifth Street.

Speaker 2 (01:22:57):
Tell him in the rice, right. So Curtis comes over
to me and says, it's Curtis Ball, Yo, d you
gotta stop saying king, You're the king. Now I would
say I'm the King of Rock, but my king of Rock,
they started calling me the king. Right.

Speaker 3 (01:23:13):
So he comes it is Curtis Flow, Yo, you gotta
stop saying your king. So I don't know, no better
know it okay because I'm taking like, did you Curtis blow.

Speaker 2 (01:23:23):
Way? So Ron comes back in and he's noticed my
mood changed, right, so y yod, what's the matter And
I innoctantly go, yeah, I'm trying to figure out who
I'm gonna be. Now say why because Kurt told me
I can't say king what in front of everyone?

Speaker 3 (01:23:41):
Mother fucker, you can't real Run went and on Kurt like, don't.

Speaker 2 (01:23:45):
You ever say that to my man? The character he
wasn't Crush grovem right, right, Yo, he did that ship
in real life. You gonna say that? And then Brenda's
funny said, stream that shit hard and louder now, But
that was the whole for me, that was the whole.

Speaker 4 (01:24:03):
That was the changing of the guards of anything, right,
That's what was happening. It was right, but he wasn't
ready to pass the tour.

Speaker 2 (01:24:10):
You know what I'm saying. But what I'm saying is
my attitude. Everybody, my attitude, our attitude collective. Especially after
I played the Coal Crush tape.

Speaker 3 (01:24:22):
For Run and Ron was funny when he heard the
ram he run goals. I don't like Jerry d Lewis
I like JD l not known it's the same person,
but we just saw they was their rymen and chases
cutting while they rhymen. So we said, that's what we're
going to do.

Speaker 2 (01:24:39):
So those moments where the game changes of run DMC's presence,
you know what I'm saying.

Speaker 3 (01:24:45):
It wasn't about making them happen.

Speaker 2 (01:24:47):
We got crazy major major hit records because we were
just doing routines.

Speaker 3 (01:24:52):
It was rap routines. The Funky Four, I mean the.

Speaker 2 (01:24:56):
Force mcs but to force some seas before they were
to or some ds STEVD and there Yo, they had
bars stevd and they had bars. So if you look,
if you take Tricky, for example, which is a universal
that was that was a big good that was supposed

(01:25:17):
to be done over numbers Boom boom jack. It's tricky
to rocker rock. Tricky is just hey, Mickey, oh, Mickey,
you're so fine, so fine, you boma what the man?
You take the melody of the hot song, and then

(01:25:38):
you talk about.

Speaker 3 (01:25:38):
Which is a form of sampling.

Speaker 2 (01:25:40):
Yeah, yeah, what do they call it when they redo
the record? No, no cover.

Speaker 3 (01:25:44):
But this is in a sense, it's an interpret We.

Speaker 2 (01:25:49):
Called the Force and C fifty J doctor Rock he
d Jays.

Speaker 3 (01:25:59):
And when and you drop ladies and gentlemen, you drop
in piece of President.

Speaker 2 (01:26:04):
B D Jays and we MC here We're gone. It
was all rhymes, routines. I got the Cold Crush, it's
gi gantar Ji Gan the Giganto Robot cards. So we
was like, we're gonna do rhyms and routine. Here we go.

Speaker 3 (01:26:23):
It's just here we go.

Speaker 2 (01:26:25):
It's just we put the tape on and you hear
mode s start the show, Ladies and gentlemen, cool mode
to the highest screen, the place to be on the wheel,
steals DJ Easy Lebel and you go into the song.
So here we go came about because now we're playing
the Roxy La no New York. Okay, we're playing Roxy.

Speaker 3 (01:26:44):
Were playing fucking the Fever, were playing Dance Materia, but
we're playing Roxy. And what's special about the Roxy is
the Jo Nation had had locked down every Thursday night.
I think it was a Friday night. So here's run
DMC and Jay had a broken leg too. She had
a broken leg. So we playing the Roxy and run.

(01:27:06):
He's like, yodd, you go start the show, motherfucker you
you've been doing fifty put my out there. I'm gonna
come out, you start sucking seas. I'm gonna come out
for my part and I'm going back.

Speaker 2 (01:27:20):
To the stage. But he's like, nah, dude, you gotta
do you know, you gotta do it. So we arguing
on the side of the stage and I'm not knowing,
like the stage is right there, so you go, you
do it, you do it. As as he's coming at me,
I'm walking backwards, so like this is you go down
the stage.

Speaker 3 (01:27:35):
I walk up.

Speaker 2 (01:27:36):
When the people see me, I'm like, oh shit, what
the fuck? So it kicked in to me.

Speaker 3 (01:27:46):
It was like, yo, just tell them who you are,
like they do on the tapes. So I just turned
to the crowd and I remember certain introductions.

Speaker 2 (01:27:55):
There was an introduction of this crew called the sure
Shot Crew, but they used to do it with He
used to go the sure Shot Crew crew crew starring
DJ Cool, Cuts, Cuts Cool, c C, Sugar Bear Bear
and the Three m Seeds That'll rock you on down
down down to your knees. And they took a patche
my Man Bill Blast Boom back, Sean c Voom back

(01:28:18):
Raheem Voo back New York voom ah voom you vom
Ready for voog vogal vocal vote look and then theyre
going to the routine.

Speaker 3 (01:28:27):
So I was like that shit D one two three
in the place to be as it is playing the Sea,
and I pointed backstage he is DJ running and I
am DMC and then oh shit, and then J I
love J and provision.

Speaker 2 (01:28:42):
He just he's oh, I got it. He takes big
B and sou's going voom fat boom boom boom fah.
So he is DJ Running. I am DMC boom for
Funky Fresh for nineteen eighty three. I'm suiting now DJ
jam Master Jay inside the place with all of base
see Lee's without a trade, and I'm telling the whole
rocks he does. And we came here tonight to get

(01:29:04):
on your case.

Speaker 3 (01:29:05):
And we the motherfucker from Queens, a whole nuther level
ship and we are and I remembered Cold crushing, mother
fucking tough ast far and we are. We had sucking
seas was Crush Groove one, and then we did a
song on the second album, Crushgroof two, and then we
did the Tim Crush Group. But I remembered Cold Crash

(01:29:26):
and we are the crush grooving.

Speaker 2 (01:29:29):
Body moving record making and record breaking and it goes
a little something like this run came out. It goes
to one, two.

Speaker 3 (01:29:37):
Three and here we boom, here we go. Biggie probably
was there at night because he got a rhyme with
I was snatching change, I was rubbing, I was.

Speaker 2 (01:29:49):
You go yeah.

Speaker 3 (01:29:51):
So all of that ship was connected, but it was
just me being prophetic and not knowing it.

Speaker 2 (01:29:57):
If you listen to the jam Master J record, after
I said Jay, your name's your message J, and I'm I'm, I'm.

Speaker 3 (01:30:03):
I guess I was like the cast of the group.
I'm gonna write a whole song about Jay to let
people know who he is. So we did kick off
your Shoes, Jump on the job. Listen to the jam
Mess that's the rocky rock. His name is Jay and
he's on his way to be the best DJ J
a wild. So we made that record so that while
we're opening for Parliament Funkadelic, we could tell the audience

(01:30:24):
who the DJ guy is.

Speaker 2 (01:30:26):
But there's a rhyme in there. And my therapist told
me about this too, Mom, there's a rhyme in there.

Speaker 3 (01:30:34):
Because even around that time the whole Curtis Blow, when
we was coming up, we was getting so much success
that number one, motherfuckers thought we were selling out.

Speaker 2 (01:30:44):
And number two if it thought you were selling out,
they thought we were selling out because we you know,
it's MTV.

Speaker 4 (01:30:49):
Whenever you reach a certain amount of success, everybody hating
no hammer Hamma.

Speaker 2 (01:30:53):
Should fucking get should have got celebrated during the He
was the big dolls. He had the endorsements before all
and motherfucker's good deals and they don't even care. Motherfuckers
don't care about the culture, but they their deals.

Speaker 3 (01:31:07):
But there's a rhyme I say, where lives can be
never singing the Blues. We got to tell y'all all
the good news. The good news is that.

Speaker 2 (01:31:14):
There is a crew. And I had wrote that rhyme
when Joe put me in the group, but it was
just pretend to make believe because I was sending in
my basement one day and I said, what would I
do if I had to battle by myself the Furies
five Cluhit or in Treacherous three.

Speaker 3 (01:31:31):
So I wanted to be prepared where lives can be
never singing the Blues got to tell y'all all the
world all your fucking credits and say the good news,
The good news is that there is a crew not five,
not four, not three, just two two MC's who are
claiming of fame and all other things won't be the
same because it's about time for a brand new group

(01:31:53):
run DMC to put you up on the.

Speaker 2 (01:31:54):
School you went out, I said, the battle rock. Goddamn.

Speaker 3 (01:31:58):
It's when I said that the industry started changing. It
opened the door for l It opened the door for pe,
It opened the door for all of us.

Speaker 2 (01:32:08):
When we got inducted into the Rock and Roll Hall
of Fame in nine, they called me over DMC, I
gotta tell you something, you guys was prophetic. What do
you mean?

Speaker 3 (01:32:18):
In nineteen eighty five they told me, y'all made a
record called the King of Rock. We had the balls
and gus the screen that we were the King of Rock.
A video with Larry Budd Melman from the David Letterman
Show denying us entry into the Rock and Roll Hall
of Fame. You guys can't come in here. This is
a rock and roll museum. And then we screened we

(01:32:38):
go in Trassey Museum. They hit me with this, don't
you know that the Rock and Roll Hall of Fame
didn't exist in eighty five? It didn't start till eighty six.

Speaker 2 (01:32:49):
Shit, y'all made that in eighty five. Holy shit, no instance,
at least the fifties.

Speaker 3 (01:32:56):
There's a rocker.

Speaker 2 (01:32:57):
It didn't start tell eighty six. How could the whole
video it didn't start till eighty six. Lookrect the profits
the fucking exactly, it's crazy so all in all, but
I say all this because is even when hip hop

(01:33:21):
changed and became the music industry and said, the thing
that kept running Me running Jay did was nobody could
outdo us on the show. Right.

Speaker 3 (01:33:32):
We opened for Big, we opened for Park, We opened
for parking Big, and it was crazy about them. They
didn't know no better pop. There's no way I'm going
on after run DMC. And this was POC and is
fucking prime.

Speaker 2 (01:33:48):
Here's the beautiful thing about it. The promoter is losing
it because if we go, if POC goes on before us,
paks not knowing, half the crowd gonna leave because all
the half that crowds did because of him know my music.

Speaker 3 (01:34:01):
I heard of us, so me running. They have to
go in the room and.

Speaker 2 (01:34:03):
Said Poc, we're very flat at and stuff like that,
but we have to tell Park, this is your audience
see those people. We have to tell Park no, we
we're happy, POC. You know we have an arsenal, but
those people are here for you, and he tells the promoter.

Speaker 3 (01:34:18):
All right, fuck that ship. The only reason I'm going
on is after run DMC is because they told me
to and he went out there and been popped. We
open for Big a couple of so Daddy would call us, Biggie.
We want Joe to open for the bad Boy Reunion.
This is when all the motherfuckers was together, Biggie sitting there.
Ain't no way I'm going on after running MC. You

(01:34:39):
get my ass kicked, y'all. Mothers got Peter Piper and
beat the big big yes, oh big, yes you know that.
But these people are hit you.

Speaker 2 (01:34:47):
So the reason why I say that it's not about us,
It's about that thing that they know is untouchable. Like
this hip hop shit is at old school. Isn't old
or used to be. It's eternal. Right. Every time we
would show up, even in the new era, motherfuckers would
be like, oh shit, Pete Rock saved us. What's crazy
about life? Is this The very things that you do

(01:35:09):
down with people, The very things that you do for
people with people, whether good or bad, will happen to you.
So what did people say, run DMC did with Aerosmith,
We brought him back. We did walked his way over
with Aerosmith, brought him back.

Speaker 3 (01:35:28):
Going into the nineties, everybody that had said Park Big,
Naughty by Nature list and that we opened the door,
it was their show. But everywhere we went they were
still worshiping us. And it's because you allen. We wasn't
participating as much. We wasn't on the radio, wasn't on
a charte and have a video. Pete rock comes along
for the down with the King Red record, I Got

(01:35:48):
your home, Come over my house. We go out to
Mount Vernon to Pete Rock's house. We go down in
the basement and this is Pete Rocky goes over to
the NPC. It's the button that music comes on. It's
the nineties now got all of the Coogi rap. Motherfucker's
killed y'all. Motherfucker like the dope shit going on. But
we still run the MC. But we're still eighties and

(01:36:11):
find it. We're still working too, because we're doing a
lot of the white rock shows. We ain't doing the
New Ship. We're doing Jay's there hanging, but we don't
have a song for that, so we go on the basement.
He hit Pete Rock hit in PC and he hates
to want to say that, well, running him. We see
that for Aerosmith. Pete Rock did for us. He brought
us back. Wow, he's running.

Speaker 2 (01:36:31):
Pete Rock saved our careers. Heat Rock.

Speaker 3 (01:36:36):
He hit the button that music came on. He goes
over to the turntables, says he's a DJ. He takes
runs house. The part of my verse will go. Name
is mc all, Tom Gray Bust the most rhymes, Robers
New York State Reporters, Clark produces y'all.

Speaker 2 (01:36:53):
They want to be done with the King and want
that man for the he stays safe. Sat down with
the King over that me. I posted that this morning
and Sony Music made me take it down? Was the
verse that just house? First they made you take it down?
Yeah yeah, yeah yeah. I was heated. They so go ahead, bad,

(01:37:15):
We make down with the King, great record man. Then
we make the video. Go look at the video. Right.
We didn't invite his ass.

Speaker 4 (01:37:26):
He heard everybody wanted to be a part of it
because let me, you did you doubt that that was
something like that would happen where everybody wants to me.

Speaker 3 (01:37:35):
Were you guys not of us in the thought?

Speaker 2 (01:37:37):
But when it came, it's so humbling, right un whoever
was in town came show love. But I'm gonna let
you finish. But let me just stop me for one second,
because you know all day you've been you've been saying
how much stan Lee means to you and how much
his superhero. Well, our show is about giving people they flowers,
and I wanted to give you your flowers face to face,

(01:37:58):
man man and tell you you you you you my hero.
You know what I'm saying. You are heroes. You know
what I'm saying. We wanted to give you your flowers
like man, like you know we've been doing this. We've
been doing this for for seven years.

Speaker 3 (01:38:14):
I mean, he's day one.

Speaker 2 (01:38:15):
Yeah, let me just tell you something. Let me just
say something. When I knew I had you booked yesterday,
I couldn't even sleep, like it was I felt like
it was Christmas. Like I felt like today was Christmas.
Like I couldn't sleep. I woke up. I wanted to
make sure I did everything. I worked out, I made
sure I didn't drink, I made sure, Like I just
wanted to be everything, because that's what like I said

(01:38:36):
it in the intro and I said, if it wasn't
for a run DMC, they probably wouldn't be a Compona noriegga,
which means it wouldn't be a nory, which means it
might not be a drink champion, and so on and
so forth with. You know the legacy that you guys
laid down, and I want you to know face to
face man, the man is that it takes nothing away
from me to tell you how great you are. You
guys are great. You guys are guys, are legends, you

(01:38:57):
guys are icons, And I just want to continue to
supported this is what this show is about. You know,
so many people, so many people like they get ten
years in this game, or they get twelve years or
twenty years in this game, and they say that they
washed up. You know that's not that doesn't this is
no other genre of music, knowing the genre of music
they says that. And you know, to celebrate Hip Hop
fifty and the know that you guys got damned there

(01:39:18):
forty of the.

Speaker 7 (01:39:19):
Fifty years of the goddamn fifty crazy goddamn Let's make
some goddamn I mean yeah, I mean the same way y'all.
For everybody said that, yo, you would. That's how it
started comic books.

Speaker 2 (01:39:33):
I don't know if you're no Riggs Morales of course,
Dominicant partner part of this. Yeah, Riggs is my partner's amazing,
So you're Dominicant. I just.

Speaker 3 (01:39:47):
Came about. I went to Riggs for some music stuff
and when I sat down with Riggs, he was.

Speaker 2 (01:39:51):
Like this, and I was like, hey, Rix, he was
and he used these words. He said, you DMC, you
are my superhero. And he asked me what was it
like when he was a kid, and I was like, well,
I used to just reclare, recollect into a comic book.
So we sat there. We didn't talk about hip hop
or music. He said it for three hours and talked
about comic book. After he heard me say all this

(01:40:13):
stuff that I was doing, he said, d you should
do a comic book. And I said, nope, don't get no,
don't put me in that hell no, I know what
you're trying to do. And he was like what, I
didn't want to do a comic book and make the
comic book culture thing. Oh, just because this motherfucker had
a couple of hit records. Do anything because there's a
that's how much you cared about it, right, But then

(01:40:33):
Rick said, no, d us comic books for for hip
hop and by you being hip hop, this will work.
So Rigg is the guy that made the Darryl Man.
He said, you can't use Marvel. I was pissed off.
I want to use it. I've got to be Marble.

Speaker 3 (01:40:48):
Can't use DC, can't use Image, can't use value, and
can't use milestone. What are you gonna call your comic
book company?

Speaker 2 (01:40:54):
Now? This is a beauty of hip hop shit. I
don't know DMN C d's for doing it all of
the time. MS for the ROMs that all minds cease
for cool cool ass can be run used to say,
while you're wear those glasses, oh I can see what
goodness day? Please for doing it all of the time.

Speaker 3 (01:41:09):
MS for the ROMs that on minds cease for cool
cool ass can be why do I wear contacts?

Speaker 2 (01:41:14):
So you can see what do they start with? So
it's it's relevant. But then I'll go, you know what, Riggs,
I'm gonna just be making comic books. And you know
how Riggs is I'm gonna just call them my company.
Daryl Makes Comics show. We're gonna do a gitar because
thank you Riggs legend. It's part of shady Wreckage Sorcerers.

(01:41:40):
It was.

Speaker 3 (01:41:43):
That you understand inspirations are two way street. Why are
you telling me that inspires me to still keep going?

Speaker 2 (01:41:51):
Let me tell you how much of a legend you
guys are. Halloween had just passed, right, and then my wife,
my wife comes in the house and she buys my
son a fake run DMC outfit, and I was like,
you gotta get that out of my house. I had
two stripes. I was like, you cannot do that to

(01:42:12):
my son. But my wife, not knowing, she's just thinking
like she's thinking like they're paying homage, but I'm saying
they're paying the wrong homage. Like if you're gonna do,
you gotta go get this, Yes, yeah, I can't let
go out like that. I was just like, yo, But
that's how rariconic it is. People dress up like yeah
off for a Halloween. That's crazy crazy. Did you ever

(01:42:34):
see the fake one DMC constant? Yes, yeah, you gotta
se what we do.

Speaker 3 (01:42:40):
Just so we went and went to court and all
they can sell it because all I gotta do is
change one little thing. Wow bullshit, you know, and the
world knows where it's coming from, right, like to check
just the one little thing, right, Why do you think
some of these cars look like the Benzes and the

(01:43:00):
Meschas thing we tried to see. You're crazy, it's great,
But what we should do is put an official run DMC.

Speaker 2 (01:43:09):
Yeah. Yeah, that's that's the key. That's because everybody will
go by that anyway.

Speaker 3 (01:43:16):
I mean all I get, I get two things in
the holiday season Christmas. I can't go to them all
because Muslims, Jewish people, Chinese people, they screaming the rhyme
Christmas E, Christmas, Halloween, Justice Halloween. My text message, my
emails and everybody that sees me gets this.

Speaker 2 (01:43:37):
I'm in seven to eleven, I'm in the super Guests.

Speaker 3 (01:43:39):
All be tonight, you know, and then my text. But
here's a beautiful thing.

Speaker 2 (01:43:47):
The kids going to school, right, the parents dressed them
up over the last thirty six years since that record.
But now kids that like it's tricky.

Speaker 3 (01:43:57):
Because it's hot on TikTok, go to discover and see
who are the guys behind this record that they don't
they don't know me like you let us know the
song they kids in now saying mom, may I want
to dress up like run DMC.

Speaker 2 (01:44:10):
That's the beautiful thing connecting with that next g right,
you know what's even more beautiful is that you guys
are timeless like that. That that's what's even more beautiful.
It's just your timeless. Like I was speaking speaking the
trust from Naughty by Nature and I was telling him,
I was like, yo, like, most of the time, if
I'm in the party and they're not playing at least

(01:44:32):
one or two or three Norty by Nature part of
the party, I don't want to be And if they
were not playing Bets and they're not playing Run DMC
at a party, I pretty much probably start don't like
the DJ. We at that fucking fucking Rolling Stone level.
So let me ask you, Right, I did an interview
with my friend Brian earlier and he had asked me

(01:44:56):
this question. So I want to ask you this question.
What was the moment when you felt like you made it? Oh,
the moment that I felt like I made it was
it was eighty six.

Speaker 3 (01:45:11):
Because of walk this way now to us to a
whole other level. And this is a crazy moment. I'm
on the Grand Central Parkway traffic. We're no no open road. Okay, Uh,
the actually were Parsons Boulevard at something. I'm triving right there,

(01:45:33):
and I'm driving and not knowing because because we used
to I used to walk around as DMC because that's
how everybody else was dressing.

Speaker 2 (01:45:43):
So I fit in and unless you knew it was
run DMC.

Speaker 3 (01:45:47):
My man, Bud buddy, we used to stand in the
corner hollis and but my boy would hit me CD.
That's the hundredth time that car came around the block.
And all the doing is looking and can't believe running
J and Jay because run with the family man and
Jay was still in the street on the corner.

Speaker 2 (01:46:04):
So here's the time.

Speaker 3 (01:46:05):
I'm driving on the Grand Central Parkway in my nineteen
eighty six Fleetwood Caddy.

Speaker 2 (01:46:12):
Okay, it was a SOB Tobies in my back black
Fleetwood with the wolf is in the behind the sea
hall and I'm driving and I just look over at
the car next to me and they crash. Oh shit,
because they're staring at you.

Speaker 4 (01:46:30):
Yeah.

Speaker 2 (01:46:31):
I pulled off the holl and said, oh shit, I
can't walk around like this. They saw de glasses had
Adida stripes. They didn't see the forty I was holding,
but I look over and they crashed right, So.

Speaker 3 (01:46:45):
Then I knew that's the day. I said, Oh, now
I know what Mick Jacker and Michael Jackson feel like.
It was nineteen eighty six.

Speaker 2 (01:46:53):
The game my Adida's first non athletic entity to receive
a major sport like because I want to, I'm gonna
cover walk this Way real quick, right, Okay, So the
rumor has it is Rick. This is Rick Rubin's idea. No,
oh wow. Now Rick is one of the greatest producer,

(01:47:15):
but everybody will tell.

Speaker 3 (01:47:16):
You he don't create anything. Okay, he comes in and
brings the best out of you. But you got let
me see, he ain't coming. He's not like writing and
this and that, and I got a song idea. The
original idea came about like this. We was finishing and
raising hell album. So Jay goes, Yo, we gotta make
a beat jam. So we was just gonna sample toys

(01:47:38):
an attic YO sample. We didn't know it was walked
this Way. Me and Rovers said, Yo, get the album
with the toys on the cover and loop number four
because the DJs.

Speaker 2 (01:47:51):
We was scratched the title of the records house, so
the rival DJs, we just knew we want.

Speaker 3 (01:47:55):
To step debt Step debt, and I remember that shit
down there, bet. So it's gonna be three minutes and
thirty seconds of a loop of that, because if y'all understand,
Walk this Way, like I said, it was in the
first rock record we had, Rock Box. It wasn't the
first rock rapper record at King of Rock, people not

(01:48:16):
Raising Hell. We had a song called Raising Hell and
that was us making in us rhyming. So we was
gonna loop walk this Way, and we was gonna rhyme
about how good we were. And I still remember my
rounds to this day. We had the whole rhyme thing done.
It was gonna come on then, and I was supposed
to go because we came out in eighty three.

Speaker 2 (01:48:35):
It's eighty six. Now I'll go, I'm DMC in the
place to be, been wrapping on a mic since eighty three.

Speaker 3 (01:48:40):
I'm the greatest MC in history. They will never be
an MC better than me. And it run was supposed
to go. I'm DJ Run and I'm the more typical
run the MC shit. So we had that going on.

Speaker 2 (01:48:49):
Rick Rubin, who was our producer Jomp, comes in.

Speaker 3 (01:48:51):
The studio and he says these words, Yo, y'all should
do walk this way over. So we think it from
a limited hip perspective. Motherfucker, what you think we're gonna do.
We're gonna sample this ship. We're gonna rhyme over. He says, no,
do the record over the way the band originally did it.
So that was Rick Ruben's beautiful idea. And me and

(01:49:13):
Run said no, hell no.

Speaker 2 (01:49:16):
Book running was funny because he used to always hold
my books up and go got rhymes, rhymes? Why the
fuck you want us to sing this?

Speaker 3 (01:49:25):
And we had never heard the lyrics because the DJ's
never let it play that far. So Rick tapes the
vinyl off the record, go in these basement, put the
record on, take a pen and paper, let the record play,
and write down the lyrics so y'all can learn them.
So we drive, We leave grom chun King House of Metal.
We drive from junk King back to my basement. We

(01:49:47):
put the record on ben and they gotta understand anticipation.
We never heard what was gonna happen then that she said,
backshop lover, how you know there for Oh hell no, helly,
we going no fuck that ship. No, we ain't doing

(01:50:08):
this this hill billy gibberous this and Russell screaming that
Joey motherfucking this and that run arguing with this, hell no,
hell no, we ain't a fucking phone up.

Speaker 2 (01:50:16):
And I hated to do record at first. Oh my god,
well what it was. We didn't want to do that.
We don't do that that shop. But you understand it's
our first time hearing it. It didn't digest. It was
just that ship.

Speaker 3 (01:50:28):
Ain't fucking um um. People seem to think that. The
people seem to think that the being them ce you
need a closet full of clothes and ice up jewelry,
pocket full of dollars, walkers every flavor, stuck up attitude
and another kind of behavior. I'm sorry to say that's
how it was before. But people ain't going for that

(01:50:48):
no more.

Speaker 2 (01:50:48):
You gotta give a performance, because by now you should
know that you're giving a party out a flash and
show another grand mastercaso.

Speaker 3 (01:50:55):
That wasn't my I just those industry movers go up
to Cassie, you know much, so we go, No, we hadn't.
We didn't let it digest back showed love. However, he
was doing it. No, no, no, no, no, hell no,
hell no.

Speaker 2 (01:51:11):
Joey Smith was rhyming on on that. Let me show
you what happened. We ain't doing that ship. That's corny.

Speaker 3 (01:51:17):
We want to fucking rhyme.

Speaker 2 (01:51:19):
Man. Run was like Jay, motherfucker, you are a king
of rock, You're a rock box. This is what we do.

Speaker 3 (01:51:25):
So Jay's trying to convince us and we arguing on
that message. Yeah, so then Jay goes slow the fuck down.
Listen he uses these words and this was the game
to listen to Steven's flow, Baci love, I need to come.
Now we're hearing it. We wasn't before. Remember it was gibberish,
but Ja listened to his flow. I understand that language.

(01:51:48):
Vaccine lover. Oh shit, we can do this ship. So
we learn the records. Now this is funny. Y'all can
go to YouTube and hear this version. We still didn't
want to do it. So the original demo of Walk
This Way Run Winning.

Speaker 2 (01:52:02):
It took the whole first verse back seat love behind
if to cover, talk to my daddy, say, I ain't
seen nothing. Did it go you go? Dean? We went
and just did them lamess version of that shit at all.
When we tried to leave the studio, Jay was fucking
standing at the fucking door with his hand like, if
you don't go back in there and do this run
demn shit, I'm shoot jumping.

Speaker 3 (01:52:29):
So we go in there and Jay said, let's flow it.
He said, don't do it like Steven did it. Do
it like run DMC would do it. That's another game too.
Oh we can switch off like we didn't know. So
that that's the version that's you her. So it was
Rick Ruben's crown breaking, universal, brilliant idea.

Speaker 2 (01:52:47):
To do it with.

Speaker 3 (01:52:48):
To do it over now, his was crazy. It didn't
in there with Rick. While we were doing that. Rick's
on the phone calling Boston. My name is Rick. I
know you know who run demn C is. We want
to do your record over that?

Speaker 2 (01:53:04):
Don't want to do it? Hold on?

Speaker 3 (01:53:07):
This is an arrowsman, just to see the people. Okay,
who is this?

Speaker 2 (01:53:10):
Imagine that? Then? This is Rick. My name is Rick Rubin.
I know you know who run DMC is. Do you
want to do the record over? Hold on? Some guy
named Rick Ruben on the phone and they want to
do it. Yeah, and Steven say, yeah, we know what's run.

Speaker 3 (01:53:23):
DMC do what records you do? We want to do
walk this way over. So Rick got them to say, yeah,
we'll do it with you. He got them to come
to New York to do the record with us. So
we walk in the studio one day and they in
there in the first I'm more of the rock guy,
you know what I'm saying, But I'm not sure because
I don't even.

Speaker 2 (01:53:44):
Know rocks from the radio. I didn't have the hour.
So when I walk in the studio this day, I
see Stephen and Joe Perry and the first thing out
me and Run's mother is oh shit, it's the Rolling Stone.
So you know that.

Speaker 3 (01:54:00):
People was like, you know what I'm saying. But that
was like an icebreaker. Stephen Taller said, no, when out
there rolling Stones? Where else Swift? Those are the other guys,
And then we laughed it off. But let me tell
you so much crazy about Rick's decision. If we would
have did it over our way, just rhyming over it,
or he's just been another DMC rock song, would have
been cool. You probably listened to it on the way

(01:54:21):
to work or something. Remember that came out. If we
would have did it over the way they did it.
Without them, it would have been oh okay, cool. But
the only reason it was groundbreaking is because Rick made
them do it with us on MTV. So now their
fans is going, what the hell is Aero Smith doing

(01:54:43):
with the rap dudes? And our fans is going, what
the hell is run DMC doing.

Speaker 2 (01:54:47):
With the rock show? But if you look at that video,
I've been to South Sudan, wow, to perform the War
Zone of South Sudan, So Africa, where they had war
chopping hands.

Speaker 3 (01:55:00):
The one week I go there, they ain't fighting. Why
they love Run DMC. They love Naughty by Nature, they
love pop, they love big. When I left him went
back to fucking Jesus.

Speaker 2 (01:55:10):
But I bring that up.

Speaker 3 (01:55:12):
I've been in South student, I've been a Russian.

Speaker 2 (01:55:14):
About the publishing. Did you guys get publishing on the
walk this way? No, it's all.

Speaker 3 (01:55:17):
That's great question, because great President, it's all. I only
get money when I show up and performance. All they
get all that right now?

Speaker 2 (01:55:25):
The original yes and that, so they was doing that
back then. All they was a new version that they
was doing.

Speaker 3 (01:55:33):
The only thing that's not live on that record is
the drums he was the drummer ship.

Speaker 2 (01:55:37):
But they didn't write the Liric. They just read this
ad in everything. They recreated everything. But people tell me
from Ukraine, I've been to Ukraine to perform. I've been
a Russia to perform. Shout out to Ukraine, Russia. Beautiful
people in all those countries.

Speaker 3 (01:55:51):
That are walking around wearing Naughty by Nature, public Enemy Church,
crazy shit. But everywhere I go they say DMC.

Speaker 2 (01:55:58):
Don't you know when Steven Tyler took that Mike's standing
in that video and knock down the water which separating
you on It didn't just happened in the video, happened
in the world. It did. So that's the power of
hip hop, that's power of music. It really has an
effect on that. But it was Rix Brend.

Speaker 3 (01:56:11):
Now the reason why I say that, if Rick Pitton
suggested to do that, it wouldn't have been what it is.

Speaker 2 (01:56:18):
What year did that record come out? Hast eighty six,
eighty six, nineteen eighty and it gave birth to olymp
Biscuit Okay, yeah, changed to razel conc. It was the
first time I remember being in New York City and
I remember a record, hearing a rap record playing on KTU,
playing on the pop stations, playing on you know what
I mean, not just about I crossed over that I

(01:56:40):
believe at that time we only had w b LS.
I don't ninety seven power that was the record that
not and not that record was so dope that it
was rod but it allowed all music to cross over.
That's it wasn't happening until.

Speaker 4 (01:56:54):
And and did Aerosmith? Did they know and appreciate what
you what you guys? Actually, yeah, it's funny footage of this.
You could look it up.

Speaker 2 (01:57:01):
During the session, Jay shows them what he used to
do as a DJ. He's cutting up, fucking walked this way,
and Stephen Tyler on camera goes, when are you gonna
hear me? And Jay Sop said, oh, that's it, Seve,
we don't and everybody just claim and then Steve was like, yo,
teach me the dj. Jay actually taught Steven Tyler the
DJ ain't with his own record. Yeah, because then you know,

(01:57:23):
they knew, they knew, they knew about hip hop, they
knew about running m C and they were it was
cool for them because you know, they say, we brought
them back, But what we did was this was happening
for them, and my joke is they could have made
a record with God, Jesus and Moses for real and
nobody would have cared.

Speaker 3 (01:57:40):
But they took a chance. You know what, we got
to lose to do this for Brundy m C didn't
just it changed the world.

Speaker 2 (01:57:46):
That's always so kids, man, always be open to try
something new because it might not just change your life,
will have changed the world. But that's to walk this
way story.

Speaker 3 (01:57:55):
Because of Rick Ruper and when Rick was working with us,
we had all the records I'm Racing Hell done. I'm
gonna tell you the coolert story about Rick. When he
was doing Peter Piper. I didn't like my part when
I come on and get the Piper Brighte repers right,
but just the part where I break off and I go.
Jay's like King Mida, since I was told everything that

(01:58:16):
he touched turned to go.

Speaker 2 (01:58:17):
He's the greatest of the great. Get us traight, He's great.
So I didn't like that.

Speaker 3 (01:58:21):
After we sat back and listened to you know, we
had hit It run, I didn't like the way that
sounded on a Racing Hell album. I was like, Rick,
I gotta do it over this and over and he's
telling me as a producer, no, leave it, leave it,
And I couldn't see what he was was.

Speaker 2 (01:58:35):
I couldn't see or hear what he was saying. So
I'm like, Rick, I got to do this over. So
speaking of cocaine, cod tonguing house, some metal, it's like
break thirty in the morning, turn House Metals. That's the
one who was just in China.

Speaker 3 (01:58:47):
Town, right, yeah, on Center Street. So Rick goes, Rick, God,
it's three thirty in the morning. Forties coke gosh, hell,
that was the first Red Bull had. Yeah, wake up
in the money then do it? Give me a forty?

Speaker 2 (01:59:07):
So Rick goes, all right, do you want to change it?
Show up at eleven o'clock tomorrow morning? All right.

Speaker 3 (01:59:14):
So I probably didn't go to sleep. I think I
went to the World or some shit like that, to