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Speaker 1: Let's go doctor Fresh.

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Speaker 2: Okay, I've I have prepared a special introduction just for

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this episode. Here goes. Well, he's a little story I

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like to tell about three both brothers. You know so well.

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It started today in history with Jay Coach me start

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him off with the labs. Welcome everybody that surely you

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can't be serious podcast. We are diving deep into the

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world of hip hop eighties and we have with us

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a very special guest today, mister David Wright. How you doing, David?

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Speaker 3: Very good? How you doing?

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Speaker 2: I'm doing great. David is a published author, a award

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winning advertising video producer. He has got his third book

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coming out next year in March. She can get the

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first two on his website.

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Speaker 3: Tell us what that is, Dave galaheads doom dot com.

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Speaker 4: My series is an epic medieval fantasy story along the

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lines of Lord of the Rings. A strong spiritual or

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Christian theme to it.

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Speaker 2: Awesome. That is awesome. So on that note Christian theme,

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I know that you had some concerns about what we're

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going to talk about today because you are now deep

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into the church world and you're a little concerned about

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some of the topics and in going over this stuff.

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You know, Beastie Boys have, they've come around a bit.

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They were like, you know, hey, some of the stuff

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that we did when we were young was pretty stupid

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and pretty inappropriate and really just not okay. And they've

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owned it and they've said, but hey, you know, we

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grew up, right, and we all grew up. We all

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did stupid stuff when we were kids, and we kind

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of relished in that stupid stuff. That doesn't mean that

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we promote it. We wouldn't necessarily want our kids to

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do it, but it is kind of fun to go

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back and revisit that stuff a little bit.

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Speaker 3: Exactly.

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Speaker 2: That's right.

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Speaker 1: I would not want any of my personal notes published.

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When I was in the nineteen eighty.

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Speaker 2: Right, yep. So we're covering today hip hop, which I

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gotta say I'm familiar with. I was a big breakdancer

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circa SD so we're talking like eighty three, yeah, I was.

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I was breakdancing to Thriller, so it had been eighty

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three eighty four. I caught breaking and breaking to Electric

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Boogooroo both the day that they came out. I had

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Grand Master Flash albums. I had the sugar Hill Gang albums.

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I was. I was I had Houdini, I head run DMC.

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I had this stuff growing up. Tell us my breakdancing name.

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My breakdancing name was Doctor Fresh. Yeah, you can't make

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this stuff up. I still use it. I still use it.

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Like if I go and do like trivia night at

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some restaurant or something, I put Doc Fresh in there

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as my trivia name.

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Speaker 1: Day. You gotta tell us how you got deaf Dave?

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What does that?

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Speaker 2: Well?

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Speaker 4: I can tell you that rap music in the eighties

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pretty much defined my persona in high school. I was

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a top forty kid, you know, in the first half

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of the eighties. So I was born in seventy one.

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I was about ten years old in eighty one. I

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started really discovering pop music. The earliest pop songs I

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remember is like Man Eater by Haul of Oates, It

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cuts like a knife and those kind of songs.

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Speaker 3: I I am the thriller generation. I was in sixth grade.

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Speaker 4: I was watching when the Motown twenty five special air

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the first time saw the Moonwalk Hite Thehead by the Moonwalk.

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Speaker 3: With the rest of America. My first concert ever.

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Speaker 4: I won a radio contest for free tickets to the

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Victory World Tour to see.

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Speaker 3: So I was a pop music kid.

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Speaker 4: And then in the summer of nineteen eighty five, a

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friend of mine, one of my best friends in high school,

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he slipped me the cassette to run DMC's King of

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Rock album in the summer of nineteen eighty five, and

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it did something to my brain, and I was the

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rap guy for the rest.

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Speaker 3: Of the decade.

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Speaker 4: I absolutely just became kind of nuts over run DMC

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and the BC Boys and Llo, cool J and everybody

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that came out of the rest of the decades. So

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you had Eric B and Rock Him and Cool Mo

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D and Public and toe Me. I was just absorbed

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all that stuff. I quit listening to the radio. It

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was all about rap. My name my name to this day,

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deaf Day. That's my Twitter handle, deaf Dave. It comes

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straight from deaf Jam.

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Speaker 3: I mean it.

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Speaker 4: All the autographs in my high school yearbook, half of

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them say death Day.

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Speaker 3: They're gonna have my real name on it.

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Speaker 4: So according to legend, okay, according to legend, the way

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I got the name deaf Dave was that the the

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Holly Hills Crew was sitting around the circle freestyling before

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home room, and I would jump in and bust some rhymes,

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and I was so good that EJ. Zeus declared me

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an official b boy and gave me the name Deaf

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davening to a legend Woo.

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Speaker 2: So Zeus handed him his name from Mount Olympus.

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Speaker 4: So that's the story I went with. In reality, in

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the summer of eighty seven, I was going bowling with

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a couple of white friends and we needed to come

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up with names for the scoring computer, and so we

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all came up with funny names, and I gave myself

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the name Deaf Dave in the scoring computer there the

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bowling alley.

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Speaker 3: But the friends that I was with liked it. They

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repeated it.

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Speaker 4: It stuck, it caught on, and I was already had

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the reputation as the rap guy, so that became my legacy.

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That's how people in high school still call me that,

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and I just embraced it.

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Speaker 3: It's kind of my online name too.

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Speaker 1: So you weren't handed a flaming pair of Adidas from

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Mount Olympus.

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Speaker 3: Or anything, No afraid not.

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Speaker 2: I'm still just kind of reveling in the fact that

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somewhere out there, somebody's got a yearbook that says Deaf

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Dave signed your crack right in the crap. So we

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are here today to talk about two major albums that

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changed the face of music in the mid eighties.

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Speaker 1: One wait, wait, wait wait, change the face of music.

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Speaker 2: Changed the face of music. Yes, sir, I think you're right.

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Speaker 1: I think you're right.

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Speaker 2: Keep going. So we are going to be talking about

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Run DMC raising hell, and we're going to be talking

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about Beastie Boys. Still there you go. So are you

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guys ready to jump in?

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Speaker 1: Hey, I'm just along for the ride. I mean you,

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you guys are the experts. I took a rite turn

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into hair metals.

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Speaker 4: So I'm sitting here, I'm in my fresh flight threads

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with my big Folkswagon medallion around my neck.

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Speaker 3: Yes, meeting Colonel Sanders, drinking Heineke brew. I'm ready. I'm

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ready to take it like a go to.

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Speaker 2: All Right, I'll toast you with my brass monkey and

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we'll jump in. Okay. So the story that we're about

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to tell started way back in history in the late

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seventies Earlydies with three guys named Adam Horwitz, Mike Diamond,

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and Adam Yawk.

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Speaker 3: Dave. Give us what you got, man, Well, first of all,

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I'm gonna throw you for a loop.

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Speaker 4: I'm gonna take this story all the way back to

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eighteen ninety because, as everybody knows, eighteen ninety was the

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year that Margaret Numberg was born. Margaret Numberg was a psychologist,

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an educator, an artist, and had learned some theories about

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child education over in Italy brought it back to America

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in nineteen fourteen, she opened the Walden School in Manhattan.

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Speaker 3: Okay, so this is.

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Speaker 4: The very first of the progressive education model schools in

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a marria, which is basically, let the kids decide what

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they want to do, don't give them homework, don't give

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them rules, let them decide what they're interested in, the

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kids discovering their own way. But it appealed to the

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upper class and the well to do in Manhattan society.

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Forward that to the nineteen seventies. There's a kid going

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to school there named Jeremy Chattan. Now he had an

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older brother, and that older brother had a friend, and

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that friend had a younger brother.

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Speaker 3: His name was Michael Diamond.

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Speaker 4: And so Jeremy Chautan and Michael Diamond just kind of

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by default, kind of became friends because they were around

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each other because their brothers were buddies.

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Speaker 2: Yep. Yeah.

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Speaker 4: Michael Diamond was somebody whose father was an art dealer

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and they put him in the Walden School and they

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were going to school together. Kind of separate from that,

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Jeremy was also friends with another Walden School classmate named

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John Barry. Now John Barry played guitar and Michael Diamond

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was starting to learn how to play.

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Speaker 3: They were junior high. They were like seventh and eighth grade.

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Speaker 2: Yeah.

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Speaker 4: Yeah, he said, I need to introduce my two buddies

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to each other. They don't know each other yet. One

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plays guitar, one plays drums. So it's like John, this

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is Mike, Mike this is John, and they started playing

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a little bit. So the earliest formation of the Beastie

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Boys began around nineteen seventy eight with John Barry and

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Michael Diamond playing together, and Jeremy Chatan was the one.

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Shatan was the one who got them together.

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Speaker 1: I heard that they were introduced at a Joe Jackson concert.

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Speaker 2: Yes, because that's the influence for the Beasti Boys is

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Joe Jackson.

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Speaker 1: Joe Jackson right stepping out right, So Mike d and

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John Berry are at a Joe Jackson concert. This is

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the first time they've met, and John Barry is acting

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like a wild man, like he's going crazy, barely keeping

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his seat, and Mike d is like, who is this guy?

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Speaker 2: This guy's crazy? This guy.

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Speaker 1: I don't like this guy at all, Like this guy

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is not for me. But then they both liked punk music.

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Speaker 2: Yeah, they both liked the clash.

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Speaker 1: And so they kind of bonded over that.

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Speaker 4: So one thing that was true about the late seventies

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in the early eighties New York club scene was there

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was a diversity in the music. Like if you went

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to a hardcore punk club, you were likely to hear

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soul or funk or even hip hop. And you go

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to any other dance club, they're gonna include punk in

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their in their playlist too. So they were exposed to

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a lot of different kinds of music. So it's not

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weird for me to hear that these two punk rockers

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met at a Joe Jackson concert. In nineteen seventy nine,

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there was a man by the name of Dave Parsons

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who lived in Boca Raton, Florida, and he started a

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fanzine for punk music.

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Speaker 3: Called The Mouth of the Rat.

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Speaker 4: During this time, he received a fan letter from a

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musician in New York in the punk scene. Her name

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was Kate Schellenbach. Well, he moved to New York City

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in nineteen seventy nine opened up his own record store,

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the Rat Cage or rat Cage Records, and within three

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days of living in New York he met both Kate

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Schellenbach and John Barry at a club, and Kate Shellenback

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was someone who was bouncing around different bands playing drums.

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Mike and John are in a band called Band B

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eight N and Kate Shellenbach is in a band called

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bag Ladies.

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Speaker 3: And it was at they were.

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Speaker 4: All in one venue at the same spot one night,

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and they all kind of met each other and the

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three of them decided they wanted to start a band.

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Speaker 2: I think that they had known each other like at

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a younger age, but recognized each other and kind of

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renewed their friendship at that point.

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Speaker 4: So they had a drummer, Mike already, but then Kate

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comes along as a drummer, so she becomes the percussionist

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and Mike remains a drummer. John is a guitarist. So

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Jeremy Chattan the common friend who got them all together

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in the first place, decides he'll play bass, and so

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in the early months of nineteen eighty one, the very

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beginning of eighty one, they form a band and call

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themselves the Young Aborigines.

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Speaker 2: There we go, yep.

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Speaker 4: But eventually Mike Diamond took over as the lead singer

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and Kate became the drummer, and they played a grand

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total of two gigs in their entire existence, and both

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of them were on the same day in June of

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nineteenth eighty one.

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Speaker 1: And you know the world famous song that the Young

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Aborigines came up with, right, This song was recorded on

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June nineteenth, nineteen eighty one. The song is called Asshole.

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You know that was on a regular rotation on my

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pop forty.

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Speaker 4: Head as I understand that the entire the entirety of

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the lyrics of that song was Mike Diamond repeating the

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title over and over again at the top of his lungs.

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Speaker 2: Sounds about right, yeah, yeah, some deep lyrics.

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Speaker 1: Yeah, I mean, but we're talking their.

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Speaker 3: Teena oh yeah, they're early high school yes, yes and uh.

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Speaker 4: And it was during these months in eighty one leading

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up to that fateful night June nineteenth, of the Apex

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of the Young Aborigines career. That I do know that

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Michael Diamond did meet Adam Yawk at a Bad Brains performance,

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and they had kind of noticed each other, but they

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weren't saying anything to each other because the tough guys

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don't do that, right, and they decided that they were

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They were just gonna not like each other for a while,

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but eventually they found out that they were into the

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same stuff, of course. And after the Young Aborigines performed

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their two gigs on the same night, Jeremy Chattan had

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to leave for the summer, and when he left, Adam

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stepped in. Adam Yawk stepped in and became the new bassist.

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And at that point John Barry suggested they changed their

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name to the Beastie Boys.

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Speaker 2: Boys Entering Anarchistic States towards Excellence Boys.

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Speaker 4: Well, and that's according to their legend. I think that

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came a few years later.

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Speaker 1: I think you're right, Yeah, that was afterwards.

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Speaker 2: That's a reverse anagram with thing.

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Speaker 3: That was John Barry's idea.

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Speaker 4: He came up with the name Beastie Boys and their

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very first gig was on August fifth of eighty one

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at Adam Yak's seventeenth birthday party at John Barry's Lost

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They just had few friends over. It was not a

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paying gig, but they all got up on stage and

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the Beastie Boys performed for the first time.

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Speaker 1: So that was Adam Yoak's seventeenth birthday party. And I

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think he was a couple of years older than the

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other guys, the other people in the band, and so

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Mike Diamonds said that that was the first time he

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had ever been drunk. Yeah, we've got some common interests

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and we've got a lot of lack of parental control here.

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Speaker 4: One quick thing about Adam Yawk is when he was

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in high school, he took an aptitude test. They did

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a career aptitude test for all the kids. He took his,

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and the only thing that his aptitude test concluded was

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that he should never go into anything related to music.

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Speaker 2: That's crazy. That's perfect.

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Speaker 4: So after this night, at first his birthday party at

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John Barry's Loft, they do get a paying gig opening

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for another band in November of eighty one, and then

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by December eleventh, they're opening for Bad Brains, which is

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a band that they there's a big name in the

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punk scene and they were big fans of it, so

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they were excited to play for Bad Brains. I don't

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know what happened that night, but whatever it was, they

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decided they were quitting. They decided it wasn't fun anymore,

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and the BC Boys broke up in December of nineteen

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eighty one.

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Speaker 2: Wow.

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Speaker 4: After yes, absolutely, they were done. You know this is

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no one's got dreams of being rich and famous. It's

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just casual band. You're in and out of bands all

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the time. This one was over. But then Dave Parsons,

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the owner of rat Caage Records, had been at the party.

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He had told them at the time that he was

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thinking about launching his own recordly, and so in December

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he came up to them and said, I'm ready to

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record with you guys. Why don't we put some of

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your material and record it. So the band had already

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broken up and they decided to reunite just to record

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at Dave Parson's new studio. Well, the studio was owed

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a lot of back rent and the landlord was threatening

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to take all their equipment in return for back pay

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and kick them out, and so they had.

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Speaker 3: To hurry up.

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Speaker 4: They had two days to record only at night they

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had to sneak in. They had two days to do

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an entire EP. They recorded an EP called polywog Stu.

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Speaker 3: Now, the way.

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Speaker 4: Punk music was at the time is everything is very,

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very brief. These songs are less than two minutes long,

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I think, most of them.

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Speaker 3: But they got in. They recorded with John Berry in

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the lineup.

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Speaker 4: They did a hardcore punk EP called pollywog Stu, but

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then they lost the equipment, they lost the studio. There

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was a guy there working as an engineer named Scott

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Jarvis who snuck away with a tape machine and he

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was able to mix what they had cut at home

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in his bedroom. And is only because of that guy

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that they were able to get this EP finished and

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released and get it out there.

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Speaker 2: So what were the songs that were on Pollywokstick.

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Speaker 3: BC Revolution was one that was on there, uh huh.

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Speaker 4: And also they're probably their most famous one because they

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kept it in their set for a long time was

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egg Raid on Mojo.

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Speaker 2: Right, So egg Grade on Mojo was about a bouncer

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at one of the clubs.

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Speaker 3: I can't understand a thing they say.

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Speaker 2: So there was there is a bouncer one of the

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clubs named Mojo, and he would never let them come

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into the club because they were kids, you know, they

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were able to sneak into other places, but not the

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place they wanted to go. And so I don't think

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it ever happened. I think it was just a song

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about their dreams of getting a bunch of eggs and

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pelting Mojo with the eggs, and so that's that's what

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the egg raid on Mojo is all about.

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Speaker 4: So after they recorded this and before it was released,

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they broke up again because they were already done. So

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they got together to do this recording and they were done.

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But what happened was there was somebody in the club

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scene that made the trip to LA and took a

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selection of songs from the New York scene and had

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them played on the radio in Los Angeles, and one

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of the songs from Polly wog Stew was performed in California.

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And so interest in the Beasi Boys began to spark

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and began to grow, even though they were technically no

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longer together apparently from what I've read, because they started

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to get interest, John Barry decided to quit the group.

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He didn't want it to get too serious. I guess

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I don't know, he didn't maybe it was coming too professional.

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Speaker 3: I don't know.

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Speaker 2: He had some I think he had some substance abuse

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issues that he was dealing with as well, you know,

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a little bit of a drinker. I think there was

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probably some attitude issue as well.

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Speaker 1: But yeah, alcohol plus punk rocker equals bad attitude.

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Speaker 2: Tough to deal with. So they need a guitarist.

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Speaker 4: Now, what do you know about another hardcore punk band

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called The Young and the Useless.

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Speaker 2: That band had a guy and it named Adam Horowitz. YEP.

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Speaker 4: When John Barry quit the Beastie Boys, it was only

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natural for Adam Horowitz to kind of step over and

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take over as the guitarist for the Beastie Boys.

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Speaker 1: Dave I was telling thee before we started this, you know,

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I was like, I don't really think I'm a hip

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hop guy very much. But what I found out was

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I'm really not a hardcore punk guy.

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Speaker 3: Yes, that is not my style, very very loud.

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Speaker 4: The Young and the Useless did record their own EP,

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also on rat Cage Records. It was called Real Men

385
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Don't Floss and it is just as much of a

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sonic assault as Polywogs Do. But anyway, by the time

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that was released. Adam Horowitz was with the Beastie Boys. Yeah,

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I did find out a couple of interesting things about

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The Young and the Useless bandmates, their other lead singer,

390
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Dave Skilken. He died of a drug overdose in the

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early nineties.

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Speaker 2: He was a really close friend. When they first met him,

393
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they noticed him and they're like, here's this kid. You know,

394
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it's the middle of the school day and he's obviously

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skipping class and walking around with a synthesizer in his

396
00:20:06,559 --> 00:20:08,920
hand as like a mohawk carecut, and they're like, this

397
00:20:08,960 --> 00:20:11,759
kid looks cool. And they meet him. He's in sixth grade,

398
00:20:12,680 --> 00:20:15,640
eleven years old. They're like fifteen and he's eleven, and

399
00:20:15,680 --> 00:20:17,640
they're like, this dude's cool. We need to hang out

400
00:20:17,640 --> 00:20:21,160
with him. So yeah, Dave Skilkin was an interesting guy.

401
00:20:21,359 --> 00:20:24,119
I believe he's in the Fight for You rite video

402
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if I remember right.

403
00:20:25,240 --> 00:20:26,960
Speaker 4: The other two guys in The Young and the Useless

404
00:20:27,079 --> 00:20:29,440
Arthur Africano. He would go on to be a cameraman

405
00:20:29,519 --> 00:20:32,480
working in Hollywood. He's worked camera for shows like Picket

406
00:20:32,480 --> 00:20:35,440
Fences and The Practice. So he went on and had

407
00:20:35,480 --> 00:20:38,640
a pretty solid career in television. He also shot a

408
00:20:38,680 --> 00:20:41,759
few of the b C Boys videos, such as Intergalactic

409
00:20:41,839 --> 00:20:44,359
in the nineties, and there was yet another Adam, Adam

410
00:20:44,559 --> 00:20:46,759
tres or Tresi, and he would go on to be

411
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an actor and he performed in thirty Rock and Law

412
00:20:50,680 --> 00:20:53,400
and Order and Sopranos and things like that. So the

413
00:20:53,400 --> 00:20:55,720
young and the Useless they ended up being kind of significant,

414
00:20:55,759 --> 00:20:58,279
and Dave Parsons says they were better than the BAC

415
00:20:58,400 --> 00:21:00,480
Boys and in the world of part were punk.

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Speaker 3: They were they had.

417
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Speaker 4: The potential to be huge, but it was a it

418
00:21:04,039 --> 00:21:05,720
was a case of bad time because by the time

419
00:21:05,839 --> 00:21:08,279
their EP came out and there was interest in them,

420
00:21:08,799 --> 00:21:11,839
they were kind of already losing their direction because Adam

421
00:21:11,880 --> 00:21:13,839
Horowitz was hanging out with the Beastie Boys.

422
00:21:13,920 --> 00:21:16,960
Speaker 1: Okay, so about this time they recorded a song called

423
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Cookie Puss.

424
00:21:17,799 --> 00:21:18,839
Speaker 2: So where does that come from?

425
00:21:19,200 --> 00:21:22,240
Speaker 1: It comes from a ice cream commercial.

426
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Speaker 2: Like they make an ice cream that's called the cookie Puss.

427
00:21:25,359 --> 00:21:27,640
Speaker 1: Yeah, So like it's like a it's like an ice

428
00:21:27,680 --> 00:21:30,960
cream cake. So I watched this. Have you seen the

429
00:21:31,240 --> 00:21:35,119
commercials for this? So Carnell ice Cream had a like

430
00:21:35,119 --> 00:21:38,039
an ice cream cake is really weird looking, so like

431
00:21:38,119 --> 00:21:41,519
the nose was like a laid down ice cream cone

432
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and it had a high pitched voice, was like high

433
00:21:43,880 --> 00:21:47,599
on cookie Buss and uh, how did it go?

434
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Speaker 5: Cookie?

435
00:21:49,920 --> 00:21:52,759
Speaker 1: And on on Saint Patrick's Day they would have oh,

436
00:21:52,880 --> 00:22:03,440
Cookie Puss or Cookie o pusus. Adam Horovitz thought it

437
00:22:03,480 --> 00:22:07,039
would be hilarious to call the Carnival ice cream and

438
00:22:07,119 --> 00:22:10,279
asked to speak with Cookie Buss and they recorded this

439
00:22:10,440 --> 00:22:13,400
prank call and then they just put it down on

440
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a beat and it was just kind of this goofy song.

441
00:22:16,680 --> 00:22:20,480
Speaker 2: Yo man, Cookie Puss, then Cookie Puss, I want to

442
00:22:20,480 --> 00:22:22,839
speak to Cookie Puss Man.

443
00:22:22,640 --> 00:22:23,680
Speaker 4: Nobody here, but.

444
00:22:25,720 --> 00:22:27,240
Speaker 1: But it became popular.

445
00:22:27,359 --> 00:22:31,720
Speaker 2: Yeah, they started playing it at clubs and then they

446
00:22:31,799 --> 00:22:33,960
go to they go to see a friend who's working

447
00:22:34,079 --> 00:22:37,599
at a studio and they find out that there's a

448
00:22:37,680 --> 00:22:41,039
talk show going on upstairs. It was a lesson on

449
00:22:41,079 --> 00:22:45,160
how to properly scratch like it had Yes, it had

450
00:22:45,200 --> 00:22:49,960
Africa Bambada and DJ Jazzy Jay I think was the

451
00:22:50,000 --> 00:22:52,519
other guy on there. And they were teaching these little,

452
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you know, white suburbanites how to properly scratch their records.

453
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And then all of a sudden, like there's a question

454
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from the audience and the host he goes back there

455
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and then Adam It stands up and he's like, hey, yeah,

456
00:23:06,200 --> 00:23:09,880
have you heard of this song called Cookie Puss? And

457
00:23:09,880 --> 00:23:13,319
and Africa Bombarda was like, yeah, yeah, I've heard it. Yeah,

458
00:23:14,039 --> 00:23:16,240
song gotta I like it. Yeah.

459
00:23:16,440 --> 00:23:17,960
Speaker 5: I was just wondering there's a song I really like

460
00:23:18,000 --> 00:23:19,920
called Cookie Puss by the Beastie Boys that don't you

461
00:23:19,960 --> 00:23:23,640
ever heard of it? Yes, Cookie Puss. I've gotten the

462
00:23:23,640 --> 00:23:25,160
record through the rock pool.

463
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Speaker 3: It's tough. Yeah you like that?

464
00:23:27,000 --> 00:23:27,759
Speaker 1: Why do you like that one?

465
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Speaker 5: It's just a really funny song.

466
00:23:29,720 --> 00:23:33,720
Speaker 2: I heard on the radio scratching and work on it

467
00:23:33,920 --> 00:23:34,160
like that.

468
00:23:34,480 --> 00:23:37,720
Speaker 1: It has a little bit scratching on it and is funky.

469
00:23:38,000 --> 00:23:40,960
Speaker 2: And so now they're on like national television and the

470
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talk show and they've announced their album and it was

471
00:23:44,119 --> 00:23:47,039
all just them being goofy dumb kids.

472
00:23:47,079 --> 00:23:48,680
Speaker 1: Brilliant marketing right there.

473
00:23:48,759 --> 00:23:49,440
Speaker 2: Yeah.

474
00:23:49,519 --> 00:23:51,559
Speaker 4: Well, what was interesting is that they were still a

475
00:23:51,559 --> 00:23:54,920
punk band. But Cookie Puss is not a punk.

476
00:23:54,680 --> 00:23:55,680
Speaker 2: Track, right.

477
00:23:55,799 --> 00:23:58,640
Speaker 4: It's got hip hop beats and it's got hip hop effects,

478
00:23:58,640 --> 00:24:01,039
you know, scratching and things like that on it. You

479
00:24:01,079 --> 00:24:04,079
can't say they're really rapping on it, but it's definitely

480
00:24:04,119 --> 00:24:07,559
a hip hop arrangement and it was the first time

481
00:24:07,599 --> 00:24:10,480
they had introduced anything like that to what they were doing.

482
00:24:11,279 --> 00:24:14,480
And it did take off, and it didn't gain attention,

483
00:24:14,640 --> 00:24:17,839
and it gained attention among the hip hop community, and

484
00:24:17,839 --> 00:24:19,200
there are a lot of it's important.

485
00:24:19,240 --> 00:24:21,880
Speaker 2: It's important to note that at this time, like this

486
00:24:21,920 --> 00:24:24,519
is when sucka MC's comes out, right, this is when

487
00:24:24,599 --> 00:24:29,799
run DMC becomes you know, whatever boombox is playing in

488
00:24:29,880 --> 00:24:33,119
New York City, and so at that point they become

489
00:24:33,440 --> 00:24:36,920
rap devotees. Like they were emulating and trying to imitate

490
00:24:37,000 --> 00:24:40,240
everything that run DMC was doing, and they ended up

491
00:24:40,279 --> 00:24:42,359
getting a they were going to be in the Battle

492
00:24:42,359 --> 00:24:44,359
of the Bands. They were they were in a Battle

493
00:24:44,359 --> 00:24:49,559
of the Bands at Studio fifty four. The Studio fifty four. Yeah,

494
00:24:49,599 --> 00:24:51,680
so they've got this, They've got there. They're like, Okay,

495
00:24:51,720 --> 00:24:54,200
we've got the Battle of the Bands. Cookie Pusses are song,

496
00:24:54,359 --> 00:24:57,240
but we just recorded it. We've never done it live.

497
00:24:57,480 --> 00:25:00,640
We've got to have a DJ to do a lot show.

498
00:25:01,119 --> 00:25:02,960
And somebody's like, you know who you should talk to.

499
00:25:03,039 --> 00:25:06,119
You should talk to my buddy Rick, who's an NYU student,

500
00:25:06,279 --> 00:25:10,000
Rick Rubin, Rick freaking Rick freaking Rubbin, who at this

501
00:25:10,119 --> 00:25:14,880
point was just a kid in kid in college. Yeah,

502
00:25:15,119 --> 00:25:18,039
a weird kid in college, but go ahead. Yeah.

503
00:25:18,200 --> 00:25:20,640
Speaker 4: So Rick Rubin at the time that I met him

504
00:25:20,839 --> 00:25:24,000
was the social director for the student union at NYU,

505
00:25:24,440 --> 00:25:27,279
which probably means he was just a professional partier.

506
00:25:27,440 --> 00:25:28,359
Speaker 3: Is going to be my guest.

507
00:25:28,680 --> 00:25:31,599
Speaker 1: Excuse me, I'm out of toilet paper. Can you help

508
00:25:31,599 --> 00:25:32,160
me on with that.

509
00:25:33,039 --> 00:25:36,240
Speaker 2: So it's interesting because Rick Rubin he was going to

510
00:25:36,400 --> 00:25:39,400
NYU with the intention of going to law school. And

511
00:25:39,440 --> 00:25:41,559
I've got more on that later, but he was going

512
00:25:41,599 --> 00:25:44,359
with the intention to go to law school. But he said,

513
00:25:44,720 --> 00:25:48,680
I never scheduled a class before three pm because I

514
00:25:48,720 --> 00:25:51,039
knew I wouldn't be awake before then. Because he was

515
00:25:51,039 --> 00:25:53,960
spending every night going out to the clubs where like

516
00:25:54,079 --> 00:25:58,319
all of the rap music was playing, and he had noticed.

517
00:25:58,400 --> 00:26:01,200
You know, he'd get excited about these out and then

518
00:26:01,200 --> 00:26:02,880
you get the album and you'd be like, this doesn't

519
00:26:02,880 --> 00:26:05,880
sound like the live show, this doesn't sound the way

520
00:26:05,920 --> 00:26:08,880
that the club sounds. I want that sound. And that

521
00:26:09,039 --> 00:26:11,799
was kind of the impetus for him to decide, Hey,

522
00:26:11,839 --> 00:26:13,920
I want to do some DJing and ultimately want to

523
00:26:13,960 --> 00:26:14,599
do some producer.

524
00:26:14,759 --> 00:26:17,200
Speaker 4: Here's the thing about Rick Rubin. He started out in punk.

525
00:26:17,279 --> 00:26:18,200
He was a punk rocker.

526
00:26:18,519 --> 00:26:18,720
Speaker 2: Yeah.

527
00:26:18,759 --> 00:26:20,720
Speaker 3: He backed a couple of bands, right, Yeah, when he

528
00:26:20,759 --> 00:26:23,599
was in high school. His first band was called the Pricks.

529
00:26:23,839 --> 00:26:29,160
Speaker 4: The Pricks, well, the Pricks never actually The Pricks never

530
00:26:29,240 --> 00:26:32,559
really made it out of Long Island, except they had

531
00:26:32,599 --> 00:26:35,759
a gig one night at CBGB's Have you heard about this?

532
00:26:35,960 --> 00:26:39,359
So at their performance, a fight breaks out in the

533
00:26:39,440 --> 00:26:42,359
audience and the cops are coming in and shutting the

534
00:26:42,359 --> 00:26:45,039
place down during the fight. So the cops come right

535
00:26:45,119 --> 00:26:48,119
in and shut it down. As it turns out, even

536
00:26:48,160 --> 00:26:50,720
though the fight was real, they had friends of theirs

537
00:26:50,759 --> 00:26:53,920
as plants in the crowd to kind of get things started.

538
00:26:53,920 --> 00:26:57,960
Speaker 3: They were the provocateurs. They made the fight happen. And

539
00:26:58,519 --> 00:26:59,160
the cob.

540
00:27:02,240 --> 00:27:04,119
Speaker 4: Get this, the cop that busted in to shut him

541
00:27:04,119 --> 00:27:05,519
all down, he happened to be right on the scene.

542
00:27:05,519 --> 00:27:07,960
He busting the door and shuts the whole performance down.

543
00:27:08,519 --> 00:27:11,839
That was Rick Rubens's dad in a costume.

544
00:27:13,079 --> 00:27:15,240
Speaker 1: Wow, that's brilliant.

545
00:27:15,359 --> 00:27:17,279
Speaker 2: So it's all just a marketing set up.

546
00:27:17,759 --> 00:27:21,680
Speaker 4: Yes, it's a way to get some notoriety and some publicity.

547
00:27:21,880 --> 00:27:23,799
Speaker 1: Wow, that's a great story.

548
00:27:24,640 --> 00:27:28,160
Speaker 4: When he goes on to NYU, he forms a band

549
00:27:28,200 --> 00:27:31,839
called Hose. Hose was a hardcore punk band. But then

550
00:27:32,119 --> 00:27:35,920
by eighty three, what Rick was personally finding was that

551
00:27:35,960 --> 00:27:38,759
the punk scene seemed to kind of be dying off.

552
00:27:39,359 --> 00:27:41,759
And what he had discovered was the hip hop scene

553
00:27:41,839 --> 00:27:43,480
and the rap scene.

554
00:27:44,079 --> 00:27:45,799
Speaker 3: And his mind was blown.

555
00:27:45,799 --> 00:27:47,680
Speaker 4: And he was going to all these clubs and hearing

556
00:27:48,079 --> 00:27:51,359
all this pure hip hop, you know, in its earliest stages.

557
00:27:51,680 --> 00:27:54,279
He was hearing the innovators. He was He's there at

558
00:27:54,319 --> 00:27:56,720
ground zero for the birth of this whole scene. But

559
00:27:56,880 --> 00:27:59,119
what he realized was that there was a lot of

560
00:27:59,160 --> 00:28:04,839
similarity between rap from this era and punk because they

561
00:28:04,880 --> 00:28:08,240
both shared the same outlaw kind of attitude. They both

562
00:28:08,279 --> 00:28:11,839
shared a like a low fi, do it yourself type

563
00:28:11,880 --> 00:28:15,000
of ethic to it. And I mean, honestly, you didn't

564
00:28:15,079 --> 00:28:18,759
need a lot of technical musical talent. With that musical

565
00:28:18,759 --> 00:28:21,240
talent was not a barrier of entry into either one

566
00:28:21,279 --> 00:28:21,960
of these amls.

567
00:28:22,400 --> 00:28:25,519
Speaker 2: To this day, Rick Rubin will say he's not a musician,

568
00:28:25,880 --> 00:28:30,000
and he's also not particularly good with mix a mixing board.

569
00:28:30,279 --> 00:28:34,039
It's it's just not what he does. His expertise is

570
00:28:34,079 --> 00:28:37,160
figuring out what's going to be good music, Like what

571
00:28:37,200 --> 00:28:38,079
people are going.

572
00:28:37,920 --> 00:28:40,480
Speaker 1: To like, Dave, what you said that really blew my

573
00:28:40,559 --> 00:28:45,720
mind because to me, hardcore punk and rap have nothing

574
00:28:45,720 --> 00:28:48,119
in common. But then when I started watching these videos

575
00:28:48,119 --> 00:28:51,519
and doing research for this podcast, they do have some commonalities,

576
00:28:51,559 --> 00:28:54,759
you know. For them to pivot from that to this

577
00:28:55,160 --> 00:28:57,119
and it not being that far is kind of interesting

578
00:28:57,160 --> 00:28:57,319
to me.

579
00:28:57,519 --> 00:28:57,759
Speaker 3: Yeah.

580
00:28:57,799 --> 00:29:00,359
Speaker 4: So there was also what I said before about there

581
00:29:00,440 --> 00:29:04,119
was this diversity of selection of music being played in

582
00:29:04,160 --> 00:29:06,480
these clubs, so kids were getting exposed to all kinds

583
00:29:06,519 --> 00:29:08,759
of stuff. It wasn't strictly what you might think in

584
00:29:08,839 --> 00:29:13,720
terms of genreing category and Africa Bambada has said that

585
00:29:13,839 --> 00:29:17,359
the punk rockers were the very first white audience to

586
00:29:17,599 --> 00:29:20,839
accept what he was doing, except that rap sound. So

587
00:29:21,359 --> 00:29:24,440
there was already before the BC Boys came along, there

588
00:29:24,480 --> 00:29:27,039
was already kind of an organic connection happening in the

589
00:29:27,079 --> 00:29:29,400
clubs between punk rockers and wrap.

590
00:29:32,400 --> 00:29:35,680
Speaker 2: Okay, guys, before we go any further, let's take a

591
00:29:35,799 --> 00:29:38,960
quick break and we are going to do the Shirley Showcase.

592
00:29:39,160 --> 00:29:41,559
We have a special guest this time.

593
00:29:41,759 --> 00:29:44,119
Speaker 1: Yeah, We've got my buddy, Cameron Eckert. He was my

594
00:29:44,160 --> 00:29:46,640
college roommate, one of my best friends in the entire world.

595
00:29:47,160 --> 00:29:50,319
He decided to weigh in on our usual Illusion one

596
00:29:50,319 --> 00:29:54,319
and two versus Metallica's Black album kind of that run

597
00:29:54,359 --> 00:29:57,559
of ninety one albums that we did this summer. And

598
00:29:57,640 --> 00:29:58,839
here's what Cameron had to say.

599
00:29:59,200 --> 00:30:02,920
Speaker 5: Hello, s, you can't be serious podcast. Hey, this is

600
00:30:02,960 --> 00:30:07,000
Cameron from Vancouver, Canada. Such a fan of you guys

601
00:30:07,119 --> 00:30:10,039
and your show from day one. And yes, that maybe

602
00:30:10,039 --> 00:30:12,640
because I knew it was coming, being a very good

603
00:30:12,640 --> 00:30:16,559
friend of Jason Colbyn, one of my college roommates. But

604
00:30:16,640 --> 00:30:18,599
you know what, I've loved it from day one. You

605
00:30:18,599 --> 00:30:20,480
guys are great together. You can tell that you are

606
00:30:20,559 --> 00:30:24,039
friends first and podcast co host second. I'm very honored

607
00:30:24,039 --> 00:30:25,960
that Jason asked me to send in a comment, and

608
00:30:26,039 --> 00:30:29,200
as a music fan and a hard rock music fan

609
00:30:29,279 --> 00:30:33,480
at that, I definitely had to choose Metallica Black versus

610
00:30:33,519 --> 00:30:37,240
guns N' Roses use your Illusion one and two. I

611
00:30:37,279 --> 00:30:39,519
am a bigger fan of hard rock than most of

612
00:30:39,599 --> 00:30:42,920
the genres I steer clear from, However, some of the

613
00:30:43,039 --> 00:30:46,680
softer groups like Poison and Warrant and yes, Jason bon

614
00:30:46,759 --> 00:30:50,039
Jovi huge fan of both Metallica and Guns n' Roses,

615
00:30:50,039 --> 00:30:54,160
though tend to like guns n' Roses a little bit better. However,

616
00:30:54,839 --> 00:30:57,839
in the case of Black versus User Illusion one and two,

617
00:30:58,599 --> 00:31:01,039
I have to agree with d on this one. All

618
00:31:01,079 --> 00:31:04,839
in all, I like the Black album just that bit

619
00:31:04,920 --> 00:31:08,880
better than either Use Your Illusion one or two. I would, however,

620
00:31:08,920 --> 00:31:11,359
agree with you guys that Use Your Illusion two is

621
00:31:11,640 --> 00:31:14,640
the better of those two albums. I'll tell you though.

622
00:31:14,680 --> 00:31:18,240
For me, it's a very close race between all three

623
00:31:18,279 --> 00:31:20,319
of them one, A, B and C.

624
00:31:20,559 --> 00:31:21,680
Speaker 2: Really, but if.

625
00:31:21,599 --> 00:31:24,559
Speaker 5: I'm walking out the door, I'm definitely going to skew

626
00:31:24,599 --> 00:31:29,160
towards Metallica Black. I became a huge Metallica fan probably

627
00:31:29,200 --> 00:31:32,640
off this album, which I know maybe sacrilege to the

628
00:31:32,640 --> 00:31:35,200
harder core Metallica fans is that tend to like their

629
00:31:35,240 --> 00:31:38,279
earlier harder core work. But I just found this album

630
00:31:38,359 --> 00:31:41,000
to be great and it made me actually go back

631
00:31:41,200 --> 00:31:44,359
and become a fan of Metallica's earlier work. So I've

632
00:31:44,400 --> 00:31:47,640
really appreciated that about the Black album. I did find

633
00:31:47,799 --> 00:31:51,160
that this release from thirty year anniversary of it, with

634
00:31:51,200 --> 00:31:54,160
all the different artists doing their takes on it was

635
00:31:54,279 --> 00:31:56,680
very cool to listen to. Obviously, there was some good

636
00:31:56,680 --> 00:31:59,079
stuff in there and some not so good, but it

637
00:31:59,119 --> 00:32:02,079
was just to see what kind of influence that album

638
00:32:02,559 --> 00:32:06,319
had on this generation, you know, and I think Guns

639
00:32:06,359 --> 00:32:11,599
probably had a big influence too, but their work seemed

640
00:32:11,640 --> 00:32:15,119
to spread over Appetite through Use Your Illusion one in

641
00:32:15,160 --> 00:32:18,559
two a little bit more. I liked Appetite a bit

642
00:32:18,640 --> 00:32:21,319
better than these albums, no matter what Axel thinks of them,

643
00:32:21,640 --> 00:32:23,119
and I don't know, I just I think I would

644
00:32:23,160 --> 00:32:27,039
take Appetite over Black, but against Use Your Illusion one

645
00:32:27,039 --> 00:32:28,960
and two, I'm still going to stick with with the

646
00:32:28,960 --> 00:32:32,880
Black album. I do find it amusing that in this case,

647
00:32:32,920 --> 00:32:35,559
and in most of you guys's final judgments, no matter

648
00:32:35,680 --> 00:32:37,079
the topic, I tend to.

649
00:32:37,039 --> 00:32:39,079
Speaker 2: Agree more with d than with Jason.

650
00:32:39,480 --> 00:32:42,279
Speaker 5: It's funny because on the same age as Jason, we

651
00:32:42,480 --> 00:32:45,599
kind of you know, went through the formative college years together.

652
00:32:46,279 --> 00:32:49,160
But I think I've evolved my tastes maybe a little

653
00:32:49,200 --> 00:32:52,359
bit more than Jason over the years. He's stayed with

654
00:32:52,440 --> 00:32:54,720
the pop culture of the eighties and nineties and I've

655
00:32:54,799 --> 00:32:57,759
kept going forward, which may be why it's a little

656
00:32:57,759 --> 00:33:01,279
bit different. So maybe make some sense anyway, guys, I

657
00:33:01,359 --> 00:33:03,880
just wanted to weigh in on that and wanted to

658
00:33:03,920 --> 00:33:05,799
tell you to keep up the great work. I look

659
00:33:05,880 --> 00:33:08,480
forward to seeing what of their music, movies and other

660
00:33:08,519 --> 00:33:10,079
topics you guys cover in the future.

661
00:33:10,480 --> 00:33:13,240
Speaker 2: Take care well, what can I say? I mean, I

662
00:33:13,240 --> 00:33:17,640
don't know about you know, evolution in the musical taste area.

663
00:33:17,839 --> 00:33:21,960
But right is right and Black Album is just a

664
00:33:22,000 --> 00:33:23,559
better album. It's just the way it is.

665
00:33:23,720 --> 00:33:27,839
Speaker 1: It's facks, you know, facts, right right? Cam?

666
00:33:27,880 --> 00:33:28,839
Speaker 2: Thank you very much.

667
00:33:29,359 --> 00:33:31,680
Speaker 1: These heads now humongous. I can't even fit in the room.

668
00:33:33,079 --> 00:33:35,359
Thank you for taking the time to weigh in. We

669
00:33:35,480 --> 00:33:38,079
do love all three of these albums, and I think

670
00:33:38,119 --> 00:33:40,240
all three of us agree that your Allusion Too is

671
00:33:40,279 --> 00:33:43,079
the better Guns N' Roses album. However, I can't really

672
00:33:43,119 --> 00:33:47,039
fault you for loving Metallica and the Black Album. So Cameron,

673
00:33:47,079 --> 00:33:47,720
thank you so much.

674
00:33:47,759 --> 00:33:47,880
Speaker 2: Bro.

675
00:33:48,079 --> 00:33:48,880
Speaker 1: We appreciate you.

676
00:33:49,160 --> 00:33:49,759
Speaker 2: Thanks Cameron.

677
00:33:54,640 --> 00:33:56,880
Speaker 4: By the time that eighty three rolls around, Rick is

678
00:33:56,960 --> 00:33:59,640
just like all In He's forgotten about. He's still a

679
00:33:59,640 --> 00:34:03,319
classic guy. He loves AC, DC, led Zeppelin, Aerosmith. He's

680
00:34:03,319 --> 00:34:06,359
a big fan of those guys. But he is obsessed

681
00:34:06,359 --> 00:34:09,440
with what's happening, the innovation and creativity. He's hearing in

682
00:34:09,480 --> 00:34:12,760
the hip hop clubs and he's learning how to be

683
00:34:12,840 --> 00:34:15,639
a DJ and scratching and programming drum machine and all

684
00:34:15,639 --> 00:34:18,320
that kind of stuff, and he's all about it. Well,

685
00:34:18,360 --> 00:34:22,360
he finds a kindred spirit in Adam Horovitz. So what

686
00:34:22,440 --> 00:34:24,360
happens is you were saying, we pick up the story.

687
00:34:24,480 --> 00:34:25,400
The BC Boys are.

688
00:34:25,320 --> 00:34:25,800
Speaker 3: A punk band.

689
00:34:25,800 --> 00:34:28,639
Speaker 4: They're playing punk sets, but now they are expected to

690
00:34:28,639 --> 00:34:31,599
play cookie Puss and to truly be able to do

691
00:34:31,679 --> 00:34:33,800
that justice on stage, they got to have a DJ.

692
00:34:34,440 --> 00:34:36,960
So they found Rick Rubin. They were introduced to him.

693
00:34:37,480 --> 00:34:40,280
He went by the name DJ Double R. He would

694
00:34:40,280 --> 00:34:42,880
come on at the end of their set to DJ

695
00:34:43,039 --> 00:34:45,400
for them so they can start incorporating a little hip

696
00:34:45,440 --> 00:34:46,559
hop into their shows.

697
00:34:46,760 --> 00:34:50,079
Speaker 2: Yeah, the show would start with punk music and end

698
00:34:50,119 --> 00:34:52,440
with hip hop music basically, right, that's right.

699
00:34:52,599 --> 00:34:55,480
Speaker 1: Rick Rubin got the job, kind of like the way

700
00:34:55,599 --> 00:34:58,800
David Lee Roth got the lead singer in Van Halen.

701
00:34:58,800 --> 00:35:01,440
Speaker 2: Except instead of having a piece, he had a bubble machine.

702
00:35:01,480 --> 00:35:03,360
He had the mix, he had the bubble machine.

703
00:35:03,599 --> 00:35:04,119
Speaker 1: The bubbles.

704
00:35:04,239 --> 00:35:06,920
Speaker 2: The bubble machine is what led them. And there he's like,

705
00:35:07,239 --> 00:35:09,440
he's got this awesome setup and he's got a bubble

706
00:35:09,480 --> 00:35:11,760
machine and they're like, wait, a bubble machine. Yeah, we

707
00:35:11,800 --> 00:35:13,960
got to get the guy with a bubble machine. When

708
00:35:13,960 --> 00:35:15,800
they met him, when they walk into his dorm room, like,

709
00:35:16,199 --> 00:35:18,920
this can't be the hip hop DJ guy because he's

710
00:35:18,960 --> 00:35:22,760
got the beard and his hair's all scraggly, and he's

711
00:35:22,800 --> 00:35:26,559
got like these leather long gloves, like black leather gloves,

712
00:35:26,559 --> 00:35:29,199
and like this dude's weird. But he ends up being

713
00:35:29,239 --> 00:35:32,480
like a big brother to him, and his music knowledge

714
00:35:32,639 --> 00:35:36,320
and his determination to succeed is infectious.

715
00:35:36,679 --> 00:35:40,199
Speaker 1: David Lee roth Rick Rubin both get the job because

716
00:35:40,199 --> 00:35:42,320
they happen to have a piece of equipment that's needed

717
00:35:42,360 --> 00:35:43,119
to get the job done.

718
00:35:43,440 --> 00:35:46,599
Speaker 2: So just just to touch on it, since I mentioned

719
00:35:46,639 --> 00:35:50,440
the Battle of the band Studio fifty four, they lost.

720
00:35:51,400 --> 00:35:54,800
Speaker 3: Well, what happened was Rick continued to hang out with them.

721
00:35:54,840 --> 00:35:58,519
Speaker 4: He befriended them, probably closer to Adam Horvis than the others.

722
00:35:58,599 --> 00:36:00,679
But they're all spending a lot of time at his

723
00:36:00,719 --> 00:36:04,199
dorm room, so they his dorm MOVI has been described

724
00:36:04,199 --> 00:36:06,920
as like a bomb site. It's as slovenly as you

725
00:36:06,960 --> 00:36:09,800
can imagine, and just pro wrestling posters on the wall,

726
00:36:10,239 --> 00:36:12,760
beat the boxes stacked up in the corner, and just

727
00:36:12,840 --> 00:36:16,159
crates and crates of music from all different types of categories.

728
00:36:16,239 --> 00:36:18,280
To the course of nineteen eighty three, he's talking to

729
00:36:18,800 --> 00:36:20,920
the BC boys about how they need to corporate, they

730
00:36:20,960 --> 00:36:22,159
need to do more hip hop.

731
00:36:22,239 --> 00:36:24,079
Speaker 1: It makes sense for them to kind of go down

732
00:36:24,079 --> 00:36:27,800
that hip hop route because cookie busses having success. Yeah,

733
00:36:27,880 --> 00:36:30,119
I mean, you'd want to chase that type of success.

734
00:36:30,280 --> 00:36:33,679
Speaker 2: It's not like the hardcore punk was their dream. They

735
00:36:33,679 --> 00:36:35,400
were doing this for fun. I mean they were trying

736
00:36:35,440 --> 00:36:37,639
to have a good time and make each other laugh

737
00:36:37,679 --> 00:36:40,480
and be silly. And so for him to go, hey,

738
00:36:40,519 --> 00:36:42,440
you guys should focus more on hip hop and left

739
00:36:42,440 --> 00:36:44,360
it's on punk rock, I don't see any It's not

740
00:36:44,400 --> 00:36:47,159
surprising to me. They're like, Okay, whatever that works. Sure

741
00:36:47,679 --> 00:36:51,679
that worked. Mean, let's keep trying to do that. Yeah, yeah, yeah.

742
00:36:51,480 --> 00:36:53,599
Speaker 4: So the guys were I don't know where Kate was.

743
00:36:53,639 --> 00:36:55,199
She was still in the band. They were still doing

744
00:36:55,239 --> 00:36:57,599
punk shows. But the guys were hanging out in Rick's

745
00:36:57,639 --> 00:36:59,519
dorm room a lot every day, just going through his

746
00:36:59,639 --> 00:37:01,280
crazy just hanging out having fun.

747
00:37:02,000 --> 00:37:02,079
Speaker 1: Me.

748
00:37:02,400 --> 00:37:06,000
Speaker 4: But they're still gigging as the Beastie Boys, and Rick

749
00:37:06,280 --> 00:37:11,280
is further exploring the rap scene, and he eventually befriends

750
00:37:11,840 --> 00:37:16,000
a club DJ named Jazzy Juh. Jazzy j was on

751
00:37:16,039 --> 00:37:17,519
the air in New York and he was a member

752
00:37:17,519 --> 00:37:20,239
of Africa Bambada's Zulu Nation, which is just a big

753
00:37:20,360 --> 00:37:23,239
organization of rappers and hip hoppers are all about world

754
00:37:23,280 --> 00:37:25,280
peace really and really trying to use music in a

755
00:37:25,320 --> 00:37:28,599
positive way to detert to steer people away from violence

756
00:37:28,599 --> 00:37:30,400
and things like that, and using music to kind of

757
00:37:30,400 --> 00:37:33,119
build culture and cultural bridges. And he got to know

758
00:37:33,199 --> 00:37:37,320
Jazzy j and Jazzy Jay and Rick Rubin got together

759
00:37:37,599 --> 00:37:40,320
and they produced a trap and they decided they wanted

760
00:37:40,320 --> 00:37:43,039
to try to release this as a song. So they

761
00:37:43,079 --> 00:37:45,679
went about trying to find someone to rap over this track,

762
00:37:45,719 --> 00:37:48,000
and they couldn't find a rapper. It took them like

763
00:37:48,039 --> 00:37:50,719
two years from the time they decided to get together

764
00:37:51,039 --> 00:37:51,880
to put the song out.

765
00:37:52,199 --> 00:37:55,320
Speaker 1: I'm sitting right next to a rapper. Why did it

766
00:37:55,400 --> 00:37:56,239
take them so long?

767
00:37:56,280 --> 00:37:59,119
Speaker 2: There's more to come, man, more to come.

768
00:37:59,159 --> 00:38:01,559
Speaker 3: I'm just saying they only knew about Doctor Fresh back then.

769
00:38:04,599 --> 00:38:05,800
Speaker 2: I was like seven years old.

770
00:38:05,840 --> 00:38:09,360
Speaker 3: Yeah, Doctor very Fresh.

771
00:38:09,519 --> 00:38:12,880
Speaker 4: But anyway, the first choice they had for a rapper

772
00:38:12,920 --> 00:38:18,000
they wanted Cool Mode Now was somebody that I recognize

773
00:38:18,000 --> 00:38:20,039
as a solo artist from them from the second half

774
00:38:20,079 --> 00:38:22,679
of the eighties, but at this time, he was a

775
00:38:22,719 --> 00:38:25,920
member of a very significant group called the Treacherous Three,

776
00:38:26,920 --> 00:38:30,679
and they couldn't get Cool Deep, and they couldn't get

777
00:38:30,920 --> 00:38:34,639
uh Special K, which was another member of the Treacher's Three.

778
00:38:34,760 --> 00:38:37,519
Their record label wouldn't let them do it, so they

779
00:38:37,519 --> 00:38:40,039
turned to Special K's older brother.

780
00:38:40,199 --> 00:38:41,800
Speaker 2: Te La Rock.

781
00:38:42,559 --> 00:38:45,840
Speaker 4: Tela Rock became their artist, and he came in and

782
00:38:45,920 --> 00:38:49,480
recorded the rap over the track that Rick Rubin and

783
00:38:49,559 --> 00:38:50,880
Jesse j had produced.

784
00:38:51,639 --> 00:38:54,239
Speaker 3: And at the end of the song, they.

785
00:38:54,159 --> 00:38:57,800
Speaker 4: Need some background vocals just doing nonsense stuff in the background.

786
00:38:57,960 --> 00:39:02,559
Those background vocals belong to Adam Horowitz, Adam y'all and

787
00:39:02,639 --> 00:39:03,320
Michael Donald.

788
00:39:08,239 --> 00:39:11,920
Speaker 2: Nice freaking awesome n So the song that they came

789
00:39:12,039 --> 00:39:15,800
up with is called It's Yours and it's really good.

790
00:39:16,079 --> 00:39:19,320
I mean Rick had hit upon that formula that he

791
00:39:19,400 --> 00:39:22,239
was looking for trying to get the club sound onto

792
00:39:22,280 --> 00:39:26,480
a record. And one of the people who heard this

793
00:39:26,760 --> 00:39:33,119
track It's Yours, was a manager named Russell Simmons, and

794
00:39:33,159 --> 00:39:38,559
he was managing for his brother's group, among others. His

795
00:39:39,079 --> 00:39:41,960
brother's name is Joe Simmons, but we know him by

796
00:39:41,960 --> 00:39:42,519
a different name.

797
00:39:42,639 --> 00:39:45,760
Speaker 3: I'm the King rondj run Run.

798
00:39:47,280 --> 00:39:48,320
Speaker 1: He was also going to get.

799
00:39:48,159 --> 00:39:50,639
Speaker 2: Into the picture here. I've got a good story on

800
00:39:50,679 --> 00:39:51,920
that one, Okay.

801
00:39:52,800 --> 00:39:54,719
Speaker 4: But at this time, Russell Simmons is one of the

802
00:39:54,719 --> 00:39:58,039
biggest names in the business as a as an artist manager.

803
00:39:58,199 --> 00:40:00,679
He not only managed run DMC, which was the biggest act,

804
00:40:00,920 --> 00:40:05,000
he also manages a lot of other acts, including Houdini

805
00:40:05,199 --> 00:40:08,599
and Doctor Jackeline, Mister Hyde, Curtis Blow, and a few others.

806
00:40:08,599 --> 00:40:11,480
Speaker 2: At the time, Yeah, when he finds out that it's

807
00:40:11,519 --> 00:40:16,559
some white NYU kid who's produced it's yours, and that

808
00:40:16,599 --> 00:40:18,760
white NYU kid is like, hey, I want to meet

809
00:40:18,800 --> 00:40:20,239
you and I want to talk to you. They get

810
00:40:20,239 --> 00:40:23,840
together for lunch and Adam and Mike and Adam are

811
00:40:23,880 --> 00:40:26,079
all there, like at a different table, just kind of

812
00:40:26,079 --> 00:40:31,000
watching eagerly about what's going on. And basically he he

813
00:40:31,199 --> 00:40:35,159
talks Russell Simmons into starting a record label, and Russell

814
00:40:35,159 --> 00:40:37,360
Simmons is like, man, I'm busier than I can be

815
00:40:37,519 --> 00:40:39,440
with managing these groups. I don't want to have to

816
00:40:39,480 --> 00:40:42,840
start something new. And Rick Rubin says, you don't have

817
00:40:42,920 --> 00:40:45,679
to do anything but be my partner. He goes without you,

818
00:40:45,840 --> 00:40:49,559
I'm just an NYU college student. With you, I've got

819
00:40:49,599 --> 00:40:51,880
a name. I will do all the work you just

820
00:40:51,960 --> 00:40:55,840
be my partner name, and so Russell Simmons agrees to it,

821
00:40:55,920 --> 00:41:01,199
and that's how we come to the formation of deaf

822
00:41:01,599 --> 00:41:03,480
Jam Records. Wow.

823
00:41:03,960 --> 00:41:08,639
Speaker 4: Yes, So when It's Yours was released, it was released

824
00:41:08,679 --> 00:41:11,840
with the name deaf Jam on it, but deaf Jam

825
00:41:11,920 --> 00:41:14,679
didn't actually exist as a company at that point. It

826
00:41:14,760 --> 00:41:16,559
was just a name and a logo that Rick Ruben

827
00:41:16,559 --> 00:41:18,920
had come up with. It had been it was actually

828
00:41:18,960 --> 00:41:22,199
released through a small local independent label, but it was

829
00:41:22,239 --> 00:41:25,360
a name that he already had and it already used unofficially.

830
00:41:26,039 --> 00:41:28,480
And then in the summer of nineteen eighty four, you

831
00:41:28,559 --> 00:41:31,119
got it exactly right. So he and Russell Simmons sat down,

832
00:41:31,519 --> 00:41:35,480
and Russell went to his dorm room, stepped through the

833
00:41:35,519 --> 00:41:38,320
mess and listened to the beats he had programmed, and

834
00:41:38,360 --> 00:41:40,320
he's he was blown away and said these were all

835
00:41:40,440 --> 00:41:43,639
hits in the making. And so they formed the record

836
00:41:43,679 --> 00:41:47,039
label and they officially became deaf Jam Records in the

837
00:41:47,079 --> 00:41:48,440
summer of nineteen eighty four.

838
00:41:48,639 --> 00:41:51,400
Speaker 2: So, as you mentioned, they were spending a whole lot

839
00:41:51,440 --> 00:41:56,039
of time with Rick, and as that happened, they were

840
00:41:56,039 --> 00:41:59,760
spending a whole lot less time with Kate Schellenbach, who

841
00:41:59,800 --> 00:42:04,960
was drummer, and kind of that influence is what led

842
00:42:05,079 --> 00:42:08,159
to her being asked to leave the band. And I

843
00:42:08,159 --> 00:42:11,280
think they still even today feel bad about this. Now

844
00:42:11,280 --> 00:42:14,039
it ends up being kind of okay because she ends

845
00:42:14,119 --> 00:42:16,880
up being a drummer for a group called Luscius Jackson

846
00:42:16,960 --> 00:42:19,840
who ends up doing shows with them. But at the

847
00:42:19,880 --> 00:42:22,199
time they were just like, hey, we're a you know,

848
00:42:22,320 --> 00:42:25,000
we're a guy's band and we are a hip hop

849
00:42:25,119 --> 00:42:28,239
now band, and so we don't really want to have

850
00:42:28,480 --> 00:42:32,360
a girl drummer, and so they they kick Kate out

851
00:42:32,760 --> 00:42:36,239
now before that happens. Before that happens, they get to

852
00:42:36,239 --> 00:42:38,760
go to Russell Simmons office and they're thinking, because he's

853
00:42:38,800 --> 00:42:41,599
the because he's the manager of these group, huge groups,

854
00:42:41,599 --> 00:42:43,360
they think it's going to be this big, showy office

855
00:42:43,760 --> 00:42:46,000
and it's like two rooms, you know, it's like two

856
00:42:46,039 --> 00:42:50,480
small rooms even together. But when they go in, there

857
00:42:50,639 --> 00:42:55,719
is Curtis blow In talking to Russell Simons, and he's

858
00:42:55,800 --> 00:42:58,599
not just talking to Russell Simmons, he is trying to

859
00:42:58,679 --> 00:43:05,360
learn how to break dance. So there's another group called

860
00:43:05,400 --> 00:43:07,679
Full Force that's there with them, and they're like all

861
00:43:07,960 --> 00:43:11,559
around him as he's trying to do like headspins and stuff,

862
00:43:12,000 --> 00:43:14,880
and the Beastie Boys are like, you know, they've they've

863
00:43:15,000 --> 00:43:17,639
met some of their idols. Now, Curtis Blow is sitting

864
00:43:17,639 --> 00:43:20,840
here and I told I told, I told Jason. On

865
00:43:20,840 --> 00:43:22,559
the way over here. I was like, man, Curtis Blow

866
00:43:22,599 --> 00:43:24,360
is one of those albums that I played all the time.

867
00:43:24,400 --> 00:43:27,280
He's like, I don't, I'm not familiar with that. I'm like, dude,

868
00:43:27,920 --> 00:43:30,559
basketball is my favorite sport. I like they wave, they

869
00:43:30,599 --> 00:43:32,480
dribble up and down the court, just like I'm the

870
00:43:32,559 --> 00:43:35,840
King of the Microphone. With Doctor j and Moses Malone.

871
00:43:35,920 --> 00:43:38,599
I like slam dunks they take me to. My favorite

872
00:43:38,639 --> 00:43:40,639
play is the alley up. I like to figure go.

873
00:43:40,760 --> 00:43:42,719
I like to give in and go. It's basketball with

874
00:43:42,800 --> 00:43:46,719
mister Curtis Blue. I used to play it all the

875
00:43:46,760 --> 00:43:49,000
time when my brother would come out in his basketball

876
00:43:49,000 --> 00:43:52,559
games in high school. I was I was deep into it.

877
00:43:52,760 --> 00:43:55,519
I remember those lyrics from hearing them when I was

878
00:43:55,679 --> 00:43:59,320
seven eight years old. Doctor Jay and Moses Malone. Wow,

879
00:43:59,639 --> 00:44:01,559
yeah yeah, And they were at the end of the

880
00:44:01,599 --> 00:44:04,599
song there's like talk going on and they're like talking

881
00:44:04,639 --> 00:44:07,519
about you know, the new Young upstarts. The New Young

882
00:44:07,599 --> 00:44:09,880
Upstarts is Michael Jordan's new.

883
00:44:09,800 --> 00:44:11,280
Speaker 1: Young Upstars Michael Jordan.

884
00:44:11,360 --> 00:44:12,119
Speaker 2: That is awesome.

885
00:44:12,320 --> 00:44:14,199
Speaker 4: Yeah, I got to tell you about a guy named

886
00:44:14,239 --> 00:44:17,280
Todd who was living in Queens during nineteen eighty four.

887
00:44:19,320 --> 00:44:23,519
He was down in his mother's basement with a drum

888
00:44:23,519 --> 00:44:26,840
machine and a turntable, cutting demos and sending them out

889
00:44:26,880 --> 00:44:30,280
to anybody he could find, Okay, and he sent to everybody,

890
00:44:30,679 --> 00:44:32,679
including when he got a hold of a copy of

891
00:44:32,719 --> 00:44:37,840
Tila Rocks It's Yours. Rick Rubin had put the address

892
00:44:37,880 --> 00:44:40,000
the business address, which was just his dorm room.

893
00:44:41,400 --> 00:44:42,960
Speaker 3: Record, right, and.

894
00:44:42,880 --> 00:44:46,480
Speaker 4: So Todd sent a demo, took that address and sent

895
00:44:46,519 --> 00:44:48,320
a demo to that record company.

896
00:44:48,400 --> 00:44:48,559
Speaker 2: Right.

897
00:44:48,599 --> 00:44:50,599
Speaker 4: It was just Rick's dorm room, It's all it was.

898
00:44:51,400 --> 00:44:54,719
And that demo tape got thrown in a box which

899
00:44:54,760 --> 00:44:57,440
was probably buried under a bunch of other boxes, and

900
00:44:57,519 --> 00:44:58,639
it just all stacked up.

901
00:44:58,679 --> 00:44:59,760
Speaker 3: All this stuff was coming in.

902
00:45:00,119 --> 00:45:02,920
Speaker 4: Demo tapes were coming in after Tela Rock's record was out,

903
00:45:03,440 --> 00:45:05,960
and Rick Rubin wasn't bothering with any of it.

904
00:45:06,239 --> 00:45:08,000
Speaker 3: But the BAC boys were hanging out.

905
00:45:07,840 --> 00:45:10,199
Speaker 4: In his dorm room just killing time every day, the

906
00:45:10,280 --> 00:45:13,159
anything else to do. And Adam Horoviz is just kind

907
00:45:13,159 --> 00:45:15,519
of thumbing through these demos and he listened to a

908
00:45:15,519 --> 00:45:17,519
little bit and if you found something he liked, he'd

909
00:45:17,519 --> 00:45:19,960
tell Rick about it. Well, he put this one on

910
00:45:20,280 --> 00:45:23,280
called I Need a Beat from a guy named Ladies

911
00:45:23,360 --> 00:45:28,599
Love Cool James, and it was James Todd Smith who

912
00:45:28,679 --> 00:45:30,599
had fit this in and he's like, Rick, you might

913
00:45:30,599 --> 00:45:33,599
want to listen to this, and they were blown away

914
00:45:33,599 --> 00:45:37,320
by it. They bring in Todd Smith. He goes by

915
00:45:37,320 --> 00:45:40,280
the name ellll cool j and they're like, you've got

916
00:45:40,320 --> 00:45:42,760
to meet Russ. We want to produce your record. They

917
00:45:42,760 --> 00:45:45,000
had just formed deaf Jam Records. They hadn't put out

918
00:45:45,000 --> 00:45:47,159
a record yet. They were looking for the artists. They

919
00:45:47,159 --> 00:45:50,360
were looking for the song to launch their label. He says,

920
00:45:50,360 --> 00:45:52,440
you gotta meet Russ, you gotta meet Russ. They go in,

921
00:45:52,480 --> 00:45:55,360
they meet Russ. The ellow cool Jay's meeting rus Simmons

922
00:45:55,360 --> 00:45:57,159
for the first time and Rick Rubin plays the tape

923
00:45:57,599 --> 00:45:59,679
and Russell Simmons is like, I hate it.

924
00:46:00,239 --> 00:46:03,760
Speaker 1: Like that wow.

925
00:46:03,800 --> 00:46:06,599
Speaker 4: So young Todd he's all he's all disappointed and he's

926
00:46:06,719 --> 00:46:09,400
walking out kind of sad, and Rick Ruben comes up

927
00:46:09,400 --> 00:46:11,480
to him and says, don't listen to a word. He says,

928
00:46:11,599 --> 00:46:14,119
we're gonna recut this and he's gonna love it. So

929
00:46:14,159 --> 00:46:17,679
they get back in the studio with Adam Horovitz programming

930
00:46:17,679 --> 00:46:21,440
the drum beats. They recut I Need a Beat beat

931
00:46:21,559 --> 00:46:24,719
with Jesse Jay on the remix. They play it for Russ.

932
00:46:24,840 --> 00:46:27,440
They play that one for Russell Simmons. He's blown away.

933
00:46:27,679 --> 00:46:30,920
He loves it, and that launches loo Pool Jay's career,

934
00:46:34,199 --> 00:46:36,679
and it launches Deaf Jam as a label, and I

935
00:46:36,760 --> 00:46:39,960
Need to Beat becomes their very first single. It came

936
00:46:39,960 --> 00:46:41,519
out in nineteen eighty four.

937
00:46:41,599 --> 00:46:44,719
Speaker 2: Fantastic Wow, that's a good story man. Yeah.

938
00:46:44,760 --> 00:46:48,679
Speaker 4: And then from pollywog Stew they had a British Airways

939
00:46:48,719 --> 00:46:52,480
commercial had lifted one of their songs, BC Revolution and

940
00:46:52,599 --> 00:46:56,239
placed it in their commercial that went global and went international.

941
00:46:56,639 --> 00:46:59,800
They did it without permission, and the BC Boys decided

942
00:46:59,840 --> 00:47:03,960
that didn't like somebody sampling their music without perm and

943
00:47:04,039 --> 00:47:06,079
so early on this is the this is the John

944
00:47:06,119 --> 00:47:09,039
Barry lineup, the punk lineup with polywog Stew. They sue

945
00:47:09,440 --> 00:47:12,559
and they collect forty thousand dollars. It was the first

946
00:47:12,599 --> 00:47:16,480
money the Bat Boys ever made was off of this situation,

947
00:47:16,880 --> 00:47:18,400
and it was enough to get them out of their

948
00:47:18,440 --> 00:47:20,239
parents' house and they all got a place together.

949
00:47:20,480 --> 00:47:24,599
Speaker 1: Yeah, forty dollars adjusted for inflation today is about one

950
00:47:24,679 --> 00:47:25,239
hundred grand.

951
00:47:25,480 --> 00:47:27,199
Speaker 2: It's not a bad it's not a bad take.

952
00:47:27,280 --> 00:47:30,000
Speaker 4: Well, they fast forward to three years to nineteen eighty four,

953
00:47:30,079 --> 00:47:33,840
they put out rock Hard, which really sounds like a

954
00:47:33,920 --> 00:47:50,559
Rick Ruben record, and it sounds like the Beastie Boys.

955
00:47:50,960 --> 00:47:57,360
Speaker 3: Count of this.

956
00:47:57,360 --> 00:47:59,840
Speaker 4: This is the sound we have, we will come to know.

957
00:48:00,400 --> 00:48:04,000
It's the three male Beac Boys rapping over a hip

958
00:48:04,039 --> 00:48:07,000
hop drum beat but with heavy rock and roll samples,

959
00:48:07,000 --> 00:48:09,960
and it's all built around back in Black by ac DC,

960
00:48:10,159 --> 00:48:14,480
and I think significantly they refer to themselves as King AD, Rock,

961
00:48:14,639 --> 00:48:17,559
Might D and MCA in the song, which is probably

962
00:48:17,599 --> 00:48:20,679
the first time they do that, and they're truly kind

963
00:48:20,679 --> 00:48:24,320
of embracing hip hop at this point. Small problem they

964
00:48:24,360 --> 00:48:30,199
sampled somebody else's music without their permission. Ac DC is like,

965
00:48:30,280 --> 00:48:33,800
who are these guys? No, stop it right now. So

966
00:48:34,000 --> 00:48:37,599
even though it was technically Deaf Jam's second release, they

967
00:48:37,599 --> 00:48:41,320
immediately had to recall it and it was no longer available,

968
00:48:41,800 --> 00:48:43,559
and it was a collector's item in a bootleg for

969
00:48:43,559 --> 00:48:44,039
a long time.

970
00:48:44,199 --> 00:48:45,840
Speaker 3: It's still not available on Spotify.

971
00:48:45,880 --> 00:48:49,000
Speaker 4: I've noticed, but I do know that at least in Europe,

972
00:48:49,119 --> 00:48:51,719
it was cleared for release legally in two thousand and seven,

973
00:48:51,960 --> 00:48:54,719
and ac DC gave them permission, and you can find

974
00:48:54,760 --> 00:48:57,199
the song on YouTube. And I just heard it recently

975
00:48:57,199 --> 00:48:58,800
for the first time, and it's actually really good.

976
00:48:58,920 --> 00:49:01,880
Speaker 2: They found their voice. Don't sound like some other band,

977
00:49:02,320 --> 00:49:05,239
you know, they weren't. They're not imitating somebody else. They

978
00:49:05,760 --> 00:49:07,280
have their own unique sound.

979
00:49:07,360 --> 00:49:10,199
Speaker 1: And that's hey little thing, here's a little thing I

980
00:49:10,400 --> 00:49:12,480
just put together on that. So they steal Back in

981
00:49:12,559 --> 00:49:16,079
Black from ACDC, they wrap over at whatever, they sample

982
00:49:16,119 --> 00:49:19,159
it without permission. It turns out okay, because in nineteen

983
00:49:19,159 --> 00:49:21,280
eighty six, guess who's in the.

984
00:49:21,239 --> 00:49:25,000
Speaker 2: Fight for Your Right video? But Langa, Well Langa I

985
00:49:25,039 --> 00:49:26,400
forgot about that. That's right.

986
00:49:26,480 --> 00:49:30,000
Speaker 1: He was in there, the producer of acdc's Back and Black.

987
00:49:30,079 --> 00:49:32,400
Speaker 2: I think Flee was in there too, if I remember right.

988
00:49:32,480 --> 00:49:35,639
Speaker 1: Fleell cool J and the Sword and the.

989
00:49:35,559 --> 00:49:38,000
Speaker 2: Girl who was like later on MTV News was in

990
00:49:38,000 --> 00:49:39,480
there as the young blonde.

991
00:49:39,639 --> 00:49:42,199
Speaker 1: You're you're blowing my stuff for Fight for Your Right.

992
00:49:42,719 --> 00:49:44,519
Speaker 2: Sorry, well, we will come back to that when we

993
00:49:44,519 --> 00:49:45,360
do our track to track.

994
00:49:45,480 --> 00:49:48,519
Speaker 1: Okay, when when's Madonna. Get in here right from Madonna?

995
00:49:48,599 --> 00:49:50,239
Speaker 2: I got a good story on Madonna. Can I tell

996
00:49:50,239 --> 00:49:51,159
my Madonna's story?

997
00:49:51,199 --> 00:49:51,360
Speaker 5: Now?

998
00:49:51,519 --> 00:49:52,320
Speaker 3: Yeah, just real quick.

999
00:49:52,400 --> 00:49:54,760
Speaker 4: When eighty four ended, that's when Kate Sellenbach was out

1000
00:49:55,039 --> 00:49:57,800
and they truly just became straight up hip hop group

1001
00:49:57,880 --> 00:50:00,400
with Rick Rubin still as their DJ. And we get

1002
00:50:00,400 --> 00:50:01,920
into eighty five and that's Madonna.

1003
00:50:01,960 --> 00:50:05,199
Speaker 1: So what you got so Madonna is what what you would?

1004
00:50:05,800 --> 00:50:06,159
Speaker 2: Go ahead?

1005
00:50:06,440 --> 00:50:09,880
Speaker 1: No, please please finish that?

1006
00:50:12,719 --> 00:50:14,000
Speaker 2: So what Madonna wanted?

1007
00:50:14,519 --> 00:50:14,559
Speaker 5: What?

1008
00:50:14,679 --> 00:50:18,960
Speaker 2: What? What Madonna wanted was an opening act for her

1009
00:50:19,079 --> 00:50:23,079
first tour, her first tour, and so her manager, Freddy

1010
00:50:23,119 --> 00:50:28,000
Demand calls up Russell Simmons and says, hey, we want

1011
00:50:28,039 --> 00:50:31,079
to get run DMC as the opening act for Madonna

1012
00:50:31,280 --> 00:50:33,480
on her first turn. Now, this is Madonna at her

1013
00:50:34,239 --> 00:50:38,320
she's blown up at this point, right, And so russell

1014
00:50:38,360 --> 00:50:41,159
Simmons is like, no problem. Run DMC plays for twenty

1015
00:50:41,239 --> 00:50:44,679
thousand dollars per show, and Freddie Demand's like, uh no,

1016
00:50:45,159 --> 00:50:47,920
have a nice day. Click and they're done, and then

1017
00:50:48,000 --> 00:50:50,920
he's a few minutes later, russell Simmons gets a call again.

1018
00:50:51,239 --> 00:50:54,320
It's Freddy Deman again. He's like, okay, hey, wait, what

1019
00:50:54,440 --> 00:50:56,280
about the Fat Boys? Can you get the Fat Boys

1020
00:50:56,320 --> 00:50:59,519
for us? And Russell Simmons is like, ah, man, the

1021
00:50:59,559 --> 00:51:03,039
Fat boy are busy. Russell Simmons didn't actually manage the

1022
00:51:03,079 --> 00:51:06,599
Fat Boys ever at all. Wow, And he goes, but

1023
00:51:06,639 --> 00:51:08,960
I tell you what, I can get you the Beastie

1024
00:51:09,000 --> 00:51:12,639
Boys for five hundred dollars per show. And so Freddie

1025
00:51:12,639 --> 00:51:14,880
DeMann was like, sounds great, let's do that. And so

1026
00:51:15,159 --> 00:51:19,039
that is how the Beastie Boys became the opening act

1027
00:51:19,079 --> 00:51:20,800
for Madonna on her very first tour.

1028
00:51:21,480 --> 00:51:24,800
Speaker 1: That is also how Adam Horovitz got to make out

1029
00:51:24,800 --> 00:51:27,000
with Madonna backstage in the bathroom.

1030
00:51:27,119 --> 00:51:27,760
Speaker 2: It's nuts.

1031
00:51:28,000 --> 00:51:29,679
Speaker 1: I was talking to you guys. I'm like, you know,

1032
00:51:30,239 --> 00:51:34,199
that's not exactly an exclusive club probably, but that's a

1033
00:51:34,280 --> 00:51:36,800
club that I still wanted to join in nineteen eighty six.

1034
00:51:36,880 --> 00:51:39,679
Speaker 2: Oh sure, yeah, and she's I mean she's a little

1035
00:51:39,679 --> 00:51:42,239
bit older than him. I guess, well, and oh that

1036
00:51:42,239 --> 00:51:42,800
would have been.

1037
00:51:42,719 --> 00:51:44,519
Speaker 1: Some fun times bringing the heat back then.

1038
00:51:44,679 --> 00:51:48,039
Speaker 2: Yeah, she was YoY. Not that he wasn't an attractive guy,

1039
00:51:48,119 --> 00:51:49,800
but row I am.

1040
00:51:50,360 --> 00:51:52,559
Speaker 4: This was her first tour, so it was promoting both

1041
00:51:52,599 --> 00:51:55,480
her debut Madonna album as well as her Like a

1042
00:51:55,599 --> 00:51:57,800
Virgin album, So she was at the top of the game.

1043
00:51:57,880 --> 00:52:00,519
So one of the biggest names in pop music and

1044
00:52:00,719 --> 00:52:03,000
the beast Boys are coming out to open and nobody's

1045
00:52:03,039 --> 00:52:06,559
heard of these people. And they embraced and this was

1046
00:52:06,639 --> 00:52:09,599
quite intentional. Rick Rubin gave them this instruction. He was

1047
00:52:09,599 --> 00:52:12,599
a pro wrestling fan. He said, nobody there knows you.

1048
00:52:12,639 --> 00:52:15,320
They're gonna hate your stuff. Just embrace it, own that

1049
00:52:15,760 --> 00:52:18,159
and be the heel like in pro wrestling terms. You

1050
00:52:18,239 --> 00:52:20,000
just go out there and be the be like a

1051
00:52:20,039 --> 00:52:22,320
bad guy wrestler and just make them hate you.

1052
00:52:22,639 --> 00:52:25,719
Speaker 2: They were, and so they decided to be memorable by

1053
00:52:25,800 --> 00:52:29,639
being rude wrestling style, and so they would literally go

1054
00:52:29,719 --> 00:52:33,039
out when the show was over. They were just like,

1055
00:52:33,440 --> 00:52:36,719
you all can just burn this place down now because

1056
00:52:36,719 --> 00:52:38,960
there's never going to be a better show than us,

1057
00:52:39,159 --> 00:52:43,199
and fu you mother efforts. Which if you're thinking about,

1058
00:52:43,280 --> 00:52:46,400
you know, attendees at a Beastie Boys concert, okay, but

1059
00:52:46,800 --> 00:52:49,360
think about who was listening to Madonna back in nineteen

1060
00:52:49,400 --> 00:52:53,400
eighty four eighty five. These are little like priesteen girls. Yeah,

1061
00:52:53,480 --> 00:52:55,880
these are these are like the girls who are our

1062
00:52:55,920 --> 00:52:58,800
wives now back when they were you know, ten and eleven.

1063
00:52:58,880 --> 00:53:00,320
So they're cussing out a little Girl.

1064
00:53:02,679 --> 00:53:04,880
Speaker 4: Yeah, they they purposely set out to get people to

1065
00:53:04,880 --> 00:53:06,960
hate them, and they did, and they said that every night,

1066
00:53:07,039 --> 00:53:09,800
ninety five percent of the crowd absolutely hated them, but

1067
00:53:09,920 --> 00:53:12,559
with the other five percent, they built a fan base

1068
00:53:13,039 --> 00:53:16,039
and Madonna thought it was great. They absolutely did not

1069
00:53:16,079 --> 00:53:18,480
take themselves seriously. Like the record would be playing, they're

1070
00:53:18,480 --> 00:53:21,079
supposed to be lip syncing. They would completely ignore that

1071
00:53:21,159 --> 00:53:24,079
and just like basically slam dance on stage and just

1072
00:53:24,199 --> 00:53:26,840
laugh at it all. And they just didn't take it seriously.

1073
00:53:27,519 --> 00:53:30,320
And they're they're kind of on stage persona of being

1074
00:53:30,400 --> 00:53:34,320
these rude, crude frat boys that just party hard and

1075
00:53:34,360 --> 00:53:35,480
didn't care about anything.

1076
00:53:36,480 --> 00:53:39,519
Speaker 3: That really came together on this like a virgin tour.

1077
00:53:41,800 --> 00:53:47,679
Speaker 1: And that rude, crude frat boy attitude is basically full

1078
00:53:47,800 --> 00:53:48,800
force on license.

1079
00:53:48,880 --> 00:53:49,079
Speaker 2: De hll.

1080
00:53:49,920 --> 00:53:53,599
Speaker 1: That's what you get for twelve songs or whatever. And

1081
00:53:53,639 --> 00:53:57,119
people did embrace that. They liked it, Yeah, literally, they

1082
00:53:57,239 --> 00:53:57,599
liked it.

1083
00:53:58,480 --> 00:54:01,199
Speaker 4: But it absolutely took out of the New York club

1084
00:54:01,239 --> 00:54:04,760
scene and it was putting it in front of the nation.

1085
00:54:04,920 --> 00:54:06,239
Speaker 3: This is people's first exposure.

1086
00:54:06,239 --> 00:54:08,920
Speaker 4: Maybe it was not the best put forward for rap,

1087
00:54:09,159 --> 00:54:12,599
but it was significant in terms of getting some national exposure.

1088
00:54:14,079 --> 00:54:16,039
Speaker 3: But then just a couple months later.

1089
00:54:15,880 --> 00:54:18,800
Speaker 4: In October of nineteen eighty five, there was a movie

1090
00:54:18,800 --> 00:54:21,000
that came out. Now, this movie was shot in April

1091
00:54:21,000 --> 00:54:24,320
of eighty five. It was produced and starred Rick Rubin.

1092
00:54:24,960 --> 00:54:27,800
It was produced and featured a cameo from Russell Simmons.

1093
00:54:27,920 --> 00:54:29,039
Speaker 3: It was called Crush Group.

1094
00:54:32,559 --> 00:54:34,480
Speaker 4: Now, this is coming after nineteen eighty four, where there

1095
00:54:34,559 --> 00:54:37,960
had been several breakdance movies, and so there were some

1096
00:54:38,280 --> 00:54:41,239
low budget film studios that were looking to continue to

1097
00:54:41,239 --> 00:54:45,480
capitalize on the hip hop market for these low rent movies,

1098
00:54:45,800 --> 00:54:48,199
and they decided instead of breakdance, they needed to do rap.

1099
00:54:48,519 --> 00:54:51,119
There was no bigger name in wrap in nineteen eighty

1100
00:54:51,119 --> 00:54:53,119
four and they were looking to do this than Russell Simmons,

1101
00:54:53,599 --> 00:54:57,440
and they basically approached him about taking a fictionalized version

1102
00:54:57,440 --> 00:54:59,960
of his story, his biography, and putting it in a movie.

1103
00:55:00,440 --> 00:55:02,440
And so that's what you get. Crush Groove is kind

1104
00:55:02,440 --> 00:55:04,880
of a synonym for def Jam and it was the

1105
00:55:04,960 --> 00:55:07,199
name of the record label inside this movie.

1106
00:55:07,639 --> 00:55:09,559
Speaker 3: And this movie is great. I love it.

1107
00:55:09,440 --> 00:55:12,960
Speaker 4: It's cheesy, it's terrible acting, and it's low budget.

1108
00:55:13,320 --> 00:55:17,079
Speaker 2: But Underwood, you got Blair Underwood as the Russell Simmons

1109
00:55:17,119 --> 00:55:19,880
character was like Russell Walker or something. Isn't that right?

1110
00:55:20,719 --> 00:55:20,920
Speaker 1: Yeah?

1111
00:55:21,079 --> 00:55:24,960
Speaker 2: Much. Blair Underwood is a much handsomer man than Russell Simmons.

1112
00:55:25,039 --> 00:55:26,599
Is I would have for Russell? I would have Blair

1113
00:55:26,679 --> 00:55:28,480
Underwood play me even though we look on the line.

1114
00:55:29,119 --> 00:55:31,639
But Russell Simmons look at this. I mean, he wanted

1115
00:55:31,679 --> 00:55:34,960
to make a movie, but what his objective was was

1116
00:55:35,079 --> 00:55:37,000
make it a show piece for all of the bands

1117
00:55:37,039 --> 00:55:39,880
that he managed. And so you've got just a slew

1118
00:55:40,239 --> 00:55:44,199
of these mid eighties rap hip hop bands that are

1119
00:55:44,559 --> 00:55:45,719
appearing throughout the movie.

1120
00:55:45,880 --> 00:55:48,920
Speaker 4: Run DMC, Curtis Blow and Sheila E or kind of

1121
00:55:49,159 --> 00:55:51,800
kind of drive the story. The Fat Boys were added

1122
00:55:51,880 --> 00:55:54,639
without Russell's knowledge, was shot separately and cut into the

1123
00:55:54,719 --> 00:55:57,320
movie separately, and if you'll notice, their scenes never advanced

1124
00:55:57,320 --> 00:56:00,000
the plot. So he was really upset to find out

1125
00:56:00,079 --> 00:56:02,079
the Fat Boys were in his movie. But they were

1126
00:56:02,079 --> 00:56:04,199
a big name and it drove the box office. The

1127
00:56:04,320 --> 00:56:08,119
Ellopool j Mex a cameo appearance. The Beastie Boys make

1128
00:56:08,199 --> 00:56:12,760
a cameo appearance and they performed a new song that

1129
00:56:12,800 --> 00:56:15,440
they recorded in nineteen eighty five called She's on It.

1130
00:56:16,599 --> 00:56:22,960
Speaker 3: COLU, What was interesting.

1131
00:56:23,199 --> 00:56:25,440
Speaker 4: At this point, def Jam only had a couple of

1132
00:56:25,480 --> 00:56:27,840
singles out that they had two successful singles, they had

1133
00:56:27,880 --> 00:56:30,119
I Need to Beat and Rock Hard, which had to

1134
00:56:30,159 --> 00:56:32,679
be pulled for legal reasons. They had put out several

1135
00:56:32,719 --> 00:56:35,159
other smaller records that hadn't done anything. They had yet

1136
00:56:35,159 --> 00:56:37,599
to put out an album. Deaf Jam had not even

1137
00:56:37,679 --> 00:56:40,039
put out an album as a company yet, and there

1138
00:56:40,119 --> 00:56:43,360
was already a movie in theaters that was giving their story.

1139
00:56:43,719 --> 00:56:45,679
Speaker 2: That's crazy, that's impressive.

1140
00:56:45,840 --> 00:56:48,480
Speaker 3: So what happens here right at this time? This is critical?

1141
00:56:49,239 --> 00:56:51,400
Right here, after the success of I Need to Beat

1142
00:56:51,559 --> 00:56:53,320
and Rock Hard, it's enough.

1143
00:56:53,199 --> 00:56:56,719
Speaker 4: Success to garner interests from major record labels and they

1144
00:56:56,800 --> 00:56:59,760
end up signing a deal with Columbia for a distribution

1145
00:56:59,840 --> 00:57:03,079
to So Deaf Jam has Columbia Records distributing for them.

1146
00:57:03,440 --> 00:57:05,920
Speaker 3: So this is give them a huge infusion of cash.

1147
00:57:06,320 --> 00:57:08,039
Speaker 2: This is the story that I was that I was

1148
00:57:08,079 --> 00:57:11,480
alluding to earlier. So Rick Rubin was supposed to be

1149
00:57:11,559 --> 00:57:14,400
going to law school after NYU, right, That's what his

1150
00:57:14,519 --> 00:57:18,039
parents are expecting. And so the way that he broke

1151
00:57:18,199 --> 00:57:20,800
the news to his parents that he wasn't going to

1152
00:57:20,880 --> 00:57:23,480
go to law school was that he sent them a

1153
00:57:23,639 --> 00:57:26,760
picture of the check that he got from Capitol Records.

1154
00:57:27,440 --> 00:57:30,079
It was for six hundred thousand dollars.

1155
00:57:32,199 --> 00:57:34,800
Speaker 1: Well, I'm giving you six hundred thousand reasons why I'm

1156
00:57:34,840 --> 00:57:35,719
not going to law school.

1157
00:57:38,320 --> 00:57:41,079
Speaker 4: Well, that money was enough to move deaf Jam out

1158
00:57:41,119 --> 00:57:43,960
of his dorm room and move him too a three

1159
00:57:44,039 --> 00:57:46,960
story building which Russell Simmons had Rush Management, which was

1160
00:57:47,039 --> 00:57:49,719
his artist management business, on the first floor. Deaf Jam

1161
00:57:49,800 --> 00:57:52,280
Records was on the second floor, and Rick Rubin moved

1162
00:57:52,320 --> 00:57:55,920
into the third floor. So that Columbia money allowed them

1163
00:57:55,960 --> 00:57:57,800
to do that. But what it did was it set

1164
00:57:57,840 --> 00:58:00,280
the stage for nineteen eighty six. In nineteen eighty six

1165
00:58:00,800 --> 00:58:03,519
is the year where it really all started coming together.

1166
00:58:06,280 --> 00:58:06,599
Speaker 2: Hit it.

1167
00:58:10,280 --> 00:58:11,159
Speaker 1: Four and three and.

1168
00:58:11,360 --> 00:58:15,280
Speaker 2: Two and one. Okay, So obviously you know they lost

1169
00:58:15,440 --> 00:58:19,480
Kate Schnellenbach. They've got DJ double r Rick Rubin as

1170
00:58:19,559 --> 00:58:24,400
their DJ. But at some point that changes because I

1171
00:58:24,679 --> 00:58:28,280
know that doctor Dre No, not that doctor Dre the

1172
00:58:28,360 --> 00:58:31,440
other one from MTV raps, that Doctor Dray He was

1173
00:58:31,519 --> 00:58:35,159
their DJ for a while, and he was their DJ

1174
00:58:35,400 --> 00:58:38,400
for the first part of the Raisin Hell to him, right,

1175
00:58:38,920 --> 00:58:42,360
But then how did it move from Rick Rubin to

1176
00:58:43,079 --> 00:58:44,079
Doctor Dre well, I.

1177
00:58:44,079 --> 00:58:47,840
Speaker 4: Would say fate intervened. It was during the Madonna tour

1178
00:58:48,039 --> 00:58:50,639
in the summer of eighty five, where Ruben was still

1179
00:58:50,719 --> 00:58:52,079
on the road with them, and it was a part

1180
00:58:52,079 --> 00:58:54,760
of the act. History was about to go a different way.

1181
00:58:54,880 --> 00:58:56,559
This was going to be a four piece act with

1182
00:58:56,679 --> 00:58:59,320
the DJ Double R as a part of the Beastie Boys.

1183
00:58:59,519 --> 00:59:01,800
But after a couple of shows, he came down with

1184
00:59:01,840 --> 00:59:04,599
an ear infection and the doctor told him that he

1185
00:59:04,639 --> 00:59:08,800
couldn't fly while he's recovering from this ear issue, and

1186
00:59:09,039 --> 00:59:11,320
so he went back to New York. The rest of

1187
00:59:11,360 --> 00:59:13,199
the band didn't really know what had happened to him,

1188
00:59:13,199 --> 00:59:16,000
They didn't know why he had he had bounced out,

1189
00:59:16,400 --> 00:59:17,320
but they did get.

1190
00:59:17,280 --> 00:59:19,320
Speaker 3: Doctor Dre to step in and fill in as the DJ.

1191
00:59:19,480 --> 00:59:22,840
Speaker 4: So Doctor Dre serves as the DJ for the rest

1192
00:59:22,880 --> 00:59:24,840
of their takes over as their DJ for their gigs

1193
00:59:24,920 --> 00:59:27,880
that point forward in the middle of the madonnatur But

1194
00:59:28,000 --> 00:59:30,159
the reason this is fate intervening is that this now

1195
00:59:30,280 --> 00:59:33,400
freed Rick Rubin up to stay at the studio and

1196
00:59:33,559 --> 00:59:36,639
to work on production and to work on beats and

1197
00:59:36,719 --> 00:59:39,760
sounds and to develop them help them develop.

1198
00:59:39,480 --> 00:59:42,159
Speaker 3: The musical material that would be used on license to deal.

1199
00:59:42,400 --> 00:59:45,440
Speaker 4: And I can tell you this, the run DMC Raising

1200
00:59:45,519 --> 00:59:48,239
Hell Tour had already started without.

1201
00:59:47,960 --> 00:59:49,360
Speaker 3: The Beastie Boys on it.

1202
00:59:49,519 --> 00:59:51,719
Speaker 4: And the reason I know is that I attended a

1203
00:59:51,800 --> 00:59:54,840
show in May of nineteen eighty six. They came to

1204
00:59:54,920 --> 00:59:58,400
my hometown of Columbus, Georgia, and I saw Houdini and

1205
00:59:58,559 --> 01:00:02,000
Elo Cool Jay open for Run DMC, and they were

1206
01:00:02,079 --> 01:00:05,159
playing material from their brand new Raising Hell album that

1207
01:00:05,280 --> 01:00:07,679
I had not heard yet, and it was blowing me away.

1208
01:00:08,480 --> 01:00:10,559
And the BC Boys were not a part of that show.

1209
01:00:10,760 --> 01:00:12,920
What was happening was they were still in the studio

1210
01:00:13,280 --> 01:00:15,360
working on the album. They were still putting their material

1211
01:00:15,400 --> 01:00:18,559
together and having conducting their sessions, and it would be

1212
01:00:18,679 --> 01:00:20,800
a little bit later in the year, not too much later.

1213
01:00:20,840 --> 01:00:23,679
Speaker 3: I didn't miss them by much apparently, but they would.

1214
01:00:23,559 --> 01:00:27,320
Speaker 4: Join the Raising Hell Tour during nineteen eighty six as

1215
01:00:27,360 --> 01:00:31,400
an opening act, but their set consisted of only three songs.

1216
01:00:31,960 --> 01:00:35,679
They sang Slow and Low, She's on It, and hold

1217
01:00:35,719 --> 01:00:37,400
It Now Hit It, and that's all they had. Every

1218
01:00:37,480 --> 01:00:38,960
night they went out and did those three songs and

1219
01:00:39,000 --> 01:00:41,400
they were done. A couple of stories about the Raising

1220
01:00:41,480 --> 01:00:45,079
Hell Tour. You know these guys are brash, they're rude.

1221
01:00:45,239 --> 01:00:47,559
They offend on purpose. They think it's funny when they

1222
01:00:47,559 --> 01:00:49,960
can get a reaction out of people. And they're real

1223
01:00:50,079 --> 01:00:52,360
tight with Russell Simmons and run DMC and the whole

1224
01:00:52,480 --> 01:00:55,039
rap crowd. And they're accepted by the hip hop community right.

1225
01:00:55,079 --> 01:00:57,039
They're a part of it, And that's important to know

1226
01:00:57,559 --> 01:01:00,880
when you think about their acceptance and in the reaction

1227
01:01:01,039 --> 01:01:01,639
to their album.

1228
01:01:02,000 --> 01:01:04,079
Speaker 3: It's easy when it comes out, it's easy to think

1229
01:01:04,079 --> 01:01:04,360
of them.

1230
01:01:04,320 --> 01:01:06,679
Speaker 4: As a joke or a parody. But the truth is

1231
01:01:07,119 --> 01:01:10,039
they had credibility. They had cred they were legit, they

1232
01:01:10,079 --> 01:01:12,800
were from the scene. They knew all this right people,

1233
01:01:13,639 --> 01:01:18,159
they had the credibility. But this is nineteen eighty six

1234
01:01:18,280 --> 01:01:21,280
and they were among friends. They wanted to offend people.

1235
01:01:21,599 --> 01:01:23,440
They were using the N word on stage as a

1236
01:01:23,480 --> 01:01:26,400
part of their routine, which sounds crazy in twenty twenty one,

1237
01:01:26,519 --> 01:01:28,679
but back then, with the environment they were in, it

1238
01:01:28,800 --> 01:01:31,519
was a part of what they did. Here's the problem.

1239
01:01:31,960 --> 01:01:34,760
The Raising Hell tour stopped at the Apollo Theater in

1240
01:01:34,840 --> 01:01:39,960
the Harlem. They were doing a show and Russell Simmons

1241
01:01:40,079 --> 01:01:43,480
is freaking out. He goes up to Doctor Dre, which

1242
01:01:43,480 --> 01:01:45,480
is for the show starts and says, whatever you do,

1243
01:01:46,039 --> 01:01:50,000
do not let them say that word. And Doctor Dres like,

1244
01:01:50,440 --> 01:01:52,360
what can I do? I'm just back here spinning records.

1245
01:01:52,800 --> 01:01:55,920
I can't help what comes out of their mouths. Sure enough,

1246
01:01:56,239 --> 01:01:57,760
they're in the middle of their show.

1247
01:01:57,840 --> 01:01:58,360
Speaker 3: They're gone.

1248
01:01:58,639 --> 01:02:00,519
Speaker 4: Ad Rocks up front with his hands in the air,

1249
01:02:00,559 --> 01:02:03,239
getting the crowd going. The crowd's with them. He blurts

1250
01:02:03,280 --> 01:02:09,480
it out. He throws it out there. Immediately you could

1251
01:02:09,480 --> 01:02:12,719
hear a pin drop. Everybody's just staring at him. Oh

1252
01:02:12,840 --> 01:02:15,559
my goodness. Ad Rock's got his hands in the air.

1253
01:02:15,920 --> 01:02:17,960
So he realized he's lost the crowd, and he's like,

1254
01:02:18,119 --> 01:02:20,239
what am I gonna do? Mike d turns around at

1255
01:02:20,280 --> 01:02:22,679
Doctor Dre. He's got fear in his eyes. He's looking

1256
01:02:22,719 --> 01:02:24,400
at him on stage, like what do we do?

1257
01:02:24,639 --> 01:02:25,079
Speaker 1: What do we do?

1258
01:02:25,599 --> 01:02:27,880
Speaker 3: And Doctor Dre's like, I don't know. Adam y off

1259
01:02:28,039 --> 01:02:29,400
and Mike d take off.

1260
01:02:29,440 --> 01:02:33,039
Speaker 4: They run off the stage, and Horovitz looks around, realizes

1261
01:02:33,119 --> 01:02:33,880
he's by himself.

1262
01:02:34,079 --> 01:02:35,519
Speaker 3: Boom, he runs off the stage.

1263
01:02:35,880 --> 01:02:39,519
Speaker 4: The crowd is left staring at Doctor Dre like, who

1264
01:02:39,559 --> 01:02:41,000
are you hanging out with these clowns?

1265
01:02:41,199 --> 01:02:41,360
Speaker 1: Right?

1266
01:02:41,480 --> 01:02:41,760
Speaker 2: And he.

1267
01:02:43,400 --> 01:02:47,239
Speaker 4: He goes backstage himself. The BC boys are gone. They're

1268
01:02:47,280 --> 01:02:50,679
nowhere around the tour buses there, they're not there. They

1269
01:02:50,760 --> 01:02:52,440
ran out the back door and got in a cabin.

1270
01:02:52,519 --> 01:02:54,760
They were gone before Drey was even.

1271
01:02:54,599 --> 01:02:55,280
Speaker 3: Off the stage.

1272
01:02:58,199 --> 01:02:58,760
Speaker 2: That's awesome.

1273
01:02:59,519 --> 01:03:01,519
Speaker 4: I can also tell you that at another stop on

1274
01:03:01,639 --> 01:03:05,440
the tour, they were in Miami and Doctor Dre overslept

1275
01:03:06,199 --> 01:03:07,440
and they left without him.

1276
01:03:07,559 --> 01:03:09,599
Speaker 1: He's still mad about that. I saw an interview. He's

1277
01:03:09,599 --> 01:03:10,400
still mad about that.

1278
01:03:10,760 --> 01:03:12,960
Speaker 2: He's a sleeping like it was like the couch and

1279
01:03:13,039 --> 01:03:15,719
the lobby of the hotel or something right, and he's like,

1280
01:03:15,880 --> 01:03:16,320
just wake me.

1281
01:03:16,400 --> 01:03:17,440
Speaker 1: Up, leave me.

1282
01:03:17,639 --> 01:03:19,840
Speaker 2: Don't leave me, literally, don't leave me. And they left

1283
01:03:19,920 --> 01:03:23,400
him anyway. And that is how DJ Hurricane became because

1284
01:03:23,400 --> 01:03:26,599
he had been with run DMC before and Doctor Dre

1285
01:03:26,800 --> 01:03:29,039
was like, screw you guys, I'm gonna go do yo

1286
01:03:29,159 --> 01:03:32,119
MTV wraps. I'm joking. Of course that wasn't until much later,

1287
01:03:32,199 --> 01:03:35,360
but but yeah, that's how DJ Hurricane comes on. Now

1288
01:03:35,400 --> 01:03:38,880
what else also happens in Miami? We talked about this

1289
01:03:39,159 --> 01:03:43,280
when we did our Aerosmith episode. This is where Joe

1290
01:03:43,440 --> 01:03:47,039
Perry and Steven Tyler come in and they do the

1291
01:03:47,159 --> 01:03:52,280
performance of Walk This Way with Run DMC. Right, they're

1292
01:03:52,360 --> 01:03:55,679
there to do just this one song, and so I

1293
01:03:55,960 --> 01:03:58,840
think I think it was Run, I think it was No,

1294
01:03:58,920 --> 01:04:02,679
Maybe it was No, it was jim Master Jay. Jem

1295
01:04:02,760 --> 01:04:06,519
Master Jay goes, hey, Yuck, it'll be funny if you

1296
01:04:06,599 --> 01:04:09,639
go out there and play bass with them, and so Yack,

1297
01:04:09,679 --> 01:04:13,920
who's mostly drunk at this time, goes out while Joe

1298
01:04:14,000 --> 01:04:16,920
Perry and Steven Tyler are on stage performing Walk This

1299
01:04:17,039 --> 01:04:19,800
Way with his bass, and they're like, who is this

1300
01:04:20,159 --> 01:04:22,760
drunk kid out here? You know, what is this? And

1301
01:04:22,920 --> 01:04:24,719
he keeps trying to do the back to back with

1302
01:04:24,840 --> 01:04:27,599
Joe Perry, and Joe Perry keeps like walking away from him,

1303
01:04:27,960 --> 01:04:30,320
and so he ends up chasing him around the stage,

1304
01:04:30,440 --> 01:04:35,079
walking backwards, trying to be cool with Aerosmith.

1305
01:04:40,960 --> 01:04:42,679
Speaker 4: The Raising Hill album did come out in May of

1306
01:04:42,719 --> 01:04:45,519
eighty six. Walk This Way came out as a single

1307
01:04:45,599 --> 01:04:48,559
in July of eighty six. So here we are winding

1308
01:04:48,679 --> 01:04:51,960
down the year and this song has taken over. Right,

1309
01:04:52,400 --> 01:04:54,280
we'll talk about it in the next episode, but Walk

1310
01:04:54,320 --> 01:04:58,639
This Way was absolutely massive in breaking Wrap through to

1311
01:04:58,639 --> 01:05:02,039
a crossover audience and kind of setting the table for

1312
01:05:02,280 --> 01:05:06,960
Frankly a white audience to embrace this new music form,

1313
01:05:07,159 --> 01:05:09,639
and so by the end of eighty six, the Beast

1314
01:05:09,719 --> 01:05:13,159
Boys actually put out another single. Paul Revere is a

1315
01:05:13,239 --> 01:05:16,159
single that comes out ahead of the release of the album.

1316
01:05:16,559 --> 01:05:20,960
But on November fifteenth, License to Ill is released. So

1317
01:05:21,039 --> 01:05:24,280
we're celebrating the thirty fifth anniversary of that album this week,

1318
01:05:24,360 --> 01:05:25,320
as we speak.

1319
01:05:25,079 --> 01:05:28,320
Speaker 1: Today is Wednesday, November the seventeenth. Today that we're recording.

1320
01:05:29,000 --> 01:05:31,079
Two days ago was the thirty fifth anniversary.

1321
01:05:31,119 --> 01:05:31,800
Speaker 2: It's incredible.

1322
01:05:31,960 --> 01:05:34,440
Speaker 1: Well, are we ready to dive intack by track?

1323
01:05:35,159 --> 01:05:35,440
Speaker 3: Ready?

1324
01:05:35,599 --> 01:05:38,239
Speaker 2: All right, we're going to jump in track by track. Now,

1325
01:05:38,360 --> 01:05:43,039
keep in mind these guys are real musicians. But they

1326
01:05:43,280 --> 01:05:46,679
and I don't mean that hip hop isn't real music.

1327
01:05:46,760 --> 01:05:49,159
But like they when they did their punk stuff, they

1328
01:05:49,320 --> 01:05:52,119
played the drums, they played the guitar, they played the bass,

1329
01:05:52,239 --> 01:05:54,559
They were able to play those instruments. It's just not

1330
01:05:54,679 --> 01:05:57,920
what they were doing. It wasn't their act. But our

1331
01:05:58,000 --> 01:06:01,239
friend Adam Yack was a guy who was like he

1332
01:06:01,480 --> 01:06:05,039
was special. Like he you talked about how his profile

1333
01:06:05,159 --> 01:06:08,119
said you should do anything except music, don't do music.

1334
01:06:08,239 --> 01:06:11,199
I think that must have been inspiration for him because

1335
01:06:11,400 --> 01:06:15,800
he studied it. And so back before YouTube back before Google,

1336
01:06:15,920 --> 01:06:20,239
back before Wikipedia. He knew that Jimmy Hendrix and sly

1337
01:06:20,400 --> 01:06:25,480
Stone were doing stuff with this idea of looping a track, right,

1338
01:06:26,199 --> 01:06:29,719
and so what you know, people not nowaday today know

1339
01:06:29,800 --> 01:06:32,679
what looping is, but back then nobody really knew. So

1340
01:06:32,880 --> 01:06:37,239
one day Mike d and Adam Horwitz come in and

1341
01:06:37,480 --> 01:06:40,320
at this point, at this point, Yack is a superintendent

1342
01:06:40,559 --> 01:06:43,519
of an apartment complex, like he's he's got a free

1343
01:06:43,559 --> 01:06:46,719
place to say because he's going to be the superintendent,

1344
01:06:46,760 --> 01:06:49,159
which means there were people who had like their toilet

1345
01:06:49,239 --> 01:06:51,599
go bad, and Adam Yak was the one that came

1346
01:06:51,639 --> 01:06:55,440
and fixed the toilet. And so they come in and

1347
01:06:55,559 --> 01:06:58,280
he's got this reel to reel and he's got the

1348
01:06:58,400 --> 01:07:02,119
tape going around. One MIC's going around, another mic stand

1349
01:07:02,239 --> 01:07:06,239
going through a rocking chair and back in and the

1350
01:07:06,360 --> 01:07:11,159
beat that's playing is from led Zeppelins when the levee

1351
01:07:11,199 --> 01:07:13,880
breaks and it sounds like this.

1352
01:07:21,079 --> 01:07:23,920
Speaker 1: All right, So when we finally ready to go track

1353
01:07:24,000 --> 01:07:29,280
by track through license till yes, yes, next week, next week,

1354
01:07:29,400 --> 01:07:33,679
not today? Sorry, all right, Dave, we'll catch you next time.

1355
01:07:33,880 --> 01:07:35,760
We'll do track by track through license.

1356
01:07:35,800 --> 01:07:37,480
Speaker 2: Deill, Hey, if you've been with us, this long. Be

1357
01:07:37,559 --> 01:07:39,960
sure to hit that subscribe button, that follow button so

1358
01:07:40,079 --> 01:07:43,039
that you catch our next episode next week, where we

1359
01:07:43,159 --> 01:07:47,760
will go track by track through license to Ill Eat

1360
01:07:47,840 --> 01:07:48,840
Me Well.

1361
01:07:49,320 --> 01:07:54,280
Speaker 3: Looking at Magucci, It's about that time, all.

1362
01:07:54,239 --> 01:07:55,079
Speaker 1: Right, Thanks a lot, Dave.

1363
01:07:55,079 --> 01:07:56,000
Speaker 2: We'll see you next time.

1364
01:07:56,239 --> 01:07:56,840
Speaker 3: All right. Thanks.

1365
01:07:56,920 --> 01:08:02,119
Speaker 2: Lock does not have more still.

1366
01:08:01,920 --> 01:08:03,599
Speaker 1: Men of robing and stewards

1367
01:08:07,440 --> 01:08:07,480
Speaker 4: H