Ep. 116-Ice Ice Baby (Vanilla Ice)

Alright, stop. Ryan, Louie & Al collaborate in hopes you listen to our discussion of Vanilla Ice's magnum opus, "Ice Ice Baby." We also shoot on fashion, rap and being impressionable young kids during the early 90s.

Episode Transcript

Speaker 1 (00:04):
Thank you for joining us at t NPR podcast. We
hope you enjoy our show as much as we enjoy
recording it. You can subscribe to us through your favorite
podcast feed and follow us at t NPR podcast on Instagram.
You can also leave comments, suggestions and go rate us
a five star on Apple Podcast.

Speaker 2 (00:22):
Okay, then, hello and welcome to episode one hundred and
sixteen of Throwback Music Video Review podcast, and tonight we
will be reviewing Ice Ice Baby by Vanilla Ice.

Speaker 3 (00:38):
Hey, what's his real name?

Speaker 4 (00:39):
It's Robin, Robert Robert van Winkler. It sure's that Robin.
It's Robert Robert van winkle.

Speaker 3 (00:45):
It's weird, right. It sounds like he should be a
part of like a Lord of the Ring.

Speaker 2 (00:50):
Yeah, he should be a hobbit.

Speaker 4 (00:52):
Or like a Disney prince or something.

Speaker 2 (00:53):
Yes, maybe Ice Ice Baby is the nineteen ninety debut
single by American rapper Ice from the album to the Extreme.
Ice Ice Baby was the first hip hop single to
reach the top of the Billboard Hot one hundred and
also top the charts in Australia, Belgium, the Netherlands, New Zealand,
the Republic of Ireland, the UK and Germany. Thus introducing

(01:18):
hip hop to a worldwide eye.

Speaker 3 (01:20):
Wait first hip hop single?

Speaker 4 (01:23):
Wow? Yes.

Speaker 3 (01:25):
When I was in like Junior High, I had no idea.

Speaker 2 (01:28):
I didn't.

Speaker 4 (01:29):
I didn't. I didn't until I heard it.

Speaker 3 (01:30):
I thought like Black Sheep, are you know?

Speaker 2 (01:34):
Black Sheep was after this song?

Speaker 5 (01:35):
So, boys, I thought one of those songs hit. You
got to fight for your right to pay. There's a
lot of hits eighty six, right, yeah, nineteen ninety, this
is ninety Oh that's why.

Speaker 2 (01:45):
Okay, yeah, yeah, so you know it hasn't Yeah, basically
like he did open the.

Speaker 5 (01:50):
Door, yeah, you know for then, but still didn't hit
number one, right.

Speaker 2 (01:56):
I mean, you can't touch totally touch number one. But
the thing was, it wasn't really like hip hop, you know,
I guess.

Speaker 4 (02:01):
I guess pop or dance pop kind of yees right, yeah.

Speaker 3 (02:06):
Yeah, I guess. Yeah, I try called quest was ninety one,
so wow.

Speaker 4 (02:11):
Yeah.

Speaker 2 (02:12):
So the music video was directed by Gregsonois and currently
has five hundred and sixty three million YouTube views.

Speaker 4 (02:19):
Right, cold as Ice, baby, Jesus.

Speaker 2 (02:22):
It's a lot, you know, like you better drop that zero,
get yourself a hero. Right, So guys, what is your
history with Vanilla Ice Ice Ice Baby.

Speaker 5 (02:33):
Oh man, Well, that's a a huge, huge song in
my childhood for sure. I think I was most attracted to, well,
first of all, the hook, which is of course, you
know obviously he contends and says that it wasn't really
the same as Queen and you know, under Pressure David Bowie,
but that was laughing even in the in the documentary, right,

(02:54):
Louis He says, no, it's it's it's a little bit different.
It's like one that one extra little beat to it.
But that hook really got me, you know, like.

Speaker 2 (03:01):
It was I'd never heard I never really got under
Pressure until this song kind of introduced me to that song.

Speaker 5 (03:07):
It kind of even boosted under Pressure, right because they
actually gave some not variety exactly. Yeah, but yeah, that
that hook was like as soon as it came in playing.
But yeah, definitely this I think it was really the
dancing and the fashion, which was you know fair at
the time, right, that's what was happening during that time.
But that that's the first thing, because I was really

(03:27):
into dancing and a lot of the junior high dances
or high school dances. So if you didn't know how
to dance, then you know, the chances of you, like
talking to.

Speaker 4 (03:35):
The opposite sex was very low.

Speaker 5 (03:36):
So I think I already knew that in order for
you to attract others, you'd have to have like some
sort of moves, right, and I think you know, the
song and having having some knowledge of like popular culture,
you know, so you really had to be a part
of it. And and this kind of ushered all that.

Speaker 2 (03:53):
And that was the era too, exactly of the dancing rapper, right.
I mean, you know, Hammer already paved the way and
then I shortly followed after it.

Speaker 5 (04:02):
If you were just wrapping, it was a little bit
more underground, you know, music fans, but if you if
it was danceable, it was marketable for everybody.

Speaker 4 (04:09):
I think that's where it really hit, right, Yeah.

Speaker 5 (04:11):
Yeah, definitely a big song and Vanillaia's Honestly, it was
really just a song and play that funky music. Both
I guess kind of covers in in a way, right,
But other than that, I didn't really hear from him
until later when they started kind of tearing him down,
you know, really fast, right as fast as he went up.

Speaker 2 (04:26):
And he's to me, like in my lifetime, the very
first celebrity that I saw the media build up and
then bring down almost like immediately too, you know. I mean, granted,
it's like some of it is it is justified, but yeah,
like I've never seen I never really seen that before
in my time, and you know, yeah, and just like
paying attention to everything, and it's just like why does they

(04:48):
hate them?

Speaker 4 (04:49):
You know?

Speaker 2 (04:49):
Like what I remember like seeing my friends at school
telling me that, yeah, like oh but Nola, I saw
some I'm like, oh, okay, I guess and then okay,
like let me go back a little bit before for that,
it was just that I thought the song was cool.
I was fifteen years old, I think, when this song
came out, and I was like, wow, it's a catchy song.
When I first heard it on Kiss FM, I thought

(05:10):
it sounded great, you know, but I was fifteen, you know,
I didn't. I hasn't. I haven't been exposed to many
things at all. And then I saw the music video
and it's like, wow, is this guy that's crazy? You know,
I haven't seen a white rapper ever. I know of
the Beac Boys, but they death sound like vanilla.

Speaker 4 (05:26):
How about Marky Mark? Was he?

Speaker 2 (05:28):
Oh no, he's way after way Yeah, he actually paid
the way to Marky Mark's career, but so yeah, yeah,
and and to me, it's like, you know, I actually
dug ice ized baby. I was like, yeah, I thought
he was cool, and then all of a sudden, people
at school start telling me like, oh, but I thought,
you know he's cool. He's a sellout blah blah blah blah.
So of course, you know, like me like, oh yeah,
because he does.

Speaker 4 (05:48):
But why do you even say that?

Speaker 1 (05:49):
Right?

Speaker 4 (05:49):
Who can't sell it, like the business or what they didn't.

Speaker 2 (05:53):
I think they're just parroting whatever.

Speaker 4 (05:55):
And that's my point, just parroting.

Speaker 2 (05:56):
One other thing that they heard from somebody else. I mean,
you know, it's somewhat justified because his label built up
some story about him and that's not true, you know,
or or he did who knows. We're like, yeah, so
kind of it finally caught up to him, and Tim's like, yeah, fine,
you know, like I may I may not be the
guy I claimed to be not to be, and but
I'm making millions of dollars, so it doesn't matter for me.

Speaker 3 (06:17):
I mean, this is pop. It's more pop than hip hop,
which is like a big thing because when you're younger,
you're listening to pop. You're listening to Michael Jackson, you're
listening all the pop groups.

Speaker 2 (06:26):
Right.

Speaker 3 (06:27):
He was a lot different than let's say, the year before,
which blew my mind was like me myself and I Yeah,
Dayala Soul exploited my brain. In junior high school a
year before this, I was like, what is this? Where
are these guys from? I have no idea. They dress cool,
they look cool, they kind of look like me. I'm
a fat Mexican kid, and they're like chubby black guys.

(06:48):
You know, they're not too far from where I'm at. Yeah,
and they're amazing. Then after that, Bis Marquis just like
a friend. Yeah, youngis another guy that kind of looked
a little bit like me, that a darker you were
related chubby, you know. And it's such a good song,
but it's not pop. The thing is, the pop is
what gets you, man, it's in your conscious automatically go

(07:09):
for it. And that kind of pop twist to hip
hop is what they brought where Beastie Boys are. They're
hip hop, but they're also punk. They're also kind of
like we're lo fi and it's all these things there.
And then you know, when you're young, you're like yeah,
like I want to be like fucking like a brat
and I want to be like.

Speaker 5 (07:25):
Them, and I want to like it was a little
bit rebellious.

Speaker 4 (07:29):
That's a big part of it too.

Speaker 3 (07:30):
Yeah, And I remember I had a beast Boy poster
that like I kept forever, even though after like the
year went by, I still used it even though I
didn't match your calendar. Yeah, the calendar, because I was like, right,
the calendar. Then I got like a Beastie Boy calendar
for like my birthday or something, and like even though
like it didn't line up, I still used it all
the time because like I'm like.

Speaker 2 (07:50):
Wait another thirteen years.

Speaker 4 (07:53):
I was just like January three was a Wednesday last year.

Speaker 3 (07:56):
Yeah, I gotta do the math.

Speaker 2 (07:58):
It's it's a brain. It's a brain quick, because like
they cool.

Speaker 3 (08:01):
And they're like but they just look like ordinary dudes.
I could buy their clothes, Like I go to the
third Store and I could buy that shirt and they're
like old pants and like an old hat, right, it
kind of look like them and kind of pull it off. Yeah,
we're this guy. It was like we were getting kind
of empty hammered at this time. You know, we're getting
into you know, they're selling all those kids, like we're
like twelve thirteen at that time, and they're like selling

(08:23):
us on this, like oh, it's like this pop dance stuff,
and you need to be able to dance and you
need to be into this like kind of a beat
pop stuff, you know.

Speaker 4 (08:31):
And there's also a certain look that goes along.

Speaker 3 (08:32):
Yeah yeah, and you're like, I'm not a gangster. I
enjoy n w A, but like I can't be a gangster,
you know, so maybe I could do this, But it
was kind of like that Michael Jackson effect where you're
never gonna wear that shiny suit that he's wearing.

Speaker 4 (08:45):
The sequence, yeah, the sequence, yeah.

Speaker 3 (08:48):
But it's just in your brain to.

Speaker 2 (08:49):
Like I'm gonna try to find it something like that,
like I gotta Embuliu somehow you're gonna.

Speaker 4 (08:54):
Dance like him or it's either the dancing or it
maybe sounding like him, or you know.

Speaker 3 (08:58):
And you're so impressionist at the time you don't understand that, like, yeah, yeah,
this is a cool song, but I I really like
me and myself and I better. But they're not playing
on the radio anymore, and I kind of for the tape,
so and they don't dance like yeah, yeah, and it's
like all the girls are into Vanilla I, so I
better start dancing like this guy. It's kind of like
it's weird. Yeah, when you're a kid and you're just

(09:19):
like whatever they're giving me. Like, now it's different, you
can just go and find whatever you want. But back then,
you just took whatever the radio gave you.

Speaker 2 (09:26):
Yeah, you had to.

Speaker 4 (09:27):
You're stuck.

Speaker 2 (09:27):
You're stuck with a certain whatever they feed you any
better either, yeah.

Speaker 3 (09:31):
You have to record it or cassette from the radio
because you can't buy the one ninety nine single.

Speaker 5 (09:37):
And just to to our own horns here, this is
the beauty of like doing let's say a song like
this because it was our heyday and it's like, yeah,
we're speaking from a very very nuanced, very specific time
of when this song came out that coincided when we
were kind of coming up.

Speaker 4 (09:53):
So there's a certain there's like a special.

Speaker 5 (09:54):
Way of experiencing this this moment in time, right, it's
like encapsulating what we're talking about as let's say, like
other people who are like reviewing this, it doesn't really
kind of jive because you're just looking back, you know,
maybe it were already like forty at the time or
whatever it is.

Speaker 4 (10:08):
You know, So what you're saying it is weird.

Speaker 5 (10:10):
Because as these young the tweens, teens, like we saw
it differently, right, Like we we were also thinking about
like our social status and how if we're into this,
how is it going to affect our chances with girls
per se?

Speaker 4 (10:24):
Right, you know what I mean. So it really.

Speaker 2 (10:26):
It's always about passing the seede, right, that natural urge.

Speaker 5 (10:30):
I can't say, Yeah, absolutely, man, Also because that's a
very tender moment in our lives.

Speaker 2 (10:34):
Right as little kids.

Speaker 3 (10:36):
We were brought up on Michael Jackson, We're brought up
on Prince.

Speaker 4 (10:39):
We're brought up on.

Speaker 3 (10:40):
These like pop fucking figures, right, and this guy they're
trying to like the record label in himself too, are
trying to sell himself as that you know. That's the
same thing with mc hammer, Right, It's like these guys
are like trying to be the next Michael Jackson. They're
trying to be the next Prince. And so like you're
just automatically into that pop sensibility, you know, where like
your soul is pulling you towards da La soul is

(11:02):
pulling you towards bis marquis. Right, but that thing that's
been embedded in you since like nineteen eighty the Riller
era are Let's go crazy. You know, you're like, no,
this is the radio is telling me to listen to this,
and everybody around me listen to this. I need to
listen to.

Speaker 4 (11:18):
This nature versus nurture.

Speaker 5 (11:19):
Right there you go, how it is really in this
music sense, it's wild and yeah.

Speaker 2 (11:24):
You know these are the days where in it didn't exist.
We were just thrust upon whatever the magazine's TV and
the rady would tell us.

Speaker 3 (11:34):
But it's so wild. How short it was.

Speaker 2 (11:36):
Yeah, it's so just as fast as he got big.

Speaker 3 (11:39):
It was just like right when he like when it
was like not cool anymore. I was like, yeah, I
still have my Beastie Boy calendar from two years ago. Yeah,
and I'm like listening to you know, Paul Revere, you know,
like it's so weird and like maybe at the time,
if I would have been more of a maybe you say,
like I would have in college or something, and I
would have been like, oh wait, the Beastie Boys are.
They're all rich and they all grow me. You know,
they're they're their parents are professors that like NYU or something.

(12:03):
You know, it's like so crazy, but back then you
didn't really get into that, like you know, you didn't
get into that.

Speaker 4 (12:08):
Information was scarce.

Speaker 3 (12:09):
Yeah, exactly, really weird, you know.

Speaker 5 (12:10):
But one of the things about like him being like
torn down like immediately right out after his rise is like,
you know, his backstory is actually kind of pretty rough,
like rough enough where he could have the street cred.

Speaker 3 (12:23):
His story is not that similar to eminem story where
he was raised by a mom and a single mom
and stuff like that, and he you to just went
with that.

Speaker 4 (12:30):
That's what I don't get you.

Speaker 5 (12:32):
I think a lot of it too, is because management,
right like wanted to not just make him, They wanted
to make him like a pop star, like you're saying,
because you know, like marketable to all ages, right, right.
But so they came up with all these things, and
supposedly he would along with it, saying that he's from
Miami and he was a gang bang and all that.

Speaker 4 (12:50):
Stuff, and he was just like yeah.

Speaker 5 (12:51):
But then this journalist like did some research and was
starting to get messages from his old high school like
now he's from Dallas, you know, he's just like this
kid who like you know, got in trouble, didn't graduate
from high school, which is it.

Speaker 4 (13:02):
That's fine enough.

Speaker 3 (13:04):
He dropped out in tenth grade.

Speaker 4 (13:05):
He dropped on tenth grade.

Speaker 5 (13:06):
He got in like brawls and when he would do
clubs and he got stabbed and almost die.

Speaker 3 (13:10):
Right, the thing is like and then but then he
was also like a dirt biking across. I mean, you
can't be that poor if you could afford a fucking
motorcycle right as a little kid, Like the nineteen eighties
equivalent of owning a motorcycle is like the nineteen seventies
equivalent or sixties equivalent of owning a horse. Like you know,
like you're doing this luxury trissage, but like it's not

(13:33):
the same, but it's pretty close. Like if your mom
could afford a fucking like motorcycle for you do motocross.

Speaker 2 (13:39):
To motocross, not just to then that just like take
you from you know, to get do some air.

Speaker 3 (13:45):
You're not the bad news, Barri Kade. He's doing the
fucking baseball practice. You're actually doing motocross.

Speaker 2 (13:49):
Yeah, this is just for fun.

Speaker 3 (13:50):
There's a little bit of money there. It might not
be too much, but it's enough to do that. The
thing is the big difference between Vanilla Ice and Eminem,
which is I mean, there's a lot of differences. MLM
is an amazing rapper, but let's say like just be
like how the record companies looked at him is time. Yeah,
you know, Eminem came up during Gangster Rap, but we're

(14:13):
talking I was talking about Dla Soul, I was talking
about Bis Marquis, but it's they're a small indie wrap.

Speaker 4 (14:19):
Yeah.

Speaker 3 (14:19):
The big rap at the time in La especially was
nwa ic t ice Cube and that was Gangster. So yeah,
they're they're trying to make him gangster, you know, which
by the time that Eminem came up, it's like, yeah,
Gangster's kind of already done. Yeah, now this whole like
pop thing came and we need something real and he's real.

Speaker 2 (14:38):
You know, I can't get more.

Speaker 5 (14:40):
I just feel like that was such a big miss
p like publicity wise, like you know, being a white dude, right.

Speaker 2 (14:45):
Wrapping, right, it's totally threw under the bus.

Speaker 4 (14:50):
It's really it's hard. But he's young, Yeah, twenty twenty three,
you know what I mean, I don't I get it,
and he and you.

Speaker 3 (14:55):
Know, even says I'll do if they said it's gonna
make me more money.

Speaker 4 (14:58):
Yes exactly.

Speaker 5 (14:59):
You know, you're young, you're just doing That's why I
don't really follow him for what happened. I probably would
have done the exact same thing, just to you know,
get the notoriety and and then the you know, like
getting all the money that he eventually got.

Speaker 4 (15:10):
But yeah, you know, overall, it's just a crazy story.

Speaker 5 (15:13):
I think, like what I was trying to say is
that he could have just stayed with his original story,
things would have been fine, and he might have had
a little bit more of a lasting kind of legacy,
you know, even though you know he's still kind of dead,
but in other parts of like media and entertainment.

Speaker 2 (15:26):
But yeah, I think I think his label did him dirty.

Speaker 3 (15:30):
Without that like gang that's true.

Speaker 4 (15:32):
Too, you know, that's the thing if he sometimes blicy
is good. Right, So oh well, I mean, I.

Speaker 2 (15:36):
Mean he could have been just what another snow informer.

Speaker 5 (15:39):
Yeah, yeah, he quit one one hit wonder right, yeah, yeah,
exactly in Dallas. It was actually doing performances like where
he would have the confidence to do an all black
audience show.

Speaker 2 (15:48):
He'd get up on side and he was as an amazing.

Speaker 4 (15:51):
Dance, That's what I'm saying.

Speaker 5 (15:52):
And he break dance champions, So people really did kind
of look up to him in a sense as a
performer performer like, oh, like this guy has you've got
the goods kind of thing. Yeah, it's just a matter
of like, once you get to a certain level and
there's other you know, chefs in the kitchen, then that's
it gets a little dice.

Speaker 3 (16:07):
His background isn't that much more different than mine.

Speaker 4 (16:10):
Guys.

Speaker 3 (16:12):
He started off as a breakdancer exactly. And as a
little kid when I was like in first grade, I
used to break dance for money with the older kids
in my neighborhood, right, And that was the thing. It
was cool, it's a whole thing. And he if he
would have came up just as a breakdancer going big,
that I think might have made a bigger thing. But
I think you're right. I think it was a lot
of just pressure that he had to be this kind

(16:36):
of a gangster figure, which was the thing at the time.

Speaker 4 (16:38):
That was the thing.

Speaker 3 (16:39):
It was like, you know, all the kids at the
school to be hip hop. You're wearing socks jersey with
the black hat.

Speaker 2 (16:46):
Yeah, that socks jersey, the White Sox jersey.

Speaker 3 (16:49):
Jersey, the Georgetown Hoya jersey. And that's crazy because that's
it's so weird because that's not at all daisy wrap
or any of that kind of indie rap. That was
a Chris that is all straight gangster kind of wrapping
you like, it's always a team, right, It's like, but
even Christcoss wore like colorful jerseys. They wore like the
New York nets or like you know, something like that's true.

Speaker 5 (17:10):
Yeah, like the airbrush spray painted kind of like overall, yeah,
that whole thing.

Speaker 3 (17:15):
That's like ABC.

Speaker 5 (17:17):
This was kind of more like you're it's urban and
it's streetwear lifestyle weear, but at the same time it's
kind of like fashionable not necessarily like gangster related.

Speaker 3 (17:26):
And it's so weird because he doesn't look that much
different dressed in this video than EMC Hammer, right, and
mc hammer was just like a flashy pop guy. But
I just think it was empty hammer. You know, he's
from Oakland, he's always caught out Oakland, and he had
to have a story, right, you know, and that was
just the story that he came up with, the Florida thing,
the Florida Project right project, which is Wild, which is wild,

(17:49):
but it's a good dance song, but dance to it
junior high dances.

Speaker 2 (17:53):
So in the song where you start hearing that high
endit's that's like.

Speaker 3 (17:57):
Yeah, automatically start doing the Running Man and you.

Speaker 4 (18:01):
Know what mc hammer. Of course running Man was his
his you know, Bobby Brown mc hammer. That was their
go to dance.

Speaker 5 (18:07):
But Vanilla I has had some other kind of moves
that even the person that can't really dance can pull off.

Speaker 4 (18:12):
And I think that's the attraction to seeing the video.

Speaker 2 (18:15):
It's accessible, accessible to do that.

Speaker 5 (18:17):
You know, like if I'm not really a good dancer
and I'm a dance like a junior high school dancer
or the club, I could just.

Speaker 4 (18:23):
Do those simple moves and he showed you that you
can do it, and it's like.

Speaker 3 (18:26):
And the video was everywhere, so when you were doing it,
people were like, oh, this guy's like dancing like from Miami.

Speaker 4 (18:34):
A driving. But his career trajectory is pretty crazy, right.

Speaker 5 (18:38):
Like when he rebranded late nineties early two thousands, he
got in to the rap rocks.

Speaker 4 (18:43):
And that is version.

Speaker 6 (18:45):
That's actually I love that, that's a freaking I actually
love that there I don't blame him for I blame
him for that. I dug actually, I'm like the new
mental version. I'm like, I hate new metal generally, but
I actually dug that.

Speaker 4 (19:03):
You know, there's some actual bangers that he was. Actually
I thought, you know what, Okay, I can kind of
I get it. I get it.

Speaker 3 (19:11):
I'm just like the whole wrap rop thing and like
Corn and all that stuff, I just well, yeah.

Speaker 2 (19:16):
It's it's it can't be repulsive for people, but yeah,
like for me too, like it repulsed me. But like
somehow hearing reinvent himself as a as that. I appreciate that.

Speaker 4 (19:25):
You know.

Speaker 3 (19:26):
The thing is that, Okay, I I can appreciate you guys.
I totally respect your views and everything, But to reinvent
yourself into another thing that's already been going for a
couple of years. It's not like he jumped on some
indie thing that's like, oh wait, corn just started. No,
it was already big and like he already then he
jumped on it. That's the thing where I'm like, okay,
come on, I feel I hear you.

Speaker 2 (19:47):
But to me, it's just like I just like that.
That the way he can translate his actual cadence delivery
and the lyrics, and it's still kind of translates very
well to a new metal song.

Speaker 4 (19:58):
He's able to express it different.

Speaker 2 (20:00):
It's the kind of anger, well, it's more angry. Well
that's what all new metal was. Really, it's a lot
of angst. But but yeah, like well ice ice Bat
was all bravado and being hip hop tough guy, and
all of a sudden you got this really like.

Speaker 3 (20:13):
The what I do is like, okay, what is something
that's like this? And it's like iced Tya body Count.
I'm like, no, this, No, that's it creates different level.

Speaker 2 (20:23):
And it blows my mind right now that I see
Iced Tea a jack in a box when I'm ordering
something to drive through menu, you know, it's like, wait,
this is the guy who did body Count doing on
my Jack in a box?

Speaker 4 (20:33):
Is that Ice Cube?

Speaker 5 (20:34):
No ic Tee I see as a ic sye Iced
Tya right, Yeah, he was in body He's yeah right,
but I'm saying he's going with.

Speaker 4 (20:40):
Iced Tea right. Yeah.

Speaker 2 (20:41):
The jacket was this jack in a box or one
of the one of the fast places. Yeah, it's nuts.

Speaker 3 (20:46):
No ice Cube did a jack in the box thing
before the Deadpool thing, but I don't know, maybe he did.

Speaker 2 (20:51):
Oh yeah, yeah, Deadpool right now is taking Yeah, but
I think Ice must some other franchis I forget, but
I know Iced Tea as as collaborated and listened.

Speaker 3 (21:01):
To another you know, fast I see is just a
straight up actor.

Speaker 4 (21:06):
Yeah, of course, man, I.

Speaker 2 (21:07):
Mean, you know, you've seen his actions in New Jack City.
It's amazing. He was He was awesome in New Jack City.

Speaker 5 (21:12):
Now, what do you think about his uh you know,
he also kind of parlayed all his his uh you know,
like the money.

Speaker 4 (21:18):
He he's actually pretty good with money because.

Speaker 2 (21:20):
He's he didn't hammer it up.

Speaker 5 (21:22):
He had the series of like renovating homes I love. Yeah,
that's why I actually just promoted seasons of that. Yeah,
that's why I actually developed a lot of respect for him.

Speaker 4 (21:30):
Because thirteen seasons of like the yeah, like renovating homes
and stuff like that. Yeah. But yeah, he got into
real estate. That's pretty cool.

Speaker 2 (21:39):
He's always been actually, he's always been interested in.

Speaker 4 (21:41):
It, That's what I'm saying.

Speaker 5 (21:42):
Yeah, So, like it was like even though he kind
of lost his way because he got he he sank
into like some hardcore drugs man.

Speaker 3 (21:48):
Yeah, his wife kind of saved him a little bit.

Speaker 4 (21:50):
Yeah, and what he meant his wife. But you know,
so that's kind of a cool thing for him to
get into and just like you know, like fun, that's
the stuff he's interested in and able to still you know,
tained some of that that income that could have lost potentially. Right,
it's a lot of money that that was gained and lost.

Speaker 2 (22:05):
I mean, he needed a lot of money, so he
had enough of a cushion.

Speaker 5 (22:08):
And he was also very smart because he instead of
paying for the royalties, like, he just bought the rights
to under pressure.

Speaker 4 (22:14):
So that was a slick movie.

Speaker 2 (22:15):
Did he actually buy the riter just they just let them?

Speaker 5 (22:18):
You know, he bought the He bought the use right
so you can use any time without having to He
bought it for like three to four million or something
like that.

Speaker 3 (22:24):
So but this is something, Yeah, he has to share
the song with the guy who actually i mean kind
of wrote the song. I guess who actually mixed the song.
Who's the guy who was DJing for at the dance
club that he's a dance at a DJ He actually
did a lot of the all the songs on his album, right,
and he tried to block him out. That was the
sug Knight thing.

Speaker 2 (22:41):
Oh yeah, yeah, the Mario guy.

Speaker 4 (22:43):
Yeah yeah, yeah, that.

Speaker 3 (22:44):
Guy represented shig Knight. But then the lawyers worked it out,
so he has to give a percentage to that guy.
He has to give a percentage to Queen, and then
he gets the percentage too, So it's it's split three ways.
But I mean he's still getting money.

Speaker 4 (22:55):
He gets he gets about four million a year royalties
for this just for that, for this song. It's that big.
Imagine that that's a lot.

Speaker 2 (23:03):
So like Queen gets a cut nice in jail right now,
So he does he still get a cut he.

Speaker 3 (23:08):
Was representing the representing the guy. He probably gets a
little percentage of what the guy's getting.

Speaker 2 (23:13):
Yeah, But apparently like the money that I I maybe generated,
created death row records right correct, and gave birth to
doctor dre and eminem.

Speaker 5 (23:22):
So he's really influential in many ways, right yeah, directly
indirectly exactly.

Speaker 4 (23:27):
So I mean there you go, right, that's the story.

Speaker 3 (23:29):
Queen's probably getting the most money from that.

Speaker 2 (23:32):
I woul David Bowie's the state too.

Speaker 3 (23:34):
Oh no, they got to split it with Queen and
David Bowie. Yeah, they had to agree on it, Yeah,
which is crazy.

Speaker 4 (23:38):
It's a smart move nonetheless, right.

Speaker 2 (23:40):
I mean it's not like they're itching for cash, you know.

Speaker 3 (23:43):
David Bowie, Yeah, that's a small thing.

Speaker 2 (23:44):
I think David Bowie was the first billionaire musician, you know, like,
don't that be But that's the I remember, like back
in the early two thousands, like David Bowie was the
first billionaire musician even before Michael Jackson was.

Speaker 3 (23:58):
Yeah, that makes sense because they because they would crib
a lot of stuff from him.

Speaker 2 (24:01):
Yeah, he has a lot of good he had. He
had a big enough back catalog and stuff and and
you know, and the Serious XM deal that he did
David boy commercially. Yeah, yeah, when he dropped.

Speaker 4 (24:13):
Them in the middle of the bar commercials. Yeah, I remember.

Speaker 2 (24:16):
Serious XM was a novel thing, like wow, it's come
from the sky dollars a month back then.

Speaker 3 (24:22):
Do you guys remember the it came up on the documentary.
But I remember this vividly because I used to watch
you mc reps all the time. The Pops the Weasel
Third Base. Third Base was another group that I really liked,
like New York based, right, and they also have white
guy or two white guys.

Speaker 2 (24:39):
I think yeah, and isn't it Yeah they had two
white guys in and the DJ.

Speaker 4 (24:43):
Yeah.

Speaker 3 (24:44):
So I remember that, and then I remember when that
video came out and I was like, oh, not at
that time, but by that time I was like, wait
a minute, all these guys don't like him. I like
these guys. I should have liked these guys.

Speaker 2 (24:57):
They were definitely like one of the spearheads of the
uh the anti Vanilla Ice propaganda going on. And I
didn't know in the music video that was Henry Rollins
playing the Vanilla Ice. Oh really was Henry Rollins?

Speaker 1 (25:08):
Oh?

Speaker 3 (25:08):
I didn't know that either.

Speaker 2 (25:09):
Yeah, Sarah Rows and the teacher is Joe and Biafra.

Speaker 3 (25:12):
Oh that's funny. It's so weird that like New York
punk and hip hop had such a close tie, like
you know, it's so it's so crazy, but it makes
sense because it's like Indy, you know, it's very Indy,
so it's all punk, right, Yeah, it's all punk. So
I remember that and I was like, this is a
fucking great song. That was a good song.

Speaker 4 (25:28):
That was a good song that got some radio play.

Speaker 5 (25:31):
I remember late Night they would always play some those
kinds of things, more like Underground and.

Speaker 2 (25:35):
The Bunny byres they you know they sampled Sledgehammer by
Peter Gabriel for their song. Well they're they're making for
Vanilla Ice for sampling Queen and David both.

Speaker 4 (25:44):
It's about the money man.

Speaker 3 (25:45):
Yeah, everybody's sampling. You know, you should watch the documentary
about MF.

Speaker 4 (25:50):
Doom.

Speaker 3 (25:50):
It's like insane. His like rights are like crazy. It's
like wild because he's a lot of his stuff is
just all samples, all.

Speaker 2 (25:56):
Sampled so people don't know.

Speaker 3 (25:58):
And then he would record for a bunch of different
record labels like his friends, and the rights for all
the songs are just like all over the place. So
when he passed away, his mom got all like the
things and it's just the masters. It's just like who
owns what? What owns what? Who gets money? Why is
there not money coming? It's it's so crazy. I can't
even imagine like hip hop like lawyers so crazy.

Speaker 4 (26:17):
Or just music rights so many. Oh that sounds exactly
like this song.

Speaker 2 (26:23):
We're talking about the music video, you know, Like I
remember watching a YouTube. You can watch it too. It's
Vanilla Ice reacting to Ice Ice Baby.

Speaker 4 (26:31):
Do you see that?

Speaker 2 (26:32):
No, No, it's him actually reacting watching it again after
like a long time apparently, and he's saying that like
the when you know, when him and his crew or
the lead, him and the ladies they're on that graffiti
background backdrop. The artist sued, Oh yeah, they got they
got the warehouse. The owner of the warehouse, Yeah, whoever,
it was like they suit him because they we owned

(26:52):
that environment. You're not allowed to use it for you know,
and and they had paid them so crazy.

Speaker 4 (26:57):
Well something that permission is what happened.

Speaker 2 (26:59):
Yeah, if something gets.

Speaker 3 (27:00):
Big enough, all the lawyers come up because like, oh
they're making money, then we can get money, right.

Speaker 5 (27:04):
We learned that from who let the Dogs out? You know,
like the once something gets big, everybody comes out of
the wood. We're getting the piece of the tie. Oh yeah,
that's just the way it is.

Speaker 4 (27:12):
So I always keep it low down, right, keep it
load down.

Speaker 3 (27:15):
Well, that's why I listened to like a lot of
like artists talking about songs stuff like that. And then
a lot of times they'll they'll talk about, oh, so
we got the sample from you know, I can't tell
you where I got it from because it hasn't got
caught yet. Yes, And it's like one of their big
and they're just like, uh, it's another radar, right, we
can't tell you where it's from because it's probably from
a big herb Albert or something, you know, who's going

(27:35):
to go after him.

Speaker 4 (27:36):
You know.

Speaker 2 (27:37):
So yeah, it's it's slippery slope definitely. For when it
comes to audio copyright.

Speaker 4 (27:42):
How a public domain can you still unless it's like.

Speaker 2 (27:46):
Drum samples from the nineteen forties.

Speaker 3 (27:47):
But sometimes it's so weird, Like sometimes public domain people,
someone will pull something from that and then copyright it.
Whether they'll copyright it just to sue you, right, so
it's not even it's not the estate, it's actually just
another person who copyrighted it to.

Speaker 2 (28:00):
Get people bad faith, really bad face.

Speaker 4 (28:03):
Yeah, it's crazy.

Speaker 3 (28:04):
That's what kind of like try to stop a lot
of early podcasting because they were trying to like, oh,
we copyrighted this, we covered that, we coporated podcasting, we
copyrighted you know, talking, and you know, so like it was.

Speaker 2 (28:15):
Just even even the single act of like plugging a
microphone to a thing apparently copyrighted. You know, it's no,
it's getting ridiculous. It's frivolous.

Speaker 3 (28:23):
That's why a lot of the a lot of people
were getting sued when Garage Band. A couple of years
after Garage Band came out, because people started copyrighting the
free garage band drum loops and stuff like that.

Speaker 2 (28:33):
And then yeah, I actually got flagged one time for
using one of the preset the band.

Speaker 1 (28:39):
Yeah.

Speaker 2 (28:39):
I was like, what, like, you know, I just needed
some audio thing for like a little video, and the
sound was from Garage Band. It caught it, and it's like, yo,
someone owns it. I'm like, okay, whatever, ye.

Speaker 3 (28:48):
And Garage Band says like you could use it. But
if someone else copyrights it, does that go over there?

Speaker 4 (28:54):
You know?

Speaker 3 (28:55):
That's the thing.

Speaker 2 (28:55):
It supersedes it, super supersedes it.

Speaker 3 (28:57):
And those people are like, well, we're gonna copyright it anyway,
and then you're either gonna pay us or do you
want to pay a lawyer. They're gonna say, well, you
pay us ten thousand dollars, right, or you could pay
a lawyer five grand to work for ten years, but
it's gonna end up costing forty grand. So what do
you want recording?

Speaker 4 (29:14):
Eventually?

Speaker 3 (29:15):
Well, no, no, because people are like fighting it now
hopefully that yeah, I mean, there's there's.

Speaker 2 (29:20):
A you know millions of podcasts happening, Like, no one's.

Speaker 4 (29:24):
Going to be able to keep on with that.

Speaker 3 (29:25):
And like a lot of people, a lot of those
garage band people are just like fuck you, you know,
sue me or whatever.

Speaker 4 (29:29):
You know, Like especially most people probably aren't really making
any money on it. It's just, you know, they're just
doing it.

Speaker 3 (29:34):
To like whoever pay those guys like us, whoever pays
them right away, they take it, and whoever, they're not
going to really sue you because they're not going to
pay a lawyer.

Speaker 4 (29:41):
You know. It's more of like a bargaining chip for them.

Speaker 5 (29:44):
You know.

Speaker 3 (29:44):
Yeah, it's like this, you hold your song hostage exactly.

Speaker 2 (29:48):
But okay, we'll be right back for some pop quiz
after these messages. All right, guys, it's time with some
pop quiz.

Speaker 4 (29:55):
Gentlemen, you guys ready, all right? Here is number one.

Speaker 5 (29:59):
I Size Baby peaked at number one on the Billboard
Hot one hundred September nineteen ninety.

Speaker 2 (30:04):
Man, that's a long time ago, nineteen ninety member.

Speaker 5 (30:07):
Anyway, which of the following songs and artists de throned
ice igh Space? Oh it is a good one, all right,
all right, here we go, Hey, Michael Boltons, how am
I supposed to live without you?

Speaker 4 (30:17):
Okay, b rock sets, it must have been love. See
Whitney Houston's Yo Baby Tea X Men's soundtrack or d
Stvb's because I Love You. Oh, those are all good,
because are all great songs.

Speaker 3 (30:34):
They all came out the same weeker.

Speaker 5 (30:36):
This song the answer de Throne Ice I Space from
number one. So, Michael Boltons, how am I supposed to
live without you?

Speaker 4 (30:41):
Rock sets? It must have been loved.

Speaker 5 (30:42):
They were a huge radio with Whitney Houston's I'm Your
Baby Tonight or Stevb's Because I Love You.

Speaker 3 (30:47):
I want to go Whitney Houston because she's the hit maker,
She's the queen of the She's the queen hit maker.

Speaker 4 (30:52):
Yeah, I love it.

Speaker 1 (30:53):
Well.

Speaker 4 (30:53):
Bees all went number one.

Speaker 3 (30:54):
Yeah, but I'm gonna go with rock set.

Speaker 4 (30:58):
It must have been.

Speaker 3 (30:58):
It must have been loved cause I remember slow dancing
around the same time.

Speaker 2 (31:02):
Louis has a sentimental attachment to that. I would say
it is Whitney Houston you.

Speaker 5 (31:13):
Final answer, Louis, You're wrong, but Alice, You're Al's baby tonight?

Speaker 4 (31:20):
Because that was ever doubt Whitney never.

Speaker 2 (31:23):
Ever Whitney was huge. I mean that's even before the
bodyguard exactly.

Speaker 4 (31:27):
No, she had a string of hits her first stopping.

Speaker 5 (31:34):
Tragical guys, get it out of your donation files, because
it's time for.

Speaker 4 (31:37):
The lightning roun nice even I was about that part.
That's so cool, all right?

Speaker 5 (31:43):
So, as you know, gentlemen, Vanilla and say is the
gnom the plume of Robin van Winkle?

Speaker 4 (31:49):
Robert van Winkle? Is it right? His real name? So? True? False?
Which of these following actual rappers are their real names?
Love this right? For example? Like interstitial or perhaps kilometer?
You know another? You guys, all right, here you go.
Who's going first? Who wants to go first? I'll go first?

Speaker 5 (32:10):
You know the legendary to chains right, you're a big fan,
I know, or as you might have known him before
he got big as titty boy. I I don't know
if I have no ce. His real name, al Fa
is Ronald dos Cheney.

Speaker 2 (32:23):
What song did he do? I've never heard this?

Speaker 4 (32:25):
I'm different. That's a song. That's one big song.

Speaker 2 (32:28):
Different, Okay, so give me my choices.

Speaker 4 (32:30):
There's no choices. It's true or false?

Speaker 2 (32:32):
True or false? His name is what?

Speaker 4 (32:33):
His real name is? Ronald dous Cheney. That is false. Sure,
you're all right. His actual real name is tal Heaps.
Now that's his real name, just just for future purposes.
Louis lou might know this. You're ready for this, Louise,
do it?

Speaker 5 (32:48):
Chance the Rapper okay, singer, songwriter and record producer. You
know his original rap name is Chance the Rappers singer,
songwriting record I'm kidding, I'm kidding. Come on, man, he
willed it down to just Chance the Rat. But Louis's
real name is Chancellor J.

Speaker 4 (33:03):
Bennett. True or false? Chancellor Jay Bennett.

Speaker 3 (33:06):
I don't know this, so this is a guess. I'm
gonna say false.

Speaker 4 (33:10):
Sure, yes, you're wrong, it's his real name. His real
name is Chancellor J. Cool name.

Speaker 2 (33:18):
That is awesome, Yeah, Chancellor, but this I actually.

Speaker 3 (33:22):
Played his song at every DJ.

Speaker 4 (33:24):
I wouldn't guess. His name is right, the Chancellor. I
don't know his real name. I'll try this out.

Speaker 5 (33:33):
Action Bronson, you're familiar, Yes, Action Bronson after rapper chef
Exotic olive oil tast a alot.

Speaker 4 (33:39):
Also, he's before he.

Speaker 5 (33:41):
Knew the nuance differences of extra Virsian olive oil and
the regular olive oil.

Speaker 4 (33:46):
His friend knew him as Arian Arslani. True or false?
I can't. I think I know this one. Repeat that again,
Arian Arslani True or false? His real name?

Speaker 2 (33:55):
I think that's true.

Speaker 4 (33:56):
You're going with true. You're correct, that's true. He's Albanian
Muslim Jewel.

Speaker 2 (34:00):
Yes, I don't think that's the name Rank has come
up with.

Speaker 3 (34:05):
Talking about he's a vice guy. He did ancient Aliens.
They would smoke, We didn't watch an Yeah.

Speaker 4 (34:12):
Yeah, he's always on. How about this one? When tried
this one out?

Speaker 5 (34:16):
New Jersey native Petty Wapp right, he got hooked on
music by playing drums at his local church. But his
Christian name is actually Willie Maxwell Petterson.

Speaker 4 (34:24):
The second true or false.

Speaker 3 (34:25):
I'm gonna say it's true.

Speaker 4 (34:26):
That is false. His real name is just Willie Maxwell.
The second, there's no Petterson, isn't Petty? That's right? You're
cruel that this one out?

Speaker 5 (34:38):
Gucci Mane famili Yes, I am. He's got seventy mixtapes
under his belt. Al can you believe that we had
no mixtapes out? His acquaintance is actually referred to him
as Radrick Atlantic Davis.

Speaker 4 (34:49):
True or false?

Speaker 2 (34:50):
That is a false?

Speaker 4 (34:51):
That is true? Is his real name. What a cool name,
Radrick Atlantic Davis r D D.

Speaker 3 (34:59):
Can I change my name to Atlantic?

Speaker 4 (35:00):
It's a great name.

Speaker 3 (35:01):
That'd be good.

Speaker 2 (35:02):
It's another ocean that we don't know. That's the Atlantic Ocean.

Speaker 4 (35:05):
That's the Eighth Ocean.

Speaker 5 (35:06):
Did you not know?

Speaker 4 (35:06):
Hello, Zue? You ready for this? I hope? So? All right?
How about Joey Badass. You're familiar. I know Joey Badass,
founder of the pro era rap collective bursting out of
New York.

Speaker 3 (35:17):
He's a part of Action Bronson's here.

Speaker 4 (35:20):
I believe they're in the same scene.

Speaker 5 (35:21):
Right, But when he was a pre teen, he was
actually known as Joseph Scott Thedesian.

Speaker 4 (35:26):
I think of the Ertmenian that.

Speaker 3 (35:27):
Sure, that sounds right, because they love their falaffall on
their show. But I have a feeling you're changing the
middle name or something. So I'm gonna say I'm gonna
say fall.

Speaker 4 (35:37):
You're correct, Joey Badass. I was going with Joey Badass.

Speaker 2 (35:43):
That was ste relief question for the for helping Phillies
back in the nineties.

Speaker 4 (35:47):
His your own name is Joe Vaughn. Jenny Scott is
his actual name. How about this, how little John? You're
familiar with Little John.

Speaker 5 (35:54):
Yeah, I know, I was been crunking em since early
two thousands, right, Yeah, his actual real name. He's from
Southwest Atlanta Public School. The teachers actually called him Jonathan H.

Speaker 4 (36:02):
Smith. True or false? That is so true. You're correct, man,
that sounds so big. Joe Jonathan, this is his real name.
It's really Louie.

Speaker 5 (36:16):
How about Master Wortzmith after a producer Big Daddy Kane, Oh,
I know, you're a big Fanka.

Speaker 4 (36:20):
That's right. Before being a member of the Juice Crew
back in eighty six. Is actual? Big Daddy named him
Antonio Hardy. True or false?

Speaker 3 (36:28):
That actually sounds true. The way he dresses on his swag,
he could be in Antonio. I'm gonna say true.

Speaker 4 (36:33):
You're correct. Yeah, that's it. That's that's what Big Daddy
named the Mantonio.

Speaker 3 (36:38):
Ka I mean to wear you know, all that gold
and apartch and everything.

Speaker 5 (36:42):
You know, all right out, here's one for you, legendary
leader and frontman Chuck d oh yeah, Public Kenny. If
it was the FBI's must wanted out, he went by
his original name of Carlton Douglas Riding Hour True.

Speaker 2 (36:55):
False, I buy Carlton and Douglas ride an hour. I
say false, you're wrong.

Speaker 4 (37:00):
That's his real name is Millenie Douglas, Chuck D Carlton D.
I guess maybe, I don't know. That's a great last name.

Speaker 2 (37:11):
R I D N h o U R quorderline French
actually written?

Speaker 4 (37:15):
Maybe written?

Speaker 5 (37:15):
How?

Speaker 2 (37:16):
Yes, I think it's written. Now there's an NBA player
his name was Luke written.

Speaker 4 (37:20):
I could have changed the actual score of our quiz. Then, yeah,
pronounce it correct for the right extra credit, Louis you
right for this last one? Old school hip hop artist
Cool Mode.

Speaker 5 (37:34):
Before he developed the new Jack Swing sounds in Manhattan,
his buddies actually called him by his real name of
Christopher as Modius Anders.

Speaker 4 (37:43):
Oh my gosh, this is Modius.

Speaker 3 (37:46):
That's Ryan, that's parents Ads. I'm gonna say true.

Speaker 4 (37:55):
You're gonna go true. No, he's not the king of
the demons falls. His real name is Mahan. Does I
believe it's pronounced the wee se or dey WEEZI?

Speaker 3 (38:04):
Okay, so he also has a.

Speaker 4 (38:09):
Weird Greek names. That's all I've got, gentlemen. It alright,
that's cool names.

Speaker 3 (38:16):
It to be a rapper, you have to name an
ancient Greek name are like originally like I don't know
a French sonic.

Speaker 2 (38:24):
Name, yeah, or an actual complicated five dollars English.

Speaker 4 (38:28):
Word, you know, just little John Jonathan h.

Speaker 3 (38:30):
Your middle name has to be like a character from
bail Wolf or something weird.

Speaker 2 (38:36):
Crazy, right, Okay, let's talk about the music video for
Ice Ice Baby or directed Isle.

Speaker 5 (38:42):
You said he was directed by of course Gregsonis. Did
you know he was a post punk guitar player, I
had no idea a band called Fallen Idols, and he
was also a psych rock band called Lithium X. And
some of his credits where he composed music for like
old nineties movies, like was in the sound department. But
the only music videos he directed was this and played

(39:04):
that funky music I believe are the only.

Speaker 2 (39:06):
Two ones, and that was more of a concert compilation
video than an actual.

Speaker 4 (39:10):
But he's still very active today, but not so much
like you know, in music video directing. But so props
to him for directing.

Speaker 3 (39:16):
That's a thing for a lot of indie artists. I
noticed that like they end up going into directing, right,
they go to film score or something that.

Speaker 4 (39:24):
Yeah, and if you if you look at a lot
of like music videos today, A lot of they're not
it's just anybody who will make it. You know.

Speaker 5 (39:29):
It's like the accessibility of the programs or the software
and or a lot of the times the artists themselves
actually have a hand in actually making these music videos.

Speaker 2 (39:37):
But the music video starts off with the high hats.

Speaker 4 (39:40):
Yeah. Then you see the graffiti, right, yeah, spray painting.
It's before they got sued for the.

Speaker 2 (39:46):
Guys, like, you know what, that's too much, too much.
This this video, you know, it just has the feel
of that's probably way kind of gave him a little
street credit because they shot this. Probably probably will cost
him like a few thousand.

Speaker 4 (39:57):
Dollars, right, I think it was like five thousand dollars
because he wrote the song when he was sixteen, like
eighty mid eighties, but never really had the fun to actually,
you know, produce music video.

Speaker 2 (40:07):
And this song is a is actually a B side.

Speaker 3 (40:09):
Yeah, yeah, it came out. It came out Indie on
the B side.

Speaker 5 (40:12):
The I believe that the radio DJs took a chance
and flipped the over and it thought, well, they played
it and all these people started calling.

Speaker 3 (40:19):
In and it was played that funky music White Boy,
which was the cover, which is a terrible song, yea, yeah,
which why wouldn't you pick the But I wonder if
like they were like this other one has like a
bassline that we can't clear because at that time it
would have been at that time, like James Brown's estate
was already going after all the hip hop artists, you.

Speaker 2 (40:37):
Know, so it was like like a whole lot of it.

Speaker 3 (40:39):
I mean in that even though like Vanilla I says like, oh,
it has that thing. It does have the thing thing,
you know, which is under pressure. Yeah, like the bass
line is it had a little change, but it also.

Speaker 2 (40:52):
Has the thing, yeah, the little piano part.

Speaker 3 (40:54):
The little piano part.

Speaker 2 (40:55):
He had to pay five hundred grand to the guy
who wrote play the Funky Music, yeah, you know, to
so like either way he loses either way because it's
everything everybody sampled or a cover.

Speaker 3 (41:05):
Yeah yeah, but that one was already like they probably
paid that up front because they're using the title of
the song that's a direct cover and that you know,
and that was probably a little bit more accessible than
fucking Queen and David Bowie, you know, like talking to
their representatives, you know. Yeah, so I could see that.

Speaker 5 (41:24):
I think they kind of thought, Oh, we'll just do
it under the radar and won't get caught. Also, it
was a B side, so they probably think it was
gonna hit. You know, it was gonna pop.

Speaker 3 (41:30):
So but this video, like it's so crazy when you
watch it. I remember I was a kid. I was like, oh,
I look at this girl like doing graffiti. I'm now
I look at him like, wow, that's terrible graffiti.

Speaker 2 (41:40):
Oh she's doing the ice party.

Speaker 4 (41:43):
It's awful. Reverse space.

Speaker 3 (41:47):
I'm like, shake the cat. You're not getting any paid.

Speaker 2 (41:50):
I mean, basically, you know this music video, a lot
of it is just fluff. Granted the dancing skill at
that time, because you can't touch this is already big
Amory just has these crazy ass complicated dance moves. LS
is a great dancer, but he's definitely not on the level.

Speaker 3 (42:04):
And mcmmer was already.

Speaker 2 (42:07):
His first album, like he had a couple of hits already,
right yeah, and Sef Hammer was the headliner and he's
touring together. We've been around this time too, and I
remember hearing about that, like, oh that, well, that's a
crazy ass bill.

Speaker 1 (42:18):
You know.

Speaker 3 (42:18):
While you notice in the video, like it's so great
that there's an HD copy of the video. Now, it's
so clear, but it's so fucking dark.

Speaker 4 (42:26):
You know.

Speaker 3 (42:26):
It's like at the beginning when he's think it almost
it's blacked out the top. You can see their feet,
but their faces are completely it's blacked out. It looks
like it's on purpose.

Speaker 2 (42:35):
I mean, maybe it was on purpose, but I'm sure
that wasn't the goal.

Speaker 4 (42:38):
You know.

Speaker 2 (42:38):
It's like, oh well, it made it more little edgier,
a little more.

Speaker 3 (42:42):
I think it makes you look at their feet more
other than their their top. It's so weird. Now when
I see it as an adult, I'm like, they're not
lighting their heads, They're.

Speaker 4 (42:51):
Focusing on the body. Yeah that makes sense.

Speaker 5 (42:53):
Yeah, but that is the earlier part of the videos,
after the street scenes, right, a little bit of street scenes.
I got jumping and I know what he was doing
on the wall, right, you see that guy's trying to
jump on the on the graffiti wall. Yeah yeah, yeah,
I don't know what he was doing, but he's like
jumping and trying to touch something, right, And then you
see the dark warehouse, right, and then you get the
vanilias and the dancers.

Speaker 4 (43:09):
It's just he's got like two guys.

Speaker 3 (43:10):
Yeah, two guys only.

Speaker 2 (43:12):
But I always dug that aesthetic of like you know,
V would later get on the more empty hammer esque
like shiny ass lemmee looking outfits, but I always liked
the black and white vest and the Chinese restaurant.

Speaker 3 (43:26):
Are you talking about the hip hop Butler?

Speaker 2 (43:27):
Yeah, hot Butler. I dig that aesthetic. I mean, granted,
it's like, you know, this music video is about a
lot of dancing, a lot of ice driving in his
five point zero.

Speaker 3 (43:37):
I remember like, wow, I must like five point oh
when we When you would see somebody with it, it's
like wow, that's like but it's like it's just a
normal card.

Speaker 2 (43:45):
Your hair can flow, right, I mean I hear as
stiff as a fucking like Greek sculpture from the BC era.

Speaker 3 (43:53):
Did you ever try to dress like Vanillas?

Speaker 2 (43:55):
I had a shirt, okay, because back then, you know,
I was fifteen, right like what the store sold, and
then my school had a dress code, so you got
to wear a collared shirt. But there's this there was
this shirt that I thought was cool. It was a monochrome,
much like what he's wearing here, but it wasn't exactly
what he's wearing here. But it looked like it had
a built invest with the design of that was so cool.
I'm like, yeah, I'm buying that one. And then the

(44:17):
thing was like after a few washings, the blackness started
fading away and I stopped wearing it.

Speaker 4 (44:21):
It's that rayon Yeah, it was.

Speaker 2 (44:23):
Yeah, that was a ray on arrow.

Speaker 4 (44:25):
It's a house era, you know, like you would dance.

Speaker 2 (44:26):
That's the weird thing. It's like everybody had to wear
as I didn't own a vest yet though, but I
remember everyone wearing the cowboy ties.

Speaker 4 (44:34):
Yeah, depleted pants, like yeah, the pleated pants.

Speaker 2 (44:37):
And then the belts, the belt, big belt belt with
the with the little you know, silver ship.

Speaker 4 (44:42):
You cannot find those belts anymore. There's just so sought after,
you know. And sometimes they would just kind of like
like it's all flaccid, like just kind of hanging, you know.

Speaker 2 (44:50):
Yeah, yeah, the little thing that's the kind of yeah,
cool tip on it right, yeah, with a metal tip,
just like those patented leather shoes with a little tip
to yeap with a cool like.

Speaker 4 (45:00):
Metal I don't know.

Speaker 2 (45:01):
Those are rare now it's hard to find them. Well,
first of all, they fucking die right away. There'll be
a cheap ass leather or whatever they were.

Speaker 4 (45:09):
They were so that was exactly, yeah, exactly was.

Speaker 2 (45:12):
It's so weird because I bought at Monapella Town Center.

Speaker 4 (45:15):
Man, that shirt.

Speaker 3 (45:16):
I'll never forget the thing rayon with junior high boys.
It doesn't work because rayon stinks. Right, you just get
like smell like armpit.

Speaker 4 (45:26):
You're done.

Speaker 3 (45:26):
You can never wear it again. It's so gross. But yeah,
that's some.

Speaker 5 (45:29):
Cool Like there's those the polka dot ones, right, the
cool like mustard color one.

Speaker 4 (45:33):
I mean there's I love those. You got that was the.

Speaker 2 (45:36):
Heyday of nine. So everyone had their sideburns going on too.

Speaker 5 (45:39):
It's a weird mix of pop culture but also trying
to be streetwear lifestyle where dance.

Speaker 3 (45:46):
If you look at we were talking about third Base,
the robber from third Base, he didn't look that much
different than like nine O two one o exactly. Yeah,
like the thing and that was Vanillasis too, like he
had the long cyber turns and then he was wearing
the you know, the whole like suit like the.

Speaker 4 (46:01):
If you think about it, the Brandon Walsh kind of pumped.
That's pretty much.

Speaker 2 (46:05):
Yeah, I mean Grant, but that's just insane, like like
I mean it's amazing that he can actually maintain that
almost sculpture. It's almost like a sculpture is La.

Speaker 3 (46:15):
Looks because then looks that, and then before that. By
the time they got to it, it was like, ah,
this is kind of like, I guess it looks cool whatever.
But when like kids in the hall were wearing it
a couple of years earlier, I was like, man, these
guys looking cool, man, you know, like it was like
an indie right, and then it got kind of big,
which is kind of weird, right.

Speaker 4 (46:33):
It's it's almost like that eighty six, you know, mid eighties.

Speaker 3 (46:38):
Yeah, they look like the guys from Joseph k almost
like yeah, anything.

Speaker 5 (46:40):
The change was the baggy pants. But then it's like
this pencil cut where at the bottom it gets real tight,
like yeah.

Speaker 3 (46:45):
The pants got baggier for like more dancing.

Speaker 4 (46:48):
That's more of the mc hammer effect. I believe the
parachute panta. Did you have paratue pants?

Speaker 5 (46:52):
I never had a pair, man, I wish I did,
because they're kind of like if you look comfortable yeah now.

Speaker 4 (46:57):
And then the gangster look was.

Speaker 5 (46:59):
More of like the pullover sweaters where there would be
like a team but then always sneakers, right, and then
when you when you get into the more dance pop
kind of wrap dance hip hop, it's more like almost
like semi formal or something that you'd wear to dance, right,
or like a let's say a prom or something.

Speaker 3 (47:15):
That's weird thing. There was a big difference between hip
hop groups that were dance hip hop groups that were.

Speaker 2 (47:20):
Like more poppy, like the kid in plays of the Room.

Speaker 3 (47:22):
Yeah, because let's say like a kid and play they
were already doing that, right. But then if you were
like a hip hop guy who didn't dance, but you
had dancers who dressed like that behind you, and dress.

Speaker 2 (47:31):
Kind kind of compensate for your lack of mobility.

Speaker 5 (47:36):
That fashion made it easier or aesthetically pleasing visually because
it flowed, right.

Speaker 4 (47:41):
I mean that was bagginess.

Speaker 2 (47:43):
That was yeah, And that was the time of time,
like you know, looking at like I imagine like money
love okay, moly, that was big around the same time.
You know, she she wasn't the most athletic or or
the most mobile, but she had dancers behind.

Speaker 4 (47:53):
Her hours money is what moy in the middle where
she had there, She's in the middle.

Speaker 3 (47:57):
In the middle, money in the middle the middle.

Speaker 2 (48:01):
It's a shame.

Speaker 4 (48:03):
It's a cover there, right, Yeah, I love that's the person.

Speaker 2 (48:08):
Shame and you know and Vogue, you know, and that era,
great era great, like I'm glad to be, to be,
you know, just an innocent you know, malleable mind at
that time.

Speaker 3 (48:20):
He doesn't make a case for him not coming up
with that story by wearing a University of Miami sweater in.

Speaker 4 (48:27):
This video too, though, Yeah, this is an help case.

Speaker 3 (48:29):
It didn't help his case, right, But I mean that
was the thing. It was so weird at that time.
People were wearing these weird you know, like Georgetown Miami.

Speaker 2 (48:36):
Oh yeah, I mean we're talking about another back creation
in our prior podcast where they would just wear the
most random fucking jerseys.

Speaker 3 (48:43):
It's so weird, right.

Speaker 5 (48:44):
You have to consider too, this was the time where
if you remember indoor swap meets, what you will find
is these waistcoat, really heavy.

Speaker 4 (48:53):
Kind of jackets.

Speaker 5 (48:54):
Yeah, the starter jackets, the starjacks with the hood, right,
and it's always the hoy Is or the bulls or whatever,
you know, all these college.

Speaker 4 (49:01):
Slash like professional team cowboys. And that was the look.
That's a streetwear.

Speaker 5 (49:05):
I keep saying, man, that's what if you wanted to represent,
it was always some team, right, You're always bussing the teams,
which coincided with that, like Tough Street.

Speaker 4 (49:13):
Look well yeah, each gang had their own team to
team and colors. Right.

Speaker 3 (49:17):
If you went to the story, you wouldn't find the
Bulls one because that's sold out.

Speaker 2 (49:20):
Oh yeah that any Bulls gear has gone on rombull
Rock displaying everywhere, you know, every fucking day.

Speaker 3 (49:28):
It's so weird because pretty soon after this video he
did saturn A live I think, and that's when he
came out with like the American flag thing, right, it's.

Speaker 4 (49:36):
Almost an Olympic yeah yea gear yeah yeah, yeah, like
he's doing like a pole vault or something.

Speaker 2 (49:43):
He just got a bronze, So that's what Harry Ron
is wearing and the pop goes.

Speaker 3 (49:47):
It's interesting how he changed so quickly from kind of
like just the streetwear to getting into like the mc
hammer shininess you know and that stuff.

Speaker 2 (49:54):
I mean, his label is like one hundred percent of
fault at this yeah management yeah, manishment, yeah exactly. I mean,
like I think like he was young and he's like
he had no freaking glow the business work, and to him,
it's just like, oh, you know, let's just sell it.

Speaker 4 (50:08):
He just wanted to get out of where he was coming, right, Yeah.

Speaker 2 (50:10):
It's like to sell the idea of whatever the hell
he is, you know, and and hopefully the kids will
eat it up right And unfortunately, yeah, you can only
get you so far. It'll work for a little bit
and then has improved xeah and he made a lot
of money in nineteen ninety one.

Speaker 5 (50:25):
But you know, back to the music video, it's very
several layers, right, of course, you got the little street
scenes of like a diverse group. You got like white
people dancing, black people dancing, right like, it's kind of
one him driving.

Speaker 2 (50:36):
What do you think of the choreography though?

Speaker 5 (50:38):
Of the actual hym dancing Him and his crew dancing
was amazing, man, right, yeah's where got me?

Speaker 3 (50:44):
So there's the dark warehouse, there's the outside warehouse.

Speaker 4 (50:47):
You've got the rooftop city skyline.

Speaker 3 (50:48):
Yeah, there's a in the skyline. I really would like
to know what that skyline.

Speaker 4 (50:52):
That's the Chinese restaurant waiters style.

Speaker 2 (50:56):
That's not the beach front avenue.

Speaker 4 (50:58):
That's why they're wearing the black and white him the
five point zero.

Speaker 2 (51:03):
But it has to be in everything has to be
in Florida thought most likely because you know, like I mean,
the budget will probably not allow them to go past No,
they're not going to go to state to state.

Speaker 3 (51:12):
Just I think that's what they're trying to sell, like
the Florida in this of Him Too, which is Yeah,
I didn't know if there was a lot of rappers
in Florida, I other than other than two leve Crew.

Speaker 2 (51:20):
In the video, they also found the tax haven in Florida.

Speaker 5 (51:24):
They also show the beautiful Asian lady right with the
drum stack with Oh, she's the one who's spray painting too,
right at first she has the drum stick.

Speaker 4 (51:32):
Yeah, she did.

Speaker 2 (51:33):
I mean, it's the significant other in the show, you know,
like he he was dancing with her and all that,
but she was you know, it's kind of like, you know,
a loof about him.

Speaker 4 (51:41):
Yeah.

Speaker 5 (51:42):
Oh, one more scene I remember was the aero train
caboose kind of dancing in the video.

Speaker 4 (51:48):
You remember that the shot is from the top.

Speaker 5 (51:50):
Oh, yeah, from the top, and they're doing like like
a little choppy yeah, but they're also like kind of
holding doing a little train.

Speaker 4 (51:55):
Yeah.

Speaker 3 (51:56):
There's a lot of that choppy, like that weird.

Speaker 2 (51:59):
I think there was just like seeing the capabilities of
the cameras they got, you know, it's.

Speaker 4 (52:03):
A different angle. It was kind of cool, you know.

Speaker 2 (52:04):
I mean, yeah, you just got to get as much
b roll as you can and then put it in there,
you know.

Speaker 4 (52:08):
B roll some friends, good roll, and lastly you get
him driving the five point Oh but he looks all
high like he's remember, his eyes are all like lazy
and he's got.

Speaker 2 (52:17):
Because he's rolling necessarily just rolling, literally rolling. I don't
know if they're just extras or friends of the crew
or the crew itself, just hanging hanging out there looking,
you know, look and fly back as people were saying
back in the nineties everybody.

Speaker 4 (52:32):
Because when he's in the.

Speaker 3 (52:33):
Five point zero, right, he's wearing like a pink shirt,
almost like a Hobie shirt. So it's kind of like
skate surf skates skates again, we're Florida into that Man's
sounds like a weird, like mash But as a kid,
I remember skateboarding too, and like you didn't really differentiate
a lot of that stuff because you know, it.

Speaker 4 (52:51):
Was just that's lifestyle wear. It so weird.

Speaker 5 (52:53):
Every all street people like, you know, you always wanted to,
whether it be skateboarding or surfing beach where.

Speaker 4 (53:00):
Yeah, yeah, you would wear it's always all mixed up.

Speaker 3 (53:02):
You'd wear a baggy bugle boy shirt for like your
hip hop nests, or then you would wear a TC
surf shirt.

Speaker 4 (53:08):
And then you yeah, that's what it was.

Speaker 2 (53:11):
It's crazy. So I guess that's the music video. Anything
else you want to did you bring up?

Speaker 3 (53:16):
Did you have the full album of the song?

Speaker 2 (53:18):
I actually bought to the Extreme back in the day.
The other songs, Yeah, it's bad, it's really bad. You know,
play the funky music.

Speaker 4 (53:27):
It's bad.

Speaker 2 (53:28):
There was a song called Hooked that was bad, you
know to me. You know, back in the day, you
didn't get you know, you can buy a single, but
the Extreme was more accessible.

Speaker 4 (53:37):
I had to single. You had the tape of the
c I had to tape.

Speaker 2 (53:39):
But yeah, I remember buying that thing and I was like, oh, man,
like stop that train. That's an awful song.

Speaker 4 (53:46):
You were looking for more.

Speaker 2 (53:47):
I was looking for just anything, you know, like kind
of like but I don't know, my tastes were just
whacked because eventually a year later I started.

Speaker 5 (53:54):
Getting to the more Motley Crew hard rock ship. You know,
was there any other songs that were dancing?

Speaker 4 (53:58):
No, I think that's what.

Speaker 2 (54:00):
Well, the next one is like play the funking music
and basically that's it. That's it. Yeah, you know, everything
else is just kind of sucking around me. He also,
you know, like he also wants to show his his
his Rastafari edge a bottom two with that having a
Roney song, which is you know, like not bad, but
like at that time for me, that certainly wasn't what
I'm looking for. Even looking at it now, even if
I want to get in in a Rastafari sense, I'm

(54:21):
not gonna listen to that song, right, you know, I'll
listen to it for his novelty.

Speaker 4 (54:24):
But not not for the art of it.

Speaker 3 (54:26):
So he went snow before snow huh. Yeah, he was
after when he was bussy rap rock. He busted the drag.

Speaker 5 (54:33):
And you know what, I kind of want to bring
it back to our early days, back in those times
where to say I'm kind of guilty of it too,
because like appropriating black culture, it's a tough thing, you know,
because if it's in, everybody's doing it, and you kind
of had that swag and you kind of necessarily like
gangster or rap, but more of like that culture because
it was everywhere, right, it was all all the different music, media,

(54:57):
movies and everything, and it didn't everybody kind of started
to appropriate that kind of.

Speaker 4 (55:02):
Well it's style.

Speaker 3 (55:04):
You can't be too harden yourself because it was something
other than white, and when you're something else other than white,
you gotta glam onto whatever. It is kind of like
your culture, you know, and like hip hop culture and
like that kind of like New Jack swing culture and
all that kind of stuff. Was closer to our culture
than fucking yeah yeah, and you know it must have

(55:27):
been you know.

Speaker 5 (55:28):
Rock said, but it's also the dancing that captivated me.
And I'm sure our friends you know are oh.

Speaker 2 (55:34):
Yeah, all the you know, all the Filipino kids in
my high school, that's what it was, right. They were
all into the cross colors and criss cross.

Speaker 5 (55:43):
At that time, and all the dance moves, you know,
kind of pretty much started by that. The black culture,
you know, to really think about it, you know a
lot of that groove, a.

Speaker 2 (55:50):
Lot of that living color esthetic.

Speaker 3 (55:52):
So especially when you grow up with idolizing Michael exactly,
it's like you're already destined for thattrinated since and you know,
like you go to school and you see it, but
then you go to your family's wedding or keta and
you see your other cousins doing it or brothers or
you know, it's like, oh, I could do this, and
you know, it's it's a little bit more comfortable, you know.

(56:14):
Like so I think it's if you don't have representation, representation,
you clang onto something that's close enough to you. And
that's what it was, you know, which is wild. You know,
it's kind of crazy.

Speaker 5 (56:24):
It's just unfortunate that happened to him because you know,
he appropriated the culture and on top of that, he
had his fake back, right.

Speaker 3 (56:31):
So yeah, the thing about like going to all black
school and all that stuff like that, that kind of
while I was like, oh, come on, man, like you
don't have to say.

Speaker 4 (56:37):
That, you know, even though he performed for an all
black crowd, why don't just say.

Speaker 3 (56:40):
That, Like I've been in the I've been in the
game for already a while.

Speaker 4 (56:44):
These guys are I mean.

Speaker 2 (56:45):
What kind of yeah, I means the think Tank just
didn't know.

Speaker 4 (56:48):
Like again, mc.

Speaker 3 (56:49):
Hammer already said that he's like an amazing performer. Yah,
I think the thing that even when it was a kid,
which bothered me. I didn't bother me, but it was
just like, come on, man, it was like the word
to your mother. Like it was every every single thing
he went to get an award, We're to mother, We're
to mother, like all right, you know, like because a

(57:10):
lot of other rappers didn't bust out the catchphrases like
you know, and he had a catchphrase, which yeah, it
was this poocci.

Speaker 4 (57:15):
Thing, you know.

Speaker 2 (57:18):
But okay, so that concludive music destruction, destruction, I mean discussion,
I guess.

Speaker 3 (57:25):
Okay, if you're gonna steal from a song, that's a
fucking pretty good song to steal from. Under Pressure is
like one of the awesomest songs.

Speaker 4 (57:31):
Very smart to use that.

Speaker 2 (57:32):
And you know you you heard the a cappella version
of under Pressure with Freddie Mercury and David Bowie, straight
up vocals, like wow, minimal processing in their vocals. It's amazing. Okay,
we'll be right back after these messages. Okay, it's time
for our notable YouTube comments.

Speaker 4 (57:53):
All right, to this, I got a couple for you, gentlemen.
Here we go.

Speaker 5 (57:59):
All right, all right, So at C J dash o
Q six X. What happened to these things? Huh, it's
anyway you coupled the name. I know it's these reporters
using the name that they're giving.

Speaker 4 (58:11):
This person says.

Speaker 5 (58:12):
In high school in the late nineties, my biology teacher
was very young, only twenty three, and she had graduated
high school in nineteen ninety two. One of our favorite
ways to derail the class and get her off on
a tangent was for someone to call out Vanilla eye sucks.
Then she would be guaranteed to spend the rest of
the class period getting increasingly worked up defending him, telling

(58:34):
us so we just couldn't understand. The early nineties, she
would always sum up her arguments by saying, Ice, Ice
Baby is a great song, and all of you know it.

Speaker 2 (58:44):
They know it, they know it deep soul.

Speaker 4 (58:46):
Another day, I always know how to get her right.
That's great.

Speaker 2 (58:49):
I mean, granted, it is amazing, like now, you know
when you see YouTube comments of Vanilla ice just like
being interviewed or you know, like now the current times,
everybody loves them. For everybody loves something like when it
lies they did you dirty back in the day, man,
you know, and things like that, and well, everybody's forgiving.

Speaker 3 (59:06):
We didn't We didn't even talk about the Shuge Knight story,
which he falsified, and then Shuge Knight came out and
I'm like, this guy's lying. And then he came out
and said, oh, no, that really didn't happen. It was
actually very said.

Speaker 2 (59:17):
It was very nice and choo right.

Speaker 3 (59:18):
But he first said, oh, they held me out the windows.

Speaker 2 (59:21):
Was him or like or just other people was saying that.

Speaker 4 (59:24):
No, he got interviewed.

Speaker 2 (59:25):
He actually said that it was okay from from when
I was researching it. That was what people's accounts were.
I don't know it came from miss Camp.

Speaker 3 (59:32):
No, he has a he said with his own mouth
and interview you gotta take some of with a little
bit of grin.

Speaker 2 (59:40):
True, but like back in the day, this is all hearsay.
We didn't have the internet exactly right. This is like
what we would hear and I remember hearing this in school.
He was like, oh, Suge Knight, Like I didn't even
know who Sue Knight was yet, but like, oh, like
someone was hanging from his angles.

Speaker 5 (59:51):
That's part of the problem, is the flip flopping, you know, Yeah,
he would he would do several interviews like, you know,
like weeks or months later, and he would change his story.
So obviously, I mean if that's part of the fame
train of like kind of building up his background. Now,
maybe it worked, maybe it didn't, but a lot of
the hate was coming from that, you know, like he
would always change it.

Speaker 4 (01:00:08):
Well.

Speaker 2 (01:00:09):
A lot of his hate too, came from his you know,
supposedly real upbringing in the background too, you know, and
people just start saying, you know, what he does suck
like musically, but I don't know, I.

Speaker 4 (01:00:17):
Mean their own indeed. Anyway, here's the one.

Speaker 3 (01:00:22):
We don't want some hate from that science biology teacher
gonna lecture you.

Speaker 5 (01:00:27):
Let's keep it cards, all right, I'm all right at
Lorraine Stewart nine five five one, four years ago says, now,
gonna lie.

Speaker 4 (01:00:33):
Freddie Murcury is a pretty dope wrapper. That's it.

Speaker 5 (01:00:38):
There's not very many, but a lot of You're right,
there's a lot of love for him actually in all
the comments, which is good.

Speaker 4 (01:00:43):
That's nice to see. All right.

Speaker 2 (01:00:45):
Guys, So Ice, Ice baby, would you keep it or
would you throw it back? I don't go for it, man,
I don't like this video personally. I always thought it was.
It was crude, very rude to menory and and and
almost like gung ho guerrilla style, which I can appreciate.
But the you know, the choreography though was top notch,
but the lighting wasn't. But I think just they were

(01:01:06):
just bound by the the you know, they were constrained
by their budget, which wasn't a lot yet before this
song actually blew up. Like nowadays, if this song came up,
they had a lot of financial backing. This would be like,
you know, a freaking HD four K in a bright
ass studio with elaborate titles. But this one, you know,
to me, it's like it does remind me of how

(01:01:28):
DIY didn't that time was, you know, and and actually
like I can appreciate that, and like, at first, like
I want to I want to get rid of this
video because it is bad, but you know what it was,
it was a spare of the time and I will
keep it just for that. So yeah, I am definitely
keeping it.

Speaker 4 (01:01:45):
That.

Speaker 3 (01:01:45):
Okay, I'm trying to get a grip around nineteen nineties
music videos, and this video was actually commissioned by the
when he got signed to a major label.

Speaker 2 (01:01:54):
Oh right, so it was already was SBK.

Speaker 3 (01:01:56):
So he got signed and they're like, oh, we need
to put a video out and that because that's when
they flipped the record. Right, I'm throwing this back. This
is a good year for music videos, right, nineteen.

Speaker 2 (01:02:05):
Ninety nineteen ninety, I was like, belve devout right.

Speaker 3 (01:02:08):
Oh yeah, and that's a good music video.

Speaker 2 (01:02:11):
It's a spirit.

Speaker 3 (01:02:11):
I never liked Eve when I was a kid, in
like the video, like that weird choppy thing was really bad.

Speaker 4 (01:02:17):
Yeah, was so bad.

Speaker 3 (01:02:22):
On the five point zero. I was never into that
as a kid too. I never liked the video. The
song was good, I didn't like the persona or him.

Speaker 2 (01:02:30):
You know, the song it up all the time.

Speaker 3 (01:02:32):
There was a bassline was the song, you know, the
lyrics and everything else wasn't that crazy. So I think
by that time he got signed, they should have did
something a little bit cooler. But I mean they didn't
need to. This song was like fucking mega.

Speaker 2 (01:02:44):
Yeah. I don't think I think it would have. It
wouldn't have been as big of a hit if they
somehow tinkered with it.

Speaker 5 (01:02:49):
You know, if they would have put a song wiser
video wise song, oh the song if they yeah, no,
if they.

Speaker 3 (01:02:55):
Would have done like a bigger like let's say, like
a mc hammer video. You know, his first video was
very like d I Y, but like his later ones
were like the big production things. But I don't know,
I was just never a fan of this video, even
though I was a kid. So I'm throwing it back
just because I was never.

Speaker 2 (01:03:10):
A fan of wrong one.

Speaker 3 (01:03:17):
But no, I mean there was already like great videos
at this time, you know, like not that it could
have helped because it was already a Vegas sensation, and
I'm thinking they probably were like, whitye, throw money at
it when it's already get it. Let's just put this
out and.

Speaker 4 (01:03:27):
See what he's it what he is.

Speaker 2 (01:03:28):
But now that you mention it, he already had label
funding to create this video, Then screw that. I'm actually
retroactively throwing back this video because I thought it was
you know, I thought it was just like the just
the seat of their pans that they they were you know,
funding it. But no, they had money. They probably busted
a slow dive and just partied with the money.

Speaker 4 (01:03:46):
So screw that.

Speaker 2 (01:03:48):
They're going back.

Speaker 3 (01:03:50):
They had by a five point Oh that's very pretty
expensive base.

Speaker 2 (01:03:53):
That's true TMVR first retroactive throwback.

Speaker 4 (01:03:58):
That's probably fifteen grand back then the junk yard right now, right,
you rarely see five during that time. Now they're not
live anymore, they're all go all right for my jer's
very and final thoughts, gentlemen, this is the thing. I
was never really fan of the video.

Speaker 5 (01:04:12):
I thought, you know, there's sometimes when you see a
video it's a detriment to your actual liking of a song.

Speaker 4 (01:04:18):
Yeah, and that kind of happened to me here.

Speaker 5 (01:04:21):
But the only saving grace really was the dance moves,
because you know, I was a big fan of dancing
and like, like, wow, that's kind of cool you get
to see because you want to emulate it.

Speaker 4 (01:04:28):
Right as a kid. But it was too dark.

Speaker 5 (01:04:30):
It was it was very dark, but you did get
to see some of those cool like road you know.
Then I think about what could have they made that
made this song and video better?

Speaker 3 (01:04:42):
But nothing, nothing, nothing.

Speaker 5 (01:04:44):
That's the thing, right, because the song is too good
where you don't really necessarily need a video. They just
they use this as a vehicle to kind of promote
it even more.

Speaker 4 (01:04:50):
So, and it worked.

Speaker 3 (01:04:51):
It worked, and the song says nothing. The song says
his bravado the whole song. There's no like story. That's
not like an Eminem song where he's telling a story
about right, kill somebody or somebody, but are are even
like you know, it's there's just there's just nothing there,
you know.

Speaker 4 (01:05:08):
Yeah, not too much meat.

Speaker 5 (01:05:10):
And it's standard late eighties, early nineties, like you know,
fair for for this kind of stuff. So with all that,
I'm not going to keep the video, but I will
tell you I like these success stories of people who
up and down right their lifestyle and and and his
success I can't believe like celebrity net worth at like
fifty forty fifty million still.

Speaker 4 (01:05:28):
Man, I mean that's good for him, I know, that's
what I'm saying. So you know, he was able to
kind of pick himself up.

Speaker 5 (01:05:33):
There's a lot of undeserved I think criticisms that he
got during that time, but a lot of the things
he did to himself, you know, and and again as
a human being, right, the human condition, Like that's that's
part and he did learn from me, and I think
that's that's what the big takee.

Speaker 2 (01:05:45):
And that's the thing is like he's not person of
like he's in denial that he's always in the wrong.
He's willing to own up to whatever the fuck happened
to him.

Speaker 5 (01:05:52):
And I feel like that's always been his character, even
though he's kind of like, you know, quicker to draw,
like he likes to like if you say something, he'll
say something back. But at least you said he's learning,
and he takes that, you know, and and kind of like,
all right, let me let me see what I can
do with that.

Speaker 4 (01:06:05):
And he was able to. Yeah, he turned his life around,
which is great.

Speaker 2 (01:06:08):
So right, he's throwing it back.

Speaker 4 (01:06:09):
Yeah, I threw it back, but kind of keeping it well.
I keep him. I like, I like his story. You're
getting to know him. Throw the video. He's just a kid, man.

Speaker 2 (01:06:19):
I mean, you know I would have done the same,
you know what I'm saying Like I would have too.

Speaker 4 (01:06:22):
I mean I had no.

Speaker 3 (01:06:22):
Fucking idea fall for whatever he did back, being a
poor kid, I would have like, you're gonna pay me
this much?

Speaker 4 (01:06:28):
Sure? And look, man, the bottom line is, if you
really look at it, he does have talent. He does
have talent. He is an artist and and and he
wrote those wraps.

Speaker 2 (01:06:36):
He wrote the the dance moves and don't forget Ninja
wrap man that's kind of what killed his career, or
he was already kind of like jumped on that was.
That was the jump the Shark moment for him.

Speaker 3 (01:06:46):
And I think that movie took it like a while
to come out, or I mean it came out pretty quick,
but it was like a whole thing. I think that
movie came out like nine months after Baby. You know
the first Ninja Turtles they came out like almost.

Speaker 2 (01:06:56):
Oh yeah, yeah, that was that was all rushed through.

Speaker 4 (01:06:59):
But look, would you have done the same as he
did if you were like starting out on the streets. Yeah,
hell yeah, right yeah.

Speaker 3 (01:07:05):
I would do it right now? What do you want
me to sell out?

Speaker 4 (01:07:09):
Give you some money?

Speaker 3 (01:07:09):
I'm poor, Please help.

Speaker 2 (01:07:11):
Me, yo, VIP what you got next for us?

Speaker 4 (01:07:15):
Louis?

Speaker 3 (01:07:16):
All right, So I'm going big, guys on the next one,
going big, going big, all right, I'm going on going
back to nineteen eighty. We're gonna go into.

Speaker 4 (01:07:26):
Devo's whip it. Oh all right.

Speaker 3 (01:07:30):
I mean this is a big video.

Speaker 2 (01:07:31):
So this is a research This is a freaking ground
zero moment in musical history right here.

Speaker 4 (01:07:37):
It's a big video.

Speaker 3 (01:07:38):
Even though I really wanted to do I really love.

Speaker 4 (01:07:42):
The video for the girl, the girl you want you want.

Speaker 3 (01:07:44):
Yeah, that's a fucking amazing I never even seen such
a good video, but like this is this Culturally this
video is bigger.

Speaker 2 (01:07:50):
Oh absolutely, Oh yeah as a kid man like that
song was like it was so different, you know, but
I'll we'll touch upon that. And there's all this next episode.

Speaker 3 (01:07:58):
Then I was doing research and there's all this stuff
about the video.

Speaker 4 (01:08:00):
So I'm going to buy my Dominatrix if you guys
don't mind hopefully doing it.

Speaker 2 (01:08:05):
We need a web sound for this, Yeah, totally, Okay.
Thank you for listening Throw It Back Music Video View
Podcast and we'll see you next time.

Speaker 1 (01:08:15):
Thank you for joining us at t NVR podcast. We
hope you enjoy show as much as we en you're
recording it. You can subscribe to us through your favorite
podcastleep and follow us at t NPR podcast on Instagram.
You can also leave comments, suggestions and go rate us
a five star on Apple Podcasts.

Speaker 3 (01:08:35):
I remember in like drama class and junior high, you
had to do a song right, and it was like
you do a lip sync of a song. Oh okay,
that was a part of because it's like junior high
drama class, it's like very basic right and exercises. Yeah, yeah,
you do these exercises, and like the teacher wouldn't stop
talking about this one group that was doing Rice Rice Baby,
which it was like completely like good.

Speaker 2 (01:08:54):
That was an actual subject in your class.

Speaker 3 (01:08:56):
Yeah yeah, because I was in a different class then Ryan,
who was doing you guys did right Baby?

Speaker 4 (01:09:02):
Right? I thought, you guys, Yeah, yeah it was you.

Speaker 2 (01:09:06):
Paul friend of the podcast last episode he was.

Speaker 4 (01:09:09):
He was with us, and like that big of a hit.

Speaker 3 (01:09:12):
It was such a big hit in the junior high that,
like the teacher was talking about, oh, you guys need
to do something as good as that, and like mine
and the two other Trolo kids that I did it
with boring.

Speaker 2 (01:09:23):
You guys got shine.

Speaker 4 (01:09:24):
No, we did like I think this is we should
have did that.

Speaker 2 (01:09:29):
We did.

Speaker 3 (01:09:30):
We did og original Gangster by Iced Tea.

Speaker 4 (01:09:32):
Oh yeah, original.

Speaker 2 (01:09:36):
New Jack City, Man.

Speaker 3 (01:09:37):
Jack City, And like you can't really dance, You're just
like standing there like acting it.

Speaker 4 (01:09:42):
You know.

Speaker 3 (01:09:42):
It's the terrible thing about a group projects. You know,
you got to go with the group and they are
I just wanted to stand there and act like gangsters.
And I was like, hey man, we should do me
and myself and I I would have.

Speaker 2 (01:09:52):
Killed if we had cell phone you know, smartphones back
in the day. Imagine like Louie's performance being broadcasted.

Speaker 3 (01:10:00):
If I reported it and put it on and then
I get canceled somehow, look like a gangster.

Speaker 4 (01:10:06):
Thirty four years later, get canceled. Sucks.

Speaker 3 (01:10:09):
They canceled the science teacher that year too.

Speaker 2 (01:10:11):
Wait what happened? I think we talked about this too,
science teacher.

Speaker 3 (01:10:15):
Yeah, we did oigi boards and for science to show
that that wigi boards are not like it's not a
scientific thing. It's not real, right, So he wanted to
do like a kid level, like okay, all these kids
are probably doing wigi boards, let's show the science behind it.
So everybody did a wigi board. And then he did
like all these calculations to show that like what was right,
what was wrong? What we asked, you know, and what

(01:10:35):
it what came up and it showed that it was
it's not real, like nothing's real.

Speaker 4 (01:10:39):
And then he got fires like.

Speaker 2 (01:10:40):
Really that's not that is not cool. I don't I
think he still did the whole scientific procedures.

Speaker 4 (01:10:47):
You have the science behind it, right, right? Wow?

Speaker 2 (01:10:50):
I mean you know, yeah, the idea of the occult
was involved, but I don't think that warrants him being

Speaker 3 (01:10:55):
It was a good eighth grade year