Speaker 1: This is a podcast from Minute Media for You Can't
Say Him and the Case Forgot.
Speaker 2: I'm a.
Speaker 1: Hello everybody, and welcome back to the Shirley You Can't
Be Serious Podcast. I am here today with Jason Colvin,
my continuous co host, and we have our very special
guest again with us today, number four episode with mister
David Wright.
Speaker 3: David, how you doing today?
Speaker 1: Man?
Speaker 2: Man? I am deafened to my leftist Jimmy d and
too my right on the miciss Jason C the Shirley
Airwaves a guest spot on the show. Well it's got
to be deaf Daves. Where's your hip hop expert? Well?
Here he is all the knowledge that I drop make
suckers furious? He ask me how I am? It's not
that mysterious, Shirley You Can't be serious? A top down,
turn it up, brass monkey in a cup. Tune in
the final judgment and you'll know what's up. Hell, devastating
kount of podcaster b My name is David. You can
call me d whoa man that is?
Speaker 1: I'll be giving it up to you. Oh that was fantastic.
Speaker 4: That is the best intro ever I've started the trill
history right there.
Speaker 1: Yeah, that's fantastic. So we started before every time we
hit the record button, I say to Jason do you
have something? He says, now, do you have something? And
we just throw something at the beginning, and that was fantastic.
That's definitely the best way.
Speaker 4: I took time, effort, thought, Ryan off the top, Man
off the dome, I'm gonna I'm going to capture that.
Speaker 1: I'm gonna I'm going to put a backbeat to it,
and I'm gonna let it just be the interest song
for us every time. That would be awesome. Welcome back, David,
is great to have you here again. If you, dear listener,
are just joining us for the very first time in
this podcast. This is number four in a series that
we are doing where we are looking back at nineteen
eighty six, thirty five years ago this year, covering two
of the most iconic albums of that year, Raising Hell
by Run DMC and Licensed to Ill by the Beastie Boys.
Dave has been our special guest with the massive hip
hop knowledge bringing it and just man, you couldn't have
finished any stronger than that intro. So I'm excited to
jump back into it today. We are talking about Raising
Hell track by track. We have covered the history of
the Beastie Boys, we have covered Licensed to Ill track
by track, we have covered the history of hip hop
itself as it leads up to Run DMC, and today
we are going to be covering Raising Hell track by track.
I am pumped. I can't wait.
Speaker 4: I can't wait, Dave, are you ready to go track
my track to Raising Hell?
Speaker 2: Well? First of all, in case I don't have a
chance to say this at the end, I just want
to thank y'all so much for giving me this opportunity
to come on here for this guest st and talk
about this stuff. I feel like you just let me
indulge myself, and I hope everybody's enjoyed it. I think
it's amazing that I have an opportunity to talk about
run DMC with two guys actually named d and Jay.
I can sit here with with Lee's on my legs
and Adidas on my feet, with d by my side
and Jay with the beat.
Speaker 1: That's fantastic, man, that is fantastic. Dave. We've had a
great time with you, man.
Speaker 4: It's been fun to get to know you, and you
have been an awesome, awesome expert in this area, So
thank you for contributing to our show man.
Speaker 1: Yeah, it's been a complete honor. And just as a
reminder to everyone, Dave is an author. You can catch
his books at Galahad's doom dot com. We found out
just this week also that he does a podcast. I
don't know how we went this whole time and didn't
know that, but he has got a podcast where he
talks about soccer. It's a way to vent about your
soccer feelings. Right.
Speaker 2: Yeah, I'm a big I'm a big soccer fan, but
specifically a fan of the American version of the game.
So I'm a big major league soccer fan and US
national team fan, and I just do a quick, little
like news update type of podcast and usually no more
than ten minutes. So if someone's a very casual fan
or a curious fan but they don't really want to
devote an hour and a half to a big deep dive,
they can check in with my show, get what they need,
and then be done beyond with their day. So it's
called American Soccer Quick Kicks.
Speaker 1: Very nice, and you got lambasted this week on Twitter
for your thoughts on the new soccer ball. Is that right?
Speaker 2: Yes? I got destroyed because they showed the new ball
designed for next year and has flowers on it. I
made the mistake of saying that you don't put flowers
on a grown man's soccer ball, and I got completely
viscerated by soccer Twitter for that one. I may have
mentioned that my grandmother would be excited to see a
ball that matches her drapes. I don't think they like
that too much. Before we jump into the album, I
got a couple of things I want to point out.
First of all, this album represents pretty much the epitome
of the collaboration with Rick Rubin and run DMC. He
did go on to produce two more songs for them
after this album. The first one was Christmas in holl Us,
which is their well known holiday track. It was placed
in die Hard. It's kind of an annual. It's a
perennial holiday hit, at least around my house.
Speaker 4: It is hey way, we can't blow past that man.
Speaker 1: This is our Guyles Christmas.
Speaker 4: Music that he plays for John McLean as they're taking
the limo ride to knock a toy tower.
Speaker 2: That's right because the rhymes you hear are the rhymes
of Daryl's but each and every year we bust Christmas Carols.
The last song he did with them was Mary Mary,
which came off their nineteen eighty eight album Tougher Than Leather.
And I want to mention that song because I happened
to be in the crowd the night they were shooting
the Mary Mary music video. It was in Albany, Georgia.
I was with my friend from high school, Chris Grab.
I know he's listening. Shout out to Chris. We were
there that night when they were shooting the video and
their camera was behind me and I'm in the video,
but you kind of have to take my word for it.
You can't see my face, but you got one skinny,
little white elbow pumping his fists in the air. I
promise you that's me.
Speaker 1: That day's chicken wing famous elbow. And for your friend,
I just have to say, what up, Chris? What I
was born to do? Baby.
Speaker 2: That summer of nineteen eighty eight, it seemed like the
only two videos on MTV were Mary Mary and Pour
Some Sugar on Me. I was very happy to watch
Mary Mary every time it came on. That's my elbow.
Speaker 4: That's fantastic, man.
Speaker 2: So a note about the album cover for Raising Hell.
You'll notice that, just like with their first two albums,
the only two people that appear on the cover are
Darryl and Joe. You don't see jam Master Jay in
any of these first three album covers, and there's a
good reason for that, Okay, jam Master j was not
signed to Profile Records. The only people that had contract
Profile were Darryl and Joe, and so they had brought
Jay in as a side man for their road performances.
He was, for a long time, never officially signed to
the record deal. Even though you see him in some
early photography, Profile wouldn't put him on the cover.
Speaker 4: Interesting, So I've got a little bit something on the
album cover as well. Caroline Grayshock was the photographer and
she's the one who took Cyndi Lauper's.
Speaker 1: She's So Unusual cover as well.
Speaker 4: All Right, So before we go any further, this album
was released May twenty seventh of nineteen eighty six. Run
DMC is the first hip hop group to receive heavy
rotation on MTV, grace the cover of Rolling Stone magazine,
and get a Grammy nomination.
Speaker 1: And a couple of quick background on the recording of
the album. They had just come off of tour in
nineteen eighty five and they went into a place called
chun King Studios in New York City. Now, chun King
became a huge studio for recording hip hop and rap
style albums. You had Run, dmc, ll Cool J, Beastie Boys,
Public Enemy, Buster Rhymes, Notorious, Big Tupac, Lauren Hill, Outcast,
Method Man, Nas, Lil Wayne, Kanye West, all of those guys,
and some rock group Aerosmith as we know, Beyonce, depeche Mode,
Destiny's Child, Fergie and Lady Gaga all recorded at chunk
King Studios at some point, but it had just gotten
this name of chun King Studios when they came in
to start their recording process. Now, the producer on this
one was different than the last two albums, which we
kind of discussed. They had had Larry Smith as their
producer for the last couple of albums, and as Dave
mentioned on our last episode, Run had gotten a little
tired of how much Larry was trying to put more
music into the albums. Although it was his brilliant idea
when they were listening to Riot to put some rock
into their music.
Speaker 3: But this album.
Speaker 1: They were using a new upstart DJ called Rick Rubin.
Speaker 2: So you know, just to remember the timeline from our
first episode, the first album put out by def Jam
was ellocle Jay's Radio, which came just after Crush Groove
late nineteen eighty five, and it was produced by Rick Rubin.
Speaker 4: If you want more history on run DMC and hip
hop and rap, go back and listen to our previous
episode from last week.
Speaker 1: Where Dave laid the knowledge on Thick and.
Speaker 4: Is unbelievable the amount of knowledge to day brought on
that episode for sure. By the way, you mentioned Chunking Studios. Yes,
that is also known as the Abbey Road of hip hop.
One thing I wanted to cover real quick, raising Hell
did not reach number one on the Billboard Hot two hundred.
It made it all the way to number three.
Speaker 1: Do you know the two albums that kept run DMC
out of the top spots.
Speaker 4: I do, and we've talked about one at length and
one in glancing Mm hmm, Okay, the number two.
Speaker 1: I'll give you, Yeah, go ahead and do number two,
and I'll give you a hint on number one. I'll
give you a hint on number two.
Speaker 4: She made out with Adam Horowitz backstage at the Beastie
boyscus Madonna, but I know the album Madonna True Blue
on the strength of Open Your Heart and Papa Don't
Preach and La Isla Bonita reached number two September twenty,
nineteen eighty six, the number one album.
Speaker 1: Okay, so what it's a soundtrack? What movie was everyone
obsessed with in nineteen eighty six?
Speaker 2: Pop Gun?
Speaker 1: You Got It ding.
Speaker 4: Ding ding Ding top Gun number one, Madonna number two,
Rundy and See number three.
Speaker 1: I mean, that's amazing that they're up there, and with
those two iconic albums, it's it's an truly incredible given
that rap wasn't even in the mainstream a couple of
years before this.
Speaker 2: That's right, and this was the first rap album to
ever go platinum.
Speaker 1: Fantastic. Are you ready to dive in?
Speaker 4: Track by track, Dave, let's do it all right. The
first song on the track list Peter Piper, Peter Piper.
Speaker 1: Pig Peppers run rock Humpy down.
Speaker 4: That's his time.
Speaker 3: Exactly nimble what nimble?
Speaker 2: Any quick?
Speaker 1: Okay? We jump in and we are immediately made aware
of how awesome these guys are at exchanging lyrics back
and forth. It is brilliant. They'll do they'll do words,
they'll do bits. It is so incredible how their rhythm
is so in time with each other that they can
sound like almost one person with two voices.
Speaker 3: It's amazing.
Speaker 2: You don't get that awesome John Bonham drum phone that
you get in the beginning of License to Ill, But
what you get is immediately this blistering reminder of just
how great these two guys are together. What had become
their trademark was switching back and forth like that in
their delivery. But here they're they're letting you know right
off the top they have taken things to a whole
other level, and it just blows you away. They start
off with this a cappella beginning and you're already just
blown back against the wall.
Speaker 1: Yeah. And similar to Ryman and Stealing, they're throwing in
some literary references. It's more nursery rhymes and you know,
young adult kind of reading, like with Rip van Winkle
and such. But you got to be smart to hear
what they're saying, to know what they're saying. It's it's
great stuff. I have to think that the Beastie Boys
we need to do something like that. When they pick
their first.
Speaker 4: Song, Hey, they make a reference to Humpty Dumpty, Little
bo Pee, Rip Van Winkle, and the most amazing toy
of the nineteen seventies Weebles.
Speaker 1: They wobbled but they don't fall down.
Speaker 4: Weebles wobble but they don't fall down.
Speaker 2: They also referenced the DC comics hero Flash when they
say he's not Flash, but he's fast and his name
is Jay.
Speaker 1: That's awesome. Yeah. And the music that they've got behind
it is again it makes me think of girls. It's
that very kind of plinkety xylophone style of music that
they've got going with them, which is the perfect thing
to put with a song that's referencing all these nursery
rhymes in school stories.
Speaker 2: The Bells are a sample of a song called take
Me to the Marti Gras, which was by this jazz
fusion kind of artist named Bob James. At the time
that Ellll was working on his first album, he had
a song called Rock the Bells and he had heard
Run DMC working with this Bob James sample and was
going to use the same sample in his song Rock
the Bells. And when Run found out about it, he
got mad and confronted him and so basically won the argument.
So llll agreed to take this same sample from Taking
to the Marty Grass out of his song. So now
the album cut of Rock the Bells actually has no
bells in it at all.
Speaker 4: Let's play a clip of that real quick. There it is, man,
that's it, no question answer it.
Speaker 2: So the whole song is about jam Master J. It
didn't even though he had a self titled song on
the first album. So Peter Piper actually became his theme
song and it was the one that was most identified
with jam Master J. And in case you're not aware,
he was killed in two thousand and two and an
execution style murdered that for a long time was a
cold case. That's just recently in the last year been
some movement on that case. As a matter of fact,
there was there was an indictment one year ago, and
just November this year the prosecution has said that they
will not be seeking the death penalty, but they do
have a couple of guys that will be going to
trial for But this was the song that they used
at James Jay's funeral and in all his tributes, he
was known as Peter Piper and this was this was
the song they used to honor him.
Speaker 4: I heard Daryl McDaniels talk about this song and when
he was listening to the radio when this album was released,
the DJ came on and said, we have got the
most amazing, awesome hit of the summer from Run DMC.
Speaker 1: You're not even gonna believe.
Speaker 4: It's so great, And Daryl McDaniel's thinking, they're getting ready
to play Peter Piper. Peter Piper is the one, and
of course it was not. And we'll talk about that
song here in just a few minutes, Okay, But this is.
Speaker 2: A hit right out of the right out of the gate.
This is an awesome songs in one of their classics,
one of their best loved songs. It is awesome. It's
a great starter to the album.
Speaker 4: Absolutely ready for song number two. Yes, song number two
on the album called It's Tricky.
Speaker 2: This is my recital. I think it's very vital. That's
right on top.
Speaker 1: Tell me God.
Speaker 2: Right to ro right that site on Tom It's chick.
Speaker 4: All right now. This one I'm very familiar because they
played it on MTV all the time. This reached number
fifty seven on the Billboard Hot one hundred chart, released
February eighth of nineteen eighty seven.
Speaker 1: Let's talk about what it samples nineteen seventy nine, The
Knack my Sharona.
Speaker 4: When I read that, I was blown away because I
didn't really hear it until that came to my attention.
Speaker 1: Well, in two thousand and six, The Knack actually sued
run DMC and their associates and some online stores for
unlicensed use of this sample. And when they asked them,
why did it take you twenty years to bring your
case to court, they said, well, we just found out
we hadn't heard it before.
Speaker 4: Come on, man, twenty years to bring this case to court.
Speaker 1: Right, you're just now becoming aware of the track. It's tricky.
Speaker 2: Rock run to rock run, that's right on Thomas Chick game.
Wow yep. And of course they structured the chorus around Mickey.
Speaker 4: Yeah, okay, we got to talk about that too, because
that to me as clear as a bell, right, yep.
It's triggy to rock a rhyme to rock a rhyme,
that's right on time.
Speaker 1: It's tricky.
Speaker 5: Right.
Speaker 4: Then you've got oh, Mickey, you're so fine, You're so fine.
Speaker 1: You blow my mind.
Speaker 4: Hey, Mickey, Yes, those are identical.
Speaker 2: Yeah, and it's guaranteed to be an earworm. It's gonna
be stuck in your head.
Speaker 1: But it's also kind of a tongue twister. Is it's
difficult to spit that out as fast as they do.
And that's what the song is really about, is it's
not as easy to be a rapper as you think
it might be. You know, people dissing on them because
it's not real music, it's not singing, but they're saying, hey,
you try to do this. You see if you can
do this, mister Knox. It's tricky to rock a rhyme
that's right on time.
Speaker 2: It's tricky, huge hit on MTV. I know Pin and
Teller in the video. It's not a strong track man,
just coming out hot. Two songs in a row.
Speaker 1: Yeah, it's interesting. They they've got a positive message that
wasn't happening in a whole lot of rap after the eighties.
They talk about how they get offered dope and lots
of coke, but they said they just leave it alone.
And this kind of goes along with another song on
the album where he talks about going to Saint John's University.
They were trying to speak to kids on the street
who are out there doing drugs and not going to school,
to say hey, we can make it not doing that stuff,
and you can too.
Speaker 4: I found something really cool on the internet in regards
to It's Tricky. Okay, so there was a guy that
he posted this on Instagram. Just a guy driving down
the road top down, turn it up, had his windows
down and was thumping It's tricky. Who pulls up next
to him? Joseph Simmons run.
Speaker 2: Oh yes.
Speaker 4: When he pulls up next to him, rolls down his window,
leans in. The guy's like, oh my gosh, that's run
right next to me, and he is rocking the rhymes
right out of his window. The guy was like, oh,
I can't even believe it. There he goes, drives off.
That's it, and the guy puts it was awesome.
Speaker 2: Man, that's a lot better than my elbow story.
Speaker 4: Okay, that's it. That's all I got on on is Triggy.
Although I will say that video introduced me to Penn
and Teller as well.
Speaker 3: That was probably the first time I saw him too.
Speaker 1: Okay.
Speaker 4: Song number three my uh didas my uh well Coop
doors and football almost kind of stage at Live eight
All the People Game. This was the first single release
from this album, Strong Coming Song twenty ninth of nineteen
eighty six.
Speaker 2: This is a great song, fantastic song. Is probably my
second favorite on the whole album.
Speaker 4: My roommate in college, when we would be getting ready
to go play football or basketball or whatever, i'm'll be like,
let me grab my shoes real quick. That's all he needed.
I'd say, I need to grab my shoes. My uh
dudas Scott Foster.
Speaker 1: A shout out to Scott Foster.
Speaker 4: Interestingly, this song led to the first non sport entity
to sell sneakers.
Speaker 2: Yes, but when they recorded this song and when this
album was released, they had no endorsement deal in place.
They just did it because they loved Adidas.
Speaker 4: I read that in Hollis there was this local medic
named doctor Diaz. Doctor Diaz was this guy around town
who distributed a small pamphlet that talked about how fellon sneakers,
lee jeans, these certain hats and gold chains and brand
names of Puma and Adidas as troublesome. Like if you
see anybody wearing Puma or Adidas or gold chains or
sneakers with no shoelaces. These are troublemakers. These are people
you want to watch out for.
Speaker 1: Profiling there you go.
Speaker 4: And so they got mad about that. They found it
insulting and they're like.
Speaker 1: Hey, we wear Adidas and we're not bad guys.
Speaker 4: And so they were intent on writing a song about
Adidas and being good guys.
Speaker 2: So let me tell you about a man named Liar Cohen.
But we didn't talk about him last episode. But he
had started out run in a club up in California,
and one time run DNC had come out there and
performed some shows with them, and at one point he
decided he was going to work for Rush Management. He
basically cold calls. He walks up to the front door
in New York and tells Rush that he wants to
work for now. The RUSSI had known him from booking
shows at his club. But he's like, look, you know,
we're still a shoe string operation. And the way this
works is is you know you get paid a percentage
based on whatever new business you bring to the company.
You know that that that's the only way I can pay.
He said, well, okay, who's handling your merchandise? And Russ
is like, uh my what he who's booking your shows,
who's managing your your packaging your tours? He's like, uh,
my pack packed what? And Lyer said, I'll start on Monday.
In nineteen eighty six when he first got this job
and he was looking to generate the money. One thing
they did is they they pulled out of these annual
fresh Fest concert tours and he packages together the Raising
Hell Tour and so all the non rush elements of
fresh Fest dropped away, so they no more fat boys,
no more breakdancers, and it was just rush artists. So
that's how the Raising Hell Tour came to be just
BC Boys, Houdini, Ello, Cool J and run DMC and
that was it. And so it was so Liar Cohen
was the guy who put that on. And it was
in the middle of the Raising Hell Tour that Liar
orchestrated a fantastic stunt related to this song may Adidas.
What Liar and Russell did is they conspired to bring
over Adidas executives from Germany and had them attend a
sellout rundem Sea concert at Madison Square Garden. Now Joseph
Simmons also was in on it, and when they got
ready to sing this song. He took off his Adidas shoe,
held it up in the air, and he told everybody
else to do the same. And there was an ocean
of teenagers holding their Adidas shoes in the air, waving
them back and forth. The house lights come on, the
spotlights are sweeping across them, and those Adidas executives, their
jaws are on the floor. They realized in that instant
what is happening and how powerful run DMC is to
this market. And just like that, they signed run DMC
to an Adidas endorsement deal, making history as the first
non athlete to sign a sneaker deal. And this was
the beginning of the corporate world of understanding the power
of the hip hop market.
Speaker 1: It's fantastic, man, it is fantastic.
Speaker 4: They were trendsetters in so many ways. It's it's unbelievable.
Speaker 1: Okay, So, since you brought the company up, and since
you mentioned them earlier, I want to say this. So
Adidas the shoe brand was started by a guy named
Adolph Dassler. Right, he Hadi das adds exactly right. He
had a brother whose name was Rudolph Dassler, and at
one point they were in business together, working together, but
they realized they didn't like, we're going to get were
They just you know, their brotherly hate just kind of boil.
It reached a boiling point, and so Rudolph was like,
you know what, I'm going to go across the river.
I'm gonna start my own company and we'll just see
how it goes. And so Adolph makes adi Das Adidas
and Rudolph starts another shoe company that you might have
heard of called Puma Wow. And then they both end
up shoot on the feet of troublemakers out there. You
need to watch out for that. That's right, that's right.
Speaker 2: So what's cool about this about the song, though, is
that they're not necessarily bragging about the shoe itself. They're
bragging about themselves about all the things they've accomplished while
wearing the shoes.
Speaker 4: Russell Simmons had this idea that he wanted them to
write a song about their Adidas and he apparently came
up with this idea while smoking angel dust. So Deary
McDaniels said he went to see him and he's like,
you got to come up with a song that starts
my Adidas standing on two Street and he was and
he was really high because he said it about fifty times.
They actually mention their Live AID performance in the lyrics
of this song. We talked about that Live Aid performance
in last week's episode.
Speaker 2: Yes a step on stage at Live Aid all the
people gave in the poor gat payte. What I find
amazing is that this song May Adidas has a very
famous fan. Bob Dylan loves this song.
Speaker 1: Really what That's awesome? Yeah.
Speaker 2: At the time in nineteen eighty six, he said in
an interview that he just thought this was a great
example of just the vitality and just the uh this
the in roads. I guess they had the voice of
the black youth market that he just saw. This was
a fantastic expression.
Speaker 1: That is insane, that's incredible.
Speaker 4: We have mentioned Bob Dylan so much recently in such
like way Out their Ways. He wrote Knocking on Heaven's Door,
which we talked about in our Guns N' Roses episode
several weeks ago now, and then because of Knocking on
Heaven's Door that was in Pat Garrett and Billy the Kid,
we talked about him in our Young Guns Versus Tombstone.
Speaker 2: Episode, and now we're going to talk about him.
Speaker 1: With insane man is everywhere?
Speaker 2: All right?
Speaker 4: Are we ready to finish up on my ideas?
Speaker 2: I mean, look at this one, two three, right out
of the box. Peter Piper is tricky May Adidas. You
would think this can't possibly get better? What's track four?
Speaker 4: Track number four is the song that changed music culture, history,
everything as we know it.
Speaker 1: Okay, So I got to start off by saying that
we talked about this song on our Aerosmith episode and
just as a quick review of that, Steven Tyler came
up with this beat and Joe Perry came up with
the lick that went with it, and they were at
the end of a very long recording session and they
could not come up with any lyrics. They were struggling
and struggling, and finally the producer was like, just leave,
just get out of here, go watch a movie, have
some fun. And they go across the street to the
movie theater and what movie is playing Jason Young Frankenstein,
in which we have Marty Feldman who has the iconic.
Speaker 4: Line walk this way, no, this way.
Speaker 1: Yes, And they thought that that line was hilarious and
that's how this song came into being and It was
a part of their Toys in the Attic album, which
is probably their greatest album of the seventies. Right, sure,
So fast forward a few years, hip hop has caught on.
Djaying has become a thing, and all of the DJs
take these albums and because they don't want other guys
stealing their tricks, they wipe out basically everything except the
track numbers. And so they have Toys in the Attic
and everybody whose anybody knows, Hey, number four is a
great lick and a great beat. But they would put
that on, they'd play that lick, they'd play that beat,
they'd scratch it back, they'd do what they did, but
they never got to the lyrics of the song.
Speaker 4: They would just say, hey, grab toys and they played
number four.
Speaker 3: Right.
Speaker 4: But their plan was to roll that into a loop
and then wrap over it.
Speaker 1: Yeah, sample like they would normally do with any other song,
like they would did with My Sharona or any of
the others, is they're gonna they're gonna use that one
little part and they're gonna make their own song out
of it. But Rick was the one that said, no,
you guys should do the original song. I mean, and
you if you listen to it, it's well to my ears,
almost like a rap that Steven Tyler has a very
rhythmic way of singing his songs. And absolutely, so they
took the album home, they put it on the record,
they turned it on and it got past that initial
lick and it got into the lyrics and they were
like no, no, no, no, no, no, no way, we're
not doing this hill billy crap.
Speaker 4: The interesting thing was they couldn't understand. And this is
back in the days before the Internet where you could
google lyrics. So they had their pen in their paper
and they're like backstage lover, always undercover, talk to my
this is hillbilly music. They were not into it at all.
And actually it's Jim Ester Jay who was the one
who's like, guys, this is gonna be really good.
Speaker 2: Jay knew a little bit more about the song, I guess,
because maybe he was the guy with the records in
the back in the park. But when Ruven first suggested
walk this Way, Joe and Darryl didn't even recognize it,
or like, what do you mean walk this way? They
didn't recognize it by that name, and Jason was the
one that said no, no, yeah, yeah, yeah, you know
this one his toys in the attic. Well, they knew
it by the album name, because all they knew is
that opening drum beat, and it had been a staple
in the park for years, like you said, but they
had just never bothered to listen to the rest of
the song and they didn't know it by its proper name.
So it was Jason that said, no, no, no, listen, this
could work. Now, this is a case and I don't
know how many, It seems like it's in every episode
where you're covering albums, but this was a case of
where the album was basically done. They had all these
other tracks finished, and Rick Rubin, yeah, I mean, you
can finish the story. He was like, we need one more.
We're missing something. And this was a late idea, in
a late addition, and this was the one that kind
of galvanized the whole out.
Speaker 1: And I got to say, when we told this story
in our Aerosmith episode, I talked about, you know, Aerosmith
was kind of in bad trouble at that point. They
were trying to come back, but they were not They
had not at all come back to from what they
were in the seventies. Or what they had would become
in the late EA and nineties. Done with Mirrors in
nineteen eighty five was a disaster. H It was a total
momb And so when they get a call at the
when I we had our episode, I said, they get
a call from mister Rick Rubin. Well that was because
I was thinking Rick Rubin of you know, ultimate fame.
But at this point, Rick Rubin is a guy who's
done nothing. He was nobody to them. So they're getting
a call from a nobody about a rap group who's
done a couple of albums, saying, hey, we want to
cover your song and we want you to be involved
with the re recording of the music. They had to
be thinking the same thing, who are these guys?
Speaker 3: What are we going to be doing?
Speaker 1: And I think that even when they met up in
the studio, there was a lot of posturing and measuring
d's if you know what I mean, because these are
some strong personalities in these two groups.
Speaker 4: I've got a great story on this. After Rick Rubin
told them to grab their loose leaf notebook and pin
and go downstairs and write down the lyrics, and once
they heard Stephen Tyler start to seeing they were refusing
to do it. And so they sat there with their
arms crossed like stubborn children, and then the phone would ring.
The phone would ring, and they'd be like.
Speaker 1: Not answering it, not answering it.
Speaker 4: And they knew it was Russell who was calling to
yell at them, right, so they would they like go
into hiding, like for a week. They refused to do this,
and so Jay calls one day and so they're like, hey, Jay,
what do you want.
Speaker 1: I know, you know you're mad at us or whatever.
Speaker 4: He's like, guys, get down to the studio. Stephen Tyler
and Joe Perry are coming and they're like who who?
Speaker 1: And so Jay's like get down here, you know.
Speaker 4: So when they arrived, they see the guys from Aerosmith
and they're like, oh my gosh, the Rolling Stones are here.
Speaker 2: Well, it's a fanboy for Rick Rubin, right, because I mean,
this dude has just been like this like slob, living
in his dorm room and he stumbled into this situation
where he's producing records and you know, he was the
guy who grew up with led Zeppelin and ac DC
and Aerosmith, and he's like, what if we got Aerosmith
and he got him. And then so he's got his
heroes in the studio with him and he can't believe it.
He's got D Steve Tyler and D Joe Perry and
they're making a record for him. And so he gets
in there and he's got Joe Perry laying down guitar,
and Rick Rubin decides he's not playing well enough, he's
no good, and he's got the cajones to go up
to Joe Perry and say, you're not doing it right.
You got to try to get in here, try it
this way, and him on how to play his own lick.
Speaker 1: Wow, No, play it this way.
Speaker 2: He also, I understand Joe Perry plays bath on this track,
but when they got ready to do that, he hadn't
brought a bass guitar. They didn't have a bass laying around.
And so there were these kids hanging around the studio
the day they were recording all this, and one of
the kids is like, hold on, I'll go get my bass.
He and he runs out right and eventually he comes back.
He said, here, you can play you can play this,
and that kid was out of me off. It was
the Beast boys hanging.
Speaker 1: Oh my gosh, I didn't another story, but I knew
that was where you were going with the kids hanging out.
That is fantastic. Yeah, So fast forward a few months
and they're at the on stage playing together in Miami
and Adam Yawk's drunk out of his mind trying to
play bass with Chase and Joe Perry around backwards.
Speaker 4: You know, you mentioned that Joe Perry was not playing
up to par I heard an interview with Rick Rubin
and he was like, Ron and DMC, they were not
hitting the lyrics like he really wanted them to. He's
like they were lazy, they were goofing off. They weren't
into it. He's like, get your butts in gear and
lay down these tracks like you can, you know. And
so everybody was kind of feeling it out and took
a while to warm up to it. And Darryl McDaniel's
they're like, when did you know that this was going
to change people's lives? He's like, I didn't know it
was going to do anything until it took off.
Speaker 1: Right, And that was this story that you were alluding
to earlier. Whenever they had been touring. They get back,
he starts listening to the radio and there's a DJ
that comes on and he says, this is the hottest
rap song of the summer. Guys, everybody get ready. This
is about to blow the summer away. It's so strong.
And he knew what the song was going to be.
He knew it had to be my Adidas or Peter Piper.
And the song started playing and it was that Walk
This Way lyric and he was like, what, Yeah.
Speaker 2: So this album the artists themselves, they were more involved
in the production of the tracks and the songs than
the other albums. And Rubn was a little bit more
hands off with this than he was with Licensed to Ill.
But Walk This Way is all Rick Ruper, and I mean,
you know, we talked about how he had to coach
up Joe Perry, had to coach up Running D. I mean,
he demanded the best from all of these guys, and
he put this record together and it sounds amazing. I mean,
putting aside the fact that I'm gonna pick rap every day,
I think this version of the song sounds great. It's
just right there in your face, popping out of the speakers.
I think it's the production on it is better than
the It's an old song it just got that energy
to it.
Speaker 1: It's fantastic. There are a few cover songs that are
so that are as on point with the original as
this one is that you might say they may have
outdone themselves on this one. And obviously, if you don't
have Steven Tyler in there singing his parts to this song,
it's not the same song. It doesn't do the same right.
Speaker 3: If you don't have.
Speaker 1: Joe Perry in there doing the lick, even if he
took some coaching, it's not the same song. But run DMC.
Once they got their butts in gear, they were on
point on their interpretation of these lyrics. And then we
got to talk about the video. Let's talk about the video.
Speaker 4: Yeah, okay, So the video is Aerosmith practicing. They're in
the room right next door to Runny em CE and
they're practicing runnium C guys start the beat and Steven
Tyler's banging on the wall with his microphone stand punches
a hole through it, sticks his head in and that's
when he screams, walk this way, and it's a metaphor
for tearing down walls.
Speaker 1: Yeah, it's great. I love it, and I will say this,
I thought of you, Dave, because you are a video guy,
an editing guy. After Steve Tyler gets done singing through
the hole, Joe Perry sticks his head in and looks around,
and the camera pans across and it does this beautiful
cross cut into the concert stage and I was like, oh,
that was a really smooth cut right there. It looks
like we just went through the wall and now we're
in a completely different place.
Speaker 2: This video was landmark. It's really kind of amazing and
in retrospect, despite the reluctance that the artists had with
doing the song, in hindsight, it seems like a no brainer.
It seems perfect. The beat sounds like a rap beat.
It had been using the park for years. The lyrics
are already delivered in a way that almost sounds like
a rap anyway, right. DMC had a history already of
using rock and roll in their records. I mean, it
just sounds fantasmic. You're bringing in this classic rock band
that's going to bring a whole new audience to run DMC,
and this puts them on MTV for the first time.
This video was the first time Steve Tyler and Joe
Perry had ever appeared on MTV.
Speaker 1: That's insane, that's crazy.
Speaker 2: And then not only do you have that metaphor of
walls being knocked down, but you're using that video and
the collaboration here of these two high profile artists to
really send that message of that crossover, right, So you're
just uniting the races that black and white folks together
can both like this music, can both like this song,
and the video really drove that home in a pretty
cool way. But not only that, but that's exactly what
this song did for rap. This was no longer something
obscure and on the fringes. I was like the weird
white dude who already knew about like, you know, Boogie
Boys and Lottie Dotty and all this stuff my freshman year.
But nobody really was on board with how cool rap
could be until this song came out, and suddenly it
was cool to like run DMC and I'm looking like
that the hip guy in the corner who knew about
it all along. So it cannot be overstated how massive
of an impact this song had on breaking rap out.
I'm busting through that wall and and taking it to
the mainstream.
Speaker 1: Even just the simple storyline of the video, you start
the video with animosity, and by the time you reach
the end, it's handshakes and hugs.
Speaker 4: Yeah, it's great, beautiful, and in between you get a
great look at their shoeless adiitas.
Speaker 1: Yeah, and the veins and Steven Tyler's neck.
Speaker 2: This song is everything I mean. I believe that it
was the success of this song that created the environment
in the marketplace that allowed the Beastie Boys album to
be received so well, and it kind of primed the
audience and got the country ready for something like the
BAC Boys. I don't think Licensed to Ill sells as
well as it does without raising hell first, but specifically
walk this Way.
Speaker 4: You're exactly right. Everything you say is absolutely true. But
for a guy like me, what this song gave us
was loving an elevator and Jennie's Got a Gun and
crying and crazy and living on the edge and every
other ariosmis song because it revitalized their care.
Speaker 2: Yes, this is a fantastic the best of crossovers right,
because it's a win win for everybody. Aerosmith absolutely needed
this just as much as run DMC did, and both
acts come out way ahead after this collaboration.
Speaker 4: Yep, and I love what Daryl McDaniel says about this song,
He's like, at first, we were adamantly against it, we
were viciously opposed.
Speaker 1: But when he talks to high school kids.
Speaker 4: He's like, listen, always be willing to try something new.
It may just change your life. And he's absolutely.
Speaker 2: Right, change your lives, change the direction of music in
the eighties. It's just absolute massive monster.
Speaker 1: All right. I hate to be done with it, but
we've hit four for four. At this point, we have
had NonStop awesome ness classical. We are about to dive
into track number five.
Speaker 3: Is it Live the.
Speaker 4: Microphone Master dmc cause one, two, three, full casualties.
Speaker 2: You'll be praising d down on your knee because I'm
plumbing and I'm stomping on in CS. Okay, I love
the song. I don't think this was a single from
the album, but this is one of my favorite I
love the energy of it. It's absolutely I turned this
one up every time it comes on. But I gotta
tell you a story. So I'm in twelfth grade, right,
So this is a couple of years after the album
has come out, and I'm sitting in English class and
I gotta tell you up front. My girlfriend is in
the same class, and she's just a couple of rows away. Hey,
we're sitting there and we are studying poetry, and the
teachers going over different types of rhyming schemes. You know
how you have AABB CC or you might have aa
B and CCB to go with the pino. It's all
just poetry stuff that you're learning in class, right, And
they were like, and she was checking you see if
everybody understands what she's talking about, says, can you think
of examples of some rhyming schemes? And I'm sitting over
there and I just like that, that's all I do.
And everybody looks at me, and I play it all
over what who me? And and and everybody in the classroom, right,
they like they know they know me, And all of
a sudden, they're like they're starting to giggle. They're punching
each other and pointing like, hey, look look at that,
and everybody starts laughing and snickering, just knowing something's something's coming, right,
and uh, and I'm just playing it low key, you know.
And what the teacher is this like prim and proper,
you know, like classically educated, like Victorian like hair and
a bun Victorian Coller. And she turns and she says, David,
can you share with the class an example of an
internal rhyming scheme. I'm like, just served a softball right
over the middle of the plate, and I'm playing it
low key, you know. But but I've got twenty five
kids in the room, like on the hook, and I'm
reeling them in right and I'm just like, oh, you
want me to rhyme? And the teacher has no idea
what's coming. And she was like yes, and I go,
can I eat check and don't fight?
Speaker 4: And I might check.
Speaker 2: And all the guys in the class got their hands
in there and they're like, go death, day, Go death.
But all the girls in the class, they're they're ignoring
me because all their eyes they're on my girlfriends right,
And she's completely mortified. She's like trying to hide under
the desk. She's given me these looks like you shut
up now, David, shut up, and I'm like oblivious, you know,
just kind of got quality and skill book beyond belief.
Do I steal me for real? And that's great, man,
And it was awesome, and then uh, she didn't dump
me right away. But no, this was a different they'rel
not the one that was jocking Mike D to the
completely different girls. He got rid of me right after
prom is over. So the moral of the story is,
uh is I was a high school loser that never
made it with the.
Speaker 1: Last Oh that's fantastic, that's great, man.
Speaker 4: Hey, I had something similar. I'm just gonna throw this
in really quick.
Speaker 1: In my Spanish class.
Speaker 4: My Spanish teacher is one of those days we're watching
a video and she's like, okay, class, we're gonna watch
a movie, but it's gonna be in Spanish, and I'm
gonna stop it every so often. You're gonna tell me
what's going on if you can do it right.
Speaker 1: And we're like, okay, whatever.
Speaker 4: So she pops in Raiders of the Lost Art but
in Spanish. So she keeps coppying and she's like, does
anyone know what they're saying? And I'm like and I
just like, like, well, they're looking for the arc, but
they're looking at the wrong place, so the thing's one
thing too short. And I amazed my Spanish teacher she
had no clue.
Speaker 1: Oh my gosh, that's awesome man.
Speaker 2: All right, are we.
Speaker 1: Done with is it live?
Speaker 2: Yeah, yeah, we could be done. I love it to me.
It's another hit. It's another it's another NonStop hits here
coming from the top.
Speaker 4: So the next song on the album is a song
called Perfection.
Speaker 2: It goes a one two three and.
Speaker 4: It's quite essential.
Speaker 2: Get in it because I won't.
Speaker 4: Okay, I've got one thing to say about this, and
I'm gonna turn you list man.
Speaker 2: Okay.
Speaker 4: One thing I know about this song is that is
Jason Mazel on the drums.
Speaker 2: Down front. Okay, yes, and that's really the big takeaway.
This is the only track on the album it's got
live drums, real drumming on it.
Speaker 1: It's an interesting way that they handle it. It's a
slow down beat, it's it is much slower than the
first five songs that we've heard so far tempo wise.
And then they do an interesting thing where I think
it's run is doing the falsetto high pitched against against
DMC's regular voice rap, which is interesting because later on
DMC went through this whole weird spell where he went
ultra low and said he was basically forced to sing
in a higher voice that was than his normal voice.
But anyway, it's just it's interesting that They've got that
dynamic going on in this one.
Speaker 3: Would you do you like this song, Dave?
Speaker 2: I do like it. It is definitely, you know, a
step down and energy from the other songs that have
come before it so far. And you know, someone who's
not like a huge devote to this album, this might
be one that goes lower on their list. But the
reason I like it is because it is so easy
to do the parts because it's so slow. You know,
this is one that I could get together with a
buddy and we could switch off parts and sing along
with the record. You know, could we could pull it off.
But I don't ever skip it. It's a change of pace.
It's a nice little thing to have right there at
this spot in the sequence. And it's lighthearted, you know,
it's kind of funny. It's fun It's a step down
from the others we've heard so far.
Speaker 1: I like the drums.
Speaker 4: I do like the live drums.
Speaker 1: I think that it gives a little bit more character.
Speaker 4: You can see Jay's talent as a musician. And here, okay,
hit stop on your tape player, eja, kick it out,
flip it over side two, and we start off with
a song called hit It Run you can't see him
and the powerful start to the second side right here.
Speaker 3: Okay, hold on, hold on. It's so rare that I
get the opportunity to do this.
Speaker 1: This is the titular track, Titular Uh never grown up
from sophomore years.
Speaker 4: This one contains the gigantic MF or in the middle
of it. Yeah, that was a little bit of a
shock to me.
Speaker 2: These two albums were looking at Licensed to Ill and
Raising Hell they you know, you look back at now
and with like more mature ears, and they're both little
problematic for different reasons. You know, License to Ill is
actually completely clean in his language. It's just that some
of the subject matter, you know, a little rough, and
in this case, on this album, the subject matter is
not too bad. But there are three tracks that have
explicit language and little this was the worst one, unfortunately,
because it does detract from what is a fantastic song.
It's an awesome, hy energy.
Speaker 4: Jam along with dropping that MF for like a scud
missile right there.
Speaker 1: I had seen some.
Speaker 4: Interviews with Run on YouTube and I was just watching
those and he became later in life known as Reverend Run.
He went to church all the time as he was
telling his story. He decided one day to go to church,
and he was one of those deals that you know,
as with most grown men who give in and go
to church for the first time, they want to sit
in a back row. They don't want anybody to talk
to him, They just want to kind of observe. He
sitting there one day and he saw what clearly was
a grandmother who was dragging herr and son to church.
He didn't want to be there, but she was making
him right, and he was into rap music, and as
they walked in, he locked eyes with Run. He sits
down with his grandmother and he keeps looking back at
Run like that can't be who I think it is.
And he keeps looking at him, and he elbows his
grandmother and he's like, that's that's like a rap superstar
behind us, and she's like, that.
Speaker 1: Ain't no rap superstar. You're in church.
Speaker 4: Turn around and listen right that. He keeps glancing back,
keeps glancing back, and he's and he becomes more and
more sure that that's Run from Run DMC. And he said, like,
on the tenth time Run winked at him, and that's
when the guy's like, that's Run for run DMC, and
I just thought that story was hilarious.
Speaker 1: And he never skipped church again, that's right.
Speaker 4: The moral of the story is always go to church
because you never know who you're gonna see there.
Speaker 2: So this song features Daryl almost exclusively. Daryl do all
the rapping, and that is because Joe is actually beatboxing
on this record TFC cham Master t and beatboxing was
something that run DMC had never done, and it was
kind of the domain of Dougie Fresh and the Fat Boys.
Those were the two most prominent beat boxers, and so
for run DMC to come out with beatboxing was kind
of a bold move. And it's like, if they didn't
nail it, they were gonna look like they were just
being copycats. But I think this song is absolutely fantastic.
I attended the Raising Hell Show in May of nineteen
eighty six in Columbus, Georgia, and this was before Walk
This Way had been released as a single. Okay, so
I'm about the the I'm not the only white kid
in the whole crowd.
Speaker 1: Right.
Speaker 2: If you remember the old school televisions, when you turn
it off and it would it would go black except
for that one little white dot. I would tell people
I was the white dot on the TV set. You
heard I did know King of Rock, right. King of
Rock was the album that got me hooked on all
this and King of Rock the song was my favorite
at the time, and I hadn't heard the Raising Hell
album yet when I went to this show and they
start off with I'm the Key of Rock, and I
was like, oh, they just took King of Rock and
they just flipped it and there's a whole new song
and it completely blew me away. I mean I was
just enraptured. So from that very first live performance, I've
always absolutely loved this song, all right.
Speaker 1: Moving on to the eighth track on the album. Yes,
this song is called Raising Hell.
Speaker 4: Class from Queens Come Checks.
Speaker 2: We're raising Hell like a class one of us felt rings.
I won't be raised something.
Speaker 1: We won't be faced.
Speaker 2: Top down, Turn it Up.
Speaker 4: This song is a guitar rock thumper man, Turn it Up.
Speaker 2: This is my favorite song in this album. I can't
help but listen to it and listen to it loud
and scream the lyrics along every time.
Speaker 1: Who does the guitar on this? Man? That's you know?
Speaker 2: I don't, I don't know. I wanted it to be
Eddie Martinez, but as I was researching for it, I
can never find the answer, So I really don't know
the answer.
Speaker 1: Man, it's great, It's great.
Speaker 2: I love the song too, dissing all Devil's causing havoc
in hell at a very high level based on Troubleshell Yell.
I mean, it's everything like a beast, or at least
there's no stuff because the rock again, I see great
mans kings from queens, from Queens come Kings. It's the
rock and roll version of rap, right. They're screaming their
lyrics like not every rapper yells their lyrics the way
run DMC does. I mean, these guys are taking a
rock mentality and a rock approach to their rap, even
when they're not using like rock arrangements. This is the song.
If I can only pick one song off the album,
it's gonna be this one.
Speaker 1: I gotta say I was not from with this song
before we started doing the research and listening to this album.
This song is the standout for me at this point.
I love the fact that he keeps talking about how
awesome d is because I identify with that, and so
you know, from the Mountain Valley to the deep Blue Sea.
The word is heard is told by d I love that,
I love it all.
Speaker 3: It's such a good song.
Speaker 1: We get these golden nuggets every once in a while
as we're going through these albums of like, hey, I
didn't really even hear this one before, and this is
this is definitely that song.
Speaker 3: For me on this album.
Speaker 2: Wow.
Speaker 4: Okay, so this is where I want to drop in
my Sarah McLaughlin story. Okay, we take this heavy, hard
kitting rocker and then flash forward eleven years to nineteen
ninety seven. Run DMC has fallen from grace. Daryl McDaniels
is a full blown alcoholic who is suicidal emotionally broken.
Speaker 1: Every day he wakes.
Speaker 4: Up and finds the reason not to commit suicide. He
returns from a Japanese tour.
Speaker 1: Dave, do you know the story?
Speaker 2: I don't, Okay.
Speaker 4: So on his way back from the Japanese tour, he's
supposed to fly and based on where he lives, he's
supposed to fly into LaGuardia Airport in New York City
and instead he goes to JFK. So he's megapist about that.
So he gets in the taxi and the taxi says Texan.
Guy says, where are we going, sir? And he says
New Jersey and the guy same thing happens. He looks
over his shoulder kind of glances at him, and he
keeps turning. Every stop light he keeps glancing at him,
and finally, like at the third stop light, he's like,
I know I'm not supposed to say this, but you're
run DMC, and I love run DMC, and I could
get fired and I just really would love an autograph
and I'm.
Speaker 2: Really really sorry.
Speaker 4: And Darrel's like, look, man, it's cool, don't worry about it.
I'll even take a picture with you.
Speaker 1: It'll be fine.
Speaker 4: And so the guy's like, oh, this is so amazing,
thank you so much, blah blah blah. So as they're traveling,
the guy says, would you mind if I turn on
the radio, And Darrel's like, yeah, that's fine whatever, And so,
because he knows he's a rapper, he turns on the
local hardcore wrap station in New York City and Daryl's like, look, man,
anything but this crap. I can't take it, none of
this stuff. So the guy's like, okay, let's fine.
Speaker 3: This fine spine.
Speaker 4: So he turns it to the easy listening station, and
the song that is playing when he turns it to
the easy listening station is a song called Angel by
Sarah McLachlin.
Speaker 3: Makes me think of a dog commercial.
Speaker 4: They play it over that please adopt a dog commercially. Yes,
that little hard hitting, but it's soft and it's so
tender and it's beautiful. But it's just this light piano,
easy listening song. And Darryl sitting there and he's like,
like breaks down because of the beauty of this song.
And he starts to like emotionally break and he's like,
if there is this kind of beauty left in the world,
then I can still go on living.
Speaker 1: And he's like, I can't express this enough to you.
Speaker 4: Sarah McLaughlin's Angels saved my life, okay.
Speaker 2: In the back of a cab, at the back of
a cat.
Speaker 4: And if you grew up in the nineties, you were
very familiar with the song. They played it all the.
Speaker 1: Time part of the soundtrack for City of Angels. Yes,
I owned it and listened.
Speaker 3: To it all the time. I thought it was truly beautiful.
Speaker 2: It's beautiful in thems.
Speaker 4: So he said he went into a shell and all
he did at his house was read comic books and
listen to Sarah McLachlan CDs. Right, they would pick him
up to go do play a show. Jay and Ron
would show up and say let's go get in the car,
and he's like, you'd have to play my Sarah McLachlin CD.
And they're like, man, get that crap out of here.
Speaker 2: We're not listening to that.
Speaker 4: And he said he would take his bags, go back
in the house and shut the door. I'm not coming
unless you play my Sarah McLachlan CD.
Speaker 1: Save my Life man.
Speaker 4: So finally, his manager, who was his best friend at
the time, his name is Eric, talks him into going
this Clive Davis after Grammy's party and it's a big deal,
but he's all he wants to do is sit around
listen to Sarah McLaughlin CD. And so they know he's suicidal,
they know he's troubled, he's an alcoholic. So they drag
him to this Grammy show and he's sitting there and
it's the same deal. He sits chair right by the
door and all he wants.
Speaker 1: To do is go home, all right, and do I
have to wait?
Speaker 2: How long do I have to wait.
Speaker 1: So he says, you've got one hour. I'm gonna be
here one hour, he said.
Speaker 4: The first dude who walks in the door is Buster Rhymes,
and Buster Rhymes is like, this dude is hip hop personified,
and he brings all this attention to him, and he's
just like, please just go away. I just want to
go home.
Speaker 1: Listen to my Sarah.
Speaker 4: McLaughlin CD, so he says, then he goes away. The
second dude who walks into Stevie one, he said, Stevie
Wonder didn't see him.
Speaker 3: Obviously that's a joke.
Speaker 1: Yeah, but.
Speaker 4: But Stevie's people kind of push him over towards him,
and he's so bitter and so angry. He's like, I
hope freaking Stevie Wonder falls on his face as he's walking.
Speaker 3: Out of here.
Speaker 1: But what Stevie gets over there, he.
Speaker 4: Talks to him briefly, Okay, thank you, thinking think you
go away, But he said. The third person that walked
in the door is Sarah McLachlin, uh, and he's freaking out.
He's like sweating and he's like a fanboy. He's like,
oh my gosh, I've got to go talk to her
and tell her what she's done for me in my life.
So he gets up, gathers his courage, walks over to
her and says, excuse me, mister McLachlan, I just want
to tell you that your song Angel is the most
beautiful thing I've ever heard, and it changed me and
it saved my life. And she goes, hey, you're you're
DMC from Run DMC and he's like yes, and she's
like it's trick.
Speaker 2: Do roku ro.
Speaker 1: Walk this way and he's like no, no, no. So anyway,
he got.
Speaker 4: Through that massive depression with the help of Sarah McLaughlan,
and eventually he kicked the alcohol habit as well.
Speaker 2: That's fantastic story. We done with that one, Yeah, al Teimer,
I want to say this real quick. Run DMC's final
album came out in two thousand and one. It was
called Crown Royal, and this was at a time when
Daryl had lost his voice. He actually couldn't perform. They
called it a Run DMC album, and Run carried the
album with a new guest star in every track, and
they had a song called School of Old, which was
a collaboration between Run and Kid Rock, and it's one
of the best songs on that album, and they reused
the final verse from the song raising Hell. They reuse
it in School of Old on the on their two
thousand and one album, and that's a song that's worth
checking out.
Speaker 3: It's pretty cool, awesome, awesome.
Speaker 1: I found out who the guitar player is in the
song you guys ready, yeah, okay, yeah, Rick Rupin Rick
Hoopin is the one playing the guitar on the song.
Speaker 2: I should have known. That's awesome, all right.
Speaker 4: So that brings us the song number nine on the album.
This was the third single released October twenty first, nineteen
eighty six. This song is called U b illan O J.
Speaker 2: Wait Wait well, this song was a big hit among
my friends. It's obviously it's a comedy song, right. It's
almost like in the tune of I mean in the
vein of like Charlie Brown, if you remember those old
kind of songs like that that were kind of joke records.
We got a big kick out of this, and we
always enjoyed playing it. Personally. For me, it's it's not
my favorite on the album, just because I'm usually not
in the mood for comedy when I'm listening to run DMC.
Speaker 1: But it is.
Speaker 2: It is a lot of fun. It's a fun song.
Speaker 1: It's a little bit goofy.
Speaker 3: This was a fun song to break too.
Speaker 2: I can tell you that there's a nice moment in
the song where he goes and it was deaf, and
I was able to take that song deaf and use
it myself, you know.
Speaker 4: As for deaf Dave, I could say, you explained to
me last week, which I hadn't always been super crystal
clear on what it meant to be ill or illing,
and so ill is the opposite of chill, right, it's
you're acting like a fool, you're acting crazy, you're acting dumb,
you be illing.
Speaker 2: That's right.
Speaker 1: Whack, by the way, has made it back into the vernacular.
I've got kids who are using whack now. I imagine
Illen will be next.
Speaker 2: That's my vernacular.
Speaker 1: But that's.
Speaker 4: Peaked at number twenty nine on the Hot one hundred.
All right, So next song on the album is called
dumb Girl. Interesting to find out how many times they
actually say.
Speaker 1: The word dumb at the beginning.
Speaker 2: This song is all about that bass. If you wanted
to show off your car's system, Dumb Girl was the
track you could go through in nineteen eighty six, turn
up those sub warfers and rattle windows all around the block.
One of those songs that would be obnoxious in traffic
and you couldn't even hear anything else except that bass
just shaking the ground.
Speaker 1: So here's the thing I read about this. This was
something I found really interesting.
Speaker 4: So it is generally not like them to be insulting
to women and to write a song about, you know,
dumb girl. It's just a little I mean, not that
big of a deal, but it's it's you know, uncharacteristic
for them. So the rumor is that Ello cool J
wrote this song when he was seventeen years old.
Speaker 1: That was the rumor on the street.
Speaker 3: He's not listed among the songwriters. I can tell you
that that's That was the.
Speaker 4: Rumor I found on the internet, because the Internet is
always right, right.
Speaker 5: I like the song.
Speaker 2: I just think it's a lot of fun there. They're
switching back and forth real well in this and the
dumb did he dumb?
Speaker 1: Did he? Did he?
Speaker 4: Dumb? Dumb?
Speaker 2: All that stuff's a lot of fun. And of course
the bass just hitting like crazy. I listened to it
every time. I'll never skip it.
Speaker 1: I love it, So who's JC. The first line of
the song is I'd seen you Jack and j C
because they got him most haze. Oh right here o
cong was.
Speaker 4: Written about me and my girlfriend that right now, and
it actually this is our line.
Speaker 1: J c ain' d just be his fan, all right.
Speaker 4: The next song on the album is a song called
Son of Bifer He.
Speaker 3: Yo j yoj check this out.
Speaker 1: I was born son oh by friend brother.
Speaker 2: Put it runs. So this song is only about twenty
seven seconds long. It's a reprise of the last verse
I hit it runs, and it just seems like a
silly little interlude. It barely even counts as a song.
But while researching for this podcast, I came across the
story about Darryl McDaniels, and wow, it just it makes
this song, of all things, it makes this song a
lot more poignant than you ever would guess.
Speaker 1: Yeah.
Speaker 4: The interesting thing, during Darryl's depression, he thought, well, to
help me get out of this depression, I'm going to
write a book because I want people to understand who
Daryl is.
Speaker 1: They know who dmc is. I want him to know
who Daryl is.
Speaker 4: And so he knew that he had been born May
thirty first, nineteen sixty four, but he didn't really know
the details. So he called his mother and he says, hey, Mom,
I know I was born May thirty first, nineteen sixty four,
but I've got a few questions for you.
Speaker 1: How much did I weigh? What time of day was it?
And what hospital was I born in?
Speaker 4: ANSWER's all three of those. He says, Okay, okay, okay,
thanks mom, love you, Touch to you later.
Speaker 1: Boom hangs up with her.
Speaker 4: One hour later, she calls him back with his father
on the line, and he thinks, well, this is going
to be something nostalgic or trivial, something like that. So
they're going to tell him another detail that they remembered
about the day he was born. So he's like, hey, guys,
what's going on. And she's like, oh, hey, Darryl, I
just want to let you know you were a month
old when we brought you home.
Speaker 1: You were adopted. We love you. Bye.
Speaker 4: Click, So he said. On top of being suicidal, emotionally broken, alcoholic,
he finds out at age thirty five and he was adopted.
Speaker 3: Wow, it shook his world.
Speaker 2: He had no idea he had grown up in such
a loving home and remember We talked last week about
how his mother was so overprotective. It kind of recast
all that into different light now. She didn't want him
to go to the city, she didn't want.
Speaker 3: Them to leave the house.
Speaker 2: He didn't want him to have friends over when she
wasn't home. She was very protective of her son, and
they absolutely loved him very much and a great upbringing,
you know. And people would tease him about how he
didn't look anything like his parents, right, But any fleeting
thought that he had like that just didn't last long
and was dismissed because of how much love he felt
from his mom and dad and how close he was
to his parents. But hip hop and is particularly so
much of his type of rap is about I am Daryl,
I am Daryl Mack, I am the devastating Mike Controller,
I am the son of Byford, and all these things.
And then he's thirty five years old and he founds
out he's not even sure who he is at all.
He did nothing that he thought he knew can he
remain certain about at this point?
Speaker 4: So kind of the end of the story is he
proceeds to he was a private investigator to find his
birth mom, and he really wanted to have a copy
of his pre adoption birth certificate. That piece of paper
was really important to him because on it it showed
who he actually was. And so he talked to the
lady at the Department of Health and she had it
in her hand but couldn't give it to him. And
so he's like, that's that's crazy. Why can you not
give that to me? And so he actually has now
helped pass laws that allow adoptees to get a copy
of their pre adoption very certificate.
Speaker 3: It's awesome.
Speaker 2: Well, the one thing that was really healing for him
and really helped him, and he said it served as
an anchor, was he discovered that his birth name actually
was Daryl. His real mother gave him Daryl at his
birth and that really helped him have something to hold
on to and all his brag and he did on
record about his name being Daryl, and that really saw
him through the storm. Really the worst part of all this.
Speaker 4: On a lighter note, you know the beginning of the
song when he's son of Bifer, brother of Al.
Speaker 1: He got that from a thor comic.
Speaker 4: We talked about how Daryl McDaniels was a big, big
comic book fan and he got it from Thor where
Thor was son of Odin, brother of Loki.
Speaker 1: So just to touch on something that's put him where
he was at that point. You know, we talked last
episode about the fact that before they really did their
first show, the only wrapping that he had done had
been up in their lab, you know, in the attic
when he was drunk. Well, he realized, because he was
normally a very introverted guy, he realized that if I
start drinking a little bit, it'll loosen me up and
I can perform on stage. Well that was fine, because
that meant he would just drink before they went on
stage and everything would be fine. But then they hit
it big, and they hit it really big, and he
had to be not Daryl but DMC, not just on
stage but all the time because they were constantly in
the public eye. And so he started drinking more and
more so he could maintain that persona and eventually he
was drink He was going through a case of forties
a day, like it was just in his hand all
day long, was a forty and like case of forties
a day. And I mean it was just that he
didn't eat, he didn't do anything. He didn't drink anything else.
It was just drinking beer all day long. And eventually
he had a he had an episode much like we
talked about Duff McKagan heaven, where he woke up and
like he was feeling the most intense pain of his
entire life. And they took him to the hospital and
the doctor said, you know, you drink very much, and
he's like yeah, and he's like, okay, well, I'm going
to give you a choice. Okay, you can keep drinking
and die, or you can stop now, never drink again,
and you will be able to live. But those are
your only two childs.
Speaker 2: Wow. And then something amazing happened. Daryl McDaniels produced a
song and emerged as an artist in a way that
you perhaps never would have expected. He called his friend
Sarah McLaughlin and they produced a song about this all right,
about this journey of discovering that you're adopted. It's called
just Like Me. That Tom was born. It was a
beautiful day, It was nine to six, and Sarah MacLauchlan
appears on the record with him. She chose to collaborate
with him because she also is adopted.
Speaker 6: Joy She was a young girl and.
Speaker 2: Trying real hard to her the truth.
Speaker 3: Is there a chance for the baby time that?
Speaker 2: I mean, I can't get through the video in one sitting.
I have to stop and gather myself. It's really it's
it's a powerful song because you know how personal and
how true of a story it is. It's a powerful song,
and I have to think that it would it would
have to be impactful and healing to anybody who's ever
been in a similar situation that he's been.
Speaker 1: It's fantastic.
Speaker 4: You know. One of the things he talks about. Somebody
was asking him, why is it so important for you
have that birth certificate, that pre adoption birth certificate, and
he said, well, you never start a book on chapter two.
Speaker 2: He's also a producer of his own line of comic books.
Speaker 1: Yeah, that's awesome. That's awesome.
Speaker 2: You know.
Speaker 1: One of the things I love about him.
Speaker 4: Every time I see him, he's wearing a different shirt.
I've seen him wear an ac DC black and black shirt.
I've seen him wear Arismith shirts. Of course, he wore
a Nirvana shirt. All these different bands that you wouldn't
necessarily think or associate with run DMC.
Speaker 2: Yep, he's a big classic rock guy.
Speaker 1: Now, sure, that's so cool. That's so cool, all right.
Speaker 4: Last track on the album is a song called Proud
to Be Black?
Speaker 2: You know what?
Speaker 4: And that's a fat job.
Speaker 2: That was fine, I take it back job. Well, like
I said before, I saw RENDMC in concert three times,
so I'm an eighty six the Raising Hell tour when
I was not familiar with the album, and I did
see them in two thousand and one, but in nineteen
eighty eight on the Runs House tour, they came out
this is where. This is the show where they recorded
the Mary Mary video, right, And of course at this point,
I'm very familiar with the Raising Hell album and I'm
down on the floor and I'm squeezed in and I'm
close to the stage. It was at this point in
my life where I learned that there are some songs
that white dudes don't sing at the top of their
lun the show, I'm just into it, right, I'm feeling
the music and I'm sitting there going I'm Proud to
be black, y'all, and I start getting looks and I
did receive. I got real quiet with my mouth shut
for the rest of the jam.
Speaker 1: That's funny, Yeah, so this this song makes references to
Jesse Owens, to Martin Luther King, to Harriet Tubman, and
to Malcolm George Washington Carver, and I just got to
say this. So, in doing the research that we did
and looking at the history of rap, I came across
something I didn't know before. So we talked about the
influences on hip hop and some of the rhymes and
such and some of the I listened to some of
the earlier rap songs and I found out that one
of them was strongly influenced by a speech that Malcolm
X gave where he was talking about the difference between
the slaves that lived in the house and the slaves
that worked the field. And he was talking about how
the slaves that worked in the house were always cowing
to the master, and if anything were going wrong, like
that the house was on fire, they would realize they're
going to lose their home, and so they'd run intil
the master, whereas the slaves in the field couldn't have
cared less if the house was on fire, which is
where you get the song lyrics the roof, the roof,
the roof is on fire.
Speaker 2: We don't need no water.
Speaker 1: Let that burn and I never knew that.
Speaker 3: There you go.
Speaker 1: Wow, there's a tidbit for you. Wow. There you go.
Speaker 2: A couple of things about this. It's interesting to look
at the writer credits for this song because one of
the writers is doctor Dre No not that one.
Speaker 1: Wow.
Speaker 2: So doctor Dre from Yo MTV raps fame who spent
a spent a stint as the DJ for Beastie Boys
that helped co write Proud to Be Black. Now, guess
who the other credited writer is on this song? A
guy named Daniel Simmons. Run's dad, Wow write this song? Okay.
Run's dad. Daniel Sr. Was someone who, at the beginning
of our story last week, was an administrator in the
public school system. He would go on to become a
professor in black history. In nineteen sixty three, when they're
still living in Jamaica, Queens, he started getting involved in
activism for the civil rights movement. He in a protest
that was going on there locally in Jamaica, Queens and
then that that really kind of woke him up and
got him kind of politically active in the civil rights movement.
As a matter of fact, he drove down I think
it was August nineteen sixty three, and he marched with
Doctor King in the Freedom March and was there in
the crowd on the day of the I have a
Dream speech.
Speaker 1: Oh wow wow.
Speaker 2: And he helped write Proud to Be Black.
Speaker 3: That's amazing, It's fantastic. It's fantastic.
Speaker 1: Great story man. Best way to end our discussion of
track by track on this album, now we come to
the moment of decision. Okay, So here we are. We've
gone through the history of Beastie Boys. We've gone through
Licensed Ill track by track, We've gone through the history
of hip hop itself and Run DMC and Raising Hell
track by track, and so Jason you're on.
Speaker 2: Yeah.
Speaker 4: So, as a person who was didn't own either one
of these albums, I found that as I went through them,
I liked a lot of the songs on there that
I didn't know I wasn't familar.
Speaker 1: With before we started this.
Speaker 4: Okay, as I go through the track list from License
to Ill, You've got some major, major songs for my youth.
Speaker 1: You've got Fight for Your Right, You've got No Sleep
Till Brooklyn.
Speaker 4: You've got Paul Revere, we loved Brass Monkey and Girls
and Ryman and Steeling was great.
Speaker 1: Those songs are awesome.
Speaker 4: They're also rock based, a lot of led Zeppelin in there.
Speaker 1: Then you go back to the Raisin Hell album.
Speaker 4: You've got Peter Piper awesome, You've got of course, Walk
This Way is mind blowing, It's tricky, was on.
Speaker 1: MTV all the time, you be illing. Raisin Hell is awesome.
Speaker 4: But for me, I have to go with Beastie Boys
on The Power behind.
Speaker 1: Fight for Your Right and No Sleep Till Brooklyn.
Speaker 4: I'm going License to Ill as the better of these
two albums.
Speaker 1: The Graves. Okay, so coming into this I thought I
would probably say the same thing. I thought I would
probably say License to Ill. There are so many strong songs,
and they borrow from some of my favorite songs, with
a lot of led Zeppelin, When the Levee Breaks, the
Oceans and all of these other songs, and I love it.
If I'm walking out the door and I want to
grab an album, this is easily one I could grab
and throw in the CD player and enjoy the long
trip to wherever it is that I'm going. But for
this particular matchup, I'm falling back on nostalgia as the
young kid who took a paint pen and wrote doctor
Fresh in bubble letters on his boombox. Because he wanted
to be a bee boy. He wanted to dance to
whatever awesome rap was out there at the time. Run
DMC was a part of my childhood, whereas Beastie Boys
was something that I didn't grow a taste for until later.
And so because I love it, because it brings me
back to those days of my youth, I got to
pick Craze. All right, Dave, you're the tiebreaker.
Speaker 2: Well, first of all, you have to understand that the
good news is you don't really have to choose, right,
You still get to listen to both albums. These are
both Hall of Fame albums for me. They are absolutely
still at the top of my list. It's hard for
me to think of these as nostalgia trips because the
truth is neither one of these albums have ever left
my rotation. They remain a part of my listening habits,
and they have through all these years. Another thing about
these two albums is that this largely validated my existence
in high school right because I'd been the weird fringe
guy that was listening to all this weird rap before
it had broken out and go to mainstream, and it
was all I wanted to listen to. And nobody knew
these acts of these songs, and I got some barbs
thrown my way occasionally. But it was when these songs
hit and it broke through and now you had white
kids as well as black kids listening to rap, then
suddenly my status got elevated. I felt not only more accepted,
but you know, I'm also the guy there turn into
with questions and every thing. So I felt the one
time in my life where I felt like the hipster
that was ahead of the crowd. And they go hand
in hand, right. They came out the same year, but
by the same producer, the acts knew each other, they
toured together. It's really hard to separate these two albums
from me. What I'm saying is with both albums, I
never skip a track, and that's something that you can
rarely say about any album, and they're both true for
this one. So where do I draw the line, what
hair do I split, and what side do I come
down on? Well, it comes down to your mood, really right,
because there are different attitudes that are the prevailing attitude
in each album. I think the BC Boys one is
more fun, you know, and it's more lighthearted, and it's
not not necessarily obvious punch lines. Maybe sometimes there are,
but but you come away smile. And then with Run DMC,
you've got more of an edgier rock attitude. Even though
there's some rock and roll music on license to ill,
the overall attitude is a tougher one on raising hell.
So it's may come down to just the mood you're
in that day. But what I do is I come
down to this. Even though the Beast of Boys are
authentic and they're legit, they come from the club scene
in New York, but they come from the pump lineage
right and whereas Run DMC, with the tider Russell Simmons,
they are right there a part of that main hip
hop lineage that I ran down, starting with Cool Hirk
last week, coming all the way through. And so because
of that, because of all the weight of hip hop
and everything I find cool about that, and their connection
to Russell and all the early days in the early eighties,
I come down on Run DMC. They're the greatest rap
act ever. This is their greatest album. There's no way
anybody can knock them from the perse the final judgment,
I'm dropping the mic. It is raising hell, yes, awesome.
Speaker 4: Love it coming strong right there?
Speaker 1: I love it well. Guys, tell us what you think
you've tuned in for these episodes. You gotta love these albums.
They have to be a part of your life if
you were alive in the eighties. But hit us up
on Twitter and on Facebook at Shirley Podcast if you
want to send us an email like mister deaf Dave
did for us to go. Hey, if you guys ever
cover run DMC and Beastie Boys, I want to be
a part of it.
Speaker 3: Man.
Speaker 1: By all means, hit us up Shirleypodcast at gmail dot com.
Speaker 4: Dave, thank you so much for giving us your time
and expertise on these two amazing albums.
Speaker 2: You have no idea how much fun I've had. I
know this is kind of this is probably a unique thing.
You haven't hang anybody on like this for this much,
four weeks in a row like this.
Speaker 1: It was what a.
Speaker 2: Privilege one honor. I absolutely love your show. I love
your format. I've listened to every single one of them
except for the Bill and Ted ones because I haven't
seen faced the music yet. But other than that I've
seen your whole show, and I'm looking forward to going
back to being a listener and tuning in what you
have for us next time. And just best of luck
to you guys going forward. Anytime I can help you
all out, you know, call me up. I'm ready to help.
Speaker 1: Awesome. Thanks, thanks so much. We can't wait. It's I'm
a little emotional here at the end of this adventure
that we've had, but we will find a way to
do it again. Yeah, we'll see you down the road.
Speaker 2: Dave, thank you so much, good man, thanks a lot.
Speaker 4: And for everybody else out there, when you come back
next week, we're going to be diving into Christmas movies. Okay,
these are classic Christmas movies, the.
Speaker 1: Christmas movies of little boys.
Speaker 4: We are going to compare a Christmas story to Home Alone.
Speaker 1: Shoot your eye out, So come back and.
Speaker 3: Join us for those.
Speaker 4: We can't wait to get into those. Dave, thanks again,
and we will see everybody next week.
Speaker 1: Okay. D For the Shirley showcase.
Speaker 4: This week, I've got my dear friends Mark and Melissa
Mingle and they are going to tell us what they
think about Purple Rain the movie versus Footloose, the movie.
Speaker 1: All right, this is one of our episodes on the
nineteen eighty four Summer special. So let's hear what Melissa
and Mark I have to say.
Speaker 5: Hi, this is Mark Mingle, this is Melissa Mingle, and
we are going to quickly give you our feedback on Footloose,
the film and Purple Rain from nineteen eighty four. Mark,
how old were you in the summer of nineteen eighty four.
Speaker 6: I turned twelve at the end of the summer of
eighty four, and so I specifically do remember going to
the theater with my sister and some friends.
Speaker 4: To see Footloose, and at the time loved it.
Speaker 6: I mean, you know, I was just about to become
a teenager, and all these teenagers singing and dancing and
all this stuff they were wanting to do seem very cool,
and all the songs seem very cool to me. So
I really loved Footloose enjoyed it. Of course, all the
music was getting popular on the radio with Kenny Loggins
and other artists, so yeah, it was totally cool for.
Speaker 5: Me at the time.
Speaker 6: I don't know that it holds up terribly well over
the years if you go back and watch it now
at Purple Rain, I believe was rated R and I
did not go to rate at our movies when I
was twelve. For you so it, I didn't see that
till later. It was maybe eighty six, eighty seven, probably
before I saw that, and so and I don't know,
I'll be honest, I don't remember if I saw it
all in one sitting, if I sat through the whole
thing on HBO or something that I are on video,
so I saw some of it. I love the music
for Purple Rain. I mean there's tons and tons of
great hits from that album. But I know the album
better than I know the movie.
Speaker 1: Okay.
Speaker 5: So I was fourteen that summer and I loved both soundtracks,
which we are not supposed to talk about. We're supposed
to just talk about the films. I now love. Many
of the actors that were in Footloose, Kevin Bacon, Sarah
Jessica Parker. The pastor and his wife were John Lithgow
and Diane West. Yes, I had a little see the
trophy husband remembers things better than me. Great cast, But
even as a fourteen year old, there were things that
I thought dialogue wise and things about the film that
seemed a little mainstream, and I'm going to say it.
I'm going to say word pedestrian, just trying to appeal
to the masses.
Speaker 6: Also, Kevin Bacan being like twenty eight and playing a
teenager in high school is kind of a stretch.
Speaker 5: But still, well, that's grease and everything else. But Purple
Rain even we probably need to have a double feature
and rewatch these, but I felt like that was more
of a true film, not just a movie appealing to
the masses. I felt like there was more truth to
the characters even as a kid. I felt like it
was more of a film, not just a Hollywood movie.
And both soundtracks are great, but I think there was
more depth to Purple Rain. But I think we might
need to rewatch both of them because we are much
older now. But I'm definitely putting my vote for Purple
Rain as best.
Speaker 6: I would probably vote for Footloose because I could identify
in the film with some of them growing up in
you know, kind of a pretty you know, conservative Baptist church.
As a kid, like you start to think about things like, hey,
why can we dance or not dance? And you know,
my church wasn't really like the church, and Footloose at all,
but seeing kids want to kind of grow up and
express themselves and not just be you know, controlled by others,
I mean, without being just overtly rebellious. It seemed like
a pretty harmless way to kind of rebel and have
fun by dancing with your friends. So I don't know,
I thought that seemed kind of cool and more relatable
to me as a kid than Purple Rain, which seemed
much more like adults living in an adult world than
high school kids, which I could relate to really well
as an almost junior high kid at the time.
Speaker 5: That's true, and we both actually grew up in Oklahoma,
where that film was set, so so that probably does
hit closer to home. But overall, Mark is going to
vote Footloose and I'm going to vot Purple Rain, and
we both vote for Sureley, you can't be serious being amazing.
Thank you for asking for our feedback. Love you guys.
Speaker 1: Oh my gosh. I just want to wrap them up
in a little present and sticking into my pocket. They
are the cutest couple I've ever heard in my life.
They are awesome. They're my dear friends.
Speaker 4: Melissa as an absolute eighties junkie, and so's Mark so
she can't wait for our Duran Durana so that we're
going to do next year.
Speaker 1: So I'm excited for that one as well. Melissa is
always very interactive with us on Facebook and has given
us some really gold nuggets as far as information goes
over the last couple of years. So thank you, Melissa,
Thank you Mark. Really appreciate you guys doing this for us.
It means so much to us. Thank you for being
the followers of the podcast.
Speaker 4: I love that she thinks purple Rain is deep. Melissa,
thank you very much and understanding the depth of Apple
and Prince in prople.
Speaker 1: Did you watch rated ar movies in nineteen eighty four?
Speaker 3: Uh?
Speaker 1: How am I going to answer that without your ground.
Speaker 4: You? If you want to contribute to our Shirley showcase,
send us an email at Shirley podcast at gmail dot com.
Speaker 1: We would love to hear from you one.
Speaker 2: More time for old time's sake. I'm deaf n To
my left is Jimmy d and to my right on
the mic it's Jason C. Four weeks in a row
on the Shirley airwaves. I guess spot on the show. Well,
it's got to be deaf Daves where's your hip hop expert? Well,
here he is all the knowledge that I trump. You
gotta be serious. You ask me how I am. It's
not that fear, oh man, I totally mess it up? Expert.
Well here he is all the knowledge that I tromp
make suckers furious. You ask me how I am. It's
not that mysterious, Shirley, you can't be serious. A top tail.
Turn it up, frass monkey in a cup to an
in for final judgment, you will find what's up? How
devastating can a podcaster be? My name is David, who
you could call me d That is awesome, dude, Go man,
I can't believe you did that.
Speaker 1: That's so good. Up with them? Oh man, that's fantastic,