Speaker 1: For the rock.
Speaker 2: You can't say him in case. I'm a.
Speaker 1: Hello everybody, and welcome back to the Shirley You Can't
Be Serious Podcast. I am here today with Jason Calvin,
my continuous co host, and we have our very special
guest again with us today, number four episode with mister
David Right, David, how you doing today? Man?
Speaker 3: Man?
Speaker 4: I am deafened to my leftist Jimmy d and too
my right on the miciss Jason c the Shirley Airwaves
a guest spot on the show. Well it's got to
be deaf Daves. Where's your hip hop expert? Well here
he is all the knowledge that I drop make suckers furious?
He ask me how I am? It's not that mysterious,
Shirley You Can't Be Serious? A top down, turn it up,
brass monkey in a cup. Tune in the final judgment
and you'll know what's up hell devastating cauna podcaster B.
My name is David, but you can call me d
whoa man? That is?
Speaker 1: Oh, we give it up to you. That was fantastic.
Speaker 2: That is the best intro ever I've started the history
right there.
Speaker 1: Yeah, that's fantastic. So we started before every time we
hit the record button. I say to Jason, do you
have something? He says, now, do you have something? And
we just throw something at the beginning, and that was fantastic.
That's definitely the best way.
Speaker 2: I took time, effort thought, ry the man off the dome.
Speaker 1: I'm gonna I'm going to capture that. I'm gonna I'm
going to put a backbeat to it, and I'm gonna
let it just be the interest song for us every time.
Speaker 2: Yeah, I think be awesome.
Speaker 1: Welcome back, David. Is great to have you here again.
If you, dear listener, are just joining us for the
very first time in this podcast. This is number four
in a series that we are doing where we are
looking back at nineteen eighty six, thirty five years ago
this year, covering two of the most iconic albums of
that year, Raising Hell by Run DMC and Licensed to
Ill by the Beastie Boys. Dave has been our special
guest with the massive hip hop knowledge bringing it and
just man, you couldn't have finished any stronger than that intro.
So I'm excited to jump back into it today. We
are talking about Raising Hell. Track by track, we have
covered the history of the Beastie Boys. We have covered
Licensed Still track by track, we have covered the history
of hip hop itself as it leads up to Run DMC,
and today we are going to be covering Raising Hell
track by track. I am pumped.
Speaker 2: I can't wait. I can't wait. Dave, are you ready
to go track by track to Raising Hell?
Speaker 3: Well?
Speaker 4: First of all, in case I don't have a chance
to say this at the end, I just want to
thank y'all so much for giving me this opportunity to
come on here for this guest and talk about this stuff.
I feel like you just let me indulge myself, and
I hope everybody's enjoyed it. I think it's amazing that
I have an opportunity to talk about run DMC with
two guys actually named d and Jay. I can sit
here with with Lee's on my legs and Adidas on
my feet, with d by my side and Jay with
the beat.
Speaker 1: That's fantastic, man, that is fantastic.
Speaker 2: Dave. We've had a great time with you, man, It's
been fun to get to know you, and you have
been an awesome, awesome expert in this area. So thank
you for contributing to our show.
Speaker 3: Man.
Speaker 1: Yeah, it's been a complete honor and just as a
reminder to everyone, Dave is an author. You can catch
his books at Galahad's doom dot com. We found out
just this week also that he does a podcast. I
don't know how we went this whole time and didn't
know that, but he has got a podcast where he
talks about soccer. It's a way to vent about your
soccer feelings.
Speaker 4: Right, Yeah, I'm a big I'm a big soccer fan,
but specifically a fan of the American version of the game.
So I'm a big major League soccer fan and US
national team fan, and I just do a quick, little
like news update type of podcast and usually no more
than ten minutes long. So if someone's a very casual
fan or a curious fan, but they don't really want
to devote an hour and a half to a big
deep dive, they can check in with my show, get
what they need, and then be done beyond with their day.
So it's called American Soccer Quick Kicks.
Speaker 1: Very nice, and you got lambasted this week on Twitter
for your thoughts on the new soccer ball. Is that right?
Speaker 3: Yes?
Speaker 4: I got destroyed because they showed the new ball designed
for next year and has flowers on it. I made
the mistake of saying that you don't put flowers on
a grown man's soccer ball, and I got completely viscerated
by a soccer twitter For that one. I may have
mentioned that my grandmother would be excited to see a
ball that matches her drapes.
Speaker 3: I don't think they liked that too much.
Speaker 4: Before we jump into the album, I got a couple
of things I want to point out. First of all,
this album represents pretty much the epitome of the collaboration
with Rick Rubin and run DMC. He did go on
to produce two more songs for them after this album.
The first one was Christmas and Hollis, which is their
well known holiday track. It was placed in die Hard.
It's kind of an annual. It's a perennial holiday hit.
At least around my house.
Speaker 2: It is hey way, we can't blow past that man.
This is our Guyles Christmas music that he plays for
John McLean as they're taking the limo ride to Knock
and Tony Tower.
Speaker 4: That's right because the rhymes you hear are the rhymes
of Daryl's. But each and every year we bust Christmas Carols.
The last song he did with them was Mary Mary,
which came off their nineteen eighty eight album Tougher Than Leather.
And I want to mention that song because I happened
to be in the crowd the night they were shooting
the Mary Mary music video. It was in Albany, Georgia.
I was with my friend from high school, Chris Grab.
I know he's listening. Shout out to Chris.
Speaker 3: We were there that night.
Speaker 4: When they were shooting the video and their camera was
behind me, and I'm in the video, but you kind
of have to take my word for it.
Speaker 3: You can't see my face, but.
Speaker 4: You got one skinny, little white elbow pumping his fists
in the air.
Speaker 3: I promise you that's me.
Speaker 1: That day's chicken wing famous elbow. And for your friend,
I just have to say, what up, Chris. I was
born to do baby.
Speaker 4: That summer of nineteen eighty eight, it seemed like the
only two videos on MTV were Mary Mary and Pour
Some Sugar on Me.
Speaker 3: I was very happy to watch Mary Mary every time
it came on. That's my old bow.
Speaker 2: That's fantastic, man.
Speaker 3: So a note about the album cover for Raising Hell.
Speaker 4: You'll notice that just like with their first two albums,
the only two people that appear on the cover.
Speaker 3: Are Daryl and Joe.
Speaker 4: You don't see jam Master Jay in any of these
first three album covers, and there's a good reason for that, Okay,
jam Master j was not signed.
Speaker 3: To Profile Records.
Speaker 4: The only people that had contract Profile were Daryl and Joe,
and so they had brought Jay in as a side man.
Speaker 3: For their road performances.
Speaker 4: He was for a long time, never officially signed to
the record deal, even though you see him in some
early photography.
Speaker 3: Profile wouldn't put them on the cover.
Speaker 2: Interesting, So I've got a little bit something on the
album cover as well. Caroline Grayshock was the photographer and
she's the one who took Cyndi Lauper's She's So Unusual
cover as well. All Right, So before we go any further,
this album was released May twenty seventh of nineteen eighty six.
Run DMC is the first hip hop group to receive
heavy rotation on MTV, grace the cover of Rolling Stone magazine,
and get a Grammy nomination.
Speaker 1: And a couple of quick background on the recording of
the album. They had just come off of tour in
nineteen eighty five and they went into a place called
chun King Studios in New York City. Now, chun King
became a huge studio for recording hip hop and rap
style albums. You had Run, dmc, ll cool J, Beastie Boys,
Public Enemy, Buster Rhymes, Notorious, Big Tupac, Lauren Hill, Outcast,
Method Man, Nas, Lil Wayne, Kanye West. All of those
guys and some rock groups Aerosmith as we know, Beyonce,
Depeche Mode, Destiny's Child, Fergie and Lady Gaga all recorded
at chunk King Studios at some point, but it had
just gotten this name of chun King Studios when they
came in to start their recording process. Now, the producer
on this one was different than the last two albums,
which we kind of discussed. They had had Larry Smith
as their producer for the last couple of albums, and
as Dave mentioned on our last episode, Run had gotten
a little tired of how much Larry was trying to
put more music into the albums, although it was his
brilliant idea when they were listening to Riot to put
some rock into their music. But this album they were
using a new upstart DJ called Rick Rubin.
Speaker 4: So you know, just remember the timeline from our first episode.
The first album put out by def Jam was ellocol
Jay's Radio, which came just after Crush Groove late nineteen
eighty five, and it was produced by Rick Rubin.
Speaker 2: If you want more history on run DMC and hip
hop and rap, go back and listen to our previous
episode from last week where Day.
Speaker 1: Laid the knowledge on Thick and.
Speaker 2: Is unbelievable the amount of knowledge to Day brought on
that episode for sure. By the way, you mentioned Chunking Studios. Yes,
that is also known as the Abbey Road of hip hop.
One thing I wanted to cover real quick raising hell
did not reach number one on the Billboard Hot two hundred.
It made it all the way to number three.
Speaker 1: Do you know the two albums that kept run DMC
out of the top spots.
Speaker 2: I do, and we've talked about one at length and
one in glancing Mm hmm, Okay, the number two.
Speaker 1: I'll give you, Yeah, go ahead and do number two,
and I'll give you a hint on number one.
Speaker 2: I'll give you a hint on number two. She made
out with Adam Horowitz backstage at the Beastie boyscus Madonna,
but I don't know. The album Madonna True Blue on
the strength of Open Your Heart and Papa Don't Preach
and la Isla Bonita reached number two September twentieth, nineteen
eighty six, the number.
Speaker 1: One album Okay, so what it's a soundtrack? What movie
is everyone obsessed with? In nineteen eighty six pop Gun?
You got it ding.
Speaker 2: Ding ding Ding top Gun number one, Madonna number two,
Rundy and See number three.
Speaker 1: I mean, that's amazing that they're up there, and with
those two iconic albums, it's it's an truly incredible given
that rap wasn't even in the mainstream a couple of
years before this.
Speaker 4: That's right, and this was the first rap album to
ever go platinum.
Speaker 2: Fantastic. Are you ready to dive in? Track by track, Dave,
let's do it all right. The first song on the
track list Peter Piper, Peter Piper, Pig Peppers rock Humpy Down.
That's his time, exactly nimble what nimble? Any quick?
Speaker 1: Okay? We jump in and we are immediately made aware
of how awesome these guys are at exchanging lyrics back
and forth. It is brilliant. They'll do line they'll do words,
they'll do bits. It is so incredible how their rhythm
is so in time with each other that they can
sound like almost one person with two voices. It's amazing.
Speaker 4: You don't get that awesome John Bonham drum phone that
you get in the beginning of License to Ill, But
what you get is immediately this blistering reminder of just
how great these two guys are together. What had become
their trademark was switching back and forth like that in
their delivery.
Speaker 3: But here they're they're.
Speaker 4: Letting you know right off the top they have taken
things to a whole other level, and it just blows
you away. They start off with this a cappella beginning
and you're already just blown back against the wall.
Speaker 1: Yeah. And similar to Ryman and Stealing, they're throwing in
some literary references. It's more nursery rhymes and you know,
young adult kind of reading, like with Rip Van Winkle
and such. But you got to be smart to hear
what they're saying, to know what they're saying. It's great stuff.
I have to think that the Beastie Boys we need
to do something like that. When they pick their first song.
Speaker 2: Hey, they make a reference to Humpty Dumpty, Little bo Pee,
Rip Van Winkle and the most amazing toy of the
nineteen seventies.
Speaker 1: We will they wobbled, what they don't fall down?
Speaker 2: The wobble but they don't fall down.
Speaker 4: They also referenced the DC comics hero Flash when they
say he's not Flash, but he's fast and his name
is Jay.
Speaker 1: That's awesome. Yeah. And the music that they've got behind
it is again it makes me think of girls. It's
that very kind of plinkety xylophone style of music that
they've got going with them, which is the perfect thing
to put with a song that's referencing all these nursery
rhymes and school stories.
Speaker 4: The bells are a sample of a song called take
Me to the Marti Gras, which was by this jazz
fusion kind of artist named Bob James. At the time
that Ell was working on his first album, he had
a song called Rock the Bells, and he had heard
Run DMC working with this Bob James sample and was
going to use the same sample in his song Rock
the Bells. And when Run found out about it, he
got mad in front of him and so basically won
the argument. So LLLL agreed to take this same sample
from Taking to the Marty Grass out of his song.
So now the album cut of Rock the Bells actually
has no bells in it at all.
Speaker 2: Let's play a clip of that real quick. There it
is man, that's it, no question answer.
Speaker 4: So the whole song is about jam Master Jay. It
didn't even though he had a self titled song on
the first album. So Peter Piper actually became his theme
song and it was the one that was most identified
with jam Master j And in case you're not aware,
he was killed in two thousand and two and an
execution style murdered that for a long time was a
cold case.
Speaker 3: There's just recently in the last year been some movement
on that case.
Speaker 4: As a matter of fact, there was there was an
indictment one year ago and just November this year the
prosecution has said that they will not be seeking the
death penalty, but they do have a couple of guys
that will be going to trial for it.
Speaker 3: But this was the song.
Speaker 4: That they used at jams Jay's funeral and in all
his tributes he was known as Peter Piper and this
was this was the song they used to honor him.
Speaker 2: I heard Daryl McDaniels talk about this song and when
he was listening to the radio when this album was released,
the DJ came on and said, we have got the
most amazing, awesome hit of the summer from Run DMC.
You're not even gonna believe. It's so great, And Daryl
McDaniel's thinking, they're getting ready to play Peter Piper. Peter
Piper is the one, and of course it was not.
And we'll talk about that song here in just a
few minutes, Okay, But this is.
Speaker 3: A hit right out of the right out of the gate.
Speaker 4: This is an awesome songs in one of their classics,
one of their best loved songs.
Speaker 3: It is awesome. It's a great starter to the album.
Speaker 2: Absolutely ready for song number two, Yes, song number two
on the album called It's Tricky.
Speaker 4: This is my recital. I think it's very vital.
Speaker 2: That's right on top, right to ro right that site
on top. It's chick game all right. Now, This one
I'm very familiar because they played it on MTV all
the time. This reached number fifty seven on the Billboard
Hot one hundred chart, released February eighth of nineteen eighty seven.
Let's talk about what it samples.
Speaker 1: Nineteen seventy nine, The Knack my Sharona.
Speaker 2: When I read that, I was blown away because I
didn't really hear it until that came to my attention.
Speaker 1: Well, in two thousand and six, The Knack actually sued
run DMC and their associates and some online stores for
unlicensed use of this sample. And when they asked them,
why did it take you twenty years to bring your
case to court, they said, well, we just found out
we hadn't heard it before.
Speaker 2: Come on, man, twenty years to bring this case to court.
Speaker 1: Right, you're just now becoming aware of the track.
Speaker 4: It's tricky, rock run too, rock a run that's right
on Thomas Chick game.
Speaker 2: Wow.
Speaker 3: Yep. And of course they structured the chorus around Mickey.
Speaker 2: Yeah, okay, we got to talk about that too, because
that to me as clear as a bell, right, yep.
It's triggy to rock a rhyme, to rock a rhyme
that's right on time. It's tricky. Right then you've got oh, Mickey,
you're so fine, You're so fine, you blow my mind. Hey, Mickey, Yes,
those are identical.
Speaker 4: Yeah, and it's guaranteed to be an earworm. It's gonna
be stuck in your head.
Speaker 1: But it's also kind of a tongue twister. It is
it's difficult to spit that out as fast as they do.
And that's what the song is really about, is it's
not as easy to be a rapper as you think
it might be. You know, people dissing on them because
it's not real music. It's not singing, but they're saying, hey,
you try to do this. You see if you can
do this, mister.
Speaker 2: Knox, it's tricky to rock a rhyme that's right on time.
Speaker 3: It's tricky, huge hit on MTV.
Speaker 4: I know, Pin and Teller in the video. It's not
a strong track, man, just coming out hot. Two songs
in a row, boom.
Speaker 1: Yeah, it's interesting. They they've got a positive message that
isn't happening in a whole lot of rap after the eighties.
They talk about how they get offered dope and lots
of coke, but they said they just leave it alone.
And this kind of goes along with another song on
the album where he talks about going to Saint John's University.
They were trying to speak to kids on the street
who were out there doing drugs and not going to
school to say, hey, we can make it not doing
that stuff, and you can too.
Speaker 2: I found something really cool on the internet in regards
to It's Tricky. Okay, So there was a guy that
he posted this on Instagram. Just a guy driving down
the road top down, turn it up, had his windows
down and was thumping It's tricky. Who pulls up next
to him? Joseph Simmons run.
Speaker 3: Oh yes.
Speaker 2: When he pulls up next to him, rolls down his window,
leans in. The guy's like, oh my gosh, that's run
right next to me, and he is rocking the rhymes
right out of his window. The guy was like, oh,
I can't even believe it. There he goes, drives off.
That's it, and the guy posted away it was awesome.
Speaker 4: Man, that's a lot better than my elbow story.
Speaker 2: Okay, that's it. That's all I got on on this triggy.
Although I will say that video introduced me to Penn
and Teller as well.
Speaker 1: That was probably the first time I saw him too.
Speaker 2: Okay. Song number three My uh didas my U Well
two copy Doors and Football Almost at Live eight All
the People Game. This was the first single release from
this album. Strong Coming twenty ninth of nineteen eighty six.
Speaker 4: This is a great song, fantastic song that's probably my
second favorite on the whole album.
Speaker 2: My roommate in college when we would be getting ready
to go play football or basketball or whatever, i'm'll be like,
let me grab my shoes real quick. That's all he needed.
I'd say, I need to grab my shoes. My uh
dudas Scott Foster. A shout out to Scott Foster. Interestingly,
this song led to the first non sport entity to
sell sneakers.
Speaker 4: Yes, but when they recorded this song and when this
album was released, they had no endorsement deal in place.
Speaker 3: They just did it because they loved Adidas.
Speaker 2: I read that in Hollis there was this local medic
named doctor Diaz. Doctor Diaz was this guy around town
who distributed a small pamphlet that talked about how fellon sneakers,
lee jeans, these certain hats and gold chains and brand
names of Puma and Adidas as troublesome. Like if you
see anybody wearing Puma or Adidas, or gold chains or
sneakers with no shoelaces, these are troublemakers. These are people
you want to watch out for profiling there you go.
And so they got mad about that. They found it
insulting and they're like, hey, we wear Adidas and we're
not bad guys. And so they were intent on writing
a song about Adidas and being good guys.
Speaker 4: So let me tell you about a man named Liar Cohen.
But we didn't talk about him last episode. But he
had started out running a club in California, and one
time run DC had come out there and performed some
shows with him, and at one point he decided he
was going to work for Rush Management. He basically cold calls.
He walks up to the front door in New York
and tells Rush that he wants to work for now.
Speaker 3: The Rush had known him from booking.
Speaker 4: Shows at his club, but he's like, look, you know
we're still a shoe string operation. And the way this
works is is you know you get paid a percentage
based on whatever new business you bring to the company.
You know that that that's the only way I can pay.
He said, well, okay, who's handling your merchandise? And Russ
is like, uh my, what who's booking your shows? Who's
managing your your packaging your tours. He's like, uh my,
Pa packed what and Lyer said, I'll start on Monday.
In nineteen eighty six when he first got this job
and he was looking to generate the money. One thing
they did is they they pulled out of these annual
fresh Fest concert tours and he packages together the Raising
Hell Tour and so all the non rush elements of
fresh Fest dropped away. So they no more fat boys,
no more breakdancers, and it was just Rush artists.
Speaker 3: So that's how the Raising.
Speaker 4: Hell Tour came to be just BC Boys, Houdini, Ello,
Cool J and run DMC and that was it. And
so it was so Liar Cohen was the guy who
put that on. And it was in the middle of
the Raising Hell Tour that Liar orchestrated a fantastic stunt
related to this song may Adidas. What Liar and Russell
did is they conspired to bring over Adidas executives from
Germany and had them attend a sellout Run Deemsee concert
at Madison Square Garden. Now Joseph Simmons also was in
on it, and when they got ready to sing this song,
he took off his Adidas shoe, held it up in
the air and he told everybody else to do the same,
and there was an ocean of teenagers holding their Adidas
shoes in the air, waving them back and forth. The
house lights come on, the spotlights are sweeping across them,
and those Adidas executives, their jaws are on the floor.
They realized in that instant what is happening and how
powerful run DMC is to this market. And just like that,
they signed run DMC to an Adidas endorsement deal, making
history as the first non athlete to sign a sneaker deal.
And this was the beginning of the corporate world of
understanding the power of the hip hop market.
Speaker 2: It's fantastic, man, it is fantastic. They were trendsetters in
so many ways. It's it's unbelievable.
Speaker 1: Okay, So, since you brought the company up, and since
you mentioned them earlier, I want to say this. So,
Adidas the shoe brand was started by a guy named
Adolph Dassler, right, he Hadi das Addas exactly right. He
had a brother whose name was Rudolph Dassler, and at
one point they were in business together, working together, but
they realized they didn't like working together. They were they
just you know, their brotherly hate just kind of boil.
It reached a boiling point, and so Rudolph was like,
you know what, I'm going to go across the river.
I'm gonna start my own company and we'll just see
how it goes. And so Adolf makes adi Das Adidas
and Rudolph starts another shoe company that you might have
heard of called Puma Wow. And then they both end
up shoot on the feet of troublemakers out there. You
need to watch out for that.
Speaker 2: That's right, that's right.
Speaker 4: So what's cool about this about the song, though, is
that they're not necessarily bragging about the shoe itself. They're
bragging about themselves and about all the things they've accomplished
while wearing the shoes.
Speaker 2: Russell Simmons had this idea that he wanted them to
write a song about their Adidas and he apparently came
up with this idea while smoking angel dust. So Daryl
McDaniels said he went to see him and he's like, oh,
you got to come up with a song that starts
my Adidas standing on two fifth Street. And he was
written and he was really high because he said it
about fifty times. They actually mention their Live AID performance
in the lyrics of this song. We talked about that
Live Aid performance in last week's episode.
Speaker 4: Yes, they step on stage at Live Aid. All the
people gave in the poor gat paid. What I find
amazing is that this song May Adidas has a very
famous fan, Bob Dylan loves this song.
Speaker 1: Really what That's awesome?
Speaker 4: Yeah, at the time in nineteen eighty six, he said
in an interview that he just thought this was a
great example of just the vitality and just the uh
this the inroads. I guess they had the voice of
the black youth market and that he just saw this
was a fantastic expression.
Speaker 2: That is insane.
Speaker 1: That's incredible.
Speaker 2: We have mentioned Bob Dylan so much recently in such
like way Out their Ways. He wrote Knocking on Heaven's Door,
which we talked about in our Guns N' Roses episode
several weeks ago now, and then because of Knocking on
Heaven's Door that was in Pat Garrett and Billy the Kid,
we talked about him in our Young Guns Versus Tombstone episode,
and now we were going to talk about him with
run Insane Man is everywhere? All right? Are we ready
to finish up? On my ideas.
Speaker 4: I mean, look at this one, two three, right out
of the box. Peter Piper is tricky May Adidas. You
would think this can't possibly get better. What's track four?
Speaker 2: Track number four is the song that changed music culture, history,
everything as we know it.
Speaker 1: Okay, So I got to start off by saying, we
talked about this song on our Aerosmith episode and just
as a quick review of that, Steven Tyler came up
with this beat and Joe Perry came up with the
lick that went with it, and they were at the
end of a very long recording session and they could
not come up with any lyrics. They were struggling and struggling,
and finally the producer was like, just leave, just get
out of here, go watch a movie, have some fun.
And they go across the street to the movie theater
and what movie is playing Jason Young Frankenstein, in which
we have Marty Feldman who has the iconic line walk
this way, no, this way yes, And they thought that
that line was hilarious, and that's how this song came
into being, and it was a part of their Toys
in the Attic album, which is probably their greatest album
of the seventies, right, sure. So fast forward a few years,
hip hop has caught on. Djaying has become a thing,
and all of the DJs take these albums and because
they don't want other guys stealing their tricks, they wipe
out basically everything except the track numbers, and so they
have toys in the attic and everybody who's anybody knows, hey,
number four is a great lick and a great beat.
But they would put that on, they'd play that lick,
they'd play that beat, they'd scratch it back, they'd do
what they did, but they never got to the lyrics
of the song.
Speaker 2: They would just say, hey, grab toys, and they played
number four, right. But their plan was to roll that
into a loop and then wrap over it.
Speaker 1: Yeah, sample like they would normally do with any other song,
like they would did with My Sharona or any of
the others, is they're gonna they're gonna use that one
little part and they're gonna make their own song out
of it. But Rick was the one that said, no,
you guys should do the original song. I mean and
you if you listen to it, it's well to my ears,
almost like a rap that Steven Tyler has a very
rhythmic way of singing his song. Absolutely, and so they
took the album home, they put it on the record,
they turned it on and it got past that'll lick
and it got into the lyrics and they were like no, no, no, no, no, no,
no way, we're not doing this hill billy crap.
Speaker 2: The interesting thing was they couldn't understand. And this is
back in the days before the Internet where you could
google lyrics. So they had their pen in their paper
and they're like backstage lover, always undercover, talk to my
this is hillbilly music. They were not into it at all.
And actually it's Jim Master Jay who's the one who's like, guys,
this is gonna be really good.
Speaker 4: Jay knew a little bit more about the song, I
guess because maybe he was the guy with the records
in the back in the park. But when Ruven first
suggested walk this Way, Joe and Daryl didn't even recognize it,
or like, what do you mean walk this way? They
didn't recognize it by that name, and Jason was the
one that said no, no, yeah, yeah, yeah, you know this
one his toys in the attic. Well, they knew it
by the album name because all they knew is that
opening drum beat, and it had been a staple in
the park for years, just like you said, but they
had just never bothered to listen to the rest of
the song and they didn't know it by its proper name.
Speaker 3: So it was Jason that said, no, no, no, listen, this
could work.
Speaker 4: Now, this is a case and I don't know how
many It seems like it's in every episode where you're
covering albums, but this is a case of where the
album was basically done. They had all these other tracks finished,
and Rick Rubin, yeah, I mean, you can finish the story.
He was like, we need one more. We're missing something.
And this was a late idea, in a late addition,
and this was the one that kind of galvanized the
whole out.
Speaker 1: And I got to say, when we told this story
in our Aerosmith episode, I talked about, you know, Aerosmith
was kind of in bad trouble at that point. They
were trying to come back, but they were not. They
had not at all come back to from what they
were in the seventies or what they had would become
in the late ala and nineties.
Speaker 2: Done with Mirrors in nineteen eighty five was a disaster.
Speaker 1: Yeah, it was a total bomb. And so when they
get a call at the when I we had our episode,
I said, they get a call from mister Rick Rubin.
Well that was because I was thinking Rick Rubin of
you know, ultimate fame. But at this point, Rick Rubin
is a guy who's done nothing. He was nobod to them.
So they're getting a call from a nobody about a
rap group who's done a couple of albums, saying hey,
we want to cover your song and we want you
to be involved with the re recording of the music.
They had to be thinking the same thing, who are
these guys? What are we going to be doing? And
I think that even when they met up in the studio,
there was a lot of posturing and measuring d's if
you know what I mean, because these are these are
some strong personalities in these two groups.
Speaker 2: I've got a great story on this. After Rick Rubin
told them to grab their loose leaf notebook and pin
and go downstairs and write down the lyrics, and once
they heard Steven Tyler start to seeing, they were refusing
to do it. And so they sat there with their
arms crossed like stubborn children. And then the phone would ring.
The phone would ring, and they'd be like, not answering it,
not answering it, and they knew it was Russell who
was calling to yell at them, right, so they would
like go into hiding for a week. They refuse to
do this, and so Jay calls one day and so
they're like, hey, Jay, what do you want. I know,
you know you're mad at us or whatever. He's like, guys,
get down to the studio. Stephen Tyler and Joe Perry
are coming and they're like who who? And so Jay's
like get down here, you know. So when they arrived,
they see the guys from Aerosmith and they're like, oh
my gosh, the Rolling Stones are here.
Speaker 4: Well, it's a fanboy for Rick Rubin, right, because I mean,
this dude has just been like this like slob, living
in his dorm room and he stumbled into this situation
where he's producing records and you know, he was the
guy who grew up with Led Zeppelin and ac DC
and Aerosmith, and he's like, what if we got Aerosmith.
Speaker 3: And he got him?
Speaker 4: And then so he's got his heroes in the studio
with him and he can't believe it. He's got the
Steve Tyler and d Joe Perry and they're making a
record for him. And so he gets in there and
he's got Joe Perry laying down guitar, and Rick Rubin
decides he's not playing well enough, he's no good, and
he's got the Cajonys to go up to Joe Perry
and say, you're not doing it right. You got to
try to get here, try it this way, and coach
him on how to play his own lick.
Speaker 1: Wow, No, play it this way.
Speaker 4: He also, I understand Joe Perry plays bath on this track,
but when they got ready to do that, you know,
he hadn't brought a bass guitar. They didn't have a
bass laying around. And so there were these kids hanging
around the studio the day they were recording all this,
and one of the kids is like, hold on, I'll
go get my bass and he and he runs out
right and eventually he comes back. He said, here, you
can play you can play this, and that kid was
out of me off. It was the Beas boys hanging.
Speaker 1: Oh my gosh, I didn't another story, but I knew
that that was where you were going with the kids
hanging out.
Speaker 2: That is fantastic.
Speaker 1: Yeah. So fast forward a few months and they're at
the on stage playing together in Miami and Adam Yak's
drunk out of his mind trying to play bass with
Chase and Joe Perry around backwards.
Speaker 2: You know, you mentioned that Joe Perry was not playing
up to par I heard an interview with Rick Rubin
and he was like, Ron and DMC, they were not
hitting the lyrics like he really wanted them to. He's like,
they were lazy, they were goofing off. They weren't into it.
He's like, get your butts in gear and lay down
these tracks like you can, you know. And so everybody
was kind of feeling it out and took a while
to warm up to it. And Daryl mcdael's they're like,
when did you know that this was going to change
people's lives. He's like, I didn't know it was going
to do anything until it.
Speaker 1: Took off, right, And that was this story that you
were alluding to earlier, whenever they had been touring. They
get back, he starts listening to the radio and there's
a DJ that comes on and he says, this is
the hottest rap song of the summer. Guys, everybody get ready.
This is about to blow the summer away. It's so strong.
And he knew what the song was gonna be. He
knew it had to be May Adidas or Peter Piper.
And the song started playing and it was that Walk
This Way lyric and he was like, what.
Speaker 4: Yeah, So this album the artists themselves, they were more
involved in the production of the tracks and the songs
than the other albums, and Ruben was a little bit
more hands off with this than he was with Licensed Ill.
But Walk This Way is all Rick Ruper, and I mean,
you know, we talked about how he had to coach
up Joe Perry, had to coach up Running d. I mean,
he demanded the best from all of these guys, and
he put this record together and it sounds amazing. I mean,
putting aside the fact that I'm gonna pick rap every day,
I think this version of the song sounds great. It's
just right there in your face, popping out of the speakers.
I think it's the production on it is better than
the original song.
Speaker 3: It just got that energy to it.
Speaker 2: It's fantastic.
Speaker 1: There are a few cover songs that are so that
are as on point with the original as this one
is that you might say they may have outdone themselves
on this one. And obviously, if you don't have Steven
Tyler in there singing his parts to this song, it's
not the same song. It doesn't do the same right.
If you don't have Joe Perry in there doing the lick,
even if he took some coaching, it's not the same song.
But run DMC. Once they got their butts in gear,
they were on point on their interpretation of these lyrics.
And then we got to talk about the video.
Speaker 2: Let's talk about the video. Yeah, okay, so the video
is Aerosmith practicing. They're in the room right next door
to runniom CE and they're practicing runnium C guys start
the beat and Steven Tyler's banging on the wall with
his microphone stand punches a hole through it, sticks his
head in and that's when he screams, walk this way.
And it's a metaphor for tearing down walls.
Speaker 1: Yeah, it's great. I love it. And I will say this,
I thought of you, Dave, because you are a video.
Speaker 3: Guy, an editing guy.
Speaker 1: After Steve Tyler gets singing through the hole, Joe Perry
sticks his head in and looks around, and the camera
pans across and it does this beautiful cross cut into
the concert stage and I was like, oh, that was
a really smooth cut right there. It looks like we
just went through the wall and now we're in a
completely different place.
Speaker 3: This video was landmark.
Speaker 4: It's really kind of amazing and in retrospect, despite the
reluctance that the artists had with doing the song, in hindsight,
it seems like a no brainer. It seems perfect. The
beat sounds like a rap beat. It had been using
the park for years. The lyrics are already delivered in
a way that almost sounds like a rap anyway, Right,
DMC had a history already of using rock and roll
in their records. I mean, it just sounds fantasic. You're
bringing in this classic rock band that's going to bring
a whole new audience to run DMC. And this puts
them on MTV for the first time. This video was
the first time Steve Tyler and Joe Perry had ever
appeared on MTV.
Speaker 2: That's insane.
Speaker 1: That's crazy.
Speaker 4: And then not only do you have that metaph of
walls being knocked down. But you're using that video and
the collaboration here of these two high profile artists to
really send that message of that crossover, right, So you're
just uniting the races that black and white folks together
can both like this music, can both like this song,
and the video really drove that home in a pretty
cool way. But not only that, but that's exactly what
this song did for rap. This was no longer something
obscure and on the fringes. I was like the weird
white dude who already knew about like, you know, boogie
Boys and Lottie Dotty and all this stuff my freshman year.
But nobody really was on board with how cool rap
could be until this song came out, and suddenly it
was cool to like run DMC and I'm looking like
that the hip guy in the corner who knew about.
Speaker 3: It all along.
Speaker 4: So so it cannot be overstated how massive of an
impact this song had on breaking rap out. I'm busting
through that wall and taking it to the main street.
Speaker 1: Even just the simple storyline of the video. You start
the video with animosity and by the time you reach
the end, it's handshakes and hugs. Yeah, it's great, beautiful.
Speaker 2: And in between you get a great look at their
shoeless addas.
Speaker 1: Yeah, and the vanes and Steven Tyler's neck.
Speaker 4: This song is everything I mean. I believe that it
was the success of this song that created the environment
in the marketplace that allowed the Beastie Boys album to
be received so well, and it kind of primed the
audience and got the country ready for something like the
Bastie Boys.
Speaker 3: I don't think Licensed.
Speaker 4: Ill sells as well as it does without raising hell first,
but specifically walk this Way.
Speaker 2: You're exactly right. Everything you say is absolutely true. But
for a guy like me, what this song gave us
was loving an elevator and Jennie's got a gun and
crying and crazy and living on the edge and every
other ariosmis song because it revitalized their career.
Speaker 4: Yes, this is a fantastic the best of crossovers right,
because it's a win win for everybody. Aerosmith absolutely needed
this just as much as Run DMC did, and both
acts come out way ahead after this collaboration.
Speaker 2: Yep, and I love what Daryl McDaniel says about this song.
He's like, at first, we were adamantly against it. We
were viciously opposed, but when he talks to high school kids,
he's like, listen, always be willing to try something new.
It may just change your life.
Speaker 4: And he's absolutely right, change your lives, change the direction
of music in the eighties.
Speaker 3: It's just absolute massive monster.
Speaker 1: All right. I hate to be done with it, but
we've hit four for four. At this point, we have
had NonStop awesome ness classic. We are about to dive
into track number five. Is it live the Microphone Master?
Speaker 4: Do DMC cause one, two, three, four casualties. You'll be
raising D down on your knee because I'm plumbing.
Speaker 2: I'm stumming on the seas.
Speaker 4: Okay, I love the song. I don't think this was
a single from the album, but this is one of
my favorite I love the energy of it. It's absolutely
I turned this one up every time it comes on.
Speaker 3: But I gotta tell you a story.
Speaker 4: So I'm in twelfth grade, right, So this is a
couple of years after the album has come out, and
I'm sitting in English class, and I gotta tell you
up front, my girlfriend is in the same class, and
she's just a couple of rows away. Hey, We're sitting
there and we are studying poetry and the teachers going
over different types of rhyming schemes. You know how you
have AABB CC or you might have aa B and
CCB to go.
Speaker 3: With the pino.
Speaker 4: It's all just poetry stuff that they're learning in class, right,
And they were like, and she was checking, you know,
see if everybody understands what she's talking about, says, can
you think of examples of some rhyming schemes? And I'm
sitting over there and I just like that, that's all
I do. And everybody looks at me, and I play
it all over what who me? And and and everybody
in the classroom, right, they like they know they know me.
And all of a sudden, they're like they're starting to giggle.
They're punching each other and pointing like hey, look look
at that. And everybody starts laughing and snickering, just knowing
something's something's coming, right, and uh, and I'm just playing
it low key, you know. And what the teacher is
this like prim and proper, you know, like classically educated,
like Victorian like hair and a bun Victorian collar. And
she turns and she says, David, can you share with
the class an example of an internal rhyming scheme. I'm
like just a softball right over the middle of the plate,
and I'm playing it low key, you know. But but
I've got twenty five kids in the room, like on
the hook, and I'm reeling them in right, and I'm
just like, oh, you want me to rhyme? And the
teacher has no idea what's coming. And she's like yes,
and I go, can they ejects?
Speaker 1: Right?
Speaker 2: Don't fight?
Speaker 4: And I my check and and all the guys in
the class got their hands in there and they're like,
go death, day, go death. But all the girls in
the class, they're they're ignoring me because all their eyes
they're all my girlfriends, right, And she's completely mortified.
Speaker 3: She's like trying to hide under the desk.
Speaker 4: She's given me these looks like you shut up now, David,
and I'm like oblivious, you know, just kind of got
quality and skill book beyond belief, doll.
Speaker 3: I steal me for real, and.
Speaker 2: That's great, man, And it was awesome.
Speaker 4: And then, uh, she didn't dump me right away.
Speaker 3: No, this was a different girl, not the one that
was jocking Mike d to.
Speaker 4: Completely different girls.
Speaker 3: He got rid of me right after prom is over.
Speaker 4: So the moral of the story is, uh is I
was a high school loser that never.
Speaker 3: Made it with the last.
Speaker 1: Oh that's fantastic.
Speaker 3: That's great man.
Speaker 2: Hey, I had something similar. I'm just gonna throw this
in really quick. In my Spanish class, my Spanish teacher
is one of those days we're watching a video and
she's like, okay, class, we're gonna watch a movie, but
it's gonna be in Spanish, and I'm gonna stop it
every so often. You're gonna tell me what's going on
if you can do it right. And we're like, okay, whatever.
So she pops in Raiders of the Lost her but
in Spanish. So she keeps copying and she's like, does
anyone know what they're saying? And I'm like and I
just like, like, well, they're looking for the arc, but
they're looking the wrong place and the thing's one thing
too short. And I amazed my Spanish teacher she had
no clue.
Speaker 1: Very good.
Speaker 2: Oh my gosh, that's awesome. Man. All right, are we
done with is it live?
Speaker 1: Yeah?
Speaker 3: Yeah, we could be done. I love it to me.
It's another hit.
Speaker 4: It's another it's another NonStop hits here coming from the top.
Speaker 2: So the next song on the album is a song
called Perfection. Everyone ready.
Speaker 4: It goes one, two, three.
Speaker 2: It's quite essent because okay, I've got one thing to
say about this and I'm gonna turn you list many.
One thing I know about this song is that is
Jason Mazel on the drums down front. O.
Speaker 3: Yes, And that's really the the big takeaway.
Speaker 4: This is the only track on the album it's got
live drums, real drumming on it.
Speaker 1: It's an interesting way that they handle it. It's a
slow down beat. It's it is much slower than the
first five songs that we've heard so far tempo wise.
And then they do an interesting thing where I think
it's run is doing the falsetto high pitched against against
DMC's regular voice rap, which is interesting because later on
d m C went through this whole weird spell where
he went ultra low and said he was basically forced
to sing in a higher voice that was than his
normal voice. But anyway, it's just it's interesting that they've
got that dynamic going on in this one. Would you
do you like this song?
Speaker 3: Dave, I do like it.
Speaker 4: It is definitely, you know, a step down and energy
from the other songs that have come before it so far.
And you know, someone who's not like a huge devote
to this album, this might be one that goes lower
on their list. But the reason I like it is
because it is so easy to do the parts, because
it's so slow. You know, this is one that I
could get together with a buddy and we could switch
off parts and sing along with the record.
Speaker 3: You know, we could, We could pull it off. But
I don't ever skip it. It's a change of pace.
Speaker 4: It's a nice little thing to have right there at
this spot in the sequence.
Speaker 3: And it's lighthearted.
Speaker 4: You know, it's kind of funny. It's fun It's a
step down from the others we've heard so far.
Speaker 2: I like the drums. I do like the live drums.
I think that it gives a little bit more character.
You can see Jay's talent as a musician. Here, Okay,
hit stop on your tape player, e Jack, kick it out,
flip it over side two, and we start off with
a song called hit It Run. You can't see him.
Speaker 4: And the.
Speaker 2: Powerful start to the second side right here.
Speaker 1: Okay, hold on, hold on. It's so rare that I
get the opportunity to do this. This is the titular track,
Titular Uh never grown Up from sophomore years.
Speaker 2: This one contains the gigantic mf or in the middle
of it. Yeah, that was a little bit of a
shock to me.
Speaker 4: These two albums were looking at Licensed to Ill and
Raising Hell. They you know, we look back at now
and with like more mature ears, and they're they're both
a little problematic for different reasons. You know, License to
Ill is actually completely clean in his language.
Speaker 3: It's just that some of the subject matter, you know,
a little rough, and in.
Speaker 4: This case, on this album, the subject matter is not
too bad. But there are three tracks that have explicit
language in it, and Little This was the worst one, unfortunately,
because it does detract from what is a fantastic song.
Speaker 3: It's an awesome, hy energy jam.
Speaker 2: Along with dropping that mf or like a scud missile
right there. I had seen some interviews with Run on
YouTube and I was just watching those and he became
later in life known as Reverend Run. He went to
church all the time. As he was telling his story,
he decided one day to go to church, and he
was one of those deals that you know, as with
most grown men who give in and go to church
for the first time. They want to sit in a
back row. They don't want anybody to talk to him,
They just want to kind of observe. He's sitting there
one day and he saw what clearly was a grandmother
who was dragging her grandson to church. He didn't want
to be there, but she was making right and he
was into rap music. And as they walked in, he
locked eyes with Run. He sits down with his grandmother
and he keeps looking back at Run like that can't
be who I think it is. And he keeps looking
at it, and he elbows his grandmother and he's like,
that's that's like a rap superstar behind us, and she's like,
that ain't no rap superstar. You're in church. Turn around
and listen right that he keeps glancing back, keeps glancing back,
and he becomes more and more sure that that's Run
from Run DMC. And he said, like on the tenth
time Run winked at him, and that's when the guy's like,
that's Run for Run DMC. And I just thought that
story was hilarious.
Speaker 1: And he never skipped church again.
Speaker 2: That's right. The moral of the story is always go
to church because you never know who you're gonna see there.
Speaker 4: So this song features Daryl almost exclusively, Daryl doing all
the rapping, and that is because Joe is actually beatboxing
on this record, right TFC cham Master t and beatboxing
was something that run DMC had never done, and it
was kind of the domain of Dougie Fresh and the
Fat Boys. Those were the two most prominent beat boxers
and so for run DMC to come out with beat
boxing was kind of a bold move.
Speaker 3: And it's like, if they didn't.
Speaker 4: Nail it, they were gonna look like they were just
being copycats.
Speaker 3: But I think this song is absolutely fantastic.
Speaker 4: I attended the Raising Hell Show in May of nineteen
eighty six in Columbus, Georgia, and this was before Walk
This Way had been released as a single.
Speaker 3: Okay, so I'm.
Speaker 4: About the the I'm not the only white kid in
the whole crowd.
Speaker 1: Right.
Speaker 4: If you remember the old school televisions, when you turn
it off and it would it would go black except
for that one.
Speaker 3: Little white dog.
Speaker 4: I would tell people I was the white dot on
the TV set you heard.
Speaker 3: But I did know King of Rock, right.
Speaker 4: King of Rock was the album that got me hooked
on all this and the King Rock. The song was
my favorite at the time, and I hadn't heard the
Raising Hell album yet when I went to this show
and they start off with I'm the Key of Rock,
and I was like, oh, they just took King of
Rock and they just flipped it and there's a whole
new song and it completely blew me away.
Speaker 3: I mean I was just enraptured.
Speaker 4: So from that very first live performance, I've always absolutely
loved this song.
Speaker 1: All right.
Speaker 2: Moving on to the eighth track on the album. Yes,
this song is called Raising Hell class from Queens Come Checks.
Speaker 4: We're raising Hell like a class one of us fell rings.
Speaker 2: I won't be raised something face, we won't be faced.
Top down, Turn it Up. This song is a guitar
rock thumper man.
Speaker 4: Turn it Up. This is my favorite song in this album.
I can't help but listen to it and listen to
it loud and screamed the lyrics along every time.
Speaker 2: Who does the guitar on this man?
Speaker 1: That's you know?
Speaker 3: I don't I don't know.
Speaker 4: I wanted it to be Eddie Martinez, but as I
was researching for it, I can never find the answer.
So I really don't know.
Speaker 2: The answer man, it's great, It's great.
Speaker 4: I love this song too, dissing all Devil's causing heavoc
in hell at a very high level based on troubleshell yell.
Speaker 3: I mean, it's everything.
Speaker 4: Like a beast, or at least there's no stuff because
the rock again, I sees great mans, kings from queens,
from queens come kings. It's the rock and roll version
of rap, right. They're screaming their lyrics like not every
rapper yells their lyrics the way run DMC does. I mean,
these guys are taking a rock mentality and a rock
approach to their rap, even when they're not using like
rock arrangements.
Speaker 3: This is the song.
Speaker 4: If I can only pick one song off the album,
it's gonna be this one.
Speaker 1: I gotta say, I was not familiar with this song
before we started doing the research and listening to this album.
This song is the standout for me at this point.
I love the fact that he keeps talking about how
awesome D is because I identify with that, and so
you know, from the mountain valley to the deep blue sea,
the word is heard is told by D.
Speaker 2: I love that.
Speaker 1: I love it all. It's such a good song. We
get these golden nuggets every once in a while as
we're going through these albums of like, hey, I didn't
really even hear this one before, and this is this
is definitely that song for me on this album.
Speaker 3: Wow.
Speaker 2: Okay, so this is where I want to drop in
my Sarah McLaughlin's story. Okay, we take this heavy, hard
kitting rocker and then flash forward eleven years to nineteen
ninety seven. Run DMC has fallen from grace. Daryl McDaniels
is a full blown alcoholic who is suicidal emotionally broken.
Every day he wakes up and finds the reason not
to commit suicide. He returns from a Japanese tour. Dave,
do you know the story?
Speaker 3: I don't, Okay.
Speaker 2: So, on his way back from the Japanese tour, he's
supposed to fly in based on where he lives. He's
supposed to fly into LaGuardia Airport in New York City
and instead he goes to JFK. So he's megapist about that.
So he gets in the taxi and the taxi says
Texan guy says, where are we going, sir? And he
says New Jersey and the guy same thing. Happens. He
looks over his shoulder kind of glances at him, and
he keeps turning. Every stop light, he keeps glancing at him,
and finally, like at the third stop light, he's like,
I know I'm not supposed to say this, but you're
run DMC and I love run DMC, and I could
get fired and I just really would love an autograph
and I'm really really sorry. And Darrel's like, look, man,
it's cool, don't worry about it. I'll even take a
picture with you. It'll be fine. And so the guy's like, oh,
this is so amazing, thank you so much, blah blah blah.
So as they're traveling, the guy says, would you mind
if I turn on the radio, And Darrel's like, yeah,
that's fine whatever, And so, because he knows he's a rapper,
he turns on the local hardcore wrap station in New
York City and Daryl's like, look, man, anything but this crap.
I can't take it, none of this stuff. So the
guy's like, okay, let's find this fine spine. So he
turns it to the easy listening station, and the song
that is playing when he turns it to the easy
listening station is a song called Angel by Sarah.
Speaker 1: McLachlin makes me think of a dog commercial.
Speaker 2: They play it over that please adopt a dog commercially. Yes,
a little hard hitting, but it's soft and it's so
tender and it's beautiful. But it's just this light piano,
easy listening song. And Darryl sitting there and he's like,
like breaks down because of the beauty of this song.
And he starts to like emotionally break and he's like,
if there is this kind of beauty left in the world,
then I can still go on living. And he's like,
I can't express this enough to you. Sarah McLaughlin's Angels
saved my life, okay, in the back of a cab,
at the back of a cat. And if you grew
up in the nineties, you were very familiar with the song.
They played it all the time.
Speaker 1: Part of the soundtrack for City of Angels. Yes, I
owned it and listened to it all the time. I
thought it was truly beautiful.
Speaker 5: It's beautiful in them, So he said he went into
a shell and all he did at his house was
read comic books and listen to Sarah McLachlan CDs.
Speaker 2: Right, they would pick him up to go do play
a show. Jay and Ron would show up and say
let's go get in the car, and he's like, you'd
have to play My Sarah McLachlin CD. And they're like, man,
get that crap out of here. We're not listening to that.
And he said he would take his bags, go back
in the house and shut the door. I'm not coming
unless you play My Sarah McLachlan CD. Save my Life man.
So finally, his manager, who was his best friend at
the time, his name is Eric, talks him into going
this Clive Davis after Grammy's party and it's a big deal,
but he's all he wants to do is sit around
and listen to is Sarah McLaughlin CD. And so they
know he's suicidal, they know he's troubled. He's an alcoholic.
So they drag him to this Grammy show and he's
sitting there and it's the same deal. He sits a
chair right by the door and all he wants to
do is go.
Speaker 1: Home, all right? And do I have to wait?
Speaker 2: How long did I to wait? So he says, you've
got one hour. I'm gonna be here one hour, he said.
The first dude who walks in the door is Buster Rhymes,
and Buster Rhymes is like, this dude is hip hop personified,
and he brings all this attention to him and he's
just like, please just go away. I just want to
go home. Listen to my Sarah McLaughlin see, so he says,
so then he goes away. The second dude who walks
into Stevie One, he said Stevie Wonder didn't see him.
Obviously that's a joke, yeah, but but Stevie's people kind
of push him over towards him, and he's so bitter
and so angry. He's like, I hope freaking Stevie Wonder
falls on his face as he's walking out here. But
what Stevie gets over there, he talks to him briefly, Okay,
thank you, thinking think you go away, but he said
the third person that walked in the door is Sarah McLachlan,
and he's freaking out. He's like sweating, and he's like
a fanboy. He's like, oh my gosh, I got to
go talk to her and tell her what she's done
for me in my life. So he gets up, gathers
his courage, walks over to her and says, excuse me,
mister McLachlan, I just want to tell you that your
song Angel is the most beautiful thing I've ever heard,
and it changed me and it saved my life. And
she goes, hey, you're you're DMC from Run DMC and
he's like yes, and she's like it's trick, do raku ra.
Speaker 4: Walk this way and he's like no, no, no.
Speaker 2: So anyway, he got through that massive depression with the
help of Sarah McLaughlan, and eventually he kicked the alcohol
habit as well.
Speaker 3: That's fantastic story.
Speaker 2: We done with that one.
Speaker 4: Yeah, all timer, I want to say this real quick.
Run DMC's final album came out in two thousand and one.
It was called Crown Royal, and this was at a
time when Daryl had lost his voice. He actually could
not perform. They called it a Run DMC album and
Run carried the album with a new guest star in
Every Tree. And they had a song called School of Old,
which was a collaboration between Ron and Kid Rock and
it's one of the best songs on that album, and
they reused the final verse from the song Raising Hell.
They reuse it in School of Old on the on
their two thousand and one album, and that's a song
that's worth checking out.
Speaker 1: It's pretty cool, awesome, awesome. I found out who the
guitar player is in the song you.
Speaker 2: Guys ready, Yeah, okay, yeah.
Speaker 1: Rick Houpin. Rick Hoopin is the one playing the guitar
on the song. I should have known.
Speaker 4: It's awesome, all right.
Speaker 2: So that brings us the song number nine on the album.
This was the third single released October twenty first, nineteen
eighty six. This song is called you b illan o
j wait.
Speaker 4: Wait well, this song was a big hit among my friends.
It's obviously it's a comedy.
Speaker 3: Song, right.
Speaker 4: It's almost like in the tune of I mean in
the vein of like Charlie Brown, if you remember those
old kind of songs like that that were kind of
joke records. We got a big kick out of this,
and we always enjoyed playing it personally. For me, it's
it's it's not my favorite on the album, just because
I'm usually not in the mood for comedy when I'm
listening to run DMC, but it is.
Speaker 3: It is a lot of fun. It's a fun song.
Speaker 2: It's a little bit goofy.
Speaker 1: This was a fun song to break too. I can
tell you that.
Speaker 3: There's a nice moment in the song where he goes
and it was.
Speaker 4: Deaf, and I was able to take that song deaf and.
Speaker 3: Use it myself, you know. As for deaf Dave, I
could say.
Speaker 2: You explained to me last week, which I hadn't always
been super crystal clear on what it meant to be
ill or illan, and so ill is the opposite of
chill right. It's you're acting like a fool, you're acting crazy,
you're acting dumb, you be illings right.
Speaker 1: Whack, by the way, has made it back into the vernacular.
I've got kids who are using whack now. I imagine
Illen will be next.
Speaker 3: That's my vernacular.
Speaker 1: But that's.
Speaker 2: Peaked at number twenty nine on the Hot one hundred.
All right, So next song on the album is called
dumb Girl. Interesting to find out how many times they
actually say the word dumb at the beginning.
Speaker 3: This song is all about that bass.
Speaker 4: If you wanted to show off your car's system, Dumb
Girl was the track you could go through in nineteen
eighty six, turn up those sub warfers.
Speaker 3: And rattle windows all around the block. One of those
songs that would.
Speaker 4: Be obnoxious in traffic and you couldn't even hear anything
else except that bass just shaking the ground.
Speaker 2: So here's the thing I read about this. This This
was something I found really interesting. So it is generally
not like them to be insulting to women and to
write a song about, you know, dumb girl. It's just
a little bit, I mean, not that big of a deal,
but it's it's you know, uncharacteristic for that. So the
rumor is that Ello cool J wrote this song when
he was seventeen years old. That was the rumor on
the street.
Speaker 1: He's not listed among the songwriters.
Speaker 2: I can tell you that that's That was the rumor
I found on the internet, because the Internet is always.
Speaker 1: Right, right.
Speaker 3: I like the song. I just think it's a lot
of fun.
Speaker 4: They're they're switching back and forth real well in this
and the dumb did he dumb?
Speaker 2: Did he did he?
Speaker 3: Dumb? Dumb? All that stuff's a lot of fun. And
of course the bass just hitting like crazy. I listened
to it every time. I'll never skip it. I love it.
Speaker 1: So who's j C? The first line of the song
is I'd seen you Jack and j C? Because they
got him most haze. Oh right here O song was.
Speaker 2: Written about me and my girlfriend is right now and
it actually this is our line.
Speaker 1: J c ain' d just be his fan.
Speaker 3: All right.
Speaker 2: The next song on the album is a song called
Son of Bifer.
Speaker 1: He yo j yoj check this out.
Speaker 2: I was born son oh bif brother.
Speaker 1: It runs.
Speaker 4: So this song is only about twenty seven seconds long.
It's a reprise of the last verse I hit. It runs,
and it just seems like a silly little interlude. It
barely even counts as a song. But while researching for
this podcast, I came across the story about Daryl McDaniels,
and wow, it just it makes this song, of all things,
it makes this song a lot more poignant than you
ever would guess.
Speaker 1: Yeah.
Speaker 2: The interesting thing, during Darryl's depression, he thought, well, to
help me get out of this depression, I'm going to
write a book because I want people to understand who
Darryl is. They know who dmc is. I want him
to know who Daryl is. And so he knew that
he had been born May thirty first, nineteen sixty four,
but he didn't really know the details. So he called
his mother and he says, hey, Mom, I know I
was born May thirty first, nineteen sixty four, but I've
got a few questions for you. How much did I weigh?
What time of day was it, and what hospital was
I born in? She answers all three of those. He says, okay, okay, okay,
thanks mom, love you, tuk to you later. Boom hangs
up with her. One hour later, she calls him back
with his father on the line, and he thinks, well,
this is going to be something nostalgia or trivial, something
like that. So they're going to tell him another detail
that they remembered about the day he was born. So
he's like, hey, guys, what's going on? And she's like, oh, hey, Darryl,
I just want to let you know you were a
month old when we brought you home. You were adopted.
We love you bye. Click, So he said. On top
of being suicidal, emotionally broken, alcoholic, he finds out at
age thirty five that he was adopted.
Speaker 4: Wow, it shook his world. He had no idea he
had grown up in such a loving home. And remember
we talked last week about how his mother was so overprotective.
It kind of recast all that into different light now.
She didn't want him to go to the city. She
didn't want him to leave the house. He didn't want
him to have friends over when she wasn't home. She
was very protective of her son, and they absolutely loved
him very much, and he had a great upbringing, you know,
and people would tease him about how he didn't look
anything like his parents, right, But any fleeting thought that
he had like that just didn't last long and was
dismissed because of how much love he felt from his
mom and dad and how close he was to his parents.
But hip hop and is particularly so much of his
type of rap is about I am Darryl, I am
Daryl Mack, I am the devastating Mike Controller, I am
the son of Byford, and all these things. And then
he's thirty five years old and he founds out he's
not even sure who he is at all. He did
nothing that he thought he knew can he remain certain
about at this point?
Speaker 2: So kind of the end of the story is he
proceeds to he was a private investigator to find his
birth mom, and he really wanted to have a copy
of his pre adoption birth certificate, that piece of paper
was really important to him because on it it showed
who he actually was. And so he talked to the
lady at the Department of Health and she had it
in her hand but couldn't give it to him, and
so he's like, that's crazy, why can you not give
that to me? And so he actually has now helped
pass laws that allow adoptees to get a copy of
their pre adoption birth certificate.
Speaker 1: It's awesome.
Speaker 4: Well, the one thing that was really healing for him
and really helped him, and he said it served as
an anchor, was he discovered that his birth name actually
was Daryl. His real mother gave him Darryl at his
birth and that really helped him have something to hold
on to and all his brag and he did on
record about his name being Daryl, and that really saw
him through the storm. Really the worst part of all this.
Speaker 2: On a lighter note, you know the beginning of the
song when he's son of Bifer, brother of Al he
got that from a Thor comic. We talked about how
Darryl McDaniels was a big, big comic book fan and
he got it from Thor where Thor was son of
Odin brother of Loki.
Speaker 1: So just to touch on something that's put him where
he was at that point. You know, we talked last
episode about the fact that before they really did their
first show, the only rapping that he had done had
been up in there, you know, in the attic when
he was drunk. Well, he realized, because he was normally
a very introverted guy, he realized that if I start
drinking a little bit, it'll loosen me up and I
can perform on stage. Well that was fine, because that
meant he would just drink before they went on stage
and everything would be fine. But then they hit it big,
and they hit it really big, and he had to
be not Daryl but DMC not just on stage but
all the time because they were constantly in the public eye.
And so he started drinking more and more so he
could maintain that persona, and eventually he was drink He
was going through a case of forties a day, like
it was just in his hand all day long, was
a forty and like case of forties a day. And
I mean it was just that he didn't eat, he
didn't do anything, he didn't drink anything else. It was
just drinking beer all day long, and Eventually he had
a he had an episode much like we talked about
Duff McKagan haven, where he woke up and like he
was feeling the most intense pain of his entire life.
And they took him to the hospital and the doctor said,
you know, you drink very much. And he's like yeah,
and he's like, okay, well, I'm gonna give you a choice. Okay,
you can keep drinking and die, or you can stop now,
never drink again, and you will be able to live.
But those are your only two childs.
Speaker 3: Wow. And then something amazing happened.
Speaker 4: Daryl McDaniels produced a song and emerged as an artist
in a way that you perhaps never would have expected.
Speaker 3: He called his friend Sarah McLaughlin.
Speaker 4: And they produced a song about this all right, about
this journey of discovering that you're adopting.
Speaker 3: It's called just Like Me.
Speaker 4: That Chah was born. It was a beautiful day. It
was nineteen sixty and Sarah McLaughlin appears on the record
with him. She chose to collaborate with him because she
also she was.
Speaker 2: A see young girl and you try hard to truth.
Speaker 5: Is there a chance full.
Speaker 1: Of baby to live?
Speaker 4: I mean, I can't get through the video in one sitting.
Speaker 3: I have to stop and gather myself.
Speaker 4: It's really it's it's a powerful song because you know
how personal and how true of a story it is.
It's a powerful song, and I have to think that
it would it would have to be impactful and healing
to anybody.
Speaker 3: Who's ever been in a similar situation that he's been in.
Speaker 2: It's fantastic.
Speaker 1: You know.
Speaker 2: One of the things he talks about. Somebody was asking him,
why is it so important for you have that birth certificate,
that pre adoption birth certificate, and he said, well, you
never start a book on chapter two.
Speaker 4: He's also a producer of his own line of comic books.
Speaker 2: Yeah, that's awesome. That's awesome.
Speaker 3: You know.
Speaker 2: One of the things I love about him. Every time
I see him, he's wearing a different shirt. I've seen
him wear an a CDC black and black shirt. I've
seen him wear Arismath shirts. Of course, he wore a
Nirvana shirt. All these different vands that you wouldn't necessarily
think or associate with run DMC.
Speaker 3: Yep, he's a big classic rock guy.
Speaker 2: Now, sure, that's so cool. That's so cool. All right,
last track on the album is a song called Proud
to Be Black.
Speaker 4: You know I'm proud to be and that's a fat job.
Was fine, I take it back jobs like well, Like
I said before, I saw run DMC in concert three times.
So I'm in eighty six the Raising Hell tour when
I was not familiar with the album.
Speaker 3: I did see them in two thousand and.
Speaker 4: One, but in nineteen eighty eight on the Runs House tour,
they came out this is the where, this is the
show where they recorded the Mary Mary video, right, And
of course at this point, I'm very familiar with the
Raising Hell album and I'm down on the floor and
I'm squeezed in and I'm close.
Speaker 3: To the stage.
Speaker 4: It was at this point in my life where I
learned that there are some songs that white dudes don't
sing at the top of their lungs. The show, I'm
just into it, right, I'm feeling the music and I'm
sitting there going I'm proud to be black, y'all. And
I start getting looks and did receive.
Speaker 2: I got real quiet.
Speaker 3: With a mousehut the rest of the jam.
Speaker 1: That's funny. Yeah, So this this song makes references to
Jesse Owens, to Martin Luther King, to Harriet Tubman and
to Malcolm X, George Washington Carver, and I just got
to say this. So, in doing the research that we
did and looking at the history of rap, I came
across something I didn't know before. So we talked about
the influences on hip hop and some of the rhymes
and such and some of the I listened to some
of the earlier rap songs and I found out that
one of them was strongly influenced by a speech that
Malcolm X gave where he was talking about the difference
between the slaves that lived in the house and the
slaves that worked the field. And he was talking about
how the slaves that worked in the house were always
cowing to the master, and if anything were going wrong,
like that the house was on fire, they would realize
they're going to lose their home, and so they'd run
intil the master, whereas the slaves in the field couldn't
have cared less if the house was on fire, which
is where you get the song lyrics the roof, the roof,
the roof is on fire. We don't need no water.
Let that burn that. There you go, Wow, there's a
tidbit for you.
Speaker 2: Wow.
Speaker 1: There you go.
Speaker 4: A couple of things about this It's interesting to look
at the writer credits for this song because one of
the writers is.
Speaker 3: Doctor Dre No not that one.
Speaker 2: Wow.
Speaker 4: So doctor Dre from Yo MTV raps fame, who spent
spent a stint as the DJ for Beastie Boys, helped
co write Proud to Be Black.
Speaker 3: Now, guess who the other credited writer is on this song?
Speaker 4: A guy named Daniel Simmons. Run's dad wow write this song?
Speaker 3: Okay? Run's Daniel Sr.
Speaker 4: Was someone who, at the beginning of our story last week,
was an administrator in the public school system.
Speaker 3: He would go on to become a professor in black history.
Speaker 4: In nineteen sixty three, when they're still living in Jamaica, Queens,
he started getting involved in activism for the.
Speaker 3: Civil rights movement.
Speaker 4: He participated in a protest that was going on there
locally in Jamaica, Queens, and then that that really kind
of woke him up and got him kind of politically
active in the civil rights movement. As a matter of fact,
he drove down I think it was August nineteen sixty three,
and he marched with doctor King in the Freedom March
and was there in the crowd on the day of
the I have.
Speaker 3: A dream speech. Oh wo wow. And he helped write
Proud to Be Black.
Speaker 1: That's amazing.
Speaker 2: It's fantastic.
Speaker 1: It's fantastic.
Speaker 2: Great story man.
Speaker 1: Best way to end our discussion of track by track
on this album, now we come to the moment of decision. Okay,
So here we are. We've gone through the history of
Beastie Boys. We've gone through Licensed to Ill track by track.
We've gone through the history of hip hop itself and
run DMC and Raising Hell track by track, and so
Jason you're on.
Speaker 6: Yeah.
Speaker 2: So, as a person who was didn't own either one
of these albums, I found that as I went through them,
I liked a lot of the songs on there that
I didn't know I wasn't familiar with before we started this. Okay,
as I go through the track list from License to Ill,
you've got some major your major songs for My Youth,
You've got Fight for Your Right, You've got No Sleep
Till Brooklyn. You've got Paul Revere. We loved Brass Monkey
and Girls and Ryman Steeling was great. Those songs are awesome.
They're also rock based. A lot of Led Zeppelin in there.
Then you go back to the Raisin Hell album. You've
got Peter Piper awesome, You've got of course Walk this
Way is mind blowing, It's tricky, was on MTV all
the time, you be illing. Raisin Hell is awesome. But
for me, I have to go with Beastie Boys on
The Power behind, Fight for Your Right and No Sleep
Till Brooklyn. I'm going License to Ill as the better
of these two albums the Graves.
Speaker 1: Okay, so coming into this, I thought I would probably
say that the same thing I thought I would probably
say Licensed to Ill. There are so many strong songs,
and they borrow from some of my favorite songs, with
a lot of Led Zeppelin, When the Levee Breaks the
Oceans and all of these other songs, and I love it.
If I'm walking out the door and I want to
grab an album, this is easily one I could grab
and throw in the CD player and enjoy the long
trip to wherever it is that I'm going. But for
this particular matchup, I'm falling back on nostalgia as the
young kid who took a paint pen and wrote doctor
Fresh in bubble letters on his boombox because he wanted
to be a bee boy. He wanted to dance to
whatever awesome rap was out there at the time. Run
DMC was a part of my childhood, whereas Beastie Boys
was something that I didn't grow a taste for until later.
And so because I love it, because it brings me
back to those days of my youth, I got to
pick Craze in Hell.
Speaker 2: All right, Dave, you're the tiebreaker.
Speaker 4: Well, first of all, you have to understand that they're
good news is you don't really have to choose, right,
You still get to listen to both albums. These are
both Hall of Fame albums. For me, they are absolutely
still at the top of my list. It's hard for
me to think of these as nostalgia trips because the
truth is neither one of these albums have ever left
my rotation. They remain a part of my listening habits,
and they have through all these years.
Speaker 3: Another thing about these two albums is.
Speaker 4: That this largely validated my existence in high school, right
because I had been the weird fringe guy that was
listening to all this weird rap before it had broken
out and go to mainstream, and it was all I wanted.
Speaker 3: To listen to and nobody knew these acts of these.
Speaker 4: Songs, and I got some barbs thrown my way occasionally.
Speaker 3: But it was when these songs hit and it.
Speaker 4: Broke through and now you had white kids as well
as black kids listening to rap, then suddenly.
Speaker 3: My status got elevated.
Speaker 4: I felt not only more accepted, but you know, I'm
also they got there turn into with questions and everything.
So I felt the one time in my life where
I felt like the hipster that was ahead of the crowd.
Speaker 3: And they go hand in hand, right.
Speaker 4: They came out the same year by the same producer,
the acts knew each other, they toured together. It's really
hard to separate these two albums from me. What I'm
saying is with both albums, I never skip a track,
and that's something that you can rarely say about any album.
Speaker 3: And they're both true for this one. So where do I.
Speaker 4: Draw the line, what hair do I split? And what
side do I come down on? Well, it comes down
to your mood, really, right, because there are different attitudes
that are the prevailing attitude in each album.
Speaker 3: I think the BC Boys one is.
Speaker 4: More fun, you know, and it's more lighthearted and it's
not not necessarily obvious punch lines. Maybe sometimes there are,
but you come away smiling. And then with Run DMC,
you've got more of an edgier rock attitude. And even
though there's some rock and roll music on License to Ill,
the overall attitude is a tougher one on Raising Hell.
Speaker 3: So it may come down to just the mood you're
in that day.
Speaker 4: But what I do is I come down to this.
Even though the Beast of Boys are authentic and they're legit,
they come from then in New York, but they come
from the pump lineage right and whereas Run DMC, with
the tider Russell Simmons, they are right there, a part
of that main hip hop lineage that I ran down,
starting with Cool Hirk last week, coming all the way through.
And so because of that, because of all the weight
of hip hop and everything I find cool about that,
and their connection to Russell and all the early days
in the early eighties, I come down on Run DMC.
They're the greatest rap act ever. This is their greatest album.
There's no way anybody can knock them from the perse.
The final judgment, I'm dropping the mic.
Speaker 3: It is Raising Hell.
Speaker 2: Yes, awesome, love it coming strong right there.
Speaker 1: I love it. Well, guys, tell us what you think
you've tuned in for these episodes. You've got to love
these albums. They have to be a part of your
life if you were alive in the eighties. But hit
us up on Twitter and on Facebook at Shirley Podcast
if you want to send us an email like mister
Deaf Dave did for us to go. Hey, if you
guys ever cover run DMC and Beastie Boys, I want
to be a part of it man. By all means,
hit us up Shirleypodcast at gmail dot com.
Speaker 2: Dave, thank you so much for giving us your time
and expertise on these two amazing albums.
Speaker 3: You have no idea how much fun I've had. I
know this is kind of this is probably a unique thing.
Speaker 4: You haven't hang anybody on like this for this much,
four weeks in a row like this. It was what
a privilege one honor. I absolutely love your show. I
love your format. I've listened to every single one of them,
except for the Bill and Ted ones because I haven't
seen faced the music yet. But other than that, I've
seen your whole show and I'm looking forward to going
back to being a listener and tuning in what you
have for us next time, and just best of luck
to you guys going forward. Anytime I can help you
all out, you know, call me up.
Speaker 3: I'm ready to help.
Speaker 2: Awesome.
Speaker 1: Thanks, thanks so much. We can't wait. It's I'm a
little emotional here at the end of this adventure that
we've had, but we will find a way to do
it again.
Speaker 2: Yeah, we'll see you down the road. Dave, Thank you
so much, good man. Thanks, and for everybody else out
there when you come back next week, we're going to
be diving into Christmas movies. Okay. These are classic Christmas movies,
the Christmas.
Speaker 1: Movies of little boys.
Speaker 2: We are going to compare a Christmas story to Home Alone,
shoot your eye out, So come back and join us
for those. We can't wait to get into those. Dave,
thanks again, and we will see everybody next week. Okay.
D For the Shirley Showcase this week, I've got my
dear friends Mark and Melissa Mingle and they are going
to tell us what they think about Purple Rain the
movie versus Footloose the movie.
Speaker 1: All right, this is one of our episodes on the
nineteen eighty four Summer special. So let's hear what Melissa
and Mark I have to say.
Speaker 7: Hi, this is Mark Mingle, this is Melissa Mingle, and
we are going to quickly give you our feedback on
Footloose the film and Purple Rain from nineteen eighty four. Mark,
how old were you in the summer of nineteen eighty four.
Speaker 6: I turned twelve at the end of the summer of
eighty four, and so I specifically do remember going to
the theater with my sister and some friends to see Footloose,
and at the time loved it. I mean, you know,
I was just about to become a teenager, and all
these teenagers singing and dancing and all this stuff they
were wanting to do seem very cool, and all the
songs seem very cool to me.
Speaker 1: So I really loved Footloose enjoyed it.
Speaker 6: Of course, all the music was getting popular on the
radio with Kenny Loggins and other artists, so yeah, it
was totally cool for me at the time. I don't
know that it holds up terribly well over the years
if you go back and watch it now. As Purple Rain,
I believe was rated R and I did not go
to rate at our movies when I was twelve for you,
so it I didn't see that till later. It was
maybe eighty six, eighty seven, probably before I saw that
and so, and I don't know, I'll be honest, I
don't remember if I saw it all in one sitting,
if I sat through the whole thing on HBO or something,
but I or on video, so I saw some of it.
I love the music for Purple Rain. I mean, there's
tons and tons of great hits from that album. But
I know the album better than I know the movie.
Speaker 7: Okay, So I was fourteen that summer and I loved
both soundtracks, which we are not supposed to talk about.
We're supposed to just talk about the films. I now
love many of the actors that were in Footloose, Kevin Bacon,
Sarah Jessica Parker. The pastor and his wife were John
Lithgow and Diane Weist. Yes, I had a little see
the trophy husband remembers things better than me. Great cast.
But even as a fourteen year old, there were things
that I thought, dialogue wise and things about the film
that seemed a little mainstream. And I'm going to say it.
Speaker 4: I'm going to say the word.
Speaker 7: Pedestrian just trying to appeal to the masses.
Speaker 6: Also, Kevin Bacon being like and playing a teenager in
high school was kind of a stretch, but.
Speaker 7: Still, well, that's grease and everything else. But Purple Rain
even we probably need to have a double feature and
rewatch these, but I felt like that was more of
a true film, not just a movie appealing to the masses.
I felt like there was more truth to the characters
even as a kid. I felt like it was more
of a film, not just a Hollywood movie. And both
soundtracks are great, but I think there was more depth
to Purple Rain. But I think we might need to
rewatch both of them because we are much older now.
But I'm definitely putting my vote for Purple Rain as best.
Speaker 6: I would probably vote for Footloose because I could identify
in the film with some of the growing up in
you know, kind of a pretty you know, conservative Baptist
church as a kid, like you start to think about
things like, hey, why can we dance or not dance?
And you know, my church wasn't really like the church
and Footloose at all. But seeing kids want to kind
of grow up and express themselves and not just be
you know, controlled by others, I mean, without being just
overtly rebellious.
Speaker 4: It seemed like a pretty.
Speaker 6: Harmless way to kind of rebel and have fun by
dancing with your friends. So I don't know, I thought
that seemed kind of cool and more relatable to me
as a kid than Purple Rain, which seemed much more
like adults living in an adult world than high school kids,
which I could relate to really well as an almost
junior high kid at the time.
Speaker 7: That's true, and we both actually grew up in Oklahoma,
where that film was set, so that probably does hit
closer to home. But overall, Mark is going to vote
Footloose and I'm going to vote Purple Rain, and we
both vote for Surely you can't be serious being amazing.
Thank you for asking for our feedback. Love you guys.
Speaker 1: Oh my gosh, I just want to wrap them up
in a little present and sticking into my pocket. They
are the cutest couple I've ever heard in my life.
Speaker 2: They are awesome. They're my dear friends. Melissa as an
absolute eighties junkie, and so's Mark. So she can't wait
for our Duran Duran episode that we're going to do
next year.
Speaker 1: So I'm excited for that one as well. Melissa is
always very interactive with us on Facebook and has given
us some really gold nuggets as far as information goes
over the last couple of years. So thank you, Melissa,
Thank you Mark. Really appreciate you guys doing this for us.
It means so much to us. Thank you for being followers.
Speaker 3: Of the podcast.
Speaker 2: I love that she thinks Prerople Rain is deep. Melissa,
thank you very much and understanding the depth of Apollonia
and Prince in Preple Rain?
Speaker 1: Did you watch rated R movies in nineteen eighty four?
Speaker 2: How am I going to answer that without your ground you?
If you want to contribute to our Shirley showcase, send
us an email at Shirley podcast at gmail dot com.
We would love to hear from.
Speaker 4: You one more time for old time's sake. I'm deaf
n To my left is Jimmy d and to my
right on the mic, it's Jason C. Four weeks in
a row on the Shirley airwaves. I guess spot on
the show. Well, it's got to be deaf Daves. Where's
your hip hop expert? Well, here he is all the
knowledge that I drop. You gotta be serious, you ask
me how I am. It's not that fear, Oh man,
I totally messed it up.
Speaker 3: Expert.
Speaker 4: Well, here he is all the knowledge that idrop make
suckers furious. You ask me how I am. It's not
that mysterious, Shirley, you can't be serious.
Speaker 2: A top tail.
Speaker 4: Turn it up, frass monkey in a cup to an
in for final judgment, you will find what's up.
Speaker 3: How devastating can a podcaster be. My name is David,
but you could.
Speaker 2: Call me d That is awesome, dude, way to go, man,
I can't believe you did that.
Speaker 4: This is so good.
Speaker 2: Oh man, that's fantastic.