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Speaker 1: This is a podcast from Minute Media.

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Speaker 2: Let's go doctor friend.

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Speaker 1: Okay, I've I have prepared a special introduction just for

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this episode.

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Speaker 2: Here goes well.

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Speaker 3: He is a little story I like to tell about

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three both brothers. You know so well. It started today

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in history with Jay Coach. Start him off in the labs.

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Speaker 1: Welcome everybody that surely you can't be serious podcast. We

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are diving deep into the world of hip hop eighties

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and we have with us a very special guest today,

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mister David Wright. How you doing, David?

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Speaker 4: Very good? How are you doing?

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Speaker 1: 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. You can get to

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the first two on his website.

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Speaker 4: Tell us what that is, Dave galaheads doom dot com.

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Speaker 5: 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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a Christian theme to it.

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Speaker 1: 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 4: Exactly.

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Speaker 2: That's right.

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Speaker 6: I wouldn't not want any of my personal notes published.

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When I was in nineteen eighty six, right, yep.

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Speaker 1: So we're covering today hip hop, which I got to

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say I'm familiar with. I was a big breakdancer circa SAD,

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so we're talking like eighty three, Yeah, I was. I

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was breakdancing to Thriller, so it had been eighty three

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eighty four. I caught breaking and breaking to Electric Boogoloo

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both the day that they came out. I had Grand

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Master Flash albums. I had the Sugar Hill Gang albums.

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

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I had this stuff growing up.

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Speaker 2: Tell us your name my break.

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Speaker 1: Dancing name, dance. My breakdancing name was Doctor Fresh. Yeah,

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you can make this stuff up. I still use it.

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I still use it. Like if I go and do

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like trivia night at some restaurant or something, I put

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Doc Fresh in there as my trivia name.

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Speaker 2: All right, Dave, you gotta tell us how you got deaf? Dave,

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what does that?

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Speaker 4: Well?

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Speaker 5: 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 4: I I am the thriller generation. I was in sixth grade.

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Speaker 5: I was watching when the Motown twenty five special air

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the first time saw the Moonwalks on the head by

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the Moonwalk with the rest of America. My first concert

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ever I won a radio contest for free tickets to

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the Victory World Tour.

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Speaker 4: To see that.

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Speaker 2: Awesome.

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Speaker 4: So I was a pop music kid.

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Speaker 5: 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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lipped me the cassette to run DMC's King of Rock

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album in the summer of nineteen eighty five, and it

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did something to my brain, and I was the rap

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guy for the rest.

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Speaker 4: Of the decade.

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Speaker 5: I absolutely just became kind of nuts over run DMC

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and the BC Boys and Ello, 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 publicanem Me. I was just absorbed all that stuff.

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I quit listening to the radio. It was all about rap.

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My name my name to this day, deaf Dave. That's

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my Twitter handle, deaf Dave. It comes straight from deaf jam.

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Speaker 4: I mean it.

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Speaker 5: All the autographs in my high school yearbook half of

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them say deaf Day.

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Speaker 4: They don't evena have my real name on it.

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Speaker 5: So according to legend, okay, according to legend, the way

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I got the.

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Speaker 4: Name deaf Dave was that the the Holly Hills.

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Speaker 5: Crew was sitting around a circle freestyling before home room,

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and I would jump up in and bust some rhymes,

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and I was so good that DJ Zeus declared me

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an official b boy and gave me the name Deaf Dave.

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Speaker 4: According to a legend who.

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Speaker 1: So Zeus handed him his name from Mount Olympus.

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Speaker 5: 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 the names for the scoring computer, and so

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we all came up with funny names, and I gave

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myself the name Deaf Dave in the scoring computer there

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the bowling alley.

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Speaker 4: But the friends that I was with liked it. They

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repeated it.

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Speaker 5: 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 4: It's kind of my online name too.

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Speaker 6: So you weren't handed a flaming pair of Adidas from

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Mount Olympus.

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Speaker 4: Or anything, No afraid not.

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Speaker 1: 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 death

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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 6: One Wait, Wait, wait, wait, change the face of music.

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Speaker 1: Changed the face of music. Yes, sir, I think you're right.

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Speaker 2: I think you're right.

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Speaker 1: 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.

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Speaker 2: Still there you go.

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Speaker 1: So are you guys ready to jump in?

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Speaker 6: 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.

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Speaker 5: I'm in my fresh flight threads with my big Folkswagon

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medallion around my neck. Yes, meeting Colonel Sanders, drinking heinekebrew.

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Speaker 4: I'm ready. I'm ready to dig into me like Ada.

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Speaker 1: 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 yack, Dave, give us what you got, man.

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Speaker 4: Well, first of all, I'm gonna throw you for a loop.

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Speaker 5: 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 4: Okay, so this is.

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Speaker 5: The very first the progressive education model schools in America,

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which is basically, let the kids decide what they want

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to do, don't give them homework, don't give them rules,

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let them decide what they're interested in.

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Speaker 4: Kids discovering their own way.

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Speaker 5: But it appealed to the upper class and the well

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to do in Manhattan society. Forward that to the nineteen seventies.

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There's a kid going to school there named Jeremy Chattan.

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Now he had an older brother, and that older brother

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had a friend, and that friend had a younger brother.

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Speaker 4: His name was Michael Diamond.

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Speaker 5: 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.

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Speaker 4: Their brothers were buddies.

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Speaker 1: Yep. Yeah.

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Speaker 5: 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 drums.

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Speaker 4: They were junior high. They were like seventh and eighth grade.

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Speaker 1: Yeah, yeah, yeah.

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Speaker 4: He said, I need to.

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Speaker 5: Introduce my two buddies to each other. They don't know

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each other yet. One plays guitar, one plays drums. So

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it's like John, this is Mike, Mike this is John,

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and they started playing a little bit. So the earliest

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formation of the Beastie Boys began around nineteen seventy eight

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with John Barry and Michael Diamond playing together, and Jeremy

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Chataian was the one. Chatan was the one who got

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them together.

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Speaker 2: I heard that they were introduced at a Joe Jackson concert.

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Speaker 1: Yes, because that's the influence for the Beasti Boys is

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Joe Jackson.

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Speaker 2: Joe Jackson, right, stepping out right.

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Speaker 6: So Mike D and John Berry are at a Joe

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Jackson concert. This is the first time they've met, and

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John Barry is acting like a wild man, like he's

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going crazy, barely keeping his seat, and Mike D is like,

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who is this guy?

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Speaker 2: This guy's crazy? This guy. I don't like this guy

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at all, Like this guy is not for me. But

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then they found out that they both liked punk music.

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Speaker 1: Yeah, they both liked the clash.

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Speaker 2: And so they kind of bonded over that.

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Speaker 5: 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 playlist too. So they were exposed to a lot

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of different kinds of music. So it's not weird for

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me to hear that these two punk rockers met at

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a Joe Jackson concert. In nineteen seventy nine, there was

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a man by the name of Dave Parsons who lived

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in Boca Raton, Florida, and he started a fanzine for

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punk music.

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Speaker 4: Called The Mouth of the Rat.

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Speaker 5: During this time, he received a fan letter from a

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musician in New York in the punk scene name was

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Kate Shellenbach. Well, he moved to New York City in

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nineteen seventy nine, opened up his own record store, the

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Rat Cage or Rat Cage Records, and within three days

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of living in New York he met both Kate Shellenbach

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and John Barry at a club, and Kate Shellenback was

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someone who was bouncing around different bands playing drums.

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Speaker 4: Mike and John.

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Speaker 5: Are in a band called Band b E N and

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Kate Shellenback is in a band called bag Ladies.

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Speaker 4: And it was at they were.

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Speaker 5: 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 1: 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 5: 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.

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Speaker 4: John is a guitarist.

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Speaker 5: So Jeremy Chattan, the common friend who got them all

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together in the first place, decides he'll play bass. And

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so in the early months of nineteen eighty one, the

241
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very beginning of eighty one, they form a band and

242
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call themselves the Young Aborigines.

243
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Speaker 1: There we go, yep.

244
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Speaker 5: But eventually Mike Diamond took over as the lead singer

245
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and Kate became the drummer, and they played a grand

246
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total of two gigs in their entire existence, and both

247
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of them were on the same day in June of

248
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nineteenth eighty one.

249
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Speaker 6: And the world famous song that the Young Aborigines came

250
00:12:29,240 --> 00:12:32,080
up with, right, This song was recorded on.

251
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Speaker 2: June nineteenth, nineteen eighty one. The song is called Fosshole.

252
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Speaker 6: You know that was on a regular rotation on my

253
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pop forty.

254
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Speaker 5: Head as I understand that the entire the entirety of

255
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the lyrics of that song was Mike Diamond repeating the

256
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title over and over again at the top.

257
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Speaker 1: Of his lungs.

258
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Speaker 6: Sounds about right, yeah, yeah, some deep lyrics. Yeah, I mean,

259
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but we're talking.

260
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Speaker 2: They're teenagers at this point.

261
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Speaker 4: Oh yeah, they're early high school.

262
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Speaker 5: Yes, yes, And it was during these months in eighty

263
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one leading up to that Fateful night June nineteenth, of

264
00:13:13,320 --> 00:13:18,360
the apex of the Young Aborigines career. That I do

265
00:13:18,519 --> 00:13:21,720
know that Michael Diamond did meet Adam Yawk at a

266
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Bad Brains performance, and they had kind of noticed each other,

267
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but they weren't saying anything to each other because the

268
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tough guys don't do that, right, and they decided that

269
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they were They were just gonna not like each other

270
00:13:33,519 --> 00:13:36,519
for a while, but eventually they found out that they

271
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were into the same stuff, of course. And after the

272
00:13:40,000 --> 00:13:42,759
Young Aborigines performed their two gigs on the same night,

273
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Jeremy Chattan had to leave for the summer, and when

274
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he left, Adam stepped in. Adam Yawk stepped in and

275
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became the new bassist. And at that point John Barry

276
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suggested they changed their name to the Beastie Boys.

277
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Speaker 1: Boys Entering Anarchistic States towards Inner Excellence Boys.

278
00:14:05,879 --> 00:14:08,240
Speaker 5: Well, and that's according to their legend. I think that

279
00:14:08,279 --> 00:14:09,399
came a few years later.

280
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Speaker 2: I think you're right, Yeah, that was afterwards.

281
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Speaker 1: That's a reverse antegram with thing.

282
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Speaker 4: That was John Barry's idea.

283
00:14:15,440 --> 00:14:17,320
Speaker 5: He came up with the name Beastie Boys, and their

284
00:14:17,440 --> 00:14:20,360
very first gig was on August fifth of eighty one

285
00:14:20,679 --> 00:14:26,000
at Adam Yawk's seventeenth birthday party at John Barry's Lost

286
00:14:26,159 --> 00:14:27,960
They just had a few friends over. It was not

287
00:14:28,000 --> 00:14:30,159
a paying gig, but they all got up on stage

288
00:14:30,200 --> 00:14:32,440
and the Beastie Boys performed for the first time.

289
00:14:32,519 --> 00:14:35,159
Speaker 6: So that was Adam Yak's seventeenth birthday party. And I

290
00:14:35,200 --> 00:14:37,840
think he was a couple of years older than the

291
00:14:37,440 --> 00:14:40,519
other guys, the other people in the band, and so

292
00:14:40,600 --> 00:14:42,399
Mike Diamonds said that that was the first time he

293
00:14:42,440 --> 00:14:46,279
had ever been drunk, exactly right. Yeah, we've got some

294
00:14:46,759 --> 00:14:49,360
common interests and we've got a lot of lack of

295
00:14:49,399 --> 00:14:50,240
parental control.

296
00:14:50,279 --> 00:14:50,480
Speaker 1: Here.

297
00:14:50,600 --> 00:14:52,639
Speaker 5: One quick thing about Adam Yack is when he was

298
00:14:52,679 --> 00:14:55,639
in high school, he took an aptitude test. They did

299
00:14:55,679 --> 00:14:58,399
a career aptitude test for all the kids. He took

300
00:14:58,440 --> 00:15:01,759
his and the only the thing that his aptitude tests

301
00:15:01,759 --> 00:15:04,639
concluded was that he should never go into anything related

302
00:15:04,639 --> 00:15:05,080
to music.

303
00:15:07,600 --> 00:15:08,320
Speaker 2: That's crazy.

304
00:15:08,519 --> 00:15:09,320
Speaker 1: That's perfect.

305
00:15:09,440 --> 00:15:13,240
Speaker 5: So after this night at first his birthday party at

306
00:15:13,279 --> 00:15:16,000
John Barry's Loft, they do get a paying gig opening

307
00:15:16,000 --> 00:15:19,240
for another band in November of eighty one, and then

308
00:15:19,399 --> 00:15:23,120
by December eleventh, they're opening for Bad Brains, which is

309
00:15:23,159 --> 00:15:25,480
a band that they There's a big name in the

310
00:15:25,480 --> 00:15:27,080
punk scene and they were big fans of it, so

311
00:15:27,080 --> 00:15:29,759
they were excited to play for Bad Brains. I don't

312
00:15:29,759 --> 00:15:33,039
know what happened that night, but whatever it was, they

313
00:15:33,080 --> 00:15:37,200
decided they were quitting. They decided it wasn't fun anymore.

314
00:15:37,440 --> 00:15:41,799
And the BC Boys broke up in December of nineteen

315
00:15:41,840 --> 00:15:42,320
eighty one.

316
00:15:42,519 --> 00:15:45,639
Speaker 4: Wow after yes, absolutely, they were they were done.

317
00:15:45,799 --> 00:15:48,360
Speaker 5: You know this is no one's got dreams of being

318
00:15:48,440 --> 00:15:50,399
rich and famous. It's just casual band. You're in and

319
00:15:50,440 --> 00:15:52,120
out of bands all the time. This one was over.

320
00:15:52,279 --> 00:15:56,519
But then Dave Parsons, the owner of rat Caage Records,

321
00:15:56,919 --> 00:15:59,039
had been at the party. He had told them at

322
00:15:59,080 --> 00:16:01,639
the time that he was thinking about launching his own

323
00:16:01,679 --> 00:16:04,440
recordly and so in December he came up to them

324
00:16:04,480 --> 00:16:08,240
and said, I'm ready to record with you guys. Why

325
00:16:08,279 --> 00:16:10,799
don't we put some of your material and record it.

326
00:16:10,840 --> 00:16:13,200
So the band had already broken up and they decided

327
00:16:13,200 --> 00:16:18,519
to reunite just to record at Dave Parson's new studio. Well,

328
00:16:18,720 --> 00:16:21,799
the studio was owed a lot of back rent and

329
00:16:21,840 --> 00:16:25,080
the landlord was threatening to take all their equipment in

330
00:16:25,200 --> 00:16:28,200
return for back pay and kick them out. And so

331
00:16:28,639 --> 00:16:30,759
they had to hurry up. They had two days to

332
00:16:30,840 --> 00:16:32,759
record only at night. They had to sneak in. They

333
00:16:32,799 --> 00:16:36,519
had two days to do an entire EP. They recorded

334
00:16:36,559 --> 00:16:41,399
an EP called pollywog Stu. Now, the way punk music

335
00:16:41,559 --> 00:16:44,360
was at the time is everything is very, very brief.

336
00:16:44,440 --> 00:16:46,960
These songs are less than two minutes long, I think,

337
00:16:47,000 --> 00:16:49,960
most of them. But they got in. They recorded with

338
00:16:50,080 --> 00:16:52,960
John Berry in the lineup. They did a hardcore punk

339
00:16:53,039 --> 00:16:56,200
EP called polywog Stu. But then they lost the equipment,

340
00:16:56,240 --> 00:16:59,200
they lost the studio. There was a guy there working

341
00:16:59,240 --> 00:17:03,200
as an engineering Scott Jarvis, who snuck away with a

342
00:17:03,240 --> 00:17:06,319
tape machine and he was able to mix what they

343
00:17:06,359 --> 00:17:08,799
had cut at home in his bedroom.

344
00:17:09,160 --> 00:17:10,519
Speaker 4: And is only because.

345
00:17:10,200 --> 00:17:13,319
Speaker 5: Of that guy that they were able to get this

346
00:17:13,680 --> 00:17:16,200
EP finished and released and get it out there.

347
00:17:16,519 --> 00:17:19,480
Speaker 1: So what were the songs that were on pollywog Stiff?

348
00:17:19,519 --> 00:17:22,319
Speaker 4: BC Revolution was one that was on there, uh huh.

349
00:17:22,359 --> 00:17:25,279
Speaker 5: And also they're probably their most famous one because they

350
00:17:25,359 --> 00:17:27,240
kept it in their set for a long time was

351
00:17:27,279 --> 00:17:28,319
egg Raid on Mojo.

352
00:17:28,559 --> 00:17:31,720
Speaker 1: Right, So egg Grade on Mojo was about a bouncer

353
00:17:31,920 --> 00:17:32,960
at one of the clubs.

354
00:17:34,079 --> 00:17:35,480
Speaker 4: I can't understand a thing they say.

355
00:17:35,839 --> 00:17:38,160
Speaker 1: So there was there was a bouncer at one of

356
00:17:38,160 --> 00:17:41,640
the clubs named Mojo, and he would never let them

357
00:17:41,680 --> 00:17:43,920
come into the club because they were kids and they

358
00:17:43,920 --> 00:17:45,720
were able to sneak into other places, but not the

359
00:17:45,720 --> 00:17:48,599
place they wanted to go. And so I don't think

360
00:17:48,640 --> 00:17:50,880
it ever happened. I think it was just a song

361
00:17:50,920 --> 00:17:54,319
about their dreams of getting a bunch of eggs and

362
00:17:54,359 --> 00:17:57,359
pelting Mojo with the eggs, and so that's that's what

363
00:17:57,400 --> 00:17:59,799
the egg raid on Mojo is all about.

364
00:18:00,039 --> 00:18:02,079
Speaker 5: So after they recorded this and before it was released,

365
00:18:02,160 --> 00:18:04,440
they broke up again because they were already done. So

366
00:18:04,640 --> 00:18:07,000
they got together to do this recording and they were done.

367
00:18:07,039 --> 00:18:09,039
But what happened was there was somebody in the club

368
00:18:09,079 --> 00:18:11,680
scene that made the trip to LA and took a

369
00:18:11,720 --> 00:18:14,599
selection of songs from the New York scene and had

370
00:18:14,640 --> 00:18:18,640
them played on the radio in Los Angeles, and one

371
00:18:18,720 --> 00:18:22,119
of the songs from Polly wog Stew was performed in California,

372
00:18:22,599 --> 00:18:26,880
and so interest in the Beas Boys began to spark

373
00:18:26,920 --> 00:18:29,200
and began to grow, even though they were technically no

374
00:18:29,279 --> 00:18:32,039
longer together. Apparently from what I've read. Because they started

375
00:18:32,039 --> 00:18:35,279
to get interest, John Barry decided to quit the group.

376
00:18:35,759 --> 00:18:38,519
He didn't want it to get too serious. I guess,

377
00:18:38,559 --> 00:18:40,799
I don't know. He didn't maybe it was coming too professional.

378
00:18:41,039 --> 00:18:41,440
Speaker 4: I don't know.

379
00:18:41,519 --> 00:18:43,759
Speaker 1: He had some I think he had some substance abuse

380
00:18:43,799 --> 00:18:46,000
issues that he was dealing with as well. You know,

381
00:18:46,039 --> 00:18:47,680
a little bit of a drinker. I think there was

382
00:18:47,720 --> 00:18:49,559
probably some attitude issue as well.

383
00:18:49,599 --> 00:18:54,240
Speaker 6: But yeah, alcohol plus punk rocker Eagles bad attitude tough

384
00:18:54,279 --> 00:18:54,720
to deal with.

385
00:18:55,079 --> 00:18:56,440
Speaker 1: So they need a guitarist.

386
00:18:56,720 --> 00:19:00,279
Speaker 5: Now, what do you know about another hardcore punk band

387
00:19:00,319 --> 00:19:01,559
called The Young and the Useless.

388
00:19:02,279 --> 00:19:05,799
Speaker 1: That band had a guy in it named Adam Horowitz. Yep.

389
00:19:06,160 --> 00:19:09,559
Speaker 5: When John Barry quit the Beastie Boys, it was only

390
00:19:09,680 --> 00:19:12,720
natural for Adam Horowitz to kind of step over and

391
00:19:12,799 --> 00:19:15,559
take over as the guitarist for the Beastie Boys.

392
00:19:15,759 --> 00:19:19,240
Speaker 6: Dave I was telling thee before we started this, you know,

393
00:19:19,240 --> 00:19:21,039
I was like, I don't really think I'm a hip

394
00:19:21,039 --> 00:19:24,079
hop guy very much. But what I found out was

395
00:19:24,400 --> 00:19:27,119
I'm really not a hardcore punk guy.

396
00:19:28,160 --> 00:19:30,559
Speaker 2: Yes, that is not my style.

397
00:19:31,920 --> 00:19:32,440
Speaker 4: Very loud.

398
00:19:32,799 --> 00:19:34,759
Speaker 5: The Young and the Useless did record their own EP,

399
00:19:35,480 --> 00:19:39,000
also on rat Cage Records. It was called real men

400
00:19:39,079 --> 00:19:42,519
don't floss, and it is just as much of a

401
00:19:42,640 --> 00:19:48,319
sonic assault as polywogs do. But anyway, by the time

402
00:19:48,400 --> 00:19:52,039
that was released, Adam Horowitz was with the Beastie Boys.

403
00:19:52,559 --> 00:19:54,400
I did find out a couple of interesting things about

404
00:19:54,440 --> 00:19:57,279
The Young and the Useless bandmates, their other lead singer,

405
00:19:57,359 --> 00:19:57,960
Dave Skilken.

406
00:19:58,039 --> 00:19:59,920
Speaker 4: He died of a drug overdose in the early nine

407
00:20:00,440 --> 00:20:00,640
He was.

408
00:20:00,640 --> 00:20:03,440
Speaker 1: A really close friend. When they first met him, they

409
00:20:03,559 --> 00:20:05,720
noticed him and they're like, here's this kid. You know,

410
00:20:05,759 --> 00:20:07,640
it's the middle of the school day and he's obviously

411
00:20:07,680 --> 00:20:10,319
skipping class and walking around with a synthesizer in his

412
00:20:10,359 --> 00:20:12,720
hand as like a mohawk carecut, and they're like, this

413
00:20:12,799 --> 00:20:15,559
kid looks cool. And they meet him. He's in sixth grade,

414
00:20:16,480 --> 00:20:19,480
eleven years old. They're like fifteen and he's eleven, and

415
00:20:19,480 --> 00:20:21,440
they're like, this dude's cool. We need to hang out

416
00:20:21,440 --> 00:20:24,960
with him. So yeah, Dave Skilkin was an interesting guy.

417
00:20:25,160 --> 00:20:27,960
I believe he's in the Fight for You rite video

418
00:20:27,960 --> 00:20:28,799
if I remember right.

419
00:20:29,079 --> 00:20:30,759
Speaker 5: The other two guys in The Young and the Useless

420
00:20:30,920 --> 00:20:33,240
Arthur Africano. He would go on to be a cameraman

421
00:20:33,319 --> 00:20:36,279
working in Hollywood. He's worked camera for shows like Picket

422
00:20:36,319 --> 00:20:39,279
Fences and The Practice. So he went on and had

423
00:20:39,279 --> 00:20:42,480
a pretty solid career in television. He also shot a

424
00:20:42,480 --> 00:20:45,759
few of the beast Boys videos, such as Intergalactic in

425
00:20:45,759 --> 00:20:48,759
the nineties, and there was yet another Adam, Adam trez

426
00:20:48,880 --> 00:20:50,680
or Trezi, and he would go on to be an

427
00:20:50,720 --> 00:20:54,559
actor and he performed in thirty Rock and Law and

428
00:20:54,680 --> 00:20:57,400
Order and Sopranos and things like that. So the Young

429
00:20:57,400 --> 00:20:59,519
and the Useless they ended up being kind of significant,

430
00:20:59,559 --> 00:21:02,559
and Dave Parsons says they were better than the Beastie Boys,

431
00:21:02,640 --> 00:21:05,160
and in the world of hardcore punk, they were they

432
00:21:05,160 --> 00:21:07,599
had the potential to be huge, but it was a

433
00:21:07,720 --> 00:21:09,319
it was a case a bad time because by the

434
00:21:09,319 --> 00:21:12,119
time their EP came out and there was interest in them,

435
00:21:12,599 --> 00:21:15,640
they were kind of already losing their direction because Adam

436
00:21:15,680 --> 00:21:17,680
Horowitz was hanging out with the Beastie Boys.

437
00:21:17,720 --> 00:21:20,720
Speaker 6: Okay, so about this time they recorded a song called

438
00:21:20,839 --> 00:21:21,559
Cookie Puss.

439
00:21:21,599 --> 00:21:22,640
Speaker 1: So where does that come from?

440
00:21:23,039 --> 00:21:26,000
Speaker 2: It comes from a ice cream commercial.

441
00:21:25,759 --> 00:21:28,920
Speaker 1: Like they make an ice cream that's called the cookie Puss.

442
00:21:29,200 --> 00:21:31,480
Speaker 2: Yeah, So like it's like a it's like an ice

443
00:21:31,480 --> 00:21:33,480
cream cake. So I watched this.

444
00:21:34,160 --> 00:21:37,079
Speaker 6: Have you seen the commercials for this So Carnell ice

445
00:21:37,119 --> 00:21:40,319
Cream had a like an ice cream cake is really

446
00:21:40,359 --> 00:21:43,920
weird looking, so like the nose was like a laid

447
00:21:43,960 --> 00:21:47,119
down ice cream cone and it had a high pitched voice.

448
00:21:47,119 --> 00:21:51,119
Speaker 2: It was like high, I'm cookie Buss and uhait, how

449
00:21:51,119 --> 00:21:52,599
did it go? Cookie Puss?

450
00:21:53,720 --> 00:21:56,599
Speaker 6: And on on Saint Patrick's Day they would have oh,

451
00:21:56,680 --> 00:22:00,039
Cookie Puss or Cookie Opus COOKI.

452
00:21:59,279 --> 00:22:02,440
Speaker 2: Opus out.

453
00:22:03,920 --> 00:22:04,920
Speaker 4: Body get out.

454
00:22:06,039 --> 00:22:09,200
Speaker 6: Adam Horovitz thought it would be hilarious to call the

455
00:22:09,279 --> 00:22:12,279
Carnival ice Cream and asked to speak with Cookie place

456
00:22:13,000 --> 00:22:16,440
and they recorded this prank call and then they just

457
00:22:16,519 --> 00:22:17,319
put it down on.

458
00:22:17,279 --> 00:22:19,119
Speaker 2: A beat and it was just kind of this goofy

459
00:22:19,440 --> 00:22:21,039
song man.

460
00:22:20,960 --> 00:22:24,640
Speaker 1: Cookie Puss there, Cookie Puss, I want to speak to

461
00:22:24,759 --> 00:22:27,359
Cookie quiss Man nobody here.

462
00:22:27,400 --> 00:22:31,039
Speaker 6: But but it became popular.

463
00:22:31,160 --> 00:22:35,519
Speaker 1: Yeah, they started playing it at clubs and then they

464
00:22:35,599 --> 00:22:37,759
go to they go to see a friend who's working

465
00:22:37,880 --> 00:22:41,400
at a studio and they find out that there's a

466
00:22:41,480 --> 00:22:44,839
talk show going on upstairs. It was a lesson on

467
00:22:44,880 --> 00:22:49,000
how to properly scratch like it had Yes, it had

468
00:22:49,039 --> 00:22:53,799
Africa Bambada and DJ Jazzy Jay I think was the

469
00:22:53,839 --> 00:22:56,319
other guy on there, and they were teaching these little

470
00:22:56,359 --> 00:23:00,720
you know white suburbanites how to properly scratch their records.

471
00:23:01,200 --> 00:23:03,440
And then all of a sudden, like there's a question

472
00:23:03,519 --> 00:23:06,240
from the audience and the host he goes back there

473
00:23:06,319 --> 00:23:10,000
and then Adam who it stands up and he's like, hey, yeah,

474
00:23:10,039 --> 00:23:13,880
have you heard this song called cookie Puss? And and

475
00:23:14,279 --> 00:23:16,880
Africa Bombarda was like, yeah, yeah, I've heard it.

476
00:23:16,960 --> 00:23:19,720
Speaker 2: Yeah, I heard song, got a funk, I like it.

477
00:23:19,799 --> 00:23:20,799
Speaker 7: Yeah, I was just wondering.

478
00:23:20,799 --> 00:23:22,680
Speaker 4: There's a song I really like called cookie Puss by

479
00:23:22,680 --> 00:23:24,400
the Beastie Boys. I don't you ever heard of it?

480
00:23:24,599 --> 00:23:26,119
Speaker 6: Yes, a Cookie Puss.

481
00:23:26,799 --> 00:23:29,680
Speaker 7: I've gotten the record through the rock pool. It's tough.

482
00:23:29,960 --> 00:23:30,720
Speaker 4: Yeah you like that?

483
00:23:30,799 --> 00:23:31,680
Speaker 1: Why do you like that one?

484
00:23:31,960 --> 00:23:33,960
Speaker 4: It's just a really funny song I heard on the

485
00:23:34,000 --> 00:23:38,000
radio scratching and work on it like that.

486
00:23:38,279 --> 00:23:41,519
Speaker 7: It has a little bit scratching on it and is funky.

487
00:23:41,839 --> 00:23:44,799
Speaker 1: And so now they're on like national television and the

488
00:23:44,839 --> 00:23:47,880
talk show and they've announced their album and it was

489
00:23:47,960 --> 00:23:50,880
all just them being goofy dumb kids.

490
00:23:50,920 --> 00:23:52,480
Speaker 2: Brilliant marketing right there.

491
00:23:52,599 --> 00:23:55,279
Speaker 5: Yeah, Well, what was interesting is that they were still

492
00:23:55,279 --> 00:23:58,359
a punk band. But Cookie Puss is not a punk

493
00:23:58,519 --> 00:24:01,240
track in right, It's got hip hop beats, and it's

494
00:24:01,240 --> 00:24:03,599
got hip hop effects, you know, scratching and things like

495
00:24:03,640 --> 00:24:06,440
that on it. You can't say they're really rapping on it,

496
00:24:06,839 --> 00:24:10,880
but it's definitely a hip hop arrangement. And it was

497
00:24:10,880 --> 00:24:13,480
the first time they had introduced anything like that to

498
00:24:13,519 --> 00:24:17,160
what they were doing, and it did take off, and

499
00:24:17,200 --> 00:24:20,279
it did gain attention, and it gained attention among the

500
00:24:20,359 --> 00:24:22,319
hip hop community, and there are a lot.

501
00:24:22,200 --> 00:24:24,799
Speaker 1: Of it's important it's important to note that at this time,

502
00:24:25,319 --> 00:24:28,039
like this is when sucka MCS comes out, right, this

503
00:24:28,079 --> 00:24:32,960
is when run DMC becomes you know whatever boombox is

504
00:24:33,000 --> 00:24:36,200
playing in New York City, and so at that point

505
00:24:36,319 --> 00:24:40,079
they become rap devotes. Like they were emulating and trying

506
00:24:40,079 --> 00:24:43,519
to imitate everything that run DMC was doing, and they

507
00:24:43,640 --> 00:24:45,759
ended up getting a they were going to be in

508
00:24:45,799 --> 00:24:47,799
the Battle of the Bands. They were they were in

509
00:24:47,799 --> 00:24:51,000
a Battle of the Bands at Studio fifty four. The

510
00:24:51,240 --> 00:24:54,920
Studio fifty four. Yeah, so they've got this, they've got there.

511
00:24:54,920 --> 00:24:56,720
They're like, Okay, we've got the Battle of the Bands.

512
00:24:56,799 --> 00:25:00,119
Cookie Pusses are song, but we just recorded it. I've

513
00:25:00,160 --> 00:25:02,400
never done it live. We've got to have a DJ

514
00:25:02,720 --> 00:25:05,920
to do a live show. And somebody's like, you know

515
00:25:05,960 --> 00:25:08,279
who you should talk to. You should talk to my buddy, Rick,

516
00:25:08,440 --> 00:25:12,640
who's an NYU student, Rick Rubin, Rick freaking Rue, Rick

517
00:25:12,720 --> 00:25:16,079
freaking Rubin, who at this point was just a kid

518
00:25:16,599 --> 00:25:20,319
in a kid in college. Yeah, a weird kid in college,

519
00:25:20,319 --> 00:25:21,839
but go ahead. Yeah.

520
00:25:22,000 --> 00:25:24,440
Speaker 5: So Rick Rubin at the time that I met him,

521
00:25:24,640 --> 00:25:27,799
was the social director for the student union at NYU,

522
00:25:28,240 --> 00:25:31,079
which probably means he was just a professional partier.

523
00:25:31,240 --> 00:25:32,160
Speaker 4: Is going to be my guest.

524
00:25:32,480 --> 00:25:35,400
Speaker 6: Excuse me, I'm out of toilet paper. Can you help

525
00:25:35,440 --> 00:25:35,880
me on with that?

526
00:25:36,880 --> 00:25:40,079
Speaker 1: So it's interesting because Rick Rubin he was going to

527
00:25:40,200 --> 00:25:43,200
NYU with the intention of going to law school. And

528
00:25:43,240 --> 00:25:45,359
I've got more on that later, but he was going

529
00:25:45,400 --> 00:25:48,160
with the intention to go to law school. But he said,

530
00:25:48,519 --> 00:25:52,480
I never scheduled a class before three pm because I

531
00:25:52,559 --> 00:25:54,839
knew I wouldn't be awake before then. Because he was

532
00:25:54,880 --> 00:25:57,759
spending every night going out to the clubs where like

533
00:25:57,880 --> 00:26:02,119
all of the rap music was playing, and he had noticed,

534
00:26:02,200 --> 00:26:05,000
you know, he'd get excited about these albums and then

535
00:26:05,039 --> 00:26:06,680
you'd get the album and he'd be like, this doesn't

536
00:26:06,720 --> 00:26:09,680
sound like the live show, this doesn't sound the way

537
00:26:09,759 --> 00:26:12,720
that the club sounds. I want that sound, and that

538
00:26:12,839 --> 00:26:15,640
was kind of the impetus for him to decide, Hey,

539
00:26:15,680 --> 00:26:17,759
I want to do some DJing and ultimately want to

540
00:26:17,759 --> 00:26:18,440
do some producing.

541
00:26:18,559 --> 00:26:21,039
Speaker 5: Here's the thing about Rick Rubin. He started out in punk.

542
00:26:21,119 --> 00:26:22,000
He was a punk rocker.

543
00:26:22,319 --> 00:26:22,519
Speaker 4: Yeah.

544
00:26:22,559 --> 00:26:24,599
Speaker 1: He backed a couple of bands, right, yeah, when he.

545
00:26:24,559 --> 00:26:27,440
Speaker 4: Was in high school. His first band was called The Pricks.

546
00:26:27,640 --> 00:26:30,480
The Pricks now The Pricks never.

547
00:26:30,480 --> 00:26:34,079
Speaker 5: Actually did The Pricks never really made it out of

548
00:26:34,319 --> 00:26:37,759
Long Island, except they had a gig one night at

549
00:26:38,000 --> 00:26:41,200
CBGB's Have you heard about this? So at their performance,

550
00:26:41,920 --> 00:26:45,039
a fight breaks out in the audience and the cops

551
00:26:45,039 --> 00:26:47,799
are coming in and shutting the place down during the fight,

552
00:26:47,920 --> 00:26:49,720
So the cops come right in and shut it down.

553
00:26:50,000 --> 00:26:53,039
As it turns out, even though the fight was real,

554
00:26:53,200 --> 00:26:56,240
they had friends of theirs as plants in the crowd

555
00:26:56,519 --> 00:26:57,759
to kind of get things started.

556
00:26:57,759 --> 00:27:01,000
Speaker 4: They were the provocateurs. They made the fight happened.

557
00:27:01,599 --> 00:27:07,759
Speaker 5: And get this, the cop that busted in to shut

558
00:27:07,839 --> 00:27:09,319
them all down, he happened to be right on the scene.

559
00:27:09,359 --> 00:27:11,799
He bust in the door and shuts the whole performance down.

560
00:27:12,319 --> 00:27:15,680
That was Rick Rubens's dad in a in a costume.

561
00:27:16,440 --> 00:27:19,079
Speaker 2: Wow, that's brilliant.

562
00:27:19,160 --> 00:27:21,079
Speaker 1: So it's all just a marketing set up.

563
00:27:21,599 --> 00:27:24,640
Speaker 5: Yes, it's a way to get some notoriety and some

564
00:27:24,640 --> 00:27:31,599
some publicity. When he goes on to NYU, he forms

565
00:27:31,599 --> 00:27:35,200
a band called Hose. Hose was a hardcore punk band.

566
00:27:35,279 --> 00:27:38,960
But then by eighty three, what Rick was personally finding

567
00:27:39,400 --> 00:27:41,920
was that the punk scene seemed to kind of be

568
00:27:42,000 --> 00:27:45,039
dying off. And what he had discovered was the hip

569
00:27:45,039 --> 00:27:49,599
hop scene and the rap scene. And his mind was blown.

570
00:27:49,640 --> 00:27:51,480
And he was going to all these clubs and hearing

571
00:27:51,880 --> 00:27:55,160
all this pure hip hop, you know, in its earliest stages.

572
00:27:55,480 --> 00:27:58,119
He was hearing the innovators. He was He's there at

573
00:27:58,160 --> 00:28:00,519
ground zero for the birth of this whole scene. But

574
00:28:00,680 --> 00:28:02,960
what he realized was that there was a lot of

575
00:28:02,960 --> 00:28:08,680
similarity between rap from this era and punk because they

576
00:28:08,720 --> 00:28:09,559
both shared.

577
00:28:09,319 --> 00:28:11,200
Speaker 4: The same outlaw kind of attitude.

578
00:28:11,640 --> 00:28:14,640
Speaker 5: They both shared a like a low fi, do it

579
00:28:14,720 --> 00:28:18,240
yourself type of ethic to it. And I mean, honestly,

580
00:28:18,359 --> 00:28:21,720
you didn't need a lot of technical musical talent with that.

581
00:28:22,200 --> 00:28:24,839
Musical talent was not a barrier of entry into either

582
00:28:24,880 --> 00:28:25,880
one of these als.

583
00:28:26,240 --> 00:28:29,319
Speaker 1: To this day, Rick Rubin will say he's not a musician,

584
00:28:29,680 --> 00:28:33,799
and he's also not particularly good with mix a mixing board.

585
00:28:34,119 --> 00:28:37,880
It's it's just not what he does. His expertise is

586
00:28:37,920 --> 00:28:41,000
figuring out what's going to be good music, like what

587
00:28:41,039 --> 00:28:41,880
people are going to.

588
00:28:41,960 --> 00:28:44,279
Speaker 6: Like, Dave, what you said that that really blew my

589
00:28:44,359 --> 00:28:49,519
mind because to me, hardcore punk and rap have nothing

590
00:28:49,559 --> 00:28:50,079
in common.

591
00:28:50,200 --> 00:28:50,960
Speaker 2: But then when I.

592
00:28:50,880 --> 00:28:53,400
Speaker 6: Started watching these videos and doing research for this podcast,

593
00:28:53,559 --> 00:28:57,119
they do have some commonalities, you know, for them to

594
00:28:57,240 --> 00:28:59,839
pivot from that to this and it not being that

595
00:29:00,279 --> 00:29:01,160
is kind of interesting to me.

596
00:29:01,319 --> 00:29:01,599
Speaker 4: Yeah.

597
00:29:01,640 --> 00:29:04,119
Speaker 5: So there was also what I said before about there

598
00:29:04,240 --> 00:29:07,920
was this diversity of selection of music being played in

599
00:29:07,960 --> 00:29:10,319
these clubs, so kids were getting exposed to all kinds

600
00:29:10,319 --> 00:29:12,559
of stuff. It wasn't strictly what you might think in

601
00:29:12,640 --> 00:29:17,240
terms of genre and category. And Africa Bambada has said

602
00:29:17,359 --> 00:29:20,920
that the punk rockers were the very first white audience

603
00:29:21,079 --> 00:29:24,240
to accept what he was doing except that rap sound.

604
00:29:24,559 --> 00:29:27,960
So there was already before the Beac Boys came along,

605
00:29:28,079 --> 00:29:30,720
there was already kind of an organic connection happening in

606
00:29:30,759 --> 00:29:33,200
the clubs between punk rockers and wrap.

607
00:29:36,200 --> 00:29:39,480
Speaker 1: Okay, guys, before we go any further, let's take a

608
00:29:39,640 --> 00:29:42,759
quick break and we are going to do the Shirley Showcase.

609
00:29:42,960 --> 00:29:45,319
We have a special guest this time.

610
00:29:45,599 --> 00:29:47,960
Speaker 6: Yeah, we've got my buddy, Cameron Eckert. He was my

611
00:29:48,000 --> 00:29:50,480
college roommate, one of my best friends in the entire world.

612
00:29:50,960 --> 00:29:54,119
He decided to weigh in on our usual Illusion one

613
00:29:54,160 --> 00:29:58,119
and two versus Metallica's Black album kind of that run

614
00:29:58,160 --> 00:30:00,839
of ninety one albums that we did this summer.

615
00:30:01,279 --> 00:30:02,599
Speaker 2: And here's what Cameron had to say.

616
00:30:03,000 --> 00:30:06,720
Speaker 7: Hello, surely you can't be serious podcast. Hey, this is

617
00:30:06,759 --> 00:30:10,799
Cameron from Vancouver, Canada. Such a fan of you guys

618
00:30:10,960 --> 00:30:13,839
and your show from day one. And yes, that maybe

619
00:30:13,880 --> 00:30:16,400
because I knew it was coming, being a very good

620
00:30:16,480 --> 00:30:20,359
friend of Jason Colbyn, one of my college roommates. But

621
00:30:20,480 --> 00:30:22,400
you know what, I've loved it from day one. You

622
00:30:22,400 --> 00:30:24,319
guys are great together. You can tell that you are

623
00:30:24,359 --> 00:30:27,839
friends first and podcast co host second. I'm very honored

624
00:30:27,880 --> 00:30:29,799
that Jason asked me to send in a comment, and

625
00:30:29,839 --> 00:30:33,039
as a music fan and a hard rock music fan

626
00:30:33,079 --> 00:30:37,319
at that, I definitely had to choose Metallica Black versus

627
00:30:37,319 --> 00:30:39,559
Guns N' Roses use your Illusion.

628
00:30:39,319 --> 00:30:39,799
Speaker 1: One and two.

629
00:30:41,000 --> 00:30:43,279
Speaker 7: I am a bigger fan of hard rock than most

630
00:30:43,319 --> 00:30:46,680
of her genres. I steer clear from, However, some of

631
00:30:46,680 --> 00:30:50,160
the softer groups like Poison and Warrant, and yes, Jason

632
00:30:50,279 --> 00:30:53,839
bon Jovi huge fan of both Metallica and Guns N' Roses,

633
00:30:53,880 --> 00:30:58,000
though tend to like Guns N' Roses a little bit better. However,

634
00:30:58,680 --> 00:31:01,640
in the case of Black versus User Illusion one and two,

635
00:31:02,440 --> 00:31:04,839
I have to agree with d on this one. All

636
00:31:04,880 --> 00:31:08,640
in all, I like the Black album just that bit

637
00:31:08,720 --> 00:31:12,680
better than either Use Your Illusion one or two. I would, however,

638
00:31:12,720 --> 00:31:15,200
agree with you guys that Use Your Illusion two is

639
00:31:15,440 --> 00:31:18,440
the better of those two albums. I'll tell you though.

640
00:31:18,480 --> 00:31:22,079
For me, it's a very close race between all three

641
00:31:22,079 --> 00:31:25,359
of them one, A, B and C really, but if

642
00:31:25,400 --> 00:31:28,400
I'm walking out the door, I'm definitely going to skew

643
00:31:28,400 --> 00:31:32,960
towards Metallica Black. I became a huge Metallica fan probably

644
00:31:33,039 --> 00:31:36,440
off this album, which I know maybe sacrilege to the

645
00:31:36,480 --> 00:31:39,039
harder core Metallica fans is that tend to like their

646
00:31:39,079 --> 00:31:42,079
earlier harder core work. But I just found this album

647
00:31:42,200 --> 00:31:44,839
to be great and it made me actually go back

648
00:31:45,000 --> 00:31:48,200
and become a fan of Metallica's earlier work. So I've

649
00:31:48,200 --> 00:31:51,440
really appreciated that about the Black album. I did find

650
00:31:51,640 --> 00:31:55,000
that this release from thirty year anniversary of it, with

651
00:31:55,039 --> 00:31:57,960
all the different artists doing their takes on It was

652
00:31:58,079 --> 00:32:00,920
very cool to listen to. Obviously some good stuff in

653
00:32:00,960 --> 00:32:03,200
there and some not so good, but it was just

654
00:32:03,599 --> 00:32:06,720
interesting to see what kind of influence that album had

655
00:32:06,960 --> 00:32:10,599
on this generation, you know. And I think Guns probably

656
00:32:10,799 --> 00:32:15,519
had a big influence too, but their work seemed to

657
00:32:15,559 --> 00:32:19,079
spread over Appetite through Use Your Illusion one in two

658
00:32:19,160 --> 00:32:22,720
a little bit more. I liked Appetite a bit better

659
00:32:22,759 --> 00:32:25,119
than these albums, no matter what Axel thinks of them,

660
00:32:25,480 --> 00:32:26,960
and I don't know, I just I think I would

661
00:32:26,960 --> 00:32:30,880
take Appetite over Black, but against Use Your Illusion one

662
00:32:30,880 --> 00:32:33,440
and two, I'm still gonna stick with with the Black album.

663
00:32:33,759 --> 00:32:36,839
I do find it amusing that in this case, and

664
00:32:36,880 --> 00:32:39,960
in most of you guys's final judgments, no matter the topic,

665
00:32:40,359 --> 00:32:42,880
I tend to agree more with d than with Jason.

666
00:32:43,319 --> 00:32:45,799
It's funny because on the same age as Jason, and

667
00:32:46,000 --> 00:32:48,880
we kind of, you know, went through the formative.

668
00:32:48,440 --> 00:32:49,400
Speaker 1: College years together.

669
00:32:50,079 --> 00:32:53,000
Speaker 7: But I think I've evolved my tastes maybe a little

670
00:32:53,000 --> 00:32:56,160
bit more than Jason over the years. He's stayed with

671
00:32:56,240 --> 00:32:58,559
the pop culture of the eighties and nineties, and I've

672
00:32:58,640 --> 00:33:01,599
kept going forward, which may be why it's a little

673
00:33:01,599 --> 00:33:05,119
bit different, so maybe makes some sense. Anyway, guys, I

674
00:33:05,160 --> 00:33:07,720
just wanted to weigh in on that and wanted to

675
00:33:07,720 --> 00:33:09,640
tell you to keep up the great work. I look

676
00:33:09,720 --> 00:33:12,319
forward to seeing what of their music, movies, and other

677
00:33:12,319 --> 00:33:13,920
topics you guys cover in the future.

678
00:33:14,319 --> 00:33:17,079
Speaker 1: Take care. Well, what can I say? I mean, I

679
00:33:17,079 --> 00:33:21,440
don't know about you know, evolution in the musical taste area.

680
00:33:21,640 --> 00:33:25,799
But right is right and Black Album is just the

681
00:33:25,839 --> 00:33:27,359
better album. That's just the way it is.

682
00:33:27,519 --> 00:33:31,640
Speaker 2: It's a facks you know facts, right right? Cam?

683
00:33:31,680 --> 00:33:34,599
Speaker 6: Thank you very much. These head is now humongous. I

684
00:33:34,599 --> 00:33:37,680
can't even fit in the room. Thank you for taking

685
00:33:37,680 --> 00:33:40,559
the time to weigh in. We do love all three

686
00:33:40,599 --> 00:33:42,519
of these albums, and I think all three of us

687
00:33:42,599 --> 00:33:44,759
agree that your Allusion too is the better.

688
00:33:44,680 --> 00:33:45,799
Speaker 2: Guns N' Roses album.

689
00:33:45,960 --> 00:33:48,960
Speaker 6: However, I can't really fault you for loving Metallica and

690
00:33:49,039 --> 00:33:51,720
the Black Album. So Cameron, thank you so much, Bro.

691
00:33:51,920 --> 00:33:52,680
We appreciate you.

692
00:33:52,960 --> 00:33:53,599
Speaker 1: Thanks Cameron.

693
00:33:58,440 --> 00:34:00,839
Speaker 5: By the time eighty three rolls around, Rick is just

694
00:34:01,000 --> 00:34:03,480
like all In. He's forgotten about punk. He's still a

695
00:34:03,480 --> 00:34:06,799
classic rock guy. He loves AC DC, led Zeppelin, Aerosmith.

696
00:34:07,000 --> 00:34:09,400
He's a big fan of those guys. But he is

697
00:34:09,639 --> 00:34:12,880
obsessed with what's happening, the innovation and creativity. He's hearing

698
00:34:13,159 --> 00:34:16,360
in the hip hop clubs and he's learning how to

699
00:34:16,480 --> 00:34:19,320
be a DJ and scratching and programming drum machine and

700
00:34:19,320 --> 00:34:22,119
all that kind of stuff, and he's all about it. Well,

701
00:34:22,159 --> 00:34:26,159
he finds a kindred spirit in Adam Horovitz. So what

702
00:34:26,239 --> 00:34:28,159
happens is you were saying, we pick up the story.

703
00:34:28,280 --> 00:34:29,239
The BC Boys are.

704
00:34:29,119 --> 00:34:29,599
Speaker 4: A punk band.

705
00:34:29,599 --> 00:34:32,480
Speaker 5: They're playing punk sets, but now they are expected to

706
00:34:32,480 --> 00:34:35,480
play cookie Puss and to truly be able to do

707
00:34:35,519 --> 00:34:37,639
that justice on stage, they got to have a DJ.

708
00:34:38,239 --> 00:34:40,760
So they found Rick Rubin. They were introduced to him.

709
00:34:41,320 --> 00:34:44,039
He went by the name DJ Double R. He would

710
00:34:44,119 --> 00:34:46,679
come on at the end of their set to DJ

711
00:34:46,840 --> 00:34:49,239
for them so they can start incorporating a little hip

712
00:34:49,239 --> 00:34:50,360
hop into their shows.

713
00:34:50,559 --> 00:34:53,920
Speaker 1: Yeah, the show would start with punk music and end

714
00:34:53,920 --> 00:34:56,239
with hip hop music basically, right, that's right.

715
00:34:56,400 --> 00:34:59,280
Speaker 6: Rick Rubin got the job kind of like the way

716
00:34:59,400 --> 00:35:02,599
David Lee Ro got the lead singer in Van Halen.

717
00:35:02,599 --> 00:35:05,280
Speaker 1: Except instead of having a PA, he had a bubble machine.

718
00:35:05,280 --> 00:35:07,199
He had the mix, he had the bubble machine.

719
00:35:07,400 --> 00:35:08,840
Speaker 2: The bubbles, the bubble.

720
00:35:08,519 --> 00:35:11,280
Speaker 1: Machine is what led them. And there he's like he's

721
00:35:11,280 --> 00:35:13,639
got this awesome setup and he's got a bubble machine

722
00:35:13,679 --> 00:35:15,760
and they're like, wait, a bubble machine. Yeah, we got

723
00:35:15,800 --> 00:35:17,920
to get the guy with the bubble machine. When they

724
00:35:17,960 --> 00:35:19,639
met him, when they walk into his dorm room, like

725
00:35:20,000 --> 00:35:22,719
this can't be the hip hop DJ guy because he's

726
00:35:22,760 --> 00:35:26,599
got the beard and his hair's all scraggly, and he's

727
00:35:26,599 --> 00:35:30,400
got like these leather long gloves, like black leather gloves,

728
00:35:30,400 --> 00:35:33,000
and like this dude's weird. But he ends up being

729
00:35:33,039 --> 00:35:36,280
like a big brother to him, and his music knowledge

730
00:35:36,440 --> 00:35:40,119
and his determination to succeed is infectious.

731
00:35:40,480 --> 00:35:44,000
Speaker 6: David Lee roth Rick Rubin both get the job because

732
00:35:44,039 --> 00:35:46,159
they happen to have a piece of equipment that's needed

733
00:35:46,159 --> 00:35:47,000
to get the job done.

734
00:35:47,280 --> 00:35:50,400
Speaker 1: So just just to touch on it, since I mentioned

735
00:35:50,480 --> 00:35:54,199
the battle of the band Studio fifty four, they lost.

736
00:35:55,239 --> 00:35:58,599
Speaker 5: Well, what happened was Rick continued to hang out with them,

737
00:35:58,639 --> 00:36:02,320
He befriended them, probably closer to Adam Horvitz than the others,

738
00:36:02,400 --> 00:36:04,360
but they were all spending a lot of time at

739
00:36:04,360 --> 00:36:08,000
his dorm room, so they His dormy has been described

740
00:36:08,039 --> 00:36:10,760
as like a bomb site. It's as slovenly as you

741
00:36:10,760 --> 00:36:13,599
can imagine, and just pro wrestling posters on the wall,

742
00:36:14,079 --> 00:36:17,000
pizza boxes stacked up in the corner, and just crates

743
00:36:17,039 --> 00:36:20,000
and crates of music from all different types of categories.

744
00:36:20,079 --> 00:36:22,079
To the course of nineteen eighty three, he's talking to

745
00:36:22,599 --> 00:36:24,760
the BC boys about how they need to corporate, they

746
00:36:24,760 --> 00:36:25,960
need to do more hip hop.

747
00:36:26,079 --> 00:36:27,840
Speaker 6: It makes sense for them to kind of go down

748
00:36:27,920 --> 00:36:31,599
that hip hop route because cookie busses having success. Yeah,

749
00:36:31,679 --> 00:36:33,960
I mean, you'd want to chase that type of success.

750
00:36:34,079 --> 00:36:37,480
Speaker 1: It's not like the hardcore punk was their dream. They

751
00:36:37,480 --> 00:36:39,239
were doing this for fun. I mean they were trying

752
00:36:39,239 --> 00:36:41,440
to have a good time and make each other laugh

753
00:36:41,519 --> 00:36:44,320
and be silly. And so for him to go, hey,

754
00:36:44,320 --> 00:36:46,480
you guys should focus more on hip hop unless's on

755
00:36:46,519 --> 00:36:48,920
punk rock, I don't see. It's not surprising to me.

756
00:36:48,960 --> 00:36:50,639
They're like, okay, whatever that works.

757
00:36:50,719 --> 00:36:53,840
Speaker 2: Sure that worked. Mean, let's keep trying to do that.

758
00:36:54,000 --> 00:36:55,480
Speaker 1: Yeah, yeah, yeah.

759
00:36:55,280 --> 00:36:57,440
Speaker 5: So the guys were I don't know where Kate was.

760
00:36:57,480 --> 00:36:59,000
She was still in the band. They were still doing

761
00:36:59,039 --> 00:37:01,639
punk shows. The guys were hanging out in Rick's dorm

762
00:37:01,679 --> 00:37:03,840
room a lot every day, just going through his craze,

763
00:37:03,920 --> 00:37:08,199
just hanging out having fun. But they're still gigging as

764
00:37:08,239 --> 00:37:11,960
the Beastie Boys, and Rick is further exploring the rap

765
00:37:12,000 --> 00:37:17,400
scene and he eventually befriends a club DJ named Jazzy J.

766
00:37:19,039 --> 00:37:20,679
Jazzy J was on the air in New York and

767
00:37:20,719 --> 00:37:23,519
he was a member of Africa Bambada's Zulu Nation, which

768
00:37:23,559 --> 00:37:26,079
is just a big organization of rappers and hip hoppers

769
00:37:26,119 --> 00:37:28,239
that are all about world peace really and really trying

770
00:37:28,239 --> 00:37:31,079
to use music in a positive way to detert to

771
00:37:31,119 --> 00:37:33,199
steer people away from violence and things like that, and

772
00:37:33,280 --> 00:37:36,000
using music to kind of build culture and cultural bridges.

773
00:37:36,239 --> 00:37:39,079
Speaker 4: And he got to know Jazzy J. And Jazzy Jay.

774
00:37:39,199 --> 00:37:42,800
Speaker 5: And Rick Rubin got together and they produced a trap

775
00:37:43,079 --> 00:37:45,199
and they decided they wanted to try to release this

776
00:37:45,280 --> 00:37:47,920
as a song. So they went about trying to find

777
00:37:47,960 --> 00:37:50,480
someone to rap over this track, and they couldn't find

778
00:37:50,559 --> 00:37:52,880
a rapper. It took them like two years from the

779
00:37:52,880 --> 00:37:55,679
time they decided to get together to put the song out.

780
00:37:56,000 --> 00:37:59,119
Speaker 2: I'm sitting right next to a rapper. Why did it

781
00:37:59,239 --> 00:38:00,880
take them so long there to come?

782
00:38:00,920 --> 00:38:04,599
Speaker 4: Man? Come, I'm just saying they only knew about Doctor

783
00:38:04,639 --> 00:38:05,360
Fresh back then.

784
00:38:08,400 --> 00:38:09,599
Speaker 1: I was like seven years old.

785
00:38:09,679 --> 00:38:15,880
Speaker 5: Yeah, Doctor very Fresh. But anyway, the first choice they

786
00:38:15,960 --> 00:38:18,599
had for a rapper they wanted. Tool mo d Now

787
00:38:20,000 --> 00:38:22,880
was somebody that I recognize as a solo artist from

788
00:38:22,920 --> 00:38:25,559
them from the second half of the eighties, but at

789
00:38:25,559 --> 00:38:28,280
this time he was a member of a very significant

790
00:38:28,280 --> 00:38:32,639
group called the Treacherous Three. And they couldn't get Deep

791
00:38:33,519 --> 00:38:37,239
and they couldn't get uh Special K, which was another

792
00:38:37,280 --> 00:38:39,840
member of the Treacher's Three. Their record label wouldn't let

793
00:38:39,880 --> 00:38:43,800
them do it, so they turned to Special K's older brother.

794
00:38:44,039 --> 00:38:45,639
Speaker 1: Te La Rock.

795
00:38:46,360 --> 00:38:49,639
Speaker 5: Teela Rock became their artist and he came in and

796
00:38:49,760 --> 00:38:53,280
recorded the rap over the track that Rick Rubin and

797
00:38:53,360 --> 00:38:56,960
Jesse j had produced. And at the end of the song,

798
00:38:57,719 --> 00:39:01,000
they need some background vocals just doing nonsense stuff in

799
00:39:01,039 --> 00:39:05,559
the background. Those background vocals belong to Adam Horowitz, Adam

800
00:39:05,639 --> 00:39:07,119
Yak and Michael Dinald.

801
00:39:12,039 --> 00:39:13,719
Speaker 2: Nice freaking awesome nice.

802
00:39:13,960 --> 00:39:16,559
Speaker 1: So the song that they came up with is called

803
00:39:16,639 --> 00:39:20,960
It's Yours and it's really good. I mean, Rick had

804
00:39:21,079 --> 00:39:24,239
hit upon that formula that he was looking for trying

805
00:39:24,280 --> 00:39:27,920
to get the club sound onto a record. And one

806
00:39:27,960 --> 00:39:33,320
of the people who heard this track It's Yours, was

807
00:39:33,639 --> 00:39:38,880
a manager named Russell Simmons, and he was managing for

808
00:39:39,079 --> 00:39:44,880
his brother's group. Among others. His brother's name is Joe Simmons,

809
00:39:44,960 --> 00:39:46,360
but we know him by a different name.

810
00:39:46,440 --> 00:39:50,800
Speaker 4: I'm the King. Oh Ron j Run.

811
00:39:51,239 --> 00:39:52,840
Speaker 2: Was also going to get into the picture here.

812
00:39:53,360 --> 00:39:55,760
Speaker 1: I've got a good story on that one, okay.

813
00:39:56,599 --> 00:39:58,519
Speaker 5: But at this time, Russell Simmons is one of the

814
00:39:58,519 --> 00:40:01,880
biggest names in the business as a as an artist manager.

815
00:40:02,000 --> 00:40:04,480
He not only managed run DMC, which was the biggest act,

816
00:40:04,719 --> 00:40:08,840
he also manages a lot of other acts including Kudini

817
00:40:09,039 --> 00:40:11,920
and Doctor Jekyl and Mister Hyde, Curtis Blow and a

818
00:40:11,920 --> 00:40:12,400
few others.

819
00:40:12,440 --> 00:40:15,280
Speaker 1: At the time, Yeah, when he finds out that it's

820
00:40:15,320 --> 00:40:20,400
some white NYU kid who's produced, it's yours, and that

821
00:40:20,400 --> 00:40:22,559
white NYU kid is like, hey, I want to meet

822
00:40:22,599 --> 00:40:24,039
you and I want to talk to you. They get

823
00:40:24,079 --> 00:40:27,639
together for lunch and Adam and Mike and Adam are

824
00:40:27,719 --> 00:40:29,880
all there, like at a different table, just kind of

825
00:40:29,920 --> 00:40:35,360
watching eagerly about what's going on, and basically he talks

826
00:40:35,440 --> 00:40:39,280
Russell Simmons into starting a record label, and Russell Simmons

827
00:40:39,400 --> 00:40:41,440
is like, man, I'm busier than I can be with

828
00:40:41,559 --> 00:40:43,559
managing these groups. I don't want to have to start

829
00:40:43,559 --> 00:40:46,800
something new. And Rick Rubin says, you don't have to

830
00:40:46,840 --> 00:40:49,480
do anything but be my partner. He goes without you.

831
00:40:49,639 --> 00:40:53,400
I'm just an NYU college student. With you, I've got

832
00:40:53,440 --> 00:40:55,719
a name. I will do all the work. You just

833
00:40:55,760 --> 00:40:59,599
be my partner name. And so Russell Simmons agrees to it,

834
00:40:59,719 --> 00:41:05,039
and that's how we come to the formation of deaf

835
00:41:05,440 --> 00:41:06,719
Jam Records.

836
00:41:06,760 --> 00:41:07,320
Speaker 2: Wow.

837
00:41:07,800 --> 00:41:12,480
Speaker 5: Yes, So when It's Yours was released, it was released

838
00:41:12,480 --> 00:41:15,719
with the name deaf Jam on it, but deaf Jam

839
00:41:15,719 --> 00:41:18,199
didn't actually exist as a company at that point.

840
00:41:18,440 --> 00:41:20,039
Speaker 4: It was just a name and a logo that Rick

841
00:41:20,119 --> 00:41:21,039
Ruben had come up with.

842
00:41:21,519 --> 00:41:23,840
Speaker 5: It had been it was actually released through a small

843
00:41:23,880 --> 00:41:26,599
local independent label, but it was a name that he

844
00:41:26,639 --> 00:41:30,400
already had and it already used unofficially. And then in

845
00:41:30,440 --> 00:41:33,320
the summer of nineteen eighty four, you got it exactly right.

846
00:41:33,360 --> 00:41:36,599
So he and Russell Simmons sat down and Russell went

847
00:41:36,639 --> 00:41:40,119
to his dorm room, well stepped through the mess and

848
00:41:40,280 --> 00:41:42,679
listened to the beats he had programmed, and he's he

849
00:41:42,760 --> 00:41:44,559
was blown away and said these were all hits in

850
00:41:44,599 --> 00:41:47,840
the making, And so they formed the record label and

851
00:41:47,880 --> 00:41:51,360
they officially became deaf Jam Records in the summer of

852
00:41:51,440 --> 00:41:52,239
nineteen eighty four.

853
00:41:52,440 --> 00:41:55,239
Speaker 1: So, as you mentioned, they were spending a whole lot

854
00:41:55,239 --> 00:41:59,760
of time with Rick, and as that happened, they were

855
00:42:00,039 --> 00:42:03,639
in a whole lot less time with Kate Schellenbach, who

856
00:42:03,679 --> 00:42:07,960
was their drummer, and kind of that influence is what

857
00:42:08,480 --> 00:42:11,840
led to her being asked to leave the band. And

858
00:42:11,880 --> 00:42:14,880
I think they still even today feel bad about this.

859
00:42:14,960 --> 00:42:17,559
Now it ends up being kind of okay because she

860
00:42:17,679 --> 00:42:20,199
ends up being a drummer for a group called Luscious

861
00:42:20,280 --> 00:42:23,559
Jackson who ends up doing shows with them. But at

862
00:42:23,599 --> 00:42:26,039
the time they were just like, hey, we're a you know,

863
00:42:26,119 --> 00:42:28,800
we're a guy's band and we are a hip hop

864
00:42:28,920 --> 00:42:32,039
now band, and so we don't really want to have

865
00:42:32,320 --> 00:42:35,800
a girl drummer, and so they they kick Kate out.

866
00:42:36,599 --> 00:42:40,039
Now before that happens. Before that happens, they get to

867
00:42:40,039 --> 00:42:42,599
go to Russell Simmons office and they're thinking, because he's

868
00:42:42,599 --> 00:42:45,400
the because he's the manager of these group, huge groups,

869
00:42:45,440 --> 00:42:47,280
they think it's going to be this big, showy office

870
00:42:47,599 --> 00:42:49,760
and it's like two rooms, you know, it's like two

871
00:42:49,840 --> 00:42:54,280
small rooms even together. But when they go in, there

872
00:42:54,440 --> 00:42:59,719
is Curtis blow In talking to Russell, and he's not

873
00:42:59,800 --> 00:43:02,760
just talking to Russell Simmons, he is trying to learn

874
00:43:02,760 --> 00:43:09,480
how to break dance. So's there's another group called Full

875
00:43:09,480 --> 00:43:12,119
Force that's there with them, and they're like all around

876
00:43:12,239 --> 00:43:15,360
him as he's trying to do like headspins and stuff.

877
00:43:15,800 --> 00:43:18,679
And the Beastie Boys are like, you know, they've they've

878
00:43:18,800 --> 00:43:21,400
met some of their idols. Now, Curtis Blow is sitting

879
00:43:21,440 --> 00:43:24,639
here and I told I told, I told Jason. On

880
00:43:24,679 --> 00:43:26,360
the way over here. I was like, man, Curtis Blow

881
00:43:26,400 --> 00:43:28,119
is one of those albums that I've played all the time.

882
00:43:28,199 --> 00:43:31,119
He's like, I don't, I'm not familiar with that. I'm like, dude,

883
00:43:31,440 --> 00:43:34,239
it's basketball is my favorite sport. I like they wave

884
00:43:34,280 --> 00:43:36,239
the dribble up and down the court, just like I'm

885
00:43:36,239 --> 00:43:39,599
the King of the microphone. With Doctor j and Moses Malone,

886
00:43:39,760 --> 00:43:41,960
I like slam dunks. They take me to the My

887
00:43:42,039 --> 00:43:42,960
favorite play is.

888
00:43:42,960 --> 00:43:43,599
Speaker 4: The l e oup.

889
00:43:43,679 --> 00:43:45,159
Speaker 1: I like to figure go. I like to give in

890
00:43:45,239 --> 00:43:48,840
and go. It's basketball with mister Curtis Blue.

891
00:43:49,280 --> 00:43:51,079
Speaker 3: They used to play it all the time when my

892
00:43:51,119 --> 00:43:53,079
brother would come out and it's basketball games.

893
00:43:53,119 --> 00:43:56,360
Speaker 1: In high school, it was I was deep into it.

894
00:43:56,599 --> 00:43:59,320
I remember those lyrics from hearing them when I was

895
00:43:59,519 --> 00:44:04,199
seven eight years old. Doctor Jy and Moses Malone wow, Yep, yep,

896
00:44:04,280 --> 00:44:05,920
And they were at the end of the song there's

897
00:44:06,039 --> 00:44:08,960
like talk going on and they're like talking about, you know,

898
00:44:09,000 --> 00:44:12,360
the new Young Upstarts. The new Young Upstarts is Michael

899
00:44:12,400 --> 00:44:13,679
Jordan's new.

900
00:44:13,599 --> 00:44:15,920
Speaker 2: Young Upstarts, Michael Jordan. That is awesome.

901
00:44:16,119 --> 00:44:16,440
Speaker 1: Yeah.

902
00:44:16,679 --> 00:44:18,320
Speaker 5: I got to tell you about a guy named Todd

903
00:44:18,320 --> 00:44:23,159
who was living in Queens during nineteen eighty four. He

904
00:44:25,199 --> 00:44:27,679
was down in his mother's basement with a drum machine

905
00:44:27,679 --> 00:44:30,760
and a turntable, cutting demos and sending them out to

906
00:44:30,800 --> 00:44:34,079
anybody he could find, Okay, and he sent to everybody,

907
00:44:34,480 --> 00:44:36,480
including when he got a hold of a copy of

908
00:44:36,519 --> 00:44:41,639
Tila Rocks It's Yours. Rick Rubin had put the address

909
00:44:41,679 --> 00:44:42,840
the business address, which was.

910
00:44:42,920 --> 00:44:46,599
Speaker 4: Just his dorm room record, right.

911
00:44:46,440 --> 00:44:50,079
Speaker 5: And so Todd sent a demo, took that address and

912
00:44:50,119 --> 00:44:52,159
sent a demo to that record company.

913
00:44:52,239 --> 00:44:54,440
Speaker 4: Right. It was just Rick's dorm room, It's all it was.

914
00:44:55,239 --> 00:44:58,480
Speaker 5: And that demo tape got thrown in a box which

915
00:44:58,559 --> 00:45:01,280
was probably buried under a bunch of other boxes, and

916
00:45:01,320 --> 00:45:03,559
it just all stacked up. All this stuff was coming in.

917
00:45:03,920 --> 00:45:06,480
Demo tapes were coming in. After Tela Rock's record was

918
00:45:06,519 --> 00:45:09,760
out and Rick Rubin wasn't bothering with any of it.

919
00:45:10,039 --> 00:45:12,760
But the BAC boys were hanging out in his dorm room,

920
00:45:12,800 --> 00:45:14,880
just killing time every day they anything else to do.

921
00:45:15,400 --> 00:45:18,239
And Adam Horoviz is just kind of thumbing through these

922
00:45:18,280 --> 00:45:19,880
demos and he listened to a little bit and if

923
00:45:19,920 --> 00:45:20,719
you found something.

924
00:45:20,519 --> 00:45:22,199
Speaker 4: He liked, he'd tell Rick about it.

925
00:45:22,519 --> 00:45:25,000
Speaker 5: Well, he put this one on called I Need a

926
00:45:25,079 --> 00:45:29,360
Beat from a guy named Ladies Love Cool James, and

927
00:45:29,519 --> 00:45:33,440
it was James Todd Smith who had fit this in

928
00:45:33,519 --> 00:45:35,239
and he's like, Rick, you might want to listen to this,

929
00:45:36,199 --> 00:45:39,519
and they were blown away by it. They bring in

930
00:45:39,639 --> 00:45:42,320
Todd Smith. He goes by the name ellll cool j

931
00:45:43,079 --> 00:45:45,639
And they're like, you've got to meet Russ. We want

932
00:45:45,639 --> 00:45:48,039
to produce a record. They had just formed deaf Jam Records.

933
00:45:48,159 --> 00:45:50,239
They hadn't put out a record yet. They were looking

934
00:45:50,239 --> 00:45:52,480
for the artists. They were looking for the song to

935
00:45:52,599 --> 00:45:54,880
launch their label. He says, you got to meet Russ.

936
00:45:54,880 --> 00:45:57,079
You got to meet Russ. They go in, they meet Russ.

937
00:45:57,360 --> 00:45:59,480
The Llo cool Jay's meeting Russ Simmons for the first

938
00:45:59,519 --> 00:46:02,599
time and Rick Ruben plays the tape and Russell Simmons.

939
00:46:02,360 --> 00:46:04,159
Speaker 4: Is like, I hate it. I don't like.

940
00:46:06,360 --> 00:46:10,880
Speaker 5: Wow, so young Todd, he's all disappointed and he's walking

941
00:46:10,920 --> 00:46:13,239
out kind of sad, and Rick Ruben comes up to

942
00:46:13,320 --> 00:46:15,280
him and says, don't listen to a word. He says,

943
00:46:15,440 --> 00:46:17,920
we're gonna recut this and he's gonna love it. So

944
00:46:17,960 --> 00:46:21,480
they get back in the studio with Adam Horovitz programming

945
00:46:21,519 --> 00:46:25,280
the drum beats. They recut I Need a Beat beat

946
00:46:25,360 --> 00:46:27,119
with Jesse Jay on the remix.

947
00:46:27,239 --> 00:46:29,440
Speaker 4: They play it for Russ. They play that one for

948
00:46:29,519 --> 00:46:31,239
Russell Simmons. He's blown away.

949
00:46:31,480 --> 00:46:34,719
Speaker 5: He loves it, and that launches Loo Cool Jay's career,

950
00:46:38,000 --> 00:46:40,480
and it launches Deaf Jam as a label, and I

951
00:46:40,559 --> 00:46:43,159
Need to Beat becomes their very first single.

952
00:46:43,360 --> 00:46:45,320
Speaker 4: It came out in nineteen eighty four.

953
00:46:45,440 --> 00:46:46,519
Speaker 1: Fantastic Wow.

954
00:46:46,960 --> 00:46:47,960
Speaker 2: That's a good story man.

955
00:46:48,119 --> 00:46:48,559
Speaker 1: Yeah.

956
00:46:48,599 --> 00:46:52,480
Speaker 5: And then from pollywog Stew they had a British Airways

957
00:46:52,519 --> 00:46:56,280
commercial had lifted one of their songs, BC Revolution and

958
00:46:56,400 --> 00:46:59,920
placed it in their commercial that went global and went international.

959
00:47:00,480 --> 00:47:03,639
They did it without permission, and the BC boys decided

960
00:47:03,679 --> 00:47:07,800
they didn't like somebody sampling their music without perm and

961
00:47:07,840 --> 00:47:09,880
so early on this is the this is the John

962
00:47:09,920 --> 00:47:12,880
Barry lineup, the punk lineup with polywog Stew. They sue

963
00:47:13,239 --> 00:47:16,360
and they collect forty thousand dollars. It was the first

964
00:47:16,400 --> 00:47:20,320
money the BC boys ever made was off of this situation,

965
00:47:20,719 --> 00:47:22,199
and it was enough to get them out of their

966
00:47:22,239 --> 00:47:24,079
parents' house and they all got a place together.

967
00:47:24,320 --> 00:47:28,440
Speaker 6: Yeah, forty dollars adjusted for inflation today is about one

968
00:47:28,480 --> 00:47:29,079
hundred grand.

969
00:47:29,280 --> 00:47:31,000
Speaker 1: It's not a bad it's not a bad. Take.

970
00:47:31,079 --> 00:47:32,920
Speaker 4: Well, they'll fast forward to three years.

971
00:47:32,920 --> 00:47:35,719
Speaker 5: In nineteen eighty four, they put out rock Hard, which

972
00:47:35,880 --> 00:47:39,880
really sounds like a Rick Ruben record, and it sounds

973
00:47:39,960 --> 00:47:41,360
like the Beastie Boys.

974
00:47:44,360 --> 00:47:45,159
Speaker 4: The DP.

975
00:47:54,800 --> 00:48:01,159
Speaker 5: Count of this.

976
00:48:01,159 --> 00:48:04,400
Speaker 4: This is the sound we will come to note. It's

977
00:48:04,480 --> 00:48:06,320
the three male Beastie.

978
00:48:06,000 --> 00:48:09,119
Speaker 5: Boys rapping over a hip hop drum beat but with

979
00:48:09,360 --> 00:48:12,039
heavy rock and roll samples, and it's all built around

980
00:48:12,360 --> 00:48:15,440
back in Black by ac DC, and I think significantly

981
00:48:15,800 --> 00:48:18,800
they refer to themselves as King AD, Rock, Might D

982
00:48:18,920 --> 00:48:21,760
and MCA in the song, which is probably the first

983
00:48:21,760 --> 00:48:26,119
time they do that, and they're truly kind of embracing.

984
00:48:25,559 --> 00:48:26,599
Speaker 4: Hip hop at this point.

985
00:48:26,840 --> 00:48:30,960
Speaker 5: Small problem they sampled somebody else's music without their permission.

986
00:48:31,519 --> 00:48:35,039
Ac DC is like, who are these guys?

987
00:48:35,679 --> 00:48:37,320
Speaker 4: No? Stop it right now.

988
00:48:37,519 --> 00:48:40,880
Speaker 5: So even though it was technically deaf Jam's second release.

989
00:48:41,239 --> 00:48:44,159
They immediately had to recall it and it was no

990
00:48:44,239 --> 00:48:46,840
longer available, and it was a collector's item in a

991
00:48:46,880 --> 00:48:49,639
bootleg for a long time. It's still not available on Spotify,

992
00:48:49,679 --> 00:48:52,079
I've noticed, but I do know that at least in

993
00:48:52,199 --> 00:48:55,119
Europe it was cleared for release legally. In two thousand

994
00:48:55,119 --> 00:48:58,239
and seven. Ac DC gave them permission and you can

995
00:48:58,360 --> 00:49:00,599
find the song on YouTube. And I just heard it

996
00:49:00,639 --> 00:49:02,639
recently for the first time, and it's actually really good.

997
00:49:02,679 --> 00:49:05,679
Speaker 1: They found their voice. They don't sound like some other band.

998
00:49:06,159 --> 00:49:09,079
They know they weren't. They're not imitating somebody else. They

999
00:49:09,599 --> 00:49:11,119
have their own unique sound.

1000
00:49:11,159 --> 00:49:13,960
Speaker 6: And that's hey little thing though. Here's a little thing

1001
00:49:14,000 --> 00:49:16,239
I just put together on that. So they steal back

1002
00:49:16,239 --> 00:49:19,519
in Black from ACDC, they wrap over it whatever, they

1003
00:49:19,559 --> 00:49:22,519
sample it without permission. It turns out okay because in

1004
00:49:22,599 --> 00:49:25,559
nineteen eighty six, guess who's in the Fight for Your

1005
00:49:25,639 --> 00:49:29,719
Right video? But Langa, well Langa, I forgot about that.

1006
00:49:29,719 --> 00:49:30,199
Speaker 1: That's right.

1007
00:49:30,280 --> 00:49:33,800
Speaker 2: He was in there, the producer of acdc's Back in Black.

1008
00:49:33,880 --> 00:49:36,239
Speaker 1: I think Flee was in there too, if I remember right.

1009
00:49:36,280 --> 00:49:39,599
Fleell cool Ja and with the sword and the girl

1010
00:49:39,599 --> 00:49:42,000
who was like later on MTV News was in there

1011
00:49:42,039 --> 00:49:43,800
as the young blonde you're.

1012
00:49:43,840 --> 00:49:46,039
Speaker 2: Blowing my stuff for fight for your right.

1013
00:49:46,519 --> 00:49:48,320
Speaker 1: Sorry, well, we will come back to that when we

1014
00:49:48,360 --> 00:49:49,159
do our track to track.

1015
00:49:49,280 --> 00:49:50,679
Speaker 2: Okay, when when's Madonna?

1016
00:49:50,760 --> 00:49:51,159
Speaker 1: Get in here?

1017
00:49:51,800 --> 00:49:52,320
Speaker 2: M Madonna.

1018
00:49:52,400 --> 00:49:54,039
Speaker 1: I got a good story on Madonna. Can I tell

1019
00:49:54,039 --> 00:49:55,159
my Madonna's story now?

1020
00:49:55,320 --> 00:49:56,159
Speaker 4: Yeah? Just real quick.

1021
00:49:56,239 --> 00:49:58,559
Speaker 5: When eighty four ended, that's when Kate Sellenbach was out

1022
00:49:58,880 --> 00:50:01,599
and they truly just became straight up hip hop group

1023
00:50:01,719 --> 00:50:04,199
with Rick Rubin still is their DJ. And we get

1024
00:50:04,199 --> 00:50:05,760
into eighty five and that's Madonna.

1025
00:50:05,760 --> 00:50:09,039
Speaker 2: So what you got so Madonna is what what you would?

1026
00:50:09,599 --> 00:50:10,000
Speaker 1: Go ahead?

1027
00:50:10,239 --> 00:50:13,679
Speaker 2: No, please please finish that.

1028
00:50:16,519 --> 00:50:17,840
Speaker 1: So what Madonna wanted?

1029
00:50:18,360 --> 00:50:18,400
Speaker 4: What?

1030
00:50:18,519 --> 00:50:22,760
Speaker 1: What what Madonna wanted was an opening act for her

1031
00:50:22,880 --> 00:50:26,880
first tour, her first tour, and so her manager, Freddy

1032
00:50:26,920 --> 00:50:31,840
Demand calls up Russell Simmons and says, hey, we want

1033
00:50:31,880 --> 00:50:34,880
to get run DMC as the opening act for Madonna

1034
00:50:35,119 --> 00:50:38,079
on her first turn. Now this is Madonna at her Madonna.

1035
00:50:38,119 --> 00:50:42,159
She's blown up at this point, right, And so Russell

1036
00:50:42,199 --> 00:50:45,000
Simmons is like, no problem. Run DMC plays for twenty

1037
00:50:45,039 --> 00:50:49,079
thousand dollars per show, and Freddie Demand's like, no, have

1038
00:50:49,119 --> 00:50:52,000
a nice day. Click and they're done. And then he's

1039
00:50:52,079 --> 00:50:54,760
a few minutes later, Russell Simmons gets a call again.

1040
00:50:55,039 --> 00:50:58,159
It's Freddy Deman again. He's like, okay, hey, wait, what

1041
00:50:58,239 --> 00:50:59,920
about the Fat Boys? Could you get the Fat Boy?

1042
00:51:01,119 --> 00:51:04,000
And Russell Simmons is like, ah, man, the Fat Boys

1043
00:51:04,000 --> 00:51:07,519
are busy. Russell Simmons didn't actually manage the Fat Boys

1044
00:51:07,599 --> 00:51:10,760
ever at all. Wow, And he goes, but I tell

1045
00:51:10,760 --> 00:51:13,280
you what I can get you the Beastie Boys for

1046
00:51:13,440 --> 00:51:17,000
five hundred dollars per show. And so Freddie Deman was like,

1047
00:51:17,079 --> 00:51:19,960
sounds great, let's do that. And so that is how

1048
00:51:20,480 --> 00:51:23,599
the Beastie Boys became the opening act for Madonna on

1049
00:51:23,639 --> 00:51:24,599
her very first tour.

1050
00:51:25,320 --> 00:51:28,599
Speaker 6: That is also how Adam Horovitz got to make out

1051
00:51:28,639 --> 00:51:30,800
with Madonna backstage in the bathroom.

1052
00:51:30,920 --> 00:51:31,599
Speaker 1: It's nuts.

1053
00:51:31,840 --> 00:51:33,519
Speaker 2: I was talking to you guys. I'm like, you know,

1054
00:51:34,079 --> 00:51:34,519
that's not.

1055
00:51:34,559 --> 00:51:38,480
Speaker 6: Exactly an exclusive club, probably, but that's a club that

1056
00:51:38,559 --> 00:51:40,599
I still wanted to join in nineteen eighty six.

1057
00:51:40,679 --> 00:51:43,519
Speaker 1: Oh sure, yeah, and she's I mean, she's a little

1058
00:51:43,519 --> 00:51:46,320
bit older than him. I guess, well, and that would

1059
00:51:46,320 --> 00:51:48,679
have been some fun times bringing the heat back then. Yeah,

1060
00:51:48,719 --> 00:51:51,880
she was y, not that he wasn't an attractive guy,

1061
00:51:51,920 --> 00:51:53,559
but row I am.

1062
00:51:54,199 --> 00:51:56,360
Speaker 5: This was her first tour, so it was promoting both

1063
00:51:56,400 --> 00:51:59,280
her debut Madonna album as well as her Like a

1064
00:51:59,360 --> 00:52:01,639
Virgin album, so she was at the top of the game.

1065
00:52:01,679 --> 00:52:04,320
So one of the biggest names in pop music and

1066
00:52:04,559 --> 00:52:06,840
the beast Boys are coming out to open and nobody's

1067
00:52:06,880 --> 00:52:10,400
heard of these people. And they embraced And this was

1068
00:52:10,480 --> 00:52:13,400
quite intentional. Rick Rubin gave them this instruction. He was

1069
00:52:13,440 --> 00:52:16,440
a pro wrestling fan. He said, nobody there knows you.

1070
00:52:16,440 --> 00:52:19,199
They're gonna hate your stuff. Just embrace it, own that

1071
00:52:19,599 --> 00:52:22,000
and be the heel like in pro wrestling terms. You

1072
00:52:22,079 --> 00:52:23,840
just go out there and be the be like a

1073
00:52:23,880 --> 00:52:26,119
bad guy wrestler and just make them hate you.

1074
00:52:26,440 --> 00:52:29,559
Speaker 1: They were, and so they decided to be memorable by

1075
00:52:29,599 --> 00:52:33,480
being rude wrestling style, and so they would literally go

1076
00:52:33,559 --> 00:52:36,880
out when the show was over. They they were just like,

1077
00:52:37,280 --> 00:52:40,519
you all can just burn this place down now because

1078
00:52:40,519 --> 00:52:42,800
there's never going to be a better show than us,

1079
00:52:42,960 --> 00:52:47,039
and fu you mother efforts. Which if you're thinking about,

1080
00:52:47,119 --> 00:52:50,199
you know, attendees at a Beastie Boys concert, okay, but

1081
00:52:50,639 --> 00:52:53,159
think about who was listening to Madonna back in nineteen

1082
00:52:53,239 --> 00:52:57,199
eighty four eighty five. These are little like priesteen girls. Yeah,

1083
00:52:57,280 --> 00:52:59,679
these are these are like the girls who are our

1084
00:52:59,719 --> 00:53:02,599
wife now, back when they were you know, ten and eleven.

1085
00:53:02,679 --> 00:53:04,760
So they're cussing out little girls.

1086
00:53:06,480 --> 00:53:06,679
Speaker 4: Yeah.

1087
00:53:06,719 --> 00:53:09,000
Speaker 5: They purposely set out to get people to hate them,

1088
00:53:09,000 --> 00:53:11,119
and they did, and they said that every night, ninety

1089
00:53:11,119 --> 00:53:13,800
five percent of the crowd absolutely hated them, but with

1090
00:53:13,880 --> 00:53:16,920
the other five percent, they built a fan base, and

1091
00:53:17,079 --> 00:53:19,760
Madonna thought it was great. I mean, they absolutely did

1092
00:53:19,760 --> 00:53:22,280
not take themselves seriously. The record would be playing, they're

1093
00:53:22,280 --> 00:53:24,880
supposed to be lip syncing, they would completely ignore that

1094
00:53:24,960 --> 00:53:27,880
and just like basically slam dance on stage and just

1095
00:53:28,000 --> 00:53:28,800
laugh at it all.

1096
00:53:29,119 --> 00:53:30,639
Speaker 4: And they just didn't take it seriously.

1097
00:53:31,360 --> 00:53:35,159
Speaker 5: And they're kind of on stage persona of being these rude,

1098
00:53:35,239 --> 00:53:38,559
crude frat boys that just party hard and didn't care

1099
00:53:38,599 --> 00:53:42,400
about anything. That really came together on this like a

1100
00:53:42,480 --> 00:53:45,840
virgin tour, and.

1101
00:53:46,480 --> 00:53:51,960
Speaker 6: That rude, crude frat boy attitude is basically full force

1102
00:53:52,039 --> 00:53:55,280
on Licensed Hill. That's what you get for twelve songs

1103
00:53:55,400 --> 00:53:58,440
or whatever. And people did embrace that.

1104
00:53:58,519 --> 00:54:01,000
Speaker 2: They liked it, yeah, literally.

1105
00:54:02,320 --> 00:54:04,760
Speaker 5: But it absolutely took rap out of the New York

1106
00:54:04,760 --> 00:54:08,199
club scene and it was putting it in front of

1107
00:54:08,239 --> 00:54:08,599
the nation.

1108
00:54:08,719 --> 00:54:10,039
Speaker 4: This is people's first exposure.

1109
00:54:10,079 --> 00:54:12,719
Speaker 5: Maybe it was not the best foot forward for rap,

1110
00:54:13,000 --> 00:54:16,400
but it was significant in terms of getting some national exposure.

1111
00:54:17,880 --> 00:54:20,440
But then just a couple months later, in October of

1112
00:54:20,480 --> 00:54:23,360
nineteen eighty five, there was a movie that came out. Now,

1113
00:54:23,360 --> 00:54:25,800
this movie was shot in April of eighty five. It

1114
00:54:25,840 --> 00:54:29,719
was produced and starred Rick Rubin. It was produced and

1115
00:54:29,760 --> 00:54:31,599
featured a cameo from Russell Simmons.

1116
00:54:31,719 --> 00:54:32,880
Speaker 4: It was called Crush Group.

1117
00:54:36,360 --> 00:54:38,360
Speaker 5: Now, this is coming after nineteen eighty four where there

1118
00:54:38,360 --> 00:54:41,760
had been several breakdance movies, and so there were some

1119
00:54:42,079 --> 00:54:45,039
low budget film studios that were looking to continue to

1120
00:54:45,079 --> 00:54:49,320
capitalize on the hip hop market for these low rent movies,

1121
00:54:49,599 --> 00:54:52,000
and they decided instead of breakdance, they needed to do rap.

1122
00:54:52,320 --> 00:54:55,079
There was no bigger name in rap in nineteen eighty four,

1123
00:54:55,119 --> 00:54:56,920
and they were looking to do this than Russell Simmons,

1124
00:54:57,440 --> 00:55:00,840
and they basically approached him about doing take a fictionalized

1125
00:55:00,960 --> 00:55:03,280
version of his story, his biography, and putting it in

1126
00:55:03,320 --> 00:55:05,840
a movie, and so that's what you get. Crush Groove

1127
00:55:05,960 --> 00:55:08,239
is kind of a synonym for def Jam and it

1128
00:55:08,559 --> 00:55:10,760
was the name of the record label inside this movie.

1129
00:55:11,440 --> 00:55:14,039
Speaker 4: And this movie is great. I love it. It's cheesy,

1130
00:55:14,239 --> 00:55:16,800
it's terrible acting, and it's low budget.

1131
00:55:17,159 --> 00:55:20,880
Speaker 1: But Underwood, you got Blair Underwood as the Russell Simmons

1132
00:55:20,920 --> 00:55:23,679
character was like Russell Walker or something. Isn't that right?

1133
00:55:24,519 --> 00:55:24,719
Speaker 4: Yeah?

1134
00:55:24,880 --> 00:55:28,320
Speaker 1: Much. Blair Underwood is a much handsomer man than Russell

1135
00:55:28,320 --> 00:55:30,440
Simmons is I would have Russell. I would have Blair

1136
00:55:30,519 --> 00:55:32,960
Underwood play me, even though it looks they like but

1137
00:55:33,639 --> 00:55:35,559
Russell Simmons look at this. I mean, he wanted to

1138
00:55:35,559 --> 00:55:39,039
make a movie, but what his objective was was make

1139
00:55:39,079 --> 00:55:40,960
it a show piece for all of the bands that

1140
00:55:41,000 --> 00:55:44,199
he managed. And so you've got just a slew of

1141
00:55:44,320 --> 00:55:48,800
these mid eighties rap hip hop bands that are appearing

1142
00:55:48,840 --> 00:55:49,559
throughout the movie.

1143
00:55:49,719 --> 00:55:52,800
Speaker 5: Run dmc, Curtis Blow and Sheila e Or kind of

1144
00:55:53,000 --> 00:55:55,639
kind of drive the story. The Fat Boys were added

1145
00:55:55,679 --> 00:55:58,519
without Russell's knowledge, was shot separately and cut into the

1146
00:55:58,519 --> 00:56:01,159
movie separately, and if you'll notice, their scenes never advanced

1147
00:56:01,159 --> 00:56:03,880
the plot. So he was really upset to find out

1148
00:56:03,880 --> 00:56:05,119
the Fat Boys were in his movie.

1149
00:56:05,239 --> 00:56:07,119
Speaker 4: But they were a big name and it drove the

1150
00:56:07,159 --> 00:56:07,840
box office.

1151
00:56:08,000 --> 00:56:11,239
Speaker 5: The Ello Coool j mex A cameo appearance the Beastie

1152
00:56:11,239 --> 00:56:16,159
Boys make a cameo appearance, and they performed a new

1153
00:56:16,239 --> 00:56:18,960
song that they recorded in nineteen eighty five called She's

1154
00:56:19,039 --> 00:56:27,840
On It conclude what was interesting at this point, def

1155
00:56:27,920 --> 00:56:30,239
Jam only had a couple of singles out that they

1156
00:56:30,239 --> 00:56:32,320
had two successful singles, They had I Need to Beat

1157
00:56:32,679 --> 00:56:35,199
and Rock Hard, which had to be pulled for legal reasons.

1158
00:56:35,599 --> 00:56:37,760
They had put out several other smaller records that hadn't

1159
00:56:37,760 --> 00:56:39,880
done anything. They had yet to put out an album.

1160
00:56:40,119 --> 00:56:42,559
Deaf Jam had not even put out an album as

1161
00:56:42,559 --> 00:56:45,039
a company yet, and there was already a movie in

1162
00:56:45,119 --> 00:56:47,199
theaters that was giving their story.

1163
00:56:47,559 --> 00:56:49,519
Speaker 1: That's crazy, that's impressive.

1164
00:56:49,679 --> 00:56:51,559
Speaker 4: So what happens here right at this time?

1165
00:56:51,599 --> 00:56:54,719
Speaker 5: This is critical right here, after the success of I

1166
00:56:54,760 --> 00:56:57,639
Need to Beat and Rock Hard, it's enough success to

1167
00:56:58,119 --> 00:57:00,920
garner interest from major record like and they end up

1168
00:57:00,960 --> 00:57:03,960
signing a deal with Columbia for a distribution deal.

1169
00:57:04,000 --> 00:57:06,719
Speaker 4: So Deaf Jam has Columbia Records distributing for.

1170
00:57:06,760 --> 00:57:10,119
Speaker 5: Them, So this is give them a huge infusion of cash.

1171
00:57:10,159 --> 00:57:13,000
Speaker 1: This is the story that I was alluding to earlier.

1172
00:57:13,079 --> 00:57:15,880
So Rick Rubin was supposed to be going to law

1173
00:57:15,880 --> 00:57:19,440
school after NYU, right, that's what his parents are expecting.

1174
00:57:20,039 --> 00:57:22,880
And so the way that he broke the news to

1175
00:57:23,000 --> 00:57:25,199
his parents that he wasn't going to go to law

1176
00:57:25,199 --> 00:57:28,360
school was that he sent them a picture of the

1177
00:57:28,480 --> 00:57:31,840
check that he got from Capitol Records. It was for

1178
00:57:31,960 --> 00:57:34,119
six hundred thousand dollars.

1179
00:57:36,039 --> 00:57:38,599
Speaker 6: Well, I'm giving you six hundred thousand reasons why I'm

1180
00:57:38,639 --> 00:57:39,559
not going to law school.

1181
00:57:42,119 --> 00:57:44,920
Speaker 5: Well, that money was enough to move deaf Jam out

1182
00:57:44,920 --> 00:57:47,800
of his dorm room and move him too a three

1183
00:57:47,840 --> 00:57:50,800
story building which Russell Simmons had Rush Management, which was

1184
00:57:50,840 --> 00:57:53,519
his artist management business, on the first floor. Deaf Jam

1185
00:57:53,639 --> 00:57:56,119
Records was on the second floor, and Rick Rubin moved

1186
00:57:56,159 --> 00:57:59,679
into the third floor. So that Columbia money allowed them

1187
00:57:59,719 --> 00:58:01,639
to do that. But what it did was it set

1188
00:58:01,679 --> 00:58:04,159
the stage for nineteen eighty six, and nineteen eighty six

1189
00:58:04,599 --> 00:58:07,360
is the year where it really all started coming together.

1190
00:58:10,079 --> 00:58:15,079
Speaker 6: Hit it four and three.

1191
00:58:14,920 --> 00:58:15,920
Speaker 2: And two and one.

1192
00:58:16,199 --> 00:58:20,400
Speaker 1: Okay, So obviously you know they lost Kate Schallenbach. They've

1193
00:58:20,440 --> 00:58:25,239
got DJ double R Rick Rubin as their DJ. But

1194
00:58:25,639 --> 00:58:29,719
at some point that changes because I know that Doctor

1195
00:58:29,840 --> 00:58:32,639
Dre No, not that Doctor Dre, the other one from

1196
00:58:32,760 --> 00:58:36,119
MTV raps, that Doctor Dre. He was their DJ for

1197
00:58:36,159 --> 00:58:39,880
a while and he was their DJ for the first

1198
00:58:40,000 --> 00:58:43,559
part of the Raisin Hell to him right, But then

1199
00:58:43,800 --> 00:58:47,920
how did it move from Rick Rubin to Doctor Dre Well, I.

1200
00:58:47,880 --> 00:58:49,360
Speaker 4: Would say fate intervened.

1201
00:58:49,800 --> 00:58:52,920
Speaker 5: It was during the madonnatur in the summer of eighty five,

1202
00:58:53,360 --> 00:58:55,440
where Reuben was still on the road with them, and

1203
00:58:55,480 --> 00:58:57,840
it was a part of the act. History was about

1204
00:58:57,840 --> 00:58:59,320
to go a different way. This was going to be

1205
00:58:59,320 --> 00:59:02,039
a four piece act with the DJ Double R as

1206
00:59:02,039 --> 00:59:03,199
a part of the Beastie Boys.

1207
00:59:03,360 --> 00:59:05,199
Speaker 4: But after a couple of shows.

1208
00:59:05,000 --> 00:59:07,920
Speaker 5: He came down with an ear infection and the doctor

1209
00:59:07,960 --> 00:59:10,960
told him that he couldn't fly while he's recovering from

1210
00:59:11,000 --> 00:59:14,559
this ear issue, and so he went back to New York.

1211
00:59:14,800 --> 00:59:16,400
The rest of the band didn't really know what had

1212
00:59:16,400 --> 00:59:19,000
happened to him, They didn't know why that he had

1213
00:59:19,280 --> 00:59:22,079
bounced out, but they did get Doctor Dre to step

1214
00:59:22,079 --> 00:59:23,920
in and fill in as the DJ. So Doctor Dre

1215
00:59:24,960 --> 00:59:27,320
serves as the DJ for the rest of their takes

1216
00:59:27,320 --> 00:59:29,280
over as their DJ for their gigs that point forward

1217
00:59:29,280 --> 00:59:32,199
in the middle of the madonnataur H. But the reason

1218
00:59:32,239 --> 00:59:34,559
this is fate intervening is that this now freed Rick

1219
00:59:34,639 --> 00:59:37,840
Rubin up to stay at the studio and to work

1220
00:59:37,840 --> 00:59:41,360
on production, and to work on beats and sounds, and

1221
00:59:41,400 --> 00:59:44,400
to develop them, help them develop the musical material that

1222
00:59:44,440 --> 00:59:45,280
would be used on.

1223
00:59:45,320 --> 00:59:46,000
Speaker 4: License to Deal.

1224
00:59:46,239 --> 00:59:49,280
Speaker 5: And I can tell you this, the run DMC Raising

1225
00:59:49,320 --> 00:59:52,599
Hell Tour had already started without the Beastie.

1226
00:59:52,280 --> 00:59:53,239
Speaker 4: Boys on it.

1227
00:59:53,480 --> 00:59:55,880
Speaker 5: The reason I know is that I attended a show

1228
00:59:56,360 --> 00:59:58,800
in May of nineteen eighty six. They came to my

1229
00:59:58,880 --> 01:00:02,599
hometown of Columbus, Georgia, and I saw Houdini and Ello

1230
01:00:02,719 --> 01:00:06,800
Cooljay open for Run DMC, and they were playing material

1231
01:00:07,000 --> 01:00:09,280
from their brand new Raising Hell album that I had

1232
01:00:09,400 --> 01:00:12,440
not heard yet, and it was blowing me away. And

1233
01:00:12,679 --> 01:00:14,400
the BC Boys were not a part of that show.

1234
01:00:14,559 --> 01:00:17,440
What's happening was they were still in the studio working

1235
01:00:17,480 --> 01:00:19,440
on the album. They were still putting their material together

1236
01:00:19,639 --> 01:00:22,559
and having conducting their sessions. And it would be a

1237
01:00:22,599 --> 01:00:24,639
little bit later in the year, not too much later.

1238
01:00:24,679 --> 01:00:27,239
I didn't miss them by much apparently, but they would

1239
01:00:27,360 --> 01:00:31,119
join the Raising Hell Tour during nineteen eighty six as

1240
01:00:31,159 --> 01:00:35,280
an opening act, but their set consisted of only three songs.

1241
01:00:35,800 --> 01:00:39,519
They sang Slow and Low, She's on It, and hold

1242
01:00:39,559 --> 01:00:41,199
It Now, Hit It, and that's all they had every

1243
01:00:41,280 --> 01:00:42,800
night they went out and did those three songs, and

1244
01:00:42,840 --> 01:00:43,480
they were done.

1245
01:00:43,599 --> 01:00:45,079
Speaker 4: A couple of stories about.

1246
01:00:44,840 --> 01:00:48,239
Speaker 5: The Raising Hell tour. You know, these guys are brash,

1247
01:00:48,320 --> 01:00:51,119
they're rude. They offend on purpose. They think it's funny

1248
01:00:51,119 --> 01:00:53,360
when they can get a reaction out of people. And

1249
01:00:53,360 --> 01:00:55,880
they're real tight with Russell Simmons and run DMC and

1250
01:00:55,920 --> 01:00:57,840
the whole rap crowd. And they're accepted by the hip

1251
01:00:57,840 --> 01:00:58,880
hop community, right.

1252
01:00:58,880 --> 01:00:59,679
Speaker 4: They're a part of it.

1253
01:01:00,039 --> 01:01:03,719
Speaker 5: That's important to know when you think about their acceptance

1254
01:01:03,760 --> 01:01:05,519
and the reaction to their album.

1255
01:01:05,800 --> 01:01:07,880
Speaker 4: It's easy when it comes out, it's easy to think

1256
01:01:07,920 --> 01:01:10,360
of them as a joke or parody. But the truth

1257
01:01:10,480 --> 01:01:12,000
is they had credibility.

1258
01:01:12,000 --> 01:01:15,079
Speaker 5: They had pred they were legit, they were from the scene,

1259
01:01:15,199 --> 01:01:19,760
they knew all this right people, They had the credibility.

1260
01:01:20,000 --> 01:01:23,199
But this is nineteen eighty six and they were among friends.

1261
01:01:23,800 --> 01:01:26,280
They wanted to offend people. They were using the N

1262
01:01:26,320 --> 01:01:28,800
word on stage as a part of their routine, which

1263
01:01:28,840 --> 01:01:31,000
sounds crazy in twenty twenty one, but back then, with

1264
01:01:31,079 --> 01:01:33,039
the environment they were in, it was a part of

1265
01:01:33,079 --> 01:01:36,559
what they did. Here's the problem. The Raising Hell to

1266
01:01:36,639 --> 01:01:41,280
Her stopped at the Apollo Theater in the Harlem. They

1267
01:01:41,280 --> 01:01:44,719
were doing a show and Russell Simmons is freaking out.

1268
01:01:45,199 --> 01:01:47,639
He goes up to Doctor Dre, which is for the

1269
01:01:47,639 --> 01:01:51,039
show starts and says, whatever you do, do not let

1270
01:01:51,039 --> 01:01:54,599
them say that word. And Doctor Dre's like, what can

1271
01:01:54,639 --> 01:01:57,000
I do? I'm just back here spinning records. I can't

1272
01:01:57,079 --> 01:01:58,280
help what comes out of their mouths.

1273
01:01:59,239 --> 01:02:02,159
Speaker 4: Sure enough, they're in the middle of their show. They're gone.

1274
01:02:02,480 --> 01:02:04,360
Speaker 5: Ad Rock's up front with his hands in the air,

1275
01:02:04,400 --> 01:02:07,079
getting the crowd going. The crowd's with them. He blurts

1276
01:02:07,119 --> 01:02:13,280
it out. He throws it out there. Immediately you could

1277
01:02:13,320 --> 01:02:16,599
hear a pin drop. Everybody's just staring at him. Oh

1278
01:02:16,639 --> 01:02:19,440
my goodness. Ad Rock's got his hands in the air,

1279
01:02:19,719 --> 01:02:21,840
so he realized he's lost the crowd and he's like,

1280
01:02:21,920 --> 01:02:24,079
what am I gonna do? Mike d turns around at

1281
01:02:24,079 --> 01:02:26,519
Doctor Dre. He's got fear in his eyes. He's looking

1282
01:02:26,519 --> 01:02:27,719
at him on stage.

1283
01:02:27,440 --> 01:02:29,599
Speaker 4: Like what do we do? What do we do? And

1284
01:02:29,599 --> 01:02:32,159
Doctor Dre's like, I don't know. Adam York and Mike

1285
01:02:32,239 --> 01:02:33,239
d take off.

1286
01:02:33,239 --> 01:02:36,920
Speaker 5: They run off the stage and Horovitz looks around realizes

1287
01:02:36,960 --> 01:02:37,760
he's by himself.

1288
01:02:37,880 --> 01:02:38,239
Speaker 2: Boom.

1289
01:02:38,239 --> 01:02:39,360
Speaker 4: He runs off the stage.

1290
01:02:39,679 --> 01:02:43,199
Speaker 5: The crowd is left staring at Doctor Dre like, well,

1291
01:02:43,199 --> 01:02:44,840
who are you hanging out with these clowns?

1292
01:02:45,039 --> 01:02:45,239
Speaker 4: Right?

1293
01:02:45,280 --> 01:02:45,559
Speaker 6: And he.

1294
01:02:47,360 --> 01:02:51,519
Speaker 5: Goes backstage himself. The BC boys are gone. They're nowhere

1295
01:02:51,559 --> 01:02:54,719
around the tour buses there, they're not there. They ran

1296
01:02:54,760 --> 01:02:56,440
out the back door and got in a cabin. They

1297
01:02:56,440 --> 01:03:01,639
were gone before Drey was even off the stage.

1298
01:03:00,519 --> 01:03:02,639
Speaker 2: That's awesome.

1299
01:03:03,400 --> 01:03:05,440
Speaker 5: I can also tell you that at another stop on

1300
01:03:05,480 --> 01:03:08,079
the tour, they were in Miami and Doctor.

1301
01:03:07,880 --> 01:03:11,280
Speaker 4: Dre overslept and they left without him.

1302
01:03:11,400 --> 01:03:13,400
Speaker 2: He's still mad about that. I saw an interview. He's

1303
01:03:13,440 --> 01:03:14,320
still mad about that.

1304
01:03:14,559 --> 01:03:16,679
Speaker 1: He fell asleep and like it was like the couch

1305
01:03:16,760 --> 01:03:18,960
and the lobby of the hotel or something right, and

1306
01:03:19,239 --> 01:03:22,440
he's like, just wake me up, leave me. Don't leave me, literally,

1307
01:03:22,480 --> 01:03:24,679
don't leave me. And they left him anyway. And that

1308
01:03:24,880 --> 01:03:27,719
is how DJ Hurricane became because he had been with

1309
01:03:27,800 --> 01:03:31,639
run DMC before and Doctor Dre was like, screw you guys,

1310
01:03:31,719 --> 01:03:34,679
I'm gonna go do your MTV wraps. I'm joking. Of

1311
01:03:34,679 --> 01:03:37,719
course that wasn't until much later, but but yeah, that's

1312
01:03:37,719 --> 01:03:40,639
how DJ Hurricane comes on. Now what else also happens

1313
01:03:40,679 --> 01:03:43,559
in Miami? We talked about this when we did our

1314
01:03:43,599 --> 01:03:49,239
Aerosmith episode. This is where Joe Perry and Steven Tyler

1315
01:03:49,400 --> 01:03:53,480
come in and they do the performance of Walk This

1316
01:03:53,599 --> 01:03:56,920
Way with Run DMC. Right. They're there to do just

1317
01:03:56,960 --> 01:04:00,960
this one song, and so I think I think it

1318
01:04:01,000 --> 01:04:04,920
was Run. I think it was No, Maybe it was No,

1319
01:04:05,000 --> 01:04:08,960
it was jem Master Jay. Jem Master Jay goes, hey, Yuck,

1320
01:04:09,440 --> 01:04:11,199
it'll be funny if you go out there and play

1321
01:04:11,239 --> 01:04:14,760
bass with them, and so Yuck, who's mostly drunk at

1322
01:04:14,800 --> 01:04:19,039
this time, goes out while Joe Perry and Steven Tyler

1323
01:04:19,039 --> 01:04:22,360
are on stage performing Walk This Way with his bass,

1324
01:04:22,519 --> 01:04:25,159
and they're like, who is this drunk kid out here?

1325
01:04:25,280 --> 01:04:27,639
You know what is this? And he keeps trying to

1326
01:04:27,639 --> 01:04:29,519
do the back to back with Joe Perry, and Joe

1327
01:04:29,599 --> 01:04:32,320
Perry keeps like walking away from him, and so he

1328
01:04:32,400 --> 01:04:37,320
ends up chasing him around the stage, walking backwards, trying

1329
01:04:37,400 --> 01:04:38,920
to be cool with Aerosmith.

1330
01:04:44,760 --> 01:04:46,519
Speaker 5: The Raising Hell album did come out in May of

1331
01:04:46,559 --> 01:04:49,400
eighty six. Walk This Way came out as a single

1332
01:04:49,440 --> 01:04:52,440
in July of eighty six. So here we are winding

1333
01:04:52,480 --> 01:04:55,800
down the year and this song has taken over, Right,

1334
01:04:56,199 --> 01:04:58,079
we'll talk about it in the next episode, But Walk

1335
01:04:58,159 --> 01:05:02,480
This Way was absolutely man in breaking Wrap through to

1336
01:05:02,480 --> 01:05:06,519
a crossover audience and kind of setting the table for frankly,

1337
01:05:06,599 --> 01:05:09,320
a white audience to embrace.

1338
01:05:09,280 --> 01:05:10,840
Speaker 4: This new music form.

1339
01:05:10,960 --> 01:05:13,480
Speaker 5: And so by the end of eighty six, the Beast

1340
01:05:13,559 --> 01:05:17,039
Boys actually put out another single, Paul Revere is a

1341
01:05:17,039 --> 01:05:20,039
single that comes out ahead of the release of the album.

1342
01:05:20,400 --> 01:05:24,840
But on November fifteenth, License to Ill is released. So

1343
01:05:24,840 --> 01:05:28,119
we're celebrating the thirty fifth anniversary of that album this week.

1344
01:05:28,159 --> 01:05:29,159
Speaker 4: As we speak.

1345
01:05:28,880 --> 01:05:32,199
Speaker 2: Today is Wednesday, November the seventeenth. Today that we're recording.

1346
01:05:32,800 --> 01:05:36,039
Two days ago was the thirty fifth anniversary. It's incredible. Well,

1347
01:05:36,400 --> 01:05:38,280
are we ready to dive in tack by track?

1348
01:05:39,000 --> 01:05:39,320
Speaker 4: Ready?

1349
01:05:39,440 --> 01:05:42,079
Speaker 1: All right, We're gonna jump in track by track. Now,

1350
01:05:42,159 --> 01:05:46,880
keep in mind, these guys are real musicians. But they

1351
01:05:47,079 --> 01:05:50,559
and I don't mean that hip hop isn't real music.

1352
01:05:50,599 --> 01:05:53,000
But like they when they did their punk stuff, they

1353
01:05:53,119 --> 01:05:56,000
played the drums, they played the guitar, they played the bass.

1354
01:05:56,039 --> 01:05:58,280
They they were able to play those instruments. It's just

1355
01:05:58,320 --> 01:06:01,760
not what they were doing. It wasn't there. But our

1356
01:06:01,800 --> 01:06:05,199
friend Adam Yaq was a guy who was like he

1357
01:06:05,280 --> 01:06:08,880
was special, like he you talked about how his profile

1358
01:06:08,960 --> 01:06:12,000
said you should do anything except music. Don't do music.

1359
01:06:12,039 --> 01:06:15,079
I think that must have been inspiration for him because

1360
01:06:15,199 --> 01:06:19,639
he studied it. And so back before YouTube, back before Google,

1361
01:06:19,760 --> 01:06:24,079
back before Wikipedia, he knew that Jimmy Hendrix and sly

1362
01:06:24,199 --> 01:06:29,320
Stone were doing stuff with this idea of looping a track, right,

1363
01:06:30,039 --> 01:06:33,559
and so what you know, people not nowaday today know

1364
01:06:33,599 --> 01:06:36,559
what looping is, but back then, nobody really knew. So

1365
01:06:36,679 --> 01:06:41,159
one day Mike d and Adam Horwitz come in and

1366
01:06:41,320 --> 01:06:44,199
at this point, at this point, Yak is a superintendent

1367
01:06:44,360 --> 01:06:47,320
of an apartment complex, like he's he's got a free

1368
01:06:47,400 --> 01:06:50,559
place to say because he's going to be the superintendent,

1369
01:06:50,559 --> 01:06:53,039
which means there were people who had like their toilet

1370
01:06:53,079 --> 01:06:55,440
go bad, and Adam Yak was the one that came

1371
01:06:55,440 --> 01:06:59,320
and fixed the toilet. And so they come in and

1372
01:06:59,400 --> 01:07:02,159
he's got this reel to reel and he's got the

1373
01:07:02,199 --> 01:07:05,960
tape going around one mic stand, going around another mic stand,

1374
01:07:06,079 --> 01:07:10,159
going through a rocking chair and back in and the

1375
01:07:10,199 --> 01:07:15,000
beat that's playing is from led Zeppelins when the levee

1376
01:07:15,039 --> 01:07:18,039
breaks and it sounds like this.

1377
01:07:24,880 --> 01:07:27,760
Speaker 6: All right, So when we finally ready to go track

1378
01:07:27,800 --> 01:07:33,119
by track through license till yes, yes, next week, next week,

1379
01:07:33,199 --> 01:07:33,679
not today.

1380
01:07:33,800 --> 01:07:36,559
Speaker 2: Sorry, all right, Dave.

1381
01:07:36,599 --> 01:07:38,719
Speaker 6: We'll catch you next time and we'll do track by

1382
01:07:38,760 --> 01:07:40,119
track through license till Hey.

1383
01:07:40,159 --> 01:07:41,599
Speaker 1: If you've been with us this long, be sure to

1384
01:07:41,679 --> 01:07:44,119
hit that subscribe button, that follow button so that you

1385
01:07:44,239 --> 01:07:47,320
catch our next episode next week, where we will go

1386
01:07:47,440 --> 01:07:51,800
track by track through license to ill eat.

1387
01:07:51,679 --> 01:07:55,079
Speaker 4: Me Well, looking at Magucci, it's about that time.

1388
01:07:57,840 --> 01:07:59,679
Speaker 2: All right, Thanks a lot, Dave. We'll see you next time,

1389
01:08:00,079 --> 01:08:00,360
all right.

1390
01:08:00,440 --> 01:08:05,400
Speaker 4: Thanks. Look my god that I'm more.

1391
01:08:05,280 --> 01:08:05,920
Speaker 2: Skilled, man.

1392
01:08:06,000 --> 01:08:06,679
Speaker 6: I love that.

1393
01:08:06,920 --> 01:08:10,880
Speaker 7: Steward h