Episode 390 w/ DMC

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
He is drinks chants, motherfucking podcast makes He's a legendary
queens rapper.

Speaker 2 (00:17):
He ain't s agreed as your boy in O r E.

Speaker 1 (00:18):
He's a Miami hip hop mionneer up as d J
e f N. Together they drink it up with some.

Speaker 3 (00:24):
Of the biggest players you know what I mean, and.

Speaker 1 (00:26):
The most professional unprofessional podcast and your number one source
for drunk.

Speaker 2 (00:31):
Drink chans post days New Year's Csten, It's time for
drink Champions.

Speaker 3 (00:37):
Drink up, motherfuck.

Speaker 2 (00:44):
Would a good be hoping this super This is your
boy in O R E.

Speaker 3 (00:47):
What up his DJ e f N.

Speaker 2 (00:48):
This is Midle Tapa, crazy wall Y Happy Hour, Drinks
Yeppy Hour, make some Nu. Now, when me and e
FN started this show, we said that we wanted to
highlight like icons, we wanted to highlight legends. We want
to highlight people who paved the way for us. Now,
when we talk about this brother that we were about
to introduce in a lot of ways, if it wasn't

(01:09):
for him, they might not be a drink champs because
of the DJ, you following the DJ, I following the MC,
and us you know, somewhat calling ourselves, you know, a
different version of them. These people have. They come from
my barrel, They come from my hood. One of my
first inspirations, I remember me buying a fake leather jacket.

(01:31):
It was pletho. I didn't know there was a such
thing at the time. I put it on and it
didn't feel right. I had to figure it. But I
was trying to imitate them. I went and got gazelles,
I went and did everything. I went and got the hats.
I wanted to be like them, and in a lot
of ways, if it wasn't for them, it wouldn't be me.

(01:52):
It wouldn't be this show. These guys are legends. They
are icons. They are tycoons. They are the definition of pop.
They are the definition of of of keeping it real.
They are the definition of legends. They are a definition
of icons. When I think of this, when I think
of these people, that's who I got. When my dictionary,

(02:13):
when I look up icon, that's who I see. In
case you don't know who the fuck were talking about,
We're talking about the one, the only, motherfucking d m
c yo. I got a lie, crazy, what what is this? Okay?
I want to start with this. This is a comic.

Speaker 3 (02:32):
Holy comic book I made for a song that I
did with Chuck Dy, iced T and Jesse Jeff. He produced.

Speaker 2 (02:39):
It was Freddy rap on this one. He did okay.

Speaker 3 (02:42):
He was like, yo, I got icy Chuck Dy and
d J J Jeff and d m C in the room.
I don't need to be on it because he was
like a fan, like he couldn't believe the moment. Song
inspired the comic book. Yeah, the song is fun the
comic book. Yeah, because bum was like, you guys the
my superheroes.

Speaker 2 (02:59):
Yeah, you guys are my superheroes. Let's face anoy for that,
spacenoy for that. So let's let's take it from the beginning, right.
We just had Leo Cohns on right, and Leo Leo
used to share rooms. He was yes, and he was
only seeing with me because that was in neat cleaning.

(03:19):
So we had him on and his claim to fame
or his first you know a thing in this music
business was he said role managing you guys. And then
I asked him, I said, how did you become road
manager for run DMC and he said simply because he
had a passport. Yeah, was that how it happened?

Speaker 4 (03:39):
Well?

Speaker 3 (03:40):
Yeah, because our first manager got fired. Oh wow, and
then we needed a road manager and Lee was like,
I'll do it correct and it was like, do you
have a passport? But what was he But prior to that, well,
Leo was in promoting hip hop parties. Really did have
long hair. I feel like he had a long.

Speaker 2 (04:03):
You know, he didn't have hair.

Speaker 3 (04:04):
No, he was just a younger version of rocket hair
with this guy and had this hip hop club in
l a Wow, and once a week he would throw
hip hop parties. So he booked run DMC. And when
he booked run DMC, we played the show. You know,
Damn Master Jay rest in peace. He was like, Yo,
come hang with us. So Leo just started hanging out

(04:24):
with us, and then I think he booked us again.
But his was crazy after he booked run DMC because
look now he got run DMC, right, you know what
I'm saying, and it starts calling everybody I see this
and that. But we were like to you know this,
we was We was the ones that had all the
hope to you know, part the red sea for hip hop.

(04:46):
So Lea was funny every day he would call deaf
jail after he booked Run DMC. Every go leo this,
and NBA people hang up on him.

Speaker 2 (04:57):
He called back the mad Russell now Russell for assistance.

Speaker 3 (05:02):
So what had happened was he just woke up one
day and just came to New York, showed up his
office and we would go to death Gym every day,
show up at the office. This and then Russell was funny.
Russell would just give him crazy ship to do and
he would make it happen right, right.

Speaker 2 (05:18):
So we had this.

Speaker 3 (05:20):
One of Jay's friends was in romanage, but he got
fired because he was smoking crack on the plane.

Speaker 2 (05:25):
This is noise smoking crack on.

Speaker 5 (05:27):
The plane crack, But this is like one crack want
I guess remember when crack first came up, he was
smoking woolies.

Speaker 2 (05:39):
You know, a lot of.

Speaker 3 (05:41):
A lot of normal people. But when it started turning
the crack they was able to stop from in the beginning.

Speaker 2 (05:47):
But yeah, the Jay's friend road manager was a crack fiend.

Speaker 3 (05:54):
The first day he spoke, he had to smoke it
on a plane.

Speaker 2 (05:56):
So he got fired. But this was the time where
you were suppos cigarettes a plane. Yes, okay, yeah, I've
been traveling since there was and that shit made no
sense because everybody's right here. Remember remember the other line
USA Express Okay, okay, which directly the lad y'all remember
that you would just take all your ship and get

(06:18):
on a plane. So long story short, the manager got
fired and Leo was always around. Okay.

Speaker 3 (06:23):
First he would call every day. Then he showed up
just hanging out the office. Now, for anybody listening, that's
very aggressive. Yeah, in that room all too right, you
know what I'm saying. Cousins, Look, yes, a man on
the mission. So we needed a road manager. I'll do
it all right. And the question was you had a passport?

(06:45):
And then ever since then, Wow, that's how it was,
you know what I'm saying.

Speaker 2 (06:49):
For me, it was like a blip. It was like
Leo in New York was my role manage, shared movies
with me, and in the next day they called them an
executive Wow, which is a beautiful thing. Now, when I
signed a deaf jam, I remember me walking in the building. Remember,
I of God, He's telling me, he's like, you signed
the death jam. I said yeah. He said, well, don't

(07:09):
celebrate because you ain't win nothing. I was like, damn,
that was hard. And then I went to Leoll's office
and Leon had this picture in his office with a
bloody nose, and I said to Leon, did you have
a fight, And he goes, no, I did so much
blow that night.

Speaker 3 (07:28):
He said, he's in the road a lot of lot
a lot of coke, like a whole lot of a
lot of a lot of and my man Combat Jack.

Speaker 2 (07:38):
Recipes, Yes, great, so this and that.

Speaker 3 (07:42):
Man Cow from Chicago, big radio journalistic personality. Me and
Combat and man Col we said, please, people, little kids,
boys and girls, don't take this wrong way. And he
said it though, Man Col said them and me and
Combat we verified this.

Speaker 2 (08:02):
On his show. You know, the coke in the eighties
was real good. Did you say the coke in the eighties,
I'm keeping up right.

Speaker 6 (08:11):
For people it was it was it was like they
cared about Did it influence the music? No, to coke
was everywhere. For Leo to say that, that ship was
every where.

Speaker 3 (08:27):
We used to just go to radio stations to give
the program directors coke. I don't think it was even
illegal when it first came on the scenes.

Speaker 2 (08:34):
What it was it was, it was it was an
upscale social it was it was champagne, right.

Speaker 3 (08:40):
So I mean it's wrong for me to say that.
So it's like me saying, you know, the champagne back
then was very good. Right, that champagne has got has
gotten better, right, coke has gotten worse. But for Leo
to say that coke was every way like it was everywhere.

Speaker 2 (09:00):
Man, it's oh man when we came here, when we
came here on the raising, hell too, we ain't see
for three days running.

Speaker 3 (09:09):
You see hod L B C. But l didn't get high.
But yo, I was doing it. Yeah, L was in
the gym every morning. Lion said he had had it.
It was hereditary.

Speaker 2 (09:24):
He said, I get all. He's there getting like that.
But you know, the coke was everywhere. Forhlil to say that,
I a lot of a whole lot of.

Speaker 3 (09:36):
Like Dad, I keep it real too, okay where I'm at,
Like we had a high school. If you was able
to go back and talk to the young Daryl mcdanneus
when you first started the don't spend so much money
on drugs.

Speaker 2 (09:49):
You know a lot of money, probably half a mill
and half him three hundred and seventy two thousand.

Speaker 3 (09:54):
Me and sure was giving you for free.

Speaker 2 (09:57):
Oh yeah, yeah, okay, cold ship just to know a
drug dealer. He looked at me like, I'm not sure,
and I feel like is gonna come out Leo for
Leo the City. He sniffed a whole lot of cook
One of the one of the things that's so mysterious

(10:19):
is I might have lost this argument. I never realized
that you guys wasn't on depth Jam. I always always,
I did everybody still we was on deaf Jam.

Speaker 3 (10:31):
So we were deaf Jam water coats.

Speaker 2 (10:37):
I'm from christ when that happened, What what what what happened?

Speaker 3 (10:43):
I think doctor dre Our doctor was in the room
when Russell went to go start def Jam and it
was basically, okay, mister Simmons, you know you're Curtius managing,
and why should we give you a record deal? Well
they did was just show a picture of the three

(11:03):
baddest things in existence at the time we were. We
were never able to get on different team because world understand,
we were signed the Profile Record.

Speaker 2 (11:14):
Before the album. This is Profile Records exactly.

Speaker 3 (11:19):
So he was always on Profile Records and so so.

Speaker 2 (11:23):
It was Rush Management, which officially became Rush Management became
Violator all years years okay, the little Violator became a
part of Rush manage to get that whole thing. Random
c was always on Profile records, came out on Profile
records with its light than circum Seeds put the record out.

(11:47):
It worked, sucam Seeds. Now a lot of people think
it was.

Speaker 1 (11:54):
Well.

Speaker 2 (11:54):
Rock Box was the first hip hop video on MTV TV. Yes,
and and it wasn't walked this way. It's a tongue twister,
walked this way. The first rock rap record isn't walked
this way. The first rock rap record is rock Box,
which is a thing to put hip hop on MTV.
But y'all record box, Yeah, okay, okay. What I'm trying

(12:16):
to say is our our our abilities started with Sucker
and ceased because if you remember hip hop, everything was
very musical in the beginning of everybody, which is sample
the hot record on the radio. Oh let's do heartbeat,
the R and B record, this and that. When when

(12:38):
they c came along, we didn't use good Times, we
didn't use ring my bell. We fucking came with boom
tet tette in just the beat. And I remember that
year the record dropped, hating my own record because everywhere
I went, which season challenge because what you was doing

(13:05):
is what I was.

Speaker 3 (13:06):
Doing for The Treacherous Three. Those were the records that.

Speaker 2 (13:11):
I want to hear.

Speaker 3 (13:12):
I don't want to even watch it, you know what
I'm saying.

Speaker 2 (13:15):
So when my record started playing more than bands and flashing,
it hurt. It bugged me up. Run knew what was
going on because what people don't know. Run was a
professional rapper at fifteen. He was the son of Curtis Blow.

Speaker 3 (13:29):
Run saw the business that's now in his living room.

Speaker 2 (13:35):
As a kid. He would come downstairs and curt As
sleep on the chair. Jimmy Spice is over the hood.
He needs over their Grandmaster Flash. Everybody's because Russ, who
was Rus Russ Rushed Productions was a party. He was
a party, put on it right, and he would hire
a flashing bad He was so Run saw hip hop

(13:56):
what the world is seeing now.

Speaker 3 (13:58):
Run saw that in his living room for four rappers
to light drop Runners there. So Run new to business
and this and that and run new entertainment. Shoub said me,
I'm just a fucking kid hearing this hip hop. Shiit
me and Run Running. Me and Run didn't meet until
eighth grade. We didn't grow up together. Wow, my best

(14:19):
friend growing up with this guy named Douglas Hayes. That's
who I ran at and that's how I met Jane.
That's how I met Hurricane, jam Messa J. You met
jam Mester J before you met Run. Yes, Okay, continue.
I met the jam Mass J through DJ Hurricane, who
was EMC Hurricane down with Davy d and had a group.

Speaker 2 (14:37):
Called Solo Sounds Wiley Queens. So but the thing growing
up the Run DMC is was how jam Master J.

Speaker 3 (14:48):
Hurricane was dressing in high school. Caine and Jay was
going to school with the Godfather Heads and the matt
Necks and Nadidas and the leather black in high school. Right,
So that's why our style came.

Speaker 2 (15:03):
But what I wanted to say about circumcis when Sucker
and Seas dropped, it was a game, and a lot
of people and hip hop say, yeah, that's true.

Speaker 3 (15:11):
It was the game change because it was just the beat.
It was the tape. We didn't want to do records.
We wanted to me and Run had this team. We
make beat jams, we make what's on the Haarlem World tape,
we make what they doing in the te connection and
the you know I'm saying. So when succer Seas came,
it was the game changer and then everybody's oh, wow,

(15:34):
you can do because.

Speaker 2 (15:36):
The greatest hip hop rappers in history. The greatest period
in hip hop is the history before recorded rap.

Speaker 3 (15:44):
Now I can say that because I lived it. I
understand the gams, the park jams. Yeah, just before rappers
are like before we started making records. That was the
best period of hip hop, which nobody even cares about now.
I ain't even bring that ship up during the fiftieth
year celebration hip Hop. I was saying about the fiftieth celebration,

(16:05):
hipp only celebrated record making motherfuckers.

Speaker 2 (16:08):
Yeah, they didn't. It wasn't. It wasn't the fiftieth It
wasn't they said it was.

Speaker 3 (16:15):
It wasn't, And I can say this, It wasn't the
fiftieth anniversary of hip hop. It was the fifty anniversary
of recorded guarded records.

Speaker 2 (16:24):
Go back and look at all the things and crazy.

Speaker 3 (16:27):
It wasn't about DJ and MC and break dancing, graffiti
and the whole like the whole ship.

Speaker 2 (16:33):
So this is what I'm talking about. Said it wasn't
or was it wasn't It was it was only a
boy motherfuckers that make records.

Speaker 3 (16:38):
He said year, the celebration of it.

Speaker 2 (16:41):
What happened in the Bronx. You know what I'm saying.
I want to see the fantastic fucking five we talked
about all.

Speaker 3 (16:49):
I did shut it down. I didn't want to go
so happy.

Speaker 2 (16:54):
Together. How long was that since y'all performed together? Since
no we was doing show Okay, I wasn't.

Speaker 3 (17:01):
We was RENDMC was only doing festivals because I heard
you guys wouldn't perform together since jam Master Jay had passed.
We didn't want to, okay, but some of the checks
were very nice.

Speaker 2 (17:15):
You know what I'm saying. Yeah, yeah, So that was it.

Speaker 3 (17:18):
But what I wanted to say about sucking, see, it
was just about making be gems and we wanted to do.
When we came in hip hop, we knew we had
a responsibility for this. Anything that is wholly a sacred
to a nation or community or of people whould get diluted,
polluted and destroyed once it's commercialized. And a lot of

(17:40):
the commercialization of that is very.

Speaker 2 (17:42):
Good, you know, financially in this and for the expansion
of it. MTV and US being on records aided in
the expansion of hip hop. But if there was no
music business. We still had hip hop. So when Ren
DMC and jmster J showed up, we wasn't thinking, you know,
let's have hit records again. Money and this snana that
run was doing it a little bit because you see

(18:03):
you've been like that. But our things was to be
the best DJs in MC's that people would ever see forever.
Right Why because the people before us that art form
the Melly Mels right to see. Everybody only knows Melly
Mel for the message, but I got tapes of Melly
Mel and Scorpio when he was mister ness.

Speaker 3 (18:26):
Rhyman like me and running.

Speaker 2 (18:29):
Nobody knows Melly Mel was Melly em Me, Ellie, em
Me l and Melly Mel. Y'all rock well with echo
chambers and flash drop and pieces of shiitn't nobody knows
that I know that this record making ship don't excite me.
So what you had to triple plattin that shit don't
mean nothing because you didn't play Harlem World, motherfucker. So

(18:50):
me and Ron came from that. We said we're gonna
do and that ate it in our success. Everything we did.

Speaker 3 (18:55):
Was we were imagining.

Speaker 2 (18:57):
It was a cassette recording of us live, so we
wanted to make rhyme routines. So when we did Suck
and Seas, it gave permission everybody. Oh shit, we.

Speaker 3 (19:08):
Don't got the first rappers or the greatest rappers ever,
But what was that Floyd? They had no rappers to
look up to. So when the first rappers got into
the music, you gotta understand what happened to our culture.

Speaker 2 (19:18):
We were a culture that is eternal, that never changes,
That innovation gets better and better as we grow. Not
that ship when you're thirty five and forty you can't rap.
No is anybody going to go to Stevie Wonder and say, Stevie,
you're fifty now you can't sit. Is anybody going to
go to Patty Labella said, excuse me, Patty, you're fifty,

(19:41):
you can't. Or Mick Jagger neither. The roman Stones won't
have a fucking tour when they died and going. So
we knew that before that, the ship that was going
on that we were doing before rappers, the Light, that's
the fucking its fucking turn. They could never take that

(20:02):
ship from us. So we said we're gonna do that
ship on records. And that's the thing that made the
Jay never used the dat machine. They never did. It
was when we played live Aid Motherfuckers that she was
vinyl on the turntables enough rhyming.

Speaker 3 (20:22):
From sucking c to fucking jam ass to Jay.

Speaker 2 (20:28):
When we did hard Times, it's like that was Russell
in the business.

Speaker 3 (20:32):
You got to make a commercial record. It's like so
what we did was like that. We took because if
you remember, the message came out first. So the message
was the message. It's like a Jung Goose times broken
last everywhere.

Speaker 2 (20:44):
But after that hip hop.

Speaker 3 (20:46):
Was able to say we can take you all to
where you'll need to go. So bam and I'm so
sounid force and so sound for Africa band, butter so
solid force. They may't plant it rock. So when we
made it like that, we said, you know what, we're
tired of shit being separate. Let's put the message and
the vision of Planet Rock. We know a place where

(21:06):
everybody's eating and as safe. The students' like that. So
when we did that with it, say if you.

Speaker 2 (21:10):
Listen to Planet Rock, if we were trying to make
I mean, if you listen, it's like that we're trying
to make Planet of Rocks and and but we wasn't
good at it.

Speaker 3 (21:23):
We were just trying to make raw beats the way
it was done in the streets.

Speaker 2 (21:27):
If you listen, you know it was the key to
run to see success. It was It's like comic book
Easter X. It was right up on your nose. When
we made Adidas, we took the beat from the street
and put it on TV as it is and it's
formed no.

Speaker 3 (21:41):
Explanations to the ship. Take the beat like on DJ.
But by us doing that, what the fuck were you?
Nobody had never seen what we did in the hip
hop be The people before us that created it didn't
do it.

Speaker 2 (21:56):
You know what I'm saying. Meland Kas and all of
them was mad at us when we first came out. Wait,
what do you mean? We were fucking who the fuck
is that they had on spikes? The fuck it was
these motherfuckers from Queens with this badass attitude and they
had on spikes. But you understand, that's what I wanted
to say to you, Nori. The first MC, the first
hip hoppers in the game, had no hip hoppers to

(22:18):
look up to. But who were their idols in show business?
Rolling Stones, Rick James and Bulman.

Speaker 3 (22:24):
Phone conte so because they coming into the music business
and a lot of people do this in all forms
of art and all forms of creativity. Now I'm in
this Hollywood bullshit, so I got to change who I am.
But they rightfully so, because what did I say when
I first walked in there? This is like soul drainer,
because this is what you're y'all are my Mike Douglass show.

Speaker 2 (22:46):
I don't think you're that young, So that's what you
know what I'm saying that.

Speaker 3 (22:54):
So when the first hip hoppers got in a hip
hop there was no fucking cool motherfucker because they were
the cool motherfuck but because it was show business or
I need to dress like bamin them.

Speaker 2 (23:03):
I mean, I need to dress like.

Speaker 3 (23:05):
You came doing this ship that they created. Russell being
the show biz guy, entrepreneur, you know what I'm saying,
He's hitting me and run every minute. Y'all need stage clothes,
y'all needed to y'all need to get me and rama say, yeah,
we do, Russell, but we ain't war.

Speaker 2 (23:22):
But is it true that he told y'all to dress
like the drug dealers from around the way. No, he didn't.
He wanted us to. He wanted us to. I will
look came from this. There's picture. There's a famous picture
of me and Runner to Fever with check and jackets
on no ants. Y'all might have seen his Me and
run no Jay running now Russell at the fucking Fever.

(23:53):
So what we I used to do? I used to
go on my farmer closet. Okay, take this suit jacket.
I had no fucking money and it so what ha
happened once when we put Ja down the the DJ
Jay's not in that picture because our first show at
the Fever, our first show at the Fever, Jim Message
Jay missed it because he went down to Jamaica Avenue
the shop for year Rebel Knock Central E.

Speaker 3 (24:18):
I M so you know about this thing called sound check.
So we played a Fever damn A six thirty. We
had to leave Ja, so Jacob cried all ninety six.
So the second time we played the Fever, Jay wasn't
going to be late. But when we pull up to
pick up Jake, like in the beginning, I was wearing
Pullmans at show at in the beginning, blue poom with

(24:38):
blue sweave pool with the white striped black flat lazers,
a black yeah, flat.

Speaker 2 (24:42):
Lazers, Okay, yeah, yeah, okay, okay.

Speaker 3 (24:46):
Blue soup jacket and Kangles I was Kangle run was
just his curly hair, side burned fly.

Speaker 2 (24:53):
You know what I'm saying. Sexy motherfucker. So this show,
we pull up to Jay's.

Speaker 3 (24:57):
House on two thirty Hollards and Jay we beat him
Horn for J and Larry Smith, the greatest hip hop
producer ever that nobody knows about. Larry Smith, who held
down four decades, I mean four years of hip hop
by hisself. He produced the whole Rundium See album by herself,
He produced the King of Rock album by himself, and

(25:18):
he produced who Denie's groundbreaking the album French Freets Come
Out the Night five by himself. So Larry Smith needs
a movie, and he needs a documentary, and he fucking
needs a fucking Rock and Roll Hall of Fame Award.

Speaker 2 (25:32):
Talk to d talk to Premier, talk to Doctor Dre,
talk to Pete Rock, Talk to these DJ's Larry Smith.

Speaker 3 (25:42):
Our success was on Larry Smith. So lonso show, we
pull up to Jay's house. He comes out the front
door of his crib.

Speaker 2 (25:49):
He got the Godfather had on right, He got the
black with the white stripe Adida jacking on.

Speaker 3 (25:56):
He got the black Lee's on. He got the brand
new white Superstars with the black stripe on the side
and the tongues is sticking up like tombstone. And he
got the four speaker JVC box. As soon as he
stepped on his stoop before Russell said that issue, Me
and Room was like, that's our looks. So Jay was

(26:18):
not only the sound, it was the.

Speaker 2 (26:20):
Fucking Me and Run was all over the place, Wow,
all over the place. And you said your first was
a seal sucker checker all tell all type of ship.
But I was a cool motherfucker though, because I knew
BVD nylons bb that motherfucker. I just a lot though

(26:41):
that day were the worst for that. BBD have my
red BBD all of that ship.

Speaker 3 (26:46):
Boy, Me and Run was all over the place until
Jay came along and brought us together.

Speaker 2 (26:50):
J brought it all together. Now was was the gazelles.
A part of that was this is funny.

Speaker 3 (26:56):
I love this because you said you never knew he
wasn't on death Gennad something else I never wore as else.
The glasses I wore were alter goliaths. They had the
shape of the gazelles, but they never I never wore
as else. Go back and look at all my pictures
and before the offer and Leo had something to do

(27:19):
with the altar garlias, before the alter calias. They were
just my basic Cohen lenses that I was wearing the
school wall, and Run was actually the guy that told
me to wear the glasses because we went to I
went to Catholic school my whole life, so I'm funny.
I was always in the smart class. Rum was always
in the other class because there was it was like

(27:39):
one one one two two one two two. It's only
two class and two grades for these class so Rum
was always another class.

Speaker 2 (27:46):
I didn't know Run.

Speaker 3 (27:47):
The only reason Running I knew Running knew me is
that when they do the rogue call in the morning
and they founded the students things.

Speaker 2 (27:53):
You know what I said, Deborah Hamilton, So the whole
school looks whole ship. That's never that's how you identify.

Speaker 3 (27:58):
So I'm in one day Joseph Simon, everybody, Oh that
Joey the curly motherfucker, and then John mcdanels, Oh the
big head motherfucker. Classes that read comic books and know
how to jarge. So what had happened in eighth grade?
This is how I mean and run at in eighth
grade and we went to Saint Pascal Baylon Elementary School.
It was the last Catholic school in the hood of Hollis.

Speaker 2 (28:20):
Wow. The nuns in the priests said, we can't give
up on the black kids. We're gonna stay here for him.
And they trooped that. We had a cool fucking basketball
coach named Father Rudlaw who fucking left the priesthood because
he found a black woman in the hood.

Speaker 3 (28:34):
Okay, so shout out the father.

Speaker 2 (28:36):
You know what I say. He was like, I ain't
trying none of this pope shit and stuff like that.

Speaker 3 (28:42):
Comrades abusing the kids.

Speaker 2 (28:45):
I'm gonna go out and give me some. So we
had one rim in the bat in the school yard.

Speaker 3 (28:51):
And for the Catholic school kids, you couldn't go nowhere
unless you went home and put on your play Clothes's
in your uniform, yo, take your money, Smack you up
sides your head.

Speaker 2 (29:02):
Take your kids. Are fucking mean. They would take other
kid's shoes just to fucking take them and all that.

Speaker 3 (29:08):
So in eighth grade, David Mideachier, David mcgeecher comes to
Saint Pascos and he's like six three and he dunks.

Speaker 2 (29:19):
On the rim and breaks it. So all the Catholic
school we cried, hold on.

Speaker 3 (29:27):
You know, I got the best parents in the world,
son of byfriend, brother of al Banna's. My mother runs
my pal. It's McDaniel's, not McDonald's. These rhyms are darrels.
Those Burghers are Ronald's. I ran down my family tree,
my mother and father, my brother and me. I had
the best parents in the world. My father put a
rim in the backyard.

Speaker 2 (29:44):
So now don't cry, kids, The McDaniel's family got your back.
Now all the kids after school could come to my house,
which is like a five minute walter from school. Wow.

Speaker 3 (29:53):
So every every day after school it's about thirty kids
from school playing ball. One particular day is just Joseph
Simon home with his basketball. Comes over. I'm like, yo,
we're Doug with Craig. Tell God to go to the dinners.
Craig is on punishment. Okay, it's just me and you.
So we play ball, right, one played one on one.
I need to know who won this run? He was

(30:14):
he was running, was running table the balls. I wasn't glad.
I just played like you know, I just well, I'm
trying to be cool.

Speaker 2 (30:20):
I'm a common real nerve.

Speaker 3 (30:22):
I'm trying to you know what I'm saying.

Speaker 2 (30:26):
I'm only playing ball for the same reason that I
started fucking smoking weed and became an alcoholic. Now I
didn't like I said no, So we played ball and
we would get out of school too. Ten.

Speaker 3 (30:41):
My mother and father they get home from work at
four pm. So when you was little, what was the
rule when your parents wasn't home?

Speaker 2 (30:48):
No company? Yeah, no company, that's right kind now company.
So what I usually do is when we finished playing ball,
I go and get the juggle water. And you remember, Dixie,
are they selling me cups?

Speaker 3 (31:01):
Yeah?

Speaker 2 (31:02):
You sure that not. I'm gonna be Daryl makes cups,
bring back fucking cups. Don't wear disposable cups. Why is
this Dixie stilling? Is this? It's how did the cookies
in comic books. I'm just say she MOTHERFUCKERSNA say do
that ship And I said, so run is the only
kid this.

Speaker 3 (31:19):
So instead of bringing the water to him, I say,
come in the house. So he comes in the house.
He sees my brother's turntables and he goes, yo, do
you do that?

Speaker 2 (31:27):
And I got to know because that was my hip
hop to me was my little secret thing. But then
he goes, yo, my brother is Russell Simmons this and
they starts laying out to four women. Russell Simmons was
known at this time huge. Okay, go ahead, continue, huge
rush party.

Speaker 3 (31:40):
He was like, do you own the telephone poles? You
ever see the flyers and the posters of the Rush party?
So Russell was huge. Russell was known for arross was
getting money.

Speaker 2 (31:48):
You know. Back then. He was like, I'm the son
of Curtis Blow.

Speaker 3 (31:51):
So what we would do is before my mother and
father come up, we played one game of basketball and
going to basement and DJ.

Speaker 2 (31:57):
So that's how he knew that I had skilled.

Speaker 3 (32:00):
So when he was going to make a record as
a solo artist because he was the son of Curtis Blow,
Curtis Blower put out the Brakes, the first Christmas record
DoD y'all know before Christmas in Hollis.

Speaker 2 (32:12):
It was a that was Curtis Christmas wrapping. Yeah yeah, yeah.
So run was always in Russel. Let me make a record,
Let me make a record, Let me make a record,
Let me make a record. Russell was like, no, no, no, no, no,
no no no, you're too young. You're too young, too young.
So Joe was persistent, and Russell says this to Joe. Okay, Joey,
that's what Russell want to get last. Okay, Joey, you

(32:34):
show me a high school diploma. I'll let you go
in the studio and make a record. So Run was like, okay,
I don't remember that. He was in what tenth grade,
tenth grade, eleventh grade, twelfth grade. Here you go, Russell.
So Run was going in the studio to make a record.

Speaker 3 (32:47):
He remembered the kid with the big hair and the
glasses in the comic book dmc Darryl McDaniel's got some rhymes.

Speaker 2 (32:55):
So he calls me up, Chris, me and a group.
That's what got me sitting here today. Well, like I
wanted to do none of the show. I wrote rhymes
for me, Nourie, not for you. They hate him.

Speaker 3 (33:05):
Shit, that's crazy, and I didn't want nobody that shit
was like my diary.

Speaker 2 (33:10):
So you're telling me.

Speaker 3 (33:12):
This is damn near happened by accident.

Speaker 2 (33:14):
Run had a chance to go solo. He had a
chance to do whatever he had a record court. He
came over my house. He would he would come to
my house and play me tape show last night. I
was with Juelo Nation last night, I was with the
Crash Crew. Shout out to the Crash Crew, one of
the greatest groups in hip hop that they always forget about.
He would show me these tapes of stuff. So he's

(33:35):
I'm a fan and he's doing it. So I'm looking
at him in awe and respect because he's doing He
was with.

Speaker 3 (33:42):
Flash last night.

Speaker 2 (33:44):
You know what I'm saying.

Speaker 3 (33:45):
When he was going to make his record, he had
a record called street Kid, I'm Just a street Kid.

Speaker 2 (33:52):
Street Kid, I'm just the street.

Speaker 3 (33:55):
Member rap used to be trying to make it and
the music would play and sit like that, and he
had his old record run out of his old raps,
and I was like, O Joe and whatever whatever.

Speaker 2 (34:05):
But then he said, nah, fuck that DMC. I was
int DMC. I was easy, D easy easy.

Speaker 3 (34:12):
They used to call me EASD because a rapt on
a mic, so easily now they called me. I didn't
become DMC. Tell Room put me in the group because
then I had to go up another level. But that's
a whole on story. So Run was going to be
a solo artist, had a recon and everything was his
name Run. Yeah, it was DJ Run, DJ DJ Run.
But then when he was about to go in to

(34:34):
get the deal, he said, nah, putting my man now.
And he called me up and he was like you
and he told me this in eighth grade, d whenever
Russell lets me make a record, I'm putting you in
my group now. I remember that when he said that
shit to me, it was like a foreign language. The
fuck you. I don't do this, you mold y'all motherfuckers

(34:55):
do this. And he said watch.

Speaker 2 (34:57):
So this was eighth grade, ninth grade, tenth grade, eleventh grade,
twelve grade. We went to totally different schools. Run and
Jay went to Andrew Jackson including Aja Ball and like that.
I went to a school called Right High.

Speaker 3 (35:10):
School, call what Rice High School one hundred and twenty
fourth Street and Lenox Avenue was boys Athletic School, Parl
Memorial Rice High School. So during that time Joe is
getting his deal together, I'm just in Rice High School.
But the beautiful thing for me, what happened to me

(35:32):
is the reason why I'm so passionate about hip hop.

Speaker 2 (35:36):
I understand this. There's a dichotomy with our culture. Now
there's the music business and then there's the culture. Right,
I'm one hundred and fifty thousand percent culture that just
happens to be in the music business. So that's why
I didn't talk that much in the beginning.

Speaker 3 (35:53):
Let run all the talk. I'm just going to say
my rom and go to fuck home.

Speaker 2 (35:56):
So what happened to me was this, So Nouri and
e I get to Rice High School. It's one hundred
and twenty fourth Street in Harlem, all boys, Catholic high school,
congregation of Irish Christian brothers.

Speaker 3 (36:08):
But what is so unique about this? Now, I don't
know what's about to happen to me. This is purpose
and destiny. I just go to Rice because my best
friend Doug told me, We're going to Rice. Motherfucker.

Speaker 2 (36:19):
Okay, So I get to Rice. But I get to
Rice the boys and girls. The boys because of the
old boys school, they would go to Rice. They from
the Bronx, They from Harlem, from Manhattan. So when I
get to Rice in ninth grade, they got all of
the performances of hip hop before rappers Delight. So Terrorce

(36:39):
Washington would come at the end of every school week
with a cassette tape holder, open it up and he
would sell the tapes like it was drugs, and it
would be in the school, in the school, in the school.
And what was beautiful about the congregation of Irish Christian
Brothers to connect with the black kids. This is a
lesson for the educational something about they let us do

(37:02):
our hip hop, They let us do our graffiti, They
let they they wanted our right on them do all
that shit. And by letting us doing that, we had
great students, no trouble or did trouble. Sent kid was
a straight a student because he got to rhyme and
beat on the table, he got to do his art.
But Terrence Washington would have you know Funky four plus

(37:24):
one nineteen seventy nine, Wow, Curtis Blow nineteen seventy seven,
when Curtis Blow was Flash MC Grandmaster Flash in the
Furious Four because Raheem wasn't in the group yet, because
Raheem was a member of the Funky Four. So I'm

(37:44):
saving my allowance because i didn't have a job, and
I'm buying all of these tapes. So from ninth grade
to twelfth grade, I'm getting the first and course on
how to be this hip hop shit, not how to
do it how to beat the ship. So long story
show again. Twelfth grade. I'm graduating, set out my resume

(38:10):
to all the schools I get home from to college school. Yeah,
there's no emails back then. You know what I'm saying.
It's still using payphones all that shit. There's a letter
says Saint John's University on it. I opened up the letter.

Speaker 3 (38:24):
We're probably to inform you, mister McDaniels, and I felt
good that they called me mister.

Speaker 2 (38:30):
Oh just you know what I'm saying, like, oh shit,
isn't it? But I was also scared because that means
I gotta grow up right.

Speaker 3 (38:37):
Saint John's is still on Queen's Correct.

Speaker 2 (38:38):
Yeah, still there, Stell there, fucking Lucronoseca and fucking Walter Burry.
I said, oh shit, I got accepted to Saint John's University.
I run past my mother and father with the letter
down into the basement to my turntables, put on Apache,
and I write my rhyme, I'm dmc not go because

(38:59):
I wasn't in it. I'm going to Saint John's University
since kindergarten our quiet and knowledge, and that was just
then we just so you got the college letter and
you go downstairs and you premeditate, right Ryn ship get

(39:24):
that's that's iconic. B get you.

Speaker 3 (39:29):
I go back uptairs. Mom, I got accepted Saint John's University.
But again in Saint John's University and stuff like that.
The phone rings, it's Joe run the same day. It's
not the same day I get in. This is probably
like the like the first week, because I'm an orient
orientation college. It's Joe, yo, what's up? Deep? Remember four

(39:51):
years ago when I said, if Russell lets me make
correct it, Yeah, grab your ron book, We're going to
make correct it. We go to Green Street Recording Student.
It's like that and Suckerham seas Russell goals around the labels.
Every label tells them, noahccept this one independent called Profile Records.

Speaker 2 (40:09):
Profile Records takes a chance with us. Here I am today.
And then we made singles. Remember hip hop was your singles.
So then we made another single called hard Times Jam Message.
And that's why I brung rustling with the commercial things
like that. Everybody say I did it.

Speaker 3 (40:31):
Everybody say that. So we made hard Times. Check this out.
This is how deep this sh it is.

Speaker 2 (40:36):
We made hard Times, which is a Curtis Blow song.
It's one of the first hip hop remakes. We heard it.
What was Yeah, it was a cover song. Curtis Ball
had a song called hard Times on his album where
he wrapped it.

Speaker 3 (40:50):
We took it and did it.

Speaker 2 (40:51):
It's like this.

Speaker 3 (40:52):
So but at that time when we made us like
that seas, we didn't have j yet. That's why the
group's just run DMC. So after we put it the
circum seas out. The record is getting hot, it's blowing
up on the radio. Circum Season is killing the street,
and it's like that. It's becoming a head across the nation.
But people thought he was an R and B group.
Oh shit, know what they thought?

Speaker 2 (41:13):
We was kind of like the TIMEX social club type group.
We go on the shows. We're opening for Marvin Gaye,
God damn it. We opening for Parliament Funk of delic
We open him for the ZZ Top. How was the
reception in the audience?

Speaker 3 (41:28):
How were they? I tell you we had twenty minutes.
He was opening for the Barcades and Confunction and the
Gap Band and all that shit. So we had twenty
minutes on these only and that is because it's like that.
It's on the radio and it's like that. So they
thought we was a band. Russell was getting this cause
and then we sent us we'd show up at sound
check me Larry Smith running Jay with.

Speaker 2 (41:50):
Two turntables and a record bag. They wouldn't let us
in BECAUSEFC you know you ain't.

Speaker 3 (41:58):
I mean we're talking yo word knocking three and four
times where the bouncers go, motherfuckers, if you knock on
this fucking door again, but we'll run DMC. Don't get
the fucking promoter this and the promoter came to the door.

Speaker 2 (42:11):
This is him. But the promoters we was getting like
because they didn't know how y'all look it was a promoter. Yes,
so you understand what time this was. This is crazy.

Speaker 3 (42:21):
And the promoters would always go, you mean to pay
I'm paying you twenty five hundred dollars was a lot
of and that's a lot of money.

Speaker 2 (42:28):
Yeah, The pomos like, we're paying your twenty five hundred
fucking dollars just to play records.

Speaker 3 (42:33):
We say, yep, So you want to know what the
reception is. We got twenty minutes. All right, Jay, go
out to ladies and gentlemen, run DMC. Crowdler's like, okay,
we're a fucking bad y'all wants up.

Speaker 2 (42:43):
Your My name is Shane Massa jay boom, boom, boom,
put your hands in the air, boom. Somebody say run
call me called DMC. I call run out, yo, killing them,
killing them to the point where sometimes the whole audience
we have twenty minutes during the Marvin Gaye show, no, no,
bring them back on the brow?

Speaker 7 (43:04):
Is that hell?

Speaker 2 (43:05):
Yeah? Hol It felt fucking crazy, amazing, and we was
opening up for fucking Marvin. It's crazy. So that's also
where our great showmanship came. And we was like, Yo,
this audience is like loving this ship that we do.
So we we're not trying to be the best entertainers.

(43:27):
We're trying to be the best DJs in them sees
motherfuckers we've ever seen.

Speaker 3 (43:31):
Which set up all of that exhilaration and influence for
everybody following us. You know what I'm saying, because now
we are. But when we was doing that, we knew
damn we representing the fucking culture right, And Jave was like,
we always got to watch what we say and we
would never go for any fake shit, no fucking sarand rapping,

(43:54):
no parody ship. We always got to be live, like
it was a huge responsibility, Like it was so dope.

Speaker 2 (44:01):
I'm sorry to bounce around. It was so dope to
see you and Run on stage. And then it was
even it was even more passionate. It almost made me
feel like my childhood because he distinguished that this is
not Reverend Run on stage right he started cursing. I
was like, oh, you know what I'm saying, Like to

(44:23):
see that, and it was like my childhood, you know
what I mean, Like I can understand that, Like I
just I just was like it felt so right, like
to see y'all together, you know what I mean, and
the way you want to see us exactly and headlining
goddamn Yankee Stadium before.

Speaker 3 (44:40):
We went on Run. It's like, yo, d I guess
we did something that all these mother focus want us
to go on. Yes, that's what I think, you know,
and you know, and it's just the thing that we
feel that that thing that makes snoop, that thing that
makes on face is the thing that might not have

(45:03):
been there if it wasn't for RENDYMC.

Speaker 2 (45:05):
Yeah, that's a fact. They could have.

Speaker 3 (45:07):
Would have died with flashing them, even to the point where,
like I said, Flash and Melon, all of them was
mad at us ntil he started seeing our interviews.

Speaker 2 (45:16):
We would talk about them. And when you say that
it was a mattitude, you say because of the commercial
appealed that you guys was because.

Speaker 3 (45:21):
It changed the shift that they created. Yeah, we telled
the ship.

Speaker 2 (45:24):
We came with fucking Adidas angles and gold and you
could go find there's pictures of meiling them with sheep
sins and shit. Like even Calz always says, damn man,
if we had put those routines on records right nineteen
eighty one and before this year is done, then motherfuckers
said that's crazy. Catz said, and this is good for

(45:50):
this time. What he said, anyone can ride around, he said,
any this is what the rappers should be saying now.
He said.

Speaker 3 (45:58):
Anyone could write a rap and say yes, sure, but
a real MC you do not call because you can't
ride a rhyme at a quarter to two to be
a real MC before the jam is true. For all
you MC's that are like that, you gotta take a
lesson from the good old Cap. You need a voice
that is clear, a DJ like Chase, a good imagination
and a strong, steady pace. You gotta have both feet

(46:20):
on the ground and you can't be a duck. You
gotta be down. You gotta represent the hood at all times. Plush,
you gotta have tough and original rocks.

Speaker 2 (46:29):
Put all that together and you know what it brings
The grand Master and I'm a running thing.

Speaker 3 (46:34):
So JD l hat over Big Beat.

Speaker 2 (46:37):
So we was like, we're gonna do this ship. You
not fucking doing them.

Speaker 4 (46:42):
You're really influenced by them, that's the thing. But it
was influenced by them.

Speaker 2 (46:47):
Yes, we Peter Piper, Pick Peppers.

Speaker 3 (46:50):
It was a party nine. Everybody was come on. Imagine
if that was meiling a national record before the message,
then it would be able to be doing that record
and then the message. So that's why when we came along,
we didn't want to separate what hip hop is.

Speaker 2 (47:08):

Speaker 3 (47:09):
Even Mo D before he battled out, most people know
Mod from when he was a regarding artist, you know
what I'm saying. But before that, Mod and the motherfuckers
was Beace. You know what I'm saying. It's like the
old school isn't a time period. The old school is
a consciousness of how you present yourself, and that could
be as a DJ could be, as an MC could be,

(47:31):
as a graffiti artists could be as a break dancer.
But if you break it down, could be as the music,
could be, as the language, could be as the art,
or could be as the fashion of it.

Speaker 2 (47:42):
So we knew we always got to be those elements.
Let me ask you something because at one point, like
when you hear like Eric being rock Kim, like the
DJ came like before the act and the DJ was
so much important, and then at some point it almost
seemed like the DJ was obsolete. It seemed like nobody
kids about the DJ more as opposed to your era,
where the djk every minute. I was gonna say, we

(48:04):
made hard times, right, So now we're doing all of
these shows, barkads, Barkad's.

Speaker 3 (48:10):
Confunction and this and that. So the question is, Okay,
I know that's Run and that's d MC, or okay,
that's Run, that's d Where's and where's C? Where's the band?
So there was confusion. They were C Run, DMC and
the street people on stage.

Speaker 2 (48:28):
Who's that back there? Why is it? Why is that
guy back there?

Speaker 3 (48:31):
Oh, y'all need and y'all need to know what this
ship is doing.

Speaker 2 (48:34):
So I'm the run.

Speaker 3 (48:36):
Put me in the group because all I did was
eat sleep hip hop.

Speaker 2 (48:41):
All I did eat sleep hip hop tapes. Who's the
new tape? Who's a new song? He hated me because
I would listen to the corny shit. But I wasn't
trying to let anything get right exactly. I was like,
this ship is on the record, It's gotta be some
reason why this should be on earth. It might not
even been the rabbit, might have just been the beat sound.
So I was like the scientist of the group. So

(49:03):
everybody was asking me, why is it three people? Don't
worry j I got you. When we put j first down,
he was jazzy J. Jazzy J.

Speaker 3 (49:11):
He can't be jazzy j J. I'm I'm I go
to write song. Jay, you can't be Jazzy J. That's biting,
you know. And Jay's so you know, Jaseke's looking at me.
It's weird, motherfucker just biting you. You can't do that.

Speaker 2 (49:25):
Don't worry. J I got you. So I went home
and I was like, Okay, what we're gonna call it? Jason.
I was like, okay, if you remember, the jam had
two meetings back then, So DJ play my favorite jam.

Speaker 3 (49:40):
This right is the record and jar last night. Yes,
I'm sitting there.

Speaker 2 (49:45):
Oh my god. Jay's the master of it all, and
it just so happened his name was JA. So when
I said he's.

Speaker 3 (49:52):
Gonna be he can't be the grand Master. We got
a bunch of those motherfuckers. Definitely can't be grand with it,
Like you can fuck with grand Mess, but you've got
grahams it and you've got grand Mixer. I'm like, I'm
my whole thing is I gotta even now at fifty
nine years old, we gotta take caip up one more
step than nobody hasn't done. So I was like, we're
gonna name him the jam Master. So I go back

(50:13):
to Janie College.

Speaker 2 (50:14):
Oh, Jay, I got it.

Speaker 3 (50:15):
Drum roll, your name is gonna be the jam master J.
You see the way that hit jam master J.

Speaker 2 (50:20):
And then Jay's funny, he said, he says it to
herself like this is gonna be in a movie, the
active playing J gotta go master, and should motherfucker went out.
I got a JMJ JJJ. You know what I'm saying,
so all of the it's like you said, all of
the pieces were just falling in place, all right, And

(50:42):
you and you used to DJ as well. Before run
came in my basement, I had every Marvel comic book
in existence.

Speaker 3 (50:54):
Stan Lee shut out to stan Lee. Now I'm gonna
tell you what. My brother still got his. Stan Lee
created d m C. Stan Here's crazy. Stanley in the
cold Crush created m C. But I had a huge
All I used to do was read collect drawer, read
collect draw Batman, Flash Green Lantern were all cool.

Speaker 2 (51:17):
But what was bad about d C was like, I
don't like fake ship. I hate fake ship. So d
C was cool to superhero but d C had a
fake Metropolis and a fake god my mother trying to
be New York. Stan Lee blew my fucking mind. He
put to superheroes really right, So that ship is real
to me. Spider Man from Wiside Queen, Yeah, sorry, I

(51:41):
wasn't shouting out Queen's my whole record creator rep the
fucking hood. I was shouting at because spider Man comes
from where I come from. When I found I was,
oh ship, you know what I'm saying. The other dude,
he shouting grew. I don't know that shit. I can't

(52:01):
leave the block.

Speaker 3 (52:02):
But I'm all I did was recollect and your comic books.
So when hip hop came over the bridge from the Bronx.
My brother's older than me, fifteen, the kids fifteen, eighteen
years old, all of a sudden, everybody's getting turntables and
queens in my neighborhood. And I remember Anthony Wallace was
the first of my brother's friends to get turntable, but
he had to make ship set. He had the BSR turntable,

(52:24):
but the other mitchmatch one from your mother's high five stereo.

Speaker 2 (52:28):
Shit.

Speaker 3 (52:29):
Anthley was dope.

Speaker 2 (52:29):
He would take all the speakers and make his own
sound system, so he had the creative records. He had
all that bam shit. You know what I'm saying. I
was full of bam shit. I ain't know what it was.

Speaker 3 (52:38):
And yet and then Booby Long, my brother's other friend. See,
Booby had it better than me and my brother because
you couldn't get no turntables back in the days.

Speaker 2 (52:48):
If you didn't sell reefer, right, guys, all right, cool,
I'm trying to put people there. You don't sell reefer,
You're not a stick up kid. You don't rob houses
and you don't steal cars. So me and my brother
we Catholic.

Speaker 3 (53:08):
School, you know, suburban queens. Motherfuckers. We ain't got no money.
But then my brother goes yo, and it was for him.
He comes to me one day, Yo, Daryl, man, he's weed,
but it's really him. We gotta get turned right, and
he's like looking around the fucking attic at my shit,
and I'm like, oh no, we need oh mother. He's like, Yo,

(53:30):
come on, man, we gotta get turntables. This hip hop shit.
You know, everybody's doing whatever whatever.

Speaker 2 (53:35):
So I give in.

Speaker 3 (53:36):
So we do a comic book sale, right, and I
checked this out. This is seventh grade, before run even
came playball. We do a comic book sale. The McDaniels
brothers is doing a comic book sales.

Speaker 2 (53:48):
So the doorbell was ringing all day.

Speaker 3 (53:51):
All we need to do is get one turntable because
we had a high five system and a forty dollars
Gemini mix up and down one the lowest one and
then cross me. So we gotta get that. The doorbells
ringing all days. Kiss from my neighborhood. Kiss from a
school doorbell rings. It's Joseph Simmons. The other kid from
the other class comes in with his friend Harold. He

(54:11):
buys comic books and he goes home eight I mean
a year later that happens.

Speaker 2 (54:16):
So we by the turntables. We get to turntables in
the basement. Everybody's djaming, right, So I hear a Grand
Master Flash tape of him spinning good times. You know
what I'm saying.

Speaker 3 (54:29):
When I'm fourteen years old, So I hear this Grandmaster
flash tape. The thing that caught my eye was Flash and.

Speaker 2 (54:37):
The comic book that's my fucking name is itself flash Tention.
Now you know what I'm saying. It probably was always
there because it was blocklast Gordon at right, Flash not Flash.
Flash and a comic Bookarabos was my connection with that.
So I hear Grandmaster flashap and he's spending good times,
good times. Boom boom, but no boom boom boom, boom bron.

Speaker 3 (54:59):
Now you usually prior to the hip hop the DJ's
is the block parties were the older DJs who would
just play the records all the way through, play the
record or the trou So I'm here in this flash
tape this good Time's break comes, then it comes again.
Now there's no video of this ship and it's just
on the box playing and it does it again, good time,

(55:20):
good time, and he makes it go.

Speaker 2 (55:21):
Good good, good good.

Speaker 3 (55:22):
I'm like, I gotta learn how to do that ship.
So my brother when we brought the turntables, he scratch
with my no that came. No, he's being brother who
used my comic books to get this turntable, tells me
this is big brother shit.

Speaker 2 (55:38):
Yo, when I'm not home, don't touch my turn what.
I'm looking at that empty attic and I'm like, what
the fuck you mean my turn to? I don't say this.
I'm just thinking this ship. But did I he sold
your comic books to get Every time he would.

Speaker 3 (55:52):
Leave, I would go on the basement and I'm trying
to figure out how flat.

Speaker 2 (55:56):
Like Step Brothers. You see the movie Step Brothers. Yeah,
I would go.

Speaker 3 (55:58):
Down in the basement to a touch of ship. So
I learned to DJ Good Times. I learned the DJ
super sperm soup soups. I learned the DJ Paradise.

Speaker 2 (56:07):
It's very nice, paraded, Yeah, I got nice.

Speaker 3 (56:14):
So in my basement, norry. Before I was M. C.
Eazy D like the m cum ship didn't come yet.
I didn't hear that ship yet. I was grand Master
to get high in my basement. Grandmaster, Yeah, because you
didn't right now, you didn't need to read for alcohol
to get intoxicated because my music was in.

Speaker 2 (56:37):
You know, so ding.

Speaker 3 (56:38):
When Joe came in my basement, I showed him with Grandmaster,
Grandmaster get high. I could do me writing rhymes to
where Joe discovered it when he saw after hanging with
me came about because of this.

Speaker 2 (56:51):
I had heard spoony g the spoony gs. Okay, spoony
gm boom boom, you say one for the oh yes, yeah,
y'are a freak freak y'all. And I was driving down
the street on the storm at night and then up
the head. It was a terrible fight. It was a
big Finally, so I heard spoony Gee's first one with

(57:12):
the whistle work in the base of woom boom boom.

Speaker 3 (57:15):
So I had heard that, still didn't care about it yet.
Then right after I heard that, I heard Rappers of Light.
So everybody is getting turntables and all of a sudden,
this record rappers. The light is everywhere, But I still
didn't care until I had Big Bang Hanks rhyme about Superman.

(57:37):
Oh shit, like, I don't care about hip hop to
him because people that mod talks about this too. At
that time, I didn't notice there was an older hip
hop and the younger hip hop. There was the DJ
Hollywoods and the Eddie Cheebers and the Pete DJ Jones
and those. There was the disco DJ rapping man, clap
your hands.

Speaker 2 (57:57):
I'm in the disco. It was all disco, just sto
he I'm a rapping man and on my hands. So
it was those dudes, you know what I'm saying, The
rappers the Light.

Speaker 3 (58:06):
That first rhyme was that to me, But then I
heard Banks rhyme, not knowing that I would discover later
on when the Cold Crush tapes came out dude that
wrote that, but his was different.

Speaker 2 (58:17):
Emp to them. The ladies pimp the women, fight for
my delight because I'm the grand master with the three
because he was grand Master Kaz and he had he
was a DJ and stuff that so long, Sir short,
I hear Rappers the Light and the only reason I
listen to Rappers of Light.

Speaker 3 (58:32):
Put it on the record and listen to it three
times from start to finish.

Speaker 2 (58:35):
Wow.

Speaker 3 (58:35):
But that got me in trouble because now all the
bullies and the hard rocks, you know, thugs, they were
put hard rocks back.

Speaker 2 (58:44):
He got a fresh nigg and he walk hard. You
gonna watch out put all rocks, you know, say go
down the block. That's me.

Speaker 3 (58:50):
But now by me knowing Rappers of Light from start
to finish, your motherfucker come over here.

Speaker 2 (58:57):
Sing Rappers.

Speaker 3 (59:00):
Wasn't a box around and how was that dude? So
this happened on My brother brought Rappers the Light home,
and I tell the story of the time. It was
very attractive, light blue label with the rainbow, so it
stood out. A couple of weeks later, he brings home
this land. It was a white cutcase. In the red label.
It just said in joy right.

Speaker 2 (59:21):
Wow.

Speaker 3 (59:21):
So I'm busy doing the grand Master Flash it I
read the label. It says grand Master Flash and the
Furies Fire.

Speaker 2 (59:30):
I'm like, oh ship, what the fuck like I'm trying
to do that? Now?

Speaker 3 (59:34):
He got other motherfucker. But I didn't know what was
about to happen to me. There was Grandmaster flashing Furries five,
and I was like Okay, my brother put that ship
on the turntable.

Speaker 2 (59:50):
Now if you put.

Speaker 3 (59:51):
Rappers of Light on Bloom Gloom. But it was dope
because nobody was hearing it when you first heard that ship.

Speaker 2 (59:59):
But it ain't this ship. My father put that shit on.
This ship said it was a party night. Everybody was
breaking in the highs. What's screaming in the base, what's
shaking in It won't be long till everybody knowing that
flashes on the be box going and and then it
goes shinin down. Now, if you listen to Rappers the Light,

(01:00:20):
this ship is a long ash record eight minutes right
with three motherfuckers rhyming individually, very long rhymes.

Speaker 3 (01:00:28):
My motherfucker go third month, second, third, break and do.

Speaker 2 (01:00:32):
It all again. This shit says shot out now and
then the voice says this this blue my mom. I
had heard Eddie Cheeba shout out to him one of
the first radio hip hop radio shows. He was on
w f u V.

Speaker 3 (01:00:46):
I couldn't get it in Queens unless I turned the
antenna a certain way, but it was still statically. So
I had first heard, excuse me, I had first heard
Eddie Cheevers saying rhyme. He said, when you mess around
in New York Town, you go down with the disco
Chieber clown.

Speaker 2 (01:01:02):
You go down, go down, go down. You just keep
the pep. It was very inspirational too. Keep the pep
in your step. You don't stop till you get on
the mountain top. And when you reach the top, you
reach the peak. And then he says, that's when you
hear Eddie Cheeber speak. And I'm like this motherfucker on
top of mountains. You know, I'm a kid. I don't know.

Speaker 3 (01:01:22):
I'm it's going at the box. But this shit said,
shot on now. And then the voice goes Italian, Caucasian, Japanese, Spanish, Indian,
knee grow v at the knees, M see this jockeys,
y'all fly kids for the young ladies.

Speaker 2 (01:01:38):
And then the beat drop, and this motherfucker said, introducing
the crew, you got to see the belief. Five different
voices were one, two, three, four, five, and sees. The
first motherfucker said, I'm Melly Mail and a rocket so well.
The second motherfucker said, and I'm missing this because I
rocked the best. Third dude said rahem and all the
ladies dreaming and the fourth dude said cow boy, and
I make it jump for joy in the fifth dude

(01:02:00):
just yells creole. The other forur motherfucker's gonna solid gold
kid creole. They're going playing a role. And then Mel says,
dig this where the furrious five plus grand Master flash
giving you a blast to show enough class. So to
prove to you all that was second enough, We're gonna
make five MC sound like one. I went running, get
me up.

Speaker 3 (01:02:21):
I'm running in the house getting me up.

Speaker 2 (01:02:24):
So that day this is how it became easy D
in my basement. In my basement, I'm grand Master get high.
But that just taught me the DJ. The grand Master
has these rappers, so I also became MC easy D.
I was my own MC in my basement. Oh shit.
So by the time Run call, all of that shit
was piled up.

Speaker 3 (01:02:44):
That's why I run said grab you around book when
going to the studio, So all I had to do
when it was time to make records, Run had the
idea for us like that, Yo, we're gonna make he
called me up. Yo, We're gonna write a record about
how the world is. Because I was a straight a student,
just write a bunch of rounds about how the world
is cool.

Speaker 2 (01:03:00):
So we go in the studio.

Speaker 3 (01:03:01):
We make it like that, unemployed switching off stuff like that.
Russell's still not impressed with me. People don't notice. Originally
I think, I think search talk to you about this.
Originally he's there, I saw that episode.

Speaker 2 (01:03:18):
Huh, he said. Run was originally a solo group.

Speaker 3 (01:03:21):
What Russell was gonna do is remember the early disco
records where the fat black lady would sing, but the
pretty model girls would go in to wash. So Russell
let me make and perform in the studio. It's like
that with Joe, but he was going to tour by hisself.
And it was lucky I was Run DMC because if

(01:03:45):
I didn't work out, it would have been Run the MC.
So but this is what happened.

Speaker 2 (01:03:52):
We do it like that cool, and Russell was like,
yode ghost to fuck down, get out the way.

Speaker 4 (01:03:56):
He's about to be the first ghost writer, not the first,
but a ghost writer basically.

Speaker 3 (01:04:00):
So Run goes in there. He got sucking seeds already written.
Why do you think he rhyme three times on a
record that was one of his solo records for his career.
So he go and drop the rhymes and then he
comes out to booth and he says, d going in
saying rhyme, and I go, nah man, trying to get
me in trouble with this because Russell would come and
after I made this, like russellould be on some ship

(01:04:20):
like that.

Speaker 2 (01:04:21):
You know you're still here. It's like his whole ship
was for his brother.

Speaker 3 (01:04:27):
He had, oh ship, Curtis Blow, You're gonna go to
Europe just and that. Matter of fact, here's what's crazy
runs D and and one of the reasons Runs wanted
me in the group.

Speaker 2 (01:04:36):
And he was crying to me.

Speaker 3 (01:04:38):
Russell was going to have and she's documented in in London,
there was a DJ named DJ Lady Blue and she
was She was one of the first people to play
hip hop. Russell was gonna make Lady Blue Runs DJ.
But Lady Blue had a pantomime pop dancer, Crazy Ship,
a pantomime locker dancer, and.

Speaker 2 (01:05:01):
Run with good. You gotta be in the group. He
says to go, I want to be from the Pandemon
saying back then it was like.

Speaker 3 (01:05:09):
So Brun says, motherfucker, just go in the booth and
say your new rhyme.

Speaker 2 (01:05:15):
So I go in the room.

Speaker 3 (01:05:16):
I'm gonna pass the mic with you, DMC. And if
you're ready to people rock and steady. You're driving big cars.
Get your gash from Getty, say something, motherfucker. So I'm
in the boob.

Speaker 2 (01:05:24):
Okay, he going there, he lays it. I go in
the booth.

Speaker 3 (01:05:28):
And then what did I do When I got my
acceptance letter? He said, say your newest rhyme. I'm DMC
and the place to be ill go to Saint John's University.
And since kennygarn And out cried the knowledge and I'm
gonna Shay Collins, I'm lights. That was really funny. People
say you ain't light back then, I was like lighter.

Speaker 2 (01:05:48):
I'll show you.

Speaker 3 (01:05:51):
Be cause you ain't light skinned.

Speaker 2 (01:05:52):
No, back then I was really nice. No, I was red,
like you could touch my skin. And on the turn
I was light.

Speaker 3 (01:06:00):
So I kicked the rhyme of Larry Smith Roddy Hew
engineer at Green Street.

Speaker 2 (01:06:07):
They're fucking losing it. But hold on, let me stop
you for a second. Do you know how legendary that
rhyme is? So you're telling me that's your first rhyme
on record, can we say that over the town? The
whole one I'm DMC in the place to be. I'll
go to Saint Johne University. And since Kindergartland, I quiet
and knowledge that the twelfth grade I went straight to college.

(01:06:29):
I'm light skin. I love in Queens. I love it
live in Queens. I love each chicken and college. Hold on, yeah,
nobody was doing that ship right.

Speaker 3 (01:06:41):
That was like I thought I owned.

Speaker 2 (01:06:42):
I was only a nigga eat chicken colle Queens at
that time. And I said, wait a minute, Yeah, that's
the beauty on my round. I dressed to kill. I
love this stuff imming them. You know who's versatile, said,
got good credit in your regards. I got my name,
not numbers on my credit cards. Go uptown a come

(01:07:05):
back home with foo, me and myself and my microphone.

Speaker 3 (01:07:08):
All my rhyms a sweet delight. So here's another one
for y'all to bite. When a rhyme, I never quit
and then forgot a new rhyme.

Speaker 2 (01:07:15):
I'll just say it because it takes a lot to entertain,
and sucking cease can be a pain.

Speaker 3 (01:07:20):
You can't rock a party with a hip in hop.
You gotta let him know you'll never stop. Your rhym's
gotta make a lot of sense. You gotta know when
to start one the beast coming.

Speaker 2 (01:07:31):
That one verse.

Speaker 3 (01:07:32):
It's like my introduction and my solidification.

Speaker 2 (01:07:36):
But here's a man dollar question. Yep, did you have
good credit back then?

Speaker 7 (01:07:40):
No?

Speaker 2 (01:07:40):
I have no credit. I ain't no credit. Sorry.

Speaker 3 (01:07:44):
What the beauty about hip hoty? You don't realize how
prophetic it is? All of before recorded wrap? What didn't meld?
What did the first five four, Cold Course, Fantastic five,
Crash Crew, Treacherous, three, Busy Beat, Starsky Love Books, Starsky.

Speaker 2 (01:08:03):
Uh spoony g? What did they all prophesy?

Speaker 3 (01:08:07):
Rock, shocking, amazing and make you feel shame one day?

Speaker 2 (01:08:10):
Our names that we found in the Hall of Fame, Yeah,
they predicted it. Yeah. Man. So speaking on prediction, ship,
my whole ship came from stan Lee because if you
if you look at Wu Tang with the alter egos
on the stocks that ship. Yeah, so we are all
products of pop culture.

Speaker 3 (01:08:30):
All as I said before you, Yes, I'm cold crushed, Yes,
all the metal songs that are there, but I'm also
the Brady Bunch and Adams Fan and the Flintstones. All
of that ship is like a part of me and
Jeffersons and the Jeffersons and Archie Bunker.

Speaker 2 (01:08:47):
Queens.

Speaker 3 (01:08:48):
Fucking yes, the Honeymooners.

Speaker 2 (01:08:54):
On Sunday and.

Speaker 3 (01:08:55):
What's what's my girl?

Speaker 2 (01:08:56):
What's my girl? Lucy? All right, that's the first Cuban
exactly when you be a Dominican too, you're talking about
Chester you and me? Was wrong? No, it was he
was about to say that.

Speaker 4 (01:09:18):
Day. He was like, we went before we get into
that point, before we leave the Stanley's. Did did you
get to meet Stanley? When I met him two times?
We became homeboys. And it's crazy that because obviously this
is you know, comic books were a passion that you
sold stuff that was your passion for another passion and

(01:09:39):
the full circle. Now come back and be able to
do something that you were about and not planning on
that crazy, that's Miles.

Speaker 2 (01:09:46):
But stan Lee came out and he talked, I go
to schools and I talk about this ship. How did
you meet him at Comic Connor said, I gotta go, mister,
you're like some nurse. Listen, if you go over comic books,
that's the really you gotta know about that weekend. You

(01:10:07):
gotta you gotta be in tune to know about you
know what I'm gonna be honest. I watched uh arentearage
where they where they went to comic com everybody is
dressed like the superheroes that they like.

Speaker 3 (01:10:25):
Yeah, superheroes is comic books, as TV shows, the Star Wars,
it's all of that ship. But stan Lee taught me
something that set me up greatly to to fucking prosper
in this ship. And I tell cares about this.

Speaker 2 (01:10:39):
Stan Lee taught me like when when when when I
was reading the comic books, and I'm a school kid,
so I was like, you know what the funk? I
gotta know what the adjective is for. But the fact
that I got taught with the adjective for, I noticed,
if you notice what all the superheroes they ain't just
who they are. If I say the amazing, you'll say

(01:11:00):
if I say the amazing, you'll say.

Speaker 4 (01:11:03):
If I say the invincible, you'll say incredible, Hulk incredible.

Speaker 2 (01:11:08):
If I say incredible, you'll say the guy to him,
or if I say mighty. So Stanley, tell who you are.

Speaker 3 (01:11:17):
Find an adjective this powerful, productive and positive, and put
it before it so I get to rise high school.
Spider Man's amazing, Iron Man's invincible Hulk is incredible, Thora
is mighty. So I get to Rice High School now
and I'm realizing, oh, this shit ain't just about making records.
It's just like some real cultural way of life shit.

(01:11:38):
So I'm buying all the tapes from Terrence Washington and
this is twelfth grade now, so nine, ten, eleven, twelve,
because I'm spending all my money on these tapes hearing
the beats. When I was a kid, I grew up
loving seventies rock radio. I'm here in Theodore and Bam
and all of them used to break rock records to
wrap over run MC didn't great rock wrap dated. We

(01:12:02):
just did in the record and got all the money.

Speaker 2 (01:12:04):
Well, you popularized it, right. So I get the twelfth
grade and there's one tape in the middle of the
cassette thing. It says twelve dollars. I'm like, damn, I
ain't got twelve dollars. Was that expecific back then? Yeah? Okay,
what was the tape? Five dollars? Yeah, the typical tapes
was three to seven. Oh okay, oh wow, And that's good.

(01:12:25):
Just you get caught, but.

Speaker 3 (01:12:26):
You're getting You're not a kid fight dolls in that era. Yeah,
is there no fucking money and you broke it. Shit,
I'm lying every day. My father was like starting to
bug out on me. It was like, how come every
day you fucking need a book?

Speaker 2 (01:12:39):
Dad? I need so you buy it. Tape somebody takes.

Speaker 3 (01:12:43):
But there was the one tape in the middle and
that just said twelve dollars and it says c C
four versus the Fantastic five. At harlemor So, I asked
Tim and show what's that one?

Speaker 2 (01:12:54):
You can't have that one? No time with it. They
don't even pay attention to that one. Wow.

Speaker 3 (01:13:00):
And then he hits me with this CEC is Cold Crush. Okay,
I don't know that yet, Like, what's the CC four
because I'm used to Treacher Street right, Funky four plus one,
Fantastic five, first five, double trouble. He goes, that's the
Cold Crush four. Now I had never heard. Fuck, it's
the Now why can't it be the Fantastic for it?

(01:13:21):
He says, you can't have that one?

Speaker 2 (01:13:23):
Now you know I want it.

Speaker 3 (01:13:25):
That was it's like telling us, now, what are you
gonna do one?

Speaker 2 (01:13:28):
That's what you want? Cold Crush four vers The Fantastic five,
And had the world you can't have that one yo.
I gotta have that one man. Yo, I got eight
dollars like he was, okay, here take this ship.

Speaker 3 (01:13:44):
You owe me four dollars, Get the fuck away from
me like type like I took that ship home. Note
heard yes, yes, y'are to the beach.

Speaker 2 (01:13:53):
Y'all Apache, super Sperm, Coumo d with the super Duper Party,
Pooper Man with full of super due for disco band
fast Fire and all of that ship.

Speaker 3 (01:14:02):
I hurd melly mal. I heard Shah Rock who inspired me?

Speaker 2 (01:14:08):
Yeah, yeah, yeah, I got my style. Using an echo
from Shah Rock. A girl female, you say, I heard
her go to all of you. My name is shah
not a millionaire. I want to do that jay so Ja,
my name is dm C see all time great great,
but the most round rounds New York State, producing yap
from Sharrock. I have Wow Rock you never smoked weed?

(01:14:32):
You wo remember everything? No, it is smoked weed and
he didn't some cocaine.

Speaker 3 (01:14:37):
Yes, that's the picture.

Speaker 2 (01:14:40):
He was a rock. I said, you know, we didn't
know get down like twenty second Street. You know what
I'm saying. Forget, I'm sorry.

Speaker 3 (01:14:55):
So I take this tape home and and and I
remember when I played it for Joe too, it had
the same effect. I put the tape on and my
brother Samuel Box not too speaking. This single one for boomboxes.
You know hip hop's crazy ear ring jukie ear rings.

(01:15:17):
So this is before the Boom Boom box, okay everywhere.
My brother didn't have enough money to look at Boom yet. Okay,
So I put the ship on. This ship goes what's up?

Speaker 2 (01:15:27):
Fly Girls? No, what's up fly guy? Her little fly girls.

Speaker 3 (01:15:31):
It's the big throw down at Harlem World called Crush
four versus Fantastic five. They ain't no cop.

Speaker 2 (01:15:38):
We'll eat them alive because we're the best when it
comes to wrapping. And like the fly I said, it
is bound to happen. So the bat time is now.

Speaker 3 (01:15:46):
Let the battle begin and let the crowd be the
judge off who win, because we don't need tuxedos, because
all we want to do is Dog Kevin Dot Master,
Robin Whip and Ruby D like we always do, say
what we bad Old Fantastic and here's a little gift
so before they go, they all can know.

Speaker 2 (01:16:07):
Just who they're fucking that ship, like whoa what this is?
And then it was where Charlie chased Tony Tone and
I never heard this, the cold crushing, mother fucking tough
ast for MC. Charlie chases to the Puerto Rican. Yeah,

(01:16:28):
Puerto Rican DJ named John once again North, give me
a pen, right, give me a pain, changing all of
that living queens, and I'm just and that shit. I'm
getting ready to fucking destroy motherfuckers.

Speaker 3 (01:16:42):
Devastating by control of DMC and carectation. But here's what
the reason why I made the comic book Amazing, Spider Man, Incredible,
Hulk Invincible.

Speaker 2 (01:16:51):
I am inn.

Speaker 3 (01:16:52):
On that tape, they had names the Hutton Maker, J
D L, The Almighty KD, the Girl Take It Easy
a D.

Speaker 2 (01:17:01):
So I'm in Rice High School. I'm listening to this tape.
I'm taking typing and that's the end of a letter.
You're supposed to type your initials, right, So I'm still
easy D. They drop rocking in the pocket Joom koom
joom jen joom doom joom jun j joom dune joom
jin juomo joo jump. Then they go, we're not talking

(01:17:21):
about your mother, your mother, not talking about your uncle,
your uncle, not talking about your father, your father, not
your mother, no other, no other other other, and then
over rocking in the pocket they start doing Yeah, all
the other MC's can't deal with us because we are
the four and on as the cold crush, putting fellas
on the jock making fly girls rock. You know, we

(01:17:43):
got a funky song and you can come and sing
and dance up. Guse you g We got the two
ms two DJs on the wheels are steal Charlie chasing
tony tone at the top of the field telling all
the competition got the b for real. We rock a
party to the break of day, and this since our
sound one we play. We are the four mcs with

(01:18:03):
the most respect and if you want to throw joints,
you gotta come correct. We might have to take you
out and keep your crew in check because the CC
four is number one. They got the walk before you won.
What hell?

Speaker 3 (01:18:15):
The initials of my name g MC and it's gonna
get the higher power body rocket in the galaxy. Oh
my god.

Speaker 2 (01:18:24):
Then the L comes on the initials of my name
jd L. I wanna go to heaven for I go
to hell because I'm pushing more power than a door,
self better than the oldest and the newest.

Speaker 3 (01:18:36):
What's your name? My name is Sherry d Lewis. Tenn
has killed me. The initials of my name E A D.
The baddest thing to hit New York since O E
lost it. So I said, Darryl McDaniels is the initials
of my name.

Speaker 2 (01:18:52):
D from Daryl. I'm becoming d m C because of GMC,
and flat and Cast hated me. But then when I
met him and told him that, he almost cried Grandma's cast. Yeah,
he hated you came d m C because of GMC,
but he hated Holy Ship, hated us because they were like,

(01:19:16):
who the fuck? Because we now, no, no, we had
areas in Queens that f Hollis. No way, I didn't
know that. No, No, that frack was known. Hollis got known.
Hollis started to get known around when everybody was saying

(01:19:38):
do a diabet side, okay, But we was this little
click we was. We was a little and we was
only like ten blocks and stuff. But we started getting
known because we was fighting every We was fighting all
the south side, the south side. This is Hollie, right,
that little jigger night you said. But what I'm trying
to say is they were like who are they now?
If you listen to step off my grandmaster flashing the

(01:20:04):
first fire, they were talking about us, saying all yourself here,
and she's a perpetrating the fraud. Well, what did Mel say?
What did Mel say? On the step step step step?
I was sitting on the corner just to waste my time.

Speaker 3 (01:20:21):
When I realized it was the King of the rhyme,
I got on the microphone and what do you see?

Speaker 2 (01:20:25):
The rest was my legacy. I was born to be
the king of this bi boy thing, to have stallions
and my downs, big diamond rings, hold a mansion in
the rock, food men in the go because rap is
the game. Because I like Shakespeare, I'm a pion. Then
because there may wrap something people wanted there because before.

Speaker 3 (01:20:39):
My right now, he said, little pieces of a dream
is all you mean?

Speaker 2 (01:20:43):
Ever since you stepped on the ncccene, biting your moves,
taking fake awards, seeing everyone else was perpetrating the fraud,
but you nothing, Mel says that on it, Mel thought
he told you that we were getting on there at
the New York Music he was getting.

Speaker 3 (01:21:03):
Yeah, you guys were the eighty five getting.

Speaker 2 (01:21:05):
All those Never seemed happy. No, he's not but that's Mel.
But Mel said he thought Run was talking about him
on Stucker and seas you.

Speaker 4 (01:21:15):
Didn't feel brittle that they were coming at you. I
would have thought them coming at Yeah, I don't know.

Speaker 2 (01:21:20):
I was scared that.

Speaker 3 (01:21:22):
This is new to me, this is the hold, this
is that like, and they was just I didn't know
it was that level of competitive. Yes, and it was
almost like I was Run got real mad at me.

Speaker 2 (01:21:36):
I was like, I gotta stop rapping, oh ship, And
he was like wow, because Mel, but come on, man,
but you got it. I don't know.

Speaker 3 (01:21:45):
I'm a bedroom rapper, so this is Mel and more
they mad at me. You know, you're like, the real
dudes is mad right now.

Speaker 4 (01:21:53):
Yeah, It's like it's like.

Speaker 3 (01:21:54):
The ship where you're growing up in the hood and
the dude say don't do that, and you don't do
it like this fucking ship.

Speaker 2 (01:22:01):
So it's like, I can't do it no more because
they don't want me to. Ron was like my Run
rapp motherfucker.

Speaker 3 (01:22:07):
There was a time we was at the New York
Music Awards and it was Run to him see Houdini,
Curtis blow, Jimmy Spicer. So we was all together and
Run was the son of Curtis Blow. So this day
they the son grew up and cursed the father. We're
sitting in the dressing room, so we had king I'm

(01:22:29):
the King of rob. I'm saying this eighty five.

Speaker 2 (01:22:31):
I'm the king.

Speaker 3 (01:22:32):
I'm the King, I'm the King. Kurt was known as
the King of Rap at the time. If you go
look at Flyers and he was king of self imposed
king of Rap was a King of Rap too.

Speaker 2 (01:22:41):
But run leaves the dressing room and I'm sitting in
there with Kurk. Curtis Blow comes over to me and
he says, now, you gotta understand, this is Curtis Blow
to me. I don't know.

Speaker 3 (01:22:53):
I'm like Joe, I don't know Harlem, like I've never
been to one hundred and twenty fifth Street.

Speaker 2 (01:22:57):
Tell him in the rice, right. So Curtis comes over
to me and says, it's Curtis Ball, Yo, d you
gotta stop saying king, You're the king. Now I would
say I'm the King of Rock, but my king of Rock,
they started calling me the king. Right.

Speaker 3 (01:23:13):
So he comes it is Curtis Flow, Yo, you gotta
stop saying your king. So I don't know, no better
know it okay because I'm taking like, did you Curtis blow.

Speaker 2 (01:23:23):
Way? So Ron comes back in and he's noticed my
mood changed, right, so y yod, what's the matter And
I innoctantly go, yeah, I'm trying to figure out who
I'm gonna be. Now say why because Kurt told me
I can't say king what in front of everyone?

Speaker 3 (01:23:41):
Mother fucker, you can't real Run went and on Kurt like, don't.

Speaker 2 (01:23:45):
You ever say that to my man? The character he
wasn't Crush grovem right, right, Yo, he did that ship
in real life. You gonna say that? And then Brenda's
funny said, stream that shit hard and louder now, But
that was the whole for me, that was the whole.

Speaker 4 (01:24:03):
That was the changing of the guards of anything, right,
That's what was happening. It was right, but he wasn't
ready to pass the tour.

Speaker 2 (01:24:10):
You know what I'm saying. But what I'm saying is
my attitude. Everybody, my attitude, our attitude collective. Especially after
I played the Coal Crush tape.

Speaker 3 (01:24:22):
For Run and Ron was funny when he heard the
ram he run goals. I don't like Jerry d Lewis
I like JD l not known it's the same person,
but we just saw they was their rymen and chases
cutting while they rhymen. So we said, that's what we're
going to do.

Speaker 2 (01:24:39):
So those moments where the game changes of run DMC's presence,
you know what I'm saying.

Speaker 3 (01:24:45):
It wasn't about making them happen.

Speaker 2 (01:24:47):
We got crazy major major hit records because we were
just doing routines.

Speaker 3 (01:24:52):
It was rap routines. The Funky Four, I mean the.

Speaker 2 (01:24:56):
Force mcs but to force some seas before they were
to or some ds STEVD and there Yo, they had
bars stevd and they had bars. So if you look,
if you take Tricky, for example, which is a universal
that was that was a big good that was supposed

(01:25:17):
to be done over numbers Boom boom jack. It's tricky
to rocker rock. Tricky is just hey, Mickey, oh, Mickey,
you're so fine, so fine, you boma what the man?
You take the melody of the hot song, and then

(01:25:38):
you talk about.

Speaker 3 (01:25:38):
Which is a form of sampling.

Speaker 2 (01:25:40):
Yeah, yeah, what do they call it when they redo
the record? No, no cover.

Speaker 3 (01:25:44):
But this is in a sense, it's an interpret We.

Speaker 2 (01:25:49):
Called the Force and C fifty J doctor Rock he
d Jays.

Speaker 3 (01:25:59):
And when and you drop ladies and gentlemen, you drop
in piece of President.

Speaker 2 (01:26:04):
B D Jays and we MC here We're gone. It
was all rhymes, routines. I got the Cold Crush, it's
gi gantar Ji Gan the Giganto Robot cards. So we
was like, we're gonna do rhyms and routine. Here we go.

Speaker 3 (01:26:23):
It's just here we go.

Speaker 2 (01:26:25):
It's just we put the tape on and you hear
mode s start the show, Ladies and gentlemen, cool mode
to the highest screen, the place to be on the wheel,
steals DJ Easy Lebel and you go into the song.
So here we go came about because now we're playing
the Roxy La no New York. Okay, we're playing Roxy.

Speaker 3 (01:26:44):
Were playing fucking the Fever, were playing Dance Materia, but
we're playing Roxy. And what's special about the Roxy is
the Jo Nation had had locked down every Thursday night.
I think it was a Friday night. So here's run
DMC and Jay had a broken leg too. She had
a broken leg. So we playing the Roxy and run.

(01:27:06):
He's like, yodd, you go start the show, motherfucker you
you've been doing fifty put my out there. I'm gonna
come out, you start sucking seas. I'm gonna come out
for my part and I'm going back.

Speaker 2 (01:27:20):
To the stage. But he's like, nah, dude, you gotta
do you know, you gotta do it. So we arguing
on the side of the stage and I'm not knowing,
like the stage is right there, so you go, you
do it, you do it. As as he's coming at me,
I'm walking backwards, so like this is you go down
the stage.

Speaker 3 (01:27:35):
I walk up.

Speaker 2 (01:27:36):
When the people see me, I'm like, oh shit, what
the fuck? So it kicked in to me.

Speaker 3 (01:27:46):
It was like, yo, just tell them who you are,
like they do on the tapes. So I just turned
to the crowd and I remember certain introductions.

Speaker 2 (01:27:55):
There was an introduction of this crew called the sure
Shot Crew, but they used to do it with He
used to go the sure Shot Crew crew crew starring
DJ Cool, Cuts, Cuts Cool, c C, Sugar Bear Bear
and the Three m Seeds That'll rock you on down
down down to your knees. And they took a patche
my Man Bill Blast Boom back, Sean c Voom back

(01:28:18):
Raheem Voo back New York voom ah voom you vom
Ready for voog vogal vocal vote look and then theyre
going to the routine.

Speaker 3 (01:28:27):
So I was like that shit D one two three
in the place to be as it is playing the Sea,
and I pointed backstage he is DJ running and I
am DMC and then oh shit, and then J I
love J and provision.

Speaker 2 (01:28:42):
He just he's oh, I got it. He takes big
B and sou's going voom fat boom boom boom fah.
So he is DJ Running. I am DMC boom for
Funky Fresh for nineteen eighty three. I'm suiting now DJ
jam Master Jay inside the place with all of base
see Lee's without a trade, and I'm telling the whole
rocks he does. And we came here tonight to get

(01:29:04):
on your case.

Speaker 3 (01:29:05):
And we the motherfucker from Queens, a whole nuther level
ship and we are and I remembered Cold crushing, mother
fucking tough ast far and we are. We had sucking
seas was Crush Groove one, and then we did a
song on the second album, Crushgroof two, and then we
did the Tim Crush Group. But I remembered Cold Crash

(01:29:26):
and we are the crush grooving.

Speaker 2 (01:29:29):
Body moving record making and record breaking and it goes
a little something like this run came out. It goes
to one, two.

Speaker 3 (01:29:37):
Three and here we boom, here we go. Biggie probably
was there at night because he got a rhyme with
I was snatching change, I was rubbing, I was.

Speaker 2 (01:29:49):
You go yeah.

Speaker 3 (01:29:51):
So all of that ship was connected, but it was
just me being prophetic and not knowing it.

Speaker 2 (01:29:57):
If you listen to the jam Master J record, after
I said Jay, your name's your message J, and I'm I'm, I'm.

Speaker 3 (01:30:03):
I guess I was like the cast of the group.
I'm gonna write a whole song about Jay to let
people know who he is. So we did kick off
your Shoes, Jump on the job. Listen to the jam
Mess that's the rocky rock. His name is Jay and
he's on his way to be the best DJ J
a wild. So we made that record so that while
we're opening for Parliament Funkadelic, we could tell the audience

(01:30:24):
who the DJ guy is.

Speaker 2 (01:30:26):
But there's a rhyme in there. And my therapist told
me about this too, Mom, there's a rhyme in there.

Speaker 3 (01:30:34):
Because even around that time the whole Curtis Blow, when
we was coming up, we was getting so much success
that number one, motherfuckers thought we were selling out.

Speaker 2 (01:30:44):
And number two if it thought you were selling out,
they thought we were selling out because we you know,
it's MTV.

Speaker 4 (01:30:49):
Whenever you reach a certain amount of success, everybody hating
no hammer Hamma.

Speaker 2 (01:30:53):
Should fucking get should have got celebrated during the He
was the big dolls. He had the endorsements before all
and motherfucker's good deals and they don't even care. Motherfuckers
don't care about the culture, but they their deals.

Speaker 3 (01:31:07):
But there's a rhyme I say, where lives can be
never singing the Blues. We got to tell y'all all
the good news. The good news is that.

Speaker 2 (01:31:14):
There is a crew. And I had wrote that rhyme
when Joe put me in the group, but it was
just pretend to make believe because I was sending in
my basement one day and I said, what would I
do if I had to battle by myself the Furies
five Cluhit or in Treacherous three.

Speaker 3 (01:31:31):
So I wanted to be prepared where lives can be
never singing the Blues got to tell y'all all the
world all your fucking credits and say the good news,
The good news is that there is a crew not five,
not four, not three, just two two MC's who are
claiming of fame and all other things won't be the
same because it's about time for a brand new group

(01:31:53):
run DMC to put you up on the.

Speaker 2 (01:31:54):
School you went out, I said, the battle rock. Goddamn.

Speaker 3 (01:31:58):
It's when I said that the industry started changing. It
opened the door for l It opened the door for pe,
It opened the door for all of us.

Speaker 2 (01:32:08):
When we got inducted into the Rock and Roll Hall
of Fame in nine, they called me over DMC, I
gotta tell you something, you guys was prophetic. What do
you mean?

Speaker 3 (01:32:18):
In nineteen eighty five they told me, y'all made a
record called the King of Rock. We had the balls
and gus the screen that we were the King of Rock.
A video with Larry Budd Melman from the David Letterman
Show denying us entry into the Rock and Roll Hall
of Fame. You guys can't come in here. This is
a rock and roll museum. And then we screened we

(01:32:38):
go in Trassey Museum. They hit me with this, don't
you know that the Rock and Roll Hall of Fame
didn't exist in eighty five? It didn't start till eighty six.

Speaker 2 (01:32:49):
Shit, y'all made that in eighty five. Holy shit, no instance,
at least the fifties.

Speaker 3 (01:32:56):
There's a rocker.

Speaker 2 (01:32:57):
It didn't start tell eighty six. How could the whole
video it didn't start till eighty six. Lookrect the profits
the fucking exactly, it's crazy so all in all, but
I say all this because is even when hip hop

(01:33:21):
changed and became the music industry and said, the thing
that kept running Me running Jay did was nobody could
outdo us on the show. Right.

Speaker 3 (01:33:32):
We opened for Big, we opened for Park, We opened
for parking Big, and it was crazy about them. They
didn't know no better pop. There's no way I'm going
on after run DMC. And this was POC and is
fucking prime.

Speaker 2 (01:33:48):
Here's the beautiful thing about it. The promoter is losing
it because if we go, if POC goes on before us,
paks not knowing, half the crowd gonna leave because all
the half that crowds did because of him know my music.

Speaker 3 (01:34:01):
I heard of us, so me running. They have to
go in the room and.

Speaker 2 (01:34:03):
Said Poc, we're very flat at and stuff like that,
but we have to tell Park, this is your audience
see those people. We have to tell Park no, we
we're happy, POC. You know we have an arsenal, but
those people are here for you, and he tells the promoter.

Speaker 3 (01:34:18):
All right, fuck that ship. The only reason I'm going
on is after run DMC is because they told me
to and he went out there and been popped. We
open for Big a couple of so Daddy would call us, Biggie.
We want Joe to open for the bad Boy Reunion.
This is when all the motherfuckers was together, Biggie sitting there.
Ain't no way I'm going on after running MC. You

(01:34:39):
get my ass kicked, y'all. Mothers got Peter Piper and
beat the big big yes, oh big, yes you know that.
But these people are hit you.

Speaker 2 (01:34:47):
So the reason why I say that it's not about us,
It's about that thing that they know is untouchable. Like
this hip hop shit is at old school. Isn't old
or used to be. It's eternal. Right. Every time we
would show up, even in the new era, motherfuckers would
be like, oh shit, Pete Rock saved us. What's crazy
about life? Is this The very things that you do

(01:35:09):
down with people, The very things that you do for
people with people, whether good or bad, will happen to you.
So what did people say, run DMC did with Aerosmith,
We brought him back. We did walked his way over
with Aerosmith, brought him back.

Speaker 3 (01:35:28):
Going into the nineties, everybody that had said Park Big,
Naughty by Nature list and that we opened the door,
it was their show. But everywhere we went they were
still worshiping us. And it's because you allen. We wasn't
participating as much. We wasn't on the radio, wasn't on
a charte and have a video. Pete rock comes along
for the down with the King Red record, I Got

(01:35:48):
your home, Come over my house. We go out to
Mount Vernon to Pete Rock's house. We go down in
the basement and this is Pete Rocky goes over to
the NPC. It's the button that music comes on. It's
the nineties now got all of the Coogi rap. Motherfucker's
killed y'all. Motherfucker like the dope shit going on. But
we still run the MC. But we're still eighties and

(01:36:11):
find it. We're still working too, because we're doing a
lot of the white rock shows. We ain't doing the
New Ship. We're doing Jay's there hanging, but we don't
have a song for that, so we go on the basement.
He hit Pete Rock hit in PC and he hates
to want to say that, well, running him. We see
that for Aerosmith. Pete Rock did for us. He brought
us back. Wow, he's running.

Speaker 2 (01:36:31):
Pete Rock saved our careers. Heat Rock.

Speaker 3 (01:36:36):
He hit the button that music came on. He goes
over to the turntables, says he's a DJ. He takes
runs house. The part of my verse will go. Name
is mc all, Tom Gray Bust the most rhymes, Robers
New York State Reporters, Clark produces y'all.

Speaker 2 (01:36:53):
They want to be done with the King and want
that man for the he stays safe. Sat down with
the King over that me. I posted that this morning
and Sony Music made me take it down? Was the
verse that just house? First they made you take it down?
Yeah yeah, yeah yeah. I was heated. They so go ahead, bad,

(01:37:15):
We make down with the King, great record man. Then
we make the video. Go look at the video. Right.
We didn't invite his ass.

Speaker 4 (01:37:26):
He heard everybody wanted to be a part of it
because let me, you did you doubt that that was
something like that would happen where everybody wants to me.

Speaker 3 (01:37:35):
Were you guys not of us in the thought?

Speaker 2 (01:37:37):
But when it came, it's so humbling, right un whoever
was in town came show love. But I'm gonna let
you finish. But let me just stop me for one second,
because you know all day you've been you've been saying
how much stan Lee means to you and how much
his superhero. Well, our show is about giving people they flowers,
and I wanted to give you your flowers face to face,

(01:37:58):
man man and tell you you you you you my hero.
You know what I'm saying. You are heroes. You know
what I'm saying. We wanted to give you your flowers
like man, like you know we've been doing this. We've
been doing this for for seven years.

Speaker 3 (01:38:14):
I mean, he's day one.

Speaker 2 (01:38:15):
Yeah, let me just tell you something. Let me just
say something. When I knew I had you booked yesterday,
I couldn't even sleep, like it was I felt like
it was Christmas. Like I felt like today was Christmas.
Like I couldn't sleep. I woke up. I wanted to
make sure I did everything. I worked out, I made
sure I didn't drink, I made sure, Like I just
wanted to be everything, because that's what like I said

(01:38:36):
it in the intro and I said, if it wasn't
for a run DMC, they probably wouldn't be a Compona noriegga,
which means it wouldn't be a nory, which means it
might not be a drink champion, and so on and
so forth with. You know the legacy that you guys
laid down, and I want you to know face to
face man, the man is that it takes nothing away
from me to tell you how great you are. You
guys are great. You guys are guys, are legends, you

(01:38:57):
guys are icons, And I just want to continue to
supported this is what this show is about. You know,
so many people, so many people like they get ten
years in this game, or they get twelve years or
twenty years in this game, and they say that they
washed up. You know that's not that doesn't this is
no other genre of music, knowing the genre of music
they says that. And you know, to celebrate Hip Hop
fifty and the know that you guys got damned there

(01:39:18):
forty of the.

Speaker 7 (01:39:19):
Fifty years of the goddamn fifty crazy goddamn Let's make
some goddamn I mean yeah, I mean the same way y'all.
For everybody said that, yo, you would. That's how it
started comic books.

Speaker 2 (01:39:33):
I don't know if you're no Riggs Morales of course,
Dominicant partner part of this. Yeah, Riggs is my partner's amazing,
So you're Dominicant. I just.

Speaker 3 (01:39:47):
Came about. I went to Riggs for some music stuff
and when I sat down with Riggs, he was.

Speaker 2 (01:39:51):
Like this, and I was like, hey, Rix, he was
and he used these words. He said, you DMC, you
are my superhero. And he asked me what was it
like when he was a kid, and I was like, well,
I used to just reclare, recollect into a comic book.
So we sat there. We didn't talk about hip hop
or music. He said it for three hours and talked
about comic book. After he heard me say all this

(01:40:13):
stuff that I was doing, he said, d you should
do a comic book. And I said, nope, don't get no,
don't put me in that hell no, I know what
you're trying to do. And he was like what, I
didn't want to do a comic book and make the
comic book culture thing. Oh, just because this motherfucker had
a couple of hit records. Do anything because there's a
that's how much you cared about it, right, But then

(01:40:33):
Rick said, no, d us comic books for for hip
hop and by you being hip hop, this will work.
So Rigg is the guy that made the Darryl Man.
He said, you can't use Marvel. I was pissed off.
I want to use it. I've got to be Marble.

Speaker 3 (01:40:48):
Can't use DC, can't use Image, can't use value, and
can't use milestone. What are you gonna call your comic
book company?

Speaker 2 (01:40:54):
Now? This is a beauty of hip hop shit. I
don't know DMN C d's for doing it all of
the time. MS for the ROMs that all minds cease
for cool cool ass can be run used to say,
while you're wear those glasses, oh I can see what
goodness day? Please for doing it all of the time.

Speaker 3 (01:41:09):
MS for the ROMs that on minds cease for cool
cool ass can be why do I wear contacts?

Speaker 2 (01:41:14):
So you can see what do they start with? So
it's it's relevant. But then I'll go, you know what, Riggs,
I'm gonna just be making comic books. And you know
how Riggs is I'm gonna just call them my company.
Daryl Makes Comics show. We're gonna do a gitar because
thank you Riggs legend. It's part of shady Wreckage Sorcerers.

(01:41:40):
It was.

Speaker 3 (01:41:43):
That you understand inspirations are two way street. Why are
you telling me that inspires me to still keep going?

Speaker 2 (01:41:51):
Let me tell you how much of a legend you
guys are. Halloween had just passed, right, and then my wife,
my wife comes in the house and she buys my
son a fake run DMC outfit, and I was like,
you gotta get that out of my house. I had
two stripes. I was like, you cannot do that to

(01:42:12):
my son. But my wife, not knowing, she's just thinking
like she's thinking like they're paying homage, but I'm saying
they're paying the wrong homage. Like if you're gonna do,
you gotta go get this, Yes, yeah, I can't let
go out like that. I was just like, yo, But
that's how rariconic it is. People dress up like yeah
off for a Halloween. That's crazy crazy. Did you ever

(01:42:34):
see the fake one DMC constant? Yes, yeah, you gotta
se what we do.

Speaker 3 (01:42:40):
Just so we went and went to court and all
they can sell it because all I gotta do is
change one little thing. Wow bullshit, you know, and the
world knows where it's coming from, right, like to check
just the one little thing, right, Why do you think
some of these cars look like the Benzes and the

(01:43:00):
Meschas thing we tried to see. You're crazy, it's great,
But what we should do is put an official run DMC.

Speaker 2 (01:43:09):
Yeah. Yeah, that's that's the key. That's because everybody will
go by that anyway.

Speaker 3 (01:43:16):
I mean all I get, I get two things in
the holiday season Christmas. I can't go to them all
because Muslims, Jewish people, Chinese people, they screaming the rhyme
Christmas E, Christmas, Halloween, Justice Halloween. My text message, my
emails and everybody that sees me gets this.

Speaker 2 (01:43:37):
I'm in seven to eleven, I'm in the super Guests.

Speaker 3 (01:43:39):
All be tonight, you know, and then my text. But
here's a beautiful thing.

Speaker 2 (01:43:47):
The kids going to school, right, the parents dressed them
up over the last thirty six years since that record.
But now kids that like it's tricky.

Speaker 3 (01:43:57):
Because it's hot on TikTok, go to discover and see
who are the guys behind this record that they don't
they don't know me like you let us know the
song they kids in now saying mom, may I want
to dress up like run DMC.

Speaker 2 (01:44:10):
That's the beautiful thing connecting with that next g right,
you know what's even more beautiful is that you guys
are timeless like that. That that's what's even more beautiful.
It's just your timeless. Like I was speaking speaking the
trust from Naughty by Nature and I was telling him,
I was like, yo, like, most of the time, if
I'm in the party and they're not playing at least

(01:44:32):
one or two or three Norty by Nature part of
the party, I don't want to be And if they
were not playing Bets and they're not playing Run DMC
at a party, I pretty much probably start don't like
the DJ. We at that fucking fucking Rolling Stone level.
So let me ask you, Right, I did an interview
with my friend Brian earlier and he had asked me

(01:44:56):
this question. So I want to ask you this question.
What was the moment when you felt like you made it? Oh,
the moment that I felt like I made it was
it was eighty six.

Speaker 3 (01:45:11):
Because of walk this way now to us to a
whole other level. And this is a crazy moment. I'm
on the Grand Central Parkway traffic. We're no no open road. Okay, Uh,
the actually were Parsons Boulevard at something. I'm triving right there,

(01:45:33):
and I'm driving and not knowing because because we used
to I used to walk around as DMC because that's
how everybody else was dressing.

Speaker 2 (01:45:43):
So I fit in and unless you knew it was
run DMC.

Speaker 3 (01:45:47):
My man, Bud buddy, we used to stand in the
corner hollis and but my boy would hit me CD.
That's the hundredth time that car came around the block.
And all the doing is looking and can't believe running
J and Jay because run with the family man and
Jay was still in the street on the corner.

Speaker 2 (01:46:04):
So here's the time.

Speaker 3 (01:46:05):
I'm driving on the Grand Central Parkway in my nineteen
eighty six Fleetwood Caddy.

Speaker 2 (01:46:12):
Okay, it was a SOB Tobies in my back black
Fleetwood with the wolf is in the behind the sea
hall and I'm driving and I just look over at
the car next to me and they crash. Oh shit,
because they're staring at you.

Speaker 4 (01:46:30):
Yeah.

Speaker 2 (01:46:31):
I pulled off the holl and said, oh shit, I
can't walk around like this. They saw de glasses had
Adida stripes. They didn't see the forty I was holding,
but I look over and they crashed right, So.

Speaker 3 (01:46:45):
Then I knew that's the day. I said, Oh, now
I know what Mick Jacker and Michael Jackson feel like.
It was nineteen eighty six.

Speaker 2 (01:46:53):
The game my Adida's first non athletic entity to receive
a major sport like because I want to, I'm gonna
cover walk this Way real quick, right, Okay, So the
rumor has it is Rick. This is Rick Rubin's idea. No,
oh wow. Now Rick is one of the greatest producer,

(01:47:15):
but everybody will tell.

Speaker 3 (01:47:16):
You he don't create anything. Okay, he comes in and
brings the best out of you. But you got let
me see, he ain't coming. He's not like writing and
this and that, and I got a song idea. The
original idea came about like this. We was finishing and
raising hell album. So Jay goes, Yo, we gotta make
a beat jam. So we was just gonna sample toys

(01:47:38):
an attic YO sample. We didn't know it was walked
this Way. Me and Rovers said, Yo, get the album
with the toys on the cover and loop number four
because the DJs.

Speaker 2 (01:47:51):
We was scratched the title of the records house, so
the rival DJs, we just knew we want.

Speaker 3 (01:47:55):
To step debt Step debt, and I remember that shit
down there, bet. So it's gonna be three minutes and
thirty seconds of a loop of that, because if y'all understand,
Walk this Way, like I said, it was in the
first rock record we had, Rock Box. It wasn't the
first rock rapper record at King of Rock, people not

(01:48:16):
Raising Hell. We had a song called Raising Hell and
that was us making in us rhyming. So we was
gonna loop walk this Way, and we was gonna rhyme
about how good we were. And I still remember my
rounds to this day. We had the whole rhyme thing done.
It was gonna come on then, and I was supposed
to go because we came out in eighty three.

Speaker 2 (01:48:35):
It's eighty six. Now I'll go, I'm DMC in the
place to be, been wrapping on a mic since eighty three.

Speaker 3 (01:48:40):
I'm the greatest MC in history. They will never be
an MC better than me. And it run was supposed
to go. I'm DJ Run and I'm the more typical
run the MC shit. So we had that going on.

Speaker 2 (01:48:49):
Rick Rubin, who was our producer Jomp, comes in.

Speaker 3 (01:48:51):
The studio and he says these words, Yo, y'all should
do walk this way over. So we think it from
a limited hip perspective. Motherfucker, what you think we're gonna do.
We're gonna sample this ship. We're gonna rhyme over. He says, no,
do the record over the way the band originally did it.
So that was Rick Ruben's beautiful idea. And me and

(01:49:13):
Run said no, hell no.

Speaker 2 (01:49:16):
Book running was funny because he used to always hold
my books up and go got rhymes, rhymes? Why the
fuck you want us to sing this?

Speaker 3 (01:49:25):
And we had never heard the lyrics because the DJ's
never let it play that far. So Rick tapes the
vinyl off the record, go in these basement, put the
record on, take a pen and paper, let the record play,
and write down the lyrics so y'all can learn them.
So we drive, We leave grom chun King House of Metal.
We drive from junk King back to my basement. We

(01:49:47):
put the record on ben and they gotta understand anticipation.
We never heard what was gonna happen then that she said,
backshop lover, how you know there for Oh hell no, helly,
we going no fuck that ship. No, we ain't doing

(01:50:08):
this this hill billy gibberous this and Russell screaming that
Joey motherfucking this and that run arguing with this, hell no,
hell no, we ain't a fucking phone up.

Speaker 2 (01:50:16):
And I hated to do record at first. Oh my god,
well what it was. We didn't want to do that.
We don't do that that shop. But you understand it's
our first time hearing it. It didn't digest. It was
just that ship.

Speaker 3 (01:50:28):
Ain't fucking um um. People seem to think that. The
people seem to think that the being them ce you
need a closet full of clothes and ice up jewelry,
pocket full of dollars, walkers every flavor, stuck up attitude
and another kind of behavior. I'm sorry to say that's
how it was before. But people ain't going for that

(01:50:48):
no more.

Speaker 2 (01:50:48):
You gotta give a performance, because by now you should
know that you're giving a party out a flash and
show another grand mastercaso.

Speaker 3 (01:50:55):
That wasn't my I just those industry movers go up
to Cassie, you know much, so we go, No, we hadn't.
We didn't let it digest back showed love. However, he
was doing it. No, no, no, no, no, hell no,
hell no.

Speaker 2 (01:51:11):
Joey Smith was rhyming on on that. Let me show
you what happened. We ain't doing that ship. That's corny.

Speaker 3 (01:51:17):
We want to fucking rhyme.

Speaker 2 (01:51:19):
Man. Run was like Jay, motherfucker, you are a king
of rock, You're a rock box. This is what we do.

Speaker 3 (01:51:25):
So Jay's trying to convince us and we arguing on
that message. Yeah, so then Jay goes slow the fuck down.
Listen he uses these words and this was the game
to listen to Steven's flow, Baci love, I need to come.
Now we're hearing it. We wasn't before. Remember it was gibberish,
but Ja listened to his flow. I understand that language.

(01:51:48):
Vaccine lover. Oh shit, we can do this ship. So
we learn the records. Now this is funny. Y'all can
go to YouTube and hear this version. We still didn't
want to do it. So the original demo of Walk
This Way Run Winning.

Speaker 2 (01:52:02):
It took the whole first verse back seat love behind
if to cover, talk to my daddy, say, I ain't
seen nothing. Did it go you go? Dean? We went
and just did them lamess version of that shit at all.
When we tried to leave the studio, Jay was fucking
standing at the fucking door with his hand like, if
you don't go back in there and do this run
demn shit, I'm shoot jumping.

Speaker 3 (01:52:29):
So we go in there and Jay said, let's flow it.
He said, don't do it like Steven did it. Do
it like run DMC would do it. That's another game too.
Oh we can switch off like we didn't know. So
that that's the version that's you her. So it was
Rick Ruben's crown breaking, universal, brilliant idea.

Speaker 2 (01:52:47):
To do it with.

Speaker 3 (01:52:48):
To do it over now, his was crazy. It didn't
in there with Rick. While we were doing that. Rick's
on the phone calling Boston. My name is Rick. I
know you know who run demn C is. We want
to do your record over that?

Speaker 2 (01:53:04):
Don't want to do it? Hold on?

Speaker 3 (01:53:07):
This is an arrowsman, just to see the people. Okay,
who is this?

Speaker 2 (01:53:10):
Imagine that? Then? This is Rick. My name is Rick Rubin.
I know you know who run DMC is. Do you
want to do the record over? Hold on? Some guy
named Rick Ruben on the phone and they want to
do it. Yeah, and Steven say, yeah, we know what's run.

Speaker 3 (01:53:23):
DMC do what records you do? We want to do
walk this way over. So Rick got them to say, yeah,
we'll do it with you. He got them to come
to New York to do the record with us. So
we walk in the studio one day and they in
there in the first I'm more of the rock guy,
you know what I'm saying, But I'm not sure because
I don't even.

Speaker 2 (01:53:44):
Know rocks from the radio. I didn't have the hour.
So when I walk in the studio this day, I
see Stephen and Joe Perry and the first thing out
me and Run's mother is oh shit, it's the Rolling Stone.
So you know that.

Speaker 3 (01:54:00):
People was like, you know what I'm saying. But that
was like an icebreaker. Stephen Taller said, no, when out
there rolling Stones? Where else Swift? Those are the other guys,
And then we laughed it off. But let me tell
you so much crazy about Rick's decision. If we would
have did it over our way, just rhyming over it,
or he's just been another DMC rock song, would have
been cool. You probably listened to it on the way

(01:54:21):
to work or something. Remember that came out. If we
would have did it over the way they did it.
Without them, it would have been oh okay, cool. But
the only reason it was groundbreaking is because Rick made
them do it with us on MTV. So now their
fans is going, what the hell is Aero Smith doing

(01:54:43):
with the rap dudes? And our fans is going, what
the hell is run DMC doing.

Speaker 2 (01:54:47):
With the rock show? But if you look at that video,
I've been to South Sudan, wow, to perform the War
Zone of South Sudan, So Africa, where they had war
chopping hands.

Speaker 3 (01:55:00):
The one week I go there, they ain't fighting. Why
they love Run DMC. They love Naughty by Nature, they
love pop, they love big. When I left him went
back to fucking Jesus.

Speaker 2 (01:55:10):
But I bring that up.

Speaker 3 (01:55:12):
I've been in South student, I've been a Russian.

Speaker 2 (01:55:14):
About the publishing. Did you guys get publishing on the
walk this way? No, it's all.

Speaker 3 (01:55:17):
That's great question, because great President, it's all. I only
get money when I show up and performance. All they
get all that right now?

Speaker 2 (01:55:25):
The original yes and that, so they was doing that
back then. All they was a new version that they
was doing.

Speaker 3 (01:55:33):
The only thing that's not live on that record is
the drums he was the drummer ship.

Speaker 2 (01:55:37):
But they didn't write the Liric. They just read this
ad in everything. They recreated everything. But people tell me
from Ukraine, I've been to Ukraine to perform. I've been
a Russia to perform. Shout out to Ukraine, Russia. Beautiful
people in all those countries.

Speaker 3 (01:55:51):
That are walking around wearing Naughty by Nature, public Enemy Church,
crazy shit. But everywhere I go they say DMC.

Speaker 2 (01:55:58):
Don't you know when Steven Tyler took that Mike's standing
in that video and knock down the water which separating
you on It didn't just happened in the video, happened
in the world. It did. So that's the power of
hip hop, that's power of music. It really has an
effect on that. But it was Rix Brend.

Speaker 3 (01:56:11):
Now the reason why I say that, if Rick Pitton
suggested to do that, it wouldn't have been what it is.

Speaker 2 (01:56:18):
What year did that record come out? Hast eighty six,
eighty six, nineteen eighty and it gave birth to olymp
Biscuit Okay, yeah, changed to razel conc. It was the
first time I remember being in New York City and
I remember a record, hearing a rap record playing on KTU,
playing on the pop stations, playing on you know what
I mean, not just about I crossed over that I

(01:56:40):
believe at that time we only had w b LS.
I don't ninety seven power that was the record that
not and not that record was so dope that it
was rod but it allowed all music to cross over.
That's it wasn't happening until.

Speaker 4 (01:56:54):
And and did Aerosmith? Did they know and appreciate what
you what you guys? Actually, yeah, it's funny footage of this.
You could look it up.

Speaker 2 (01:57:01):
During the session, Jay shows them what he used to
do as a DJ. He's cutting up, fucking walked this way,
and Stephen Tyler on camera goes, when are you gonna
hear me? And Jay Sop said, oh, that's it, Seve,
we don't and everybody just claim and then Steve was like, yo,
teach me the dj. Jay actually taught Steven Tyler the
DJ ain't with his own record. Yeah, because then you know,

(01:57:23):
they knew, they knew, they knew about hip hop, they
knew about running m C and they were it was
cool for them because you know, they say, we brought
them back, But what we did was this was happening
for them, and my joke is they could have made
a record with God, Jesus and Moses for real and
nobody would have cared.

Speaker 3 (01:57:40):
But they took a chance. You know what, we got
to lose to do this for Brundy m C didn't
just it changed the world.

Speaker 2 (01:57:46):
That's always so kids, man, always be open to try
something new because it might not just change your life,
will have changed the world. But that's to walk this
way story.

Speaker 3 (01:57:55):
Because of Rick Ruper and when Rick was working with us,
we had all the records I'm Racing Hell done. I'm
gonna tell you the coolert story about Rick. When he
was doing Peter Piper. I didn't like my part when
I come on and get the Piper Brighte repers right,
but just the part where I break off and I go.
Jay's like King Mida, since I was told everything that

(01:58:16):
he touched turned to go.

Speaker 2 (01:58:17):
He's the greatest of the great. Get us traight, He's great.
So I didn't like that.

Speaker 3 (01:58:21):
After we sat back and listened to you know, we
had hit It run, I didn't like the way that
sounded on a Racing Hell album. I was like, Rick,
I gotta do it over this and over and he's
telling me as a producer, no, leave it, leave it,
And I couldn't see what he was was.

Speaker 2 (01:58:35):
I couldn't see or hear what he was saying. So
I'm like, Rick, I got to do this over. So
speaking of cocaine, cod tonguing house, some metal, it's like
break thirty in the morning, turn House Metals. That's the
one who was just in China.

Speaker 3 (01:58:47):
Town, right, yeah, on Center Street. So Rick goes, Rick, God,
it's three thirty in the morning. Forties coke gosh, hell,
that was the first Red Bull had. Yeah, wake up
in the money then do it? Give me a forty?

Speaker 2 (01:59:07):
So Rick goes, all right, do you want to change it?
Show up at eleven o'clock tomorrow morning? All right.

Speaker 3 (01:59:14):
So I probably didn't go to sleep. I think I
went to the World or some shit like that, to
the club where you come out in this morning.

Speaker 2 (01:59:20):
It's right.

Speaker 3 (01:59:21):
So I come back space all right, and I'm telling Rick, I.

Speaker 2 (01:59:24):
Gotta be right. We're running. Say it's got to be right.
So the piper pepper, I don't like to wear a
sound like this, So he says, okay, motherfucker going there
and later verse So I go in there.

Speaker 3 (01:59:33):
Jays like King miny since I was told like yeah, like,
so I come again and this is Rick's the coolest
for this episode was back here. He says, I'm gonna
play what you did just now. He plays it.

Speaker 2 (01:59:47):
Now, I'm gonna play what you did last night and
he plays at Jay's night, King Minus is ours. So
he says, which one is better? And I go, oh,
the one I did last night, And he says this.
You don't have to work hard to be you, and
you don't have to impress to be anybody. He said,
you're so dope on the mic and a suit now
that you are.

Speaker 3 (02:00:05):
Showing no effort and you better than half the motherfuckus
on the microud we get the fuck out in. So
he was, you know what I'm saying, But what he
was saying was you didn't need to old Piper Peppers over,
you know, little bo pee call losses shit.

Speaker 2 (02:00:20):
He said, nah, you're taking them somewhere else.

Speaker 3 (02:00:22):
And that's a producer you tell you know how guitar
players or singers you gotta go side. I'm just a rapper.
I'm not Freddie Mercury, I'm not a mager. But he
was like, you take Jay's like King Midas as I
was told everything that he told, and he said the
music is open right now.

Speaker 2 (02:00:35):
He said, watch how hard that should be. So I'm
thinking you gotta be a lesson for young people. I'm
thinking you gotta be violent to be hard aggressing, you
can lay back and be stronger than everyone else.

Speaker 3 (02:00:48):
So Rick, there was a rick walked this way in
my Peter Piper rhyme. Thank you, Rick.

Speaker 2 (02:00:53):
So let me ask you. I always be wanting to
ask you. Who is Mary Marian? Why she was bugging?
That's another Rick? Really? Yeah, Rn was taking Mary Mary
off of Super Disco Breaks. It's a monkey record. It's
the monkeys Marry Mary? Where are you going to marry?

(02:01:20):
And we come some monkeys on? Which was on Super
Disco Break Volume three. It's on the break peece a wow.
So Run was taking that and I can't stop. We
were trying to think of a routine to make, so
we sampled it. Rick comes in the studio and he says,
you know, to the boof, you know you push the button,
don't say Mary Mary? Where you going to say? Marry Mary?

(02:01:43):
Why are you bugging? Okay, Boof, go very very why
I can't stop? So marry not a real person. No,
I wait for you to come back for a great

(02:02:04):
time of slunt. Oh hold on cool? All right, you
you talked too much? Is that ever? Shut up? Is
that about a snitch? No, it's nothing, it's not about
a snitchka.

Speaker 3 (02:02:18):
No, it's just it's just it's more of rundium cs, hilariomedy,
comedic side right.

Speaker 2 (02:02:25):
It was just a record that we told. We got
sued for that too and had to pay because we
never heard the record. That's why these lawsuits are gonna
be get getting crazy. We never heard the record.

Speaker 3 (02:02:36):
We didn't know there's a record from the fifties that goes,
you talk too much and you never shut up.

Speaker 2 (02:02:42):
I said you talk.

Speaker 3 (02:02:43):
We didn't know that, get them. So yeah, we were
just trying to be funny.

Speaker 2 (02:02:47):
Hey, you over there know about your can You're like
the independent network news on channel. So it was just
us trying to be funny. So there was nobody out
your crew that talked too much. Run he ran his
mouth once we made the record that was Run's record.
Running would never shut up. Eric B prophesized, when one

(02:03:08):
day you're going to be a reverend, I love what
have Yeah, Run, I'll tell you that story. Eric b
was like, what day you want to be here? Because
that's why we call him run because he ran his mouth.
I was a quiet run.

Speaker 3 (02:03:22):
Yeah, and he became running because of Rush, because Rush
rus it was movement. But me, if you listen to
my rhymes when I perform, many heart hearts are warm.
I'm better known as the Quiet Storm. I don't talk
too much, but I got beef. When I kill MC's,
I caused grief devastate in my control.

Speaker 2 (02:03:41):
It's my main goal. My name is Daryl, his name is.

Speaker 3 (02:03:43):
Joe, So if you notice, and all through until the
group broke up, people never heard me from me unless
I spoke on the microphone. Run was always the voice
in the lead. So he ran, and I was the
quiet storm like so many East Sais was always there.
You know what I'm saying, right, But Run ran. He

(02:04:05):
was the talk of the one.

Speaker 2 (02:04:06):
Holy Moly, grock Moly. The record Jam message. You spoke
about it earlier. You said that it was made to
because usually people make records like that where someone passed away.
But it was like he was making this record about
him as he was alive. He was actually giving him

(02:04:27):
his flowers right then. And there was that something you
plan was that because like how we spoke earlier, because
the DJ was kind of like, well, right, that comes
from this the show business, entertainment, music business, motherfuckers that
rap right, right, which comes from a cultural hip hop right.

(02:04:49):
And I can say this because people say, we know
you're ain't creative, but run DMC created hip ups. So
I guess I have the right to say this. I've
been saying it. I'm not just saying it now because
of conditions. What's going on.

Speaker 3 (02:05:00):
I've been saying it's since eighty three. There's it's not
hip hop. If there's no DJ there, Wow, it's not
hip hop.

Speaker 2 (02:05:11):
It's somebody wrapping over something recorded in the studio for
record making purposes. Now you can tell you but it's
hip hop, yes, but I'm telling you it's not. But
it can be.

Speaker 3 (02:05:25):
It's just like I never thought hip hop would reach
the point where it would be and this is nothing
against it. You have Britney Spears and you have Sheryl Crow.
So Britney needs choreography, she needs a writer, she needs.

Speaker 2 (02:05:41):
She needs therapy too. Yeah, she need all that.

Speaker 3 (02:05:44):
Yeah, just needs the guitar and a microphone. So I'm
talking from an elemental standpoint. You know what I'm saying,
You can't say it's you can't say you're a painter
and you're not using a paint BRUSHKA Like.

Speaker 2 (02:06:04):
My friend's Sonny, he thinks he's a step forward. He
thinks he's a do artworks, and do artwork. So you
can be an artist and rap and do a imitation
of the hip hop culture. But the reason why we
made records about DJ is the entertainment business is not

(02:06:30):
in the business to keep anything holy and sacred. It's
just got to move the records. So we wait as
soon as they said something about who's that, we was
letting people know hip hop.

Speaker 3 (02:06:45):
Right, it starts with the DJ. Starts with the DJ,
then the MC's coming, or it starts with the music first.
So the guy rapping his hip hop music, he's doing
hip hop. But I'm talking about any hip hop with
a DJ really doing it. So we made the jam
Master the J record to let the people know it's
DJ's and MC's coming up next to one and only

(02:07:08):
jam Master back up from the rope punks. So that
is so that the front of hip hop has done
push the groups out the picture, and they don't push
the DJs to the back. But the DJs is the
foundation of the culture that when I show up, you
always gonna see one.

Speaker 2 (02:07:28):
You ain't gonna jay never push one. Like I said,
technology is an assistant to make it easy. But now
I don't have to carry a thousand records in the crate.
I just have it on a hard drive.

Speaker 3 (02:07:38):
Last night I was in u DJ.

Speaker 2 (02:07:41):
Atlanta No not no more, Okay, no more. I write
rhymes and using Atlanta.

Speaker 3 (02:07:46):
But the last night I was in Atlanta at this
event is education conference because of my book Darryl's Dream,
Everybody Go Get One. It is a story about me
in the third grade that really happened. I do a
lot of education.

Speaker 2 (02:07:57):
Your moves you was doing in the third grade. Yeah,
I had miss Banks. He's left, he left me back,
that's all I remember. Yeah, yeah, yeah.

Speaker 3 (02:08:06):
And I was talking out to this a bit and
there was a DJ there with his the CD deck thing, right,
And this is funny. You could ask my son before
I was he knew I was leaving him. Go get
your father, and he just had to tell me. And
this is what I love about hip hop, Like it's
all hip hop. But when we say real hip hop
we just mean hip hop, that this music business is

(02:08:28):
not the essence.

Speaker 2 (02:08:30):
They're not. You can't you can't comment on it matter.
Fake can't even come to the party. But this DJ
just had to show me coming to DMC and he
just showed me a picture with him at two Techniques because.

Speaker 3 (02:08:44):
He didn't want to be considered not right, original or authentic.
So for us, it was important that the group is
run DMC and and people have a habit of and
we have run d m C. These two people, somebody
in the audience will interrupted or I will interrupt.

Speaker 2 (02:09:05):
It was three people. Oh yeah, that's right. You know
what I'm saying. You're not gonna get But me, he
as a fan, when I hear one DMC, I think right,
but because you whip us. But overall, here's the question
his wife, I'm so passionate. If you look at all

(02:09:25):
the Run DMC covers except for Tougher than Leather, that's the.

Speaker 3 (02:09:29):
Only one that Jay was on the cover on the
On the Run DMC album. He's on the back with
us on the King of Rock album. This is crazy
about the industry.

Speaker 2 (02:09:40):
He's on the back with his head down because he
wasn't signed to Profile records, so they could.

Speaker 3 (02:09:45):
Not put him on there. All right, you're not going
to show our DJ, so.

Speaker 2 (02:09:48):
We're gonna talk about them on every record. Go back
and look at the albums.

Speaker 3 (02:09:51):
Oh what's crazy is on the on the Run? Actually
Run was only signed to the to the Girl and
we wasn't signing Profile. We signed to Rustle Russell was
signing the Profiles. Run DMC did the deliver the Running
see record. We will signed signing Rush Productions. But if

(02:10:11):
you look at the album, I'm doing this.

Speaker 2 (02:10:15):
Because Fantastic Far's incredible in theaters, on the scene with
the golden voice, through all the People's choice and we
rock with the Kangs, still lean. We proved to the
MC's that Fantastics number one and when we step on you,
you're just like.

Speaker 3 (02:10:31):
A roach output it weighs a ton. He's the adoring,
he's the ladies man. So can't you understand that I'm done?
So it's always the DJ. We call him Flash Crab Master,
Flash Disco, Be Easy Mic and I'm the MC. You
walk in the place, you listen to the base, you
see Melie mel with a smile on his face, King

(02:10:53):
of the thrown of the microphone. You should nobody now
should be left alone, Like when Mel came out with
the disc to Eminem, he should have just went to
fucking rappers might be willing, but they ain't able because
I was there, king straight from my cradle, screamed in
hollowd shook my rattle, drimed that defeat of them all
in battle. There was no food in my silver spoon.

Speaker 2 (02:11:15):
But I grew up hard, and I grew up soon.
I'm a righteous king and I'm hungry too, and I
eat a punks that rap like you.

Speaker 3 (02:11:21):
And he should have told he should have did that
to Eminem and just called it a rap to you. Mel,
don't try to get noon new standard to know. Nobody
never know. These motherfuckers don't know.

Speaker 2 (02:11:31):
You do that, I do.

Speaker 3 (02:11:32):
Focos don't know that melt rhyme like me and running
rock him.

Speaker 2 (02:11:36):
This is shocking. This shit should go viral. Y'all don't
know Mel Scorpio raheem rhyme like fucking Big Daddy Kane.
You just never heard it because they were making records.
They wasn't fucking put They got bars that will out
bar all these guys. You see you look what the
fuck he said, rappers might be willing, but they ain't
able because I was the king straight from my cradle,

(02:11:59):
screamed in hollowd shook my rattle. I dreamt out the
feet of them all in battle. There was no food
in my silver'spooon. But I grew up hard, and I
grew up soon. And then mol said, I'm a righteous
king and I'm hungry too. We should have told him,
and I eat up chumpster wrap like you.

Speaker 3 (02:12:13):
I met this shark his name was George.

Speaker 2 (02:12:15):
Started writing the rhymes like y'all right yo no, started
biting mormes, like y'all bite yaws. I started writing morons,
shark crew and crew, but I was writing more rhymes
than the shark at chew. Then the shark got sick,
and then he exploded because he didn't realize that Marobs
was loaded.

Speaker 3 (02:12:30):
Flew in the air and into the sea, and the
whole universe knew.

Speaker 2 (02:12:33):
The king was me. You don't wonder battle. You know
what I'm saying and what what I'm sweating now, em
you didn't go back at him, No, you have to.
He killed him, and I'm saying, but everybody happened, didn't
they even.

Speaker 3 (02:12:47):
Even he got a out of heat for that, But
I thought it was hip hop what he did.

Speaker 2 (02:12:52):
It was who he came back.

Speaker 3 (02:12:54):
But I'm saying me a cast that he should have
went Like I was sitting on a corner just to
waste so much time. When I realized I was king
of the rhyme, I got on the microphone and what
do you see? The rest was my legacy.

Speaker 2 (02:13:07):
I was born to be the king of the hip
hop thing like that.

Speaker 3 (02:13:11):
They had this.

Speaker 2 (02:13:12):
When I came along. Like what was good about Pete
Rocker is when we came back with Down with the King,
Down with the King. After did that, it was like, Yo,
we're making that ship. And it's funny. When Jay heard
that ship, Jay says this, that's the name of the
album and that's the single, right, And that was that
was one little thing, you know.

Speaker 3 (02:13:33):
Bruce Lee says, I'm not afraid of.

Speaker 2 (02:13:35):
The man who fucking practices a thousand techniques. I'm afraid
of the man that practices one. I'm living with that
that work because when we went to the studio, YO,
were making that ship, this and that. So Pete comes
to me and he's like, Yo, you ain't gotta be king.
You ain't gotta be Rock him, you ain't gotta be

(02:13:57):
jay Z, you ain't gotta I want that DMC ship.
I'm confused.

Speaker 3 (02:14:01):
I'm like, because I'm thinking that I got to write
differently now shit, And do you know, motherfucker is the
name the shit that we do? Ad libs and fucking
metaphors and shit, I don't I just think of my
round and say it over to beat.

Speaker 2 (02:14:16):
Give me that DMC shit. And I didn't know what
to do in the nineties. I'm fucking thirty five years
old and hip hosterilia change and shit like that. No,
but what I'm just saying, I'm at another water. So
Pete Rock says, he just asked me, what the fuck
are you doing right now? DMC.

Speaker 3 (02:14:35):
But you're like, because remember I wrote I'm DMC in
a place to be a true thing about me, son
of Byford Brooke DMC for Hollins Queens, I.

Speaker 2 (02:14:43):
Was like, well, I'm on tour ill right about that shit.
So I was like, okay, I'm taking the tours. I'm
wrecking the land.

Speaker 3 (02:14:50):
Hip hop could change and they could have all the
metaphors and shit, but I keep it hardcore because it's dope, man.
That's just the raw old shit that I was doing
in seventy six, and it's my turn to get on
the mic. I'm gonna do that shit now because this
audience never seen it, so I'm stand out.

Speaker 2 (02:15:06):
I learned that. So I'm taking the toys, wrecking the
land and keeping hardcore because it's dope. Man.

Speaker 3 (02:15:11):
These are the roughest, toughest word you ever wrote.

Speaker 2 (02:15:14):
And it's not meant for and I don't usually used profanity,
but it's not meant for a hole like a slow
jam sucker.

Speaker 3 (02:15:21):
MCS could never swing with me because of all the
things that I bring with me. Only God could be
a king to me. And if the go od b
and me ken king of p rockets like rhyme other
fucking year, and.

Speaker 2 (02:15:35):
Then I did. I just went me in DMC and
everywhere I go, cool g rolled up on me, can ship,
rolled up on me, bumping knuckles, rolled up on me.
What you said, if the G O D E BM me,
then the key of.

Speaker 3 (02:15:46):
The microphone is branded when it's handed to me, or
what I say, racophone is branded when it's handed to me.
I'm just standing on this planet and I plant m C.
The MC fiends always seem to agree that because rocking
told me the microphone fiend said, nahed your shit rock
him Coogie Rap and Bumpy imagine them three telling you

(02:16:09):
you the dope its motherfucker ever. I was so fucking
me about But down with the King, Like I said,
down with the King brought us back.

Speaker 2 (02:16:17):
And because of Down with the King, we was able
to go tour. We was back on MTV with the video,
We was back on the radio. That's what hip hop.
That's why I say hip hop is it's not old school.
Isn't old right? You know what I'm saying. You might
know what I did in eighty six, but the twelve
year old.

Speaker 3 (02:16:36):
Kid, now don't. So when he see that shit, he's new.
Kids always had to ask me, now, shit, yo og,
you put it down harder than I'm youngins. But I'm
putting it down at fifty nine like I did when
I was twelve years old. I'm not thinking I'm going
into the studio to sell records. I ain't thinking about
chart position. I'm thinking, how can I make this fucking dope?

(02:16:58):
What did you do when you was in your room
in fifteen? So that's how I approached this craft of minds.

Speaker 2 (02:17:05):
God damn.

Speaker 3 (02:17:09):
And it's fucking fun. But it's fucking fun.

Speaker 2 (02:17:13):
Man. What's one of the places that you've been through,
been through the tour in the world that she was like,
what the fuck am I doing here? Look, you said
Sudan earlier, But.

Speaker 4 (02:17:25):
Yeah, so it was.

Speaker 2 (02:17:26):
It was definitely South Sudan because everybody was walking around
with machine guns.

Speaker 3 (02:17:31):
And then the student, well the person that brought me
out there. The police and the National Guard are the
two warring factions, so at any time, all you got
to do is just say one little wrong thing about
the tribe or some shit about the king. Because South

(02:17:54):
Sudan has all the oil. North Sudan has all the reserves,
so they constant fight over money and shit like that.
But it definitely was South student because this is scary,
so we get in town for the sad. Oh, let
me shout out to God that brought me. This guy
named Emmanuel Jaw he was a boys child soldier.

Speaker 2 (02:18:15):
At nine.

Speaker 3 (02:18:15):
When he was nine years old, the rebel army came
into his village and killed all the adults and took
all the hills and gave them guns to fight against
the government, said nine years old him and is forty
Hold up? They come into your village and kill all
the parents guts And he's the most well smoking, well

(02:18:38):
spoken person you had ever seen.

Speaker 2 (02:18:40):
Was a child killer who was killed at nine years
old to arm to cut all that shit. So when
he was nine years old, he was fighting, him and
his forty friends and he was out in the wilderness fighting.
So they got tired of killing their own people, so
they said, we're gonna go a one and escape. Now
the problem is when you escape, the soldiers you're running

(02:19:04):
from are gonna kill you first on a site, and
then the other soldiers from the government are gonna shoot
you because even if you say I'm coming there, they
think you got bombs or whatever, so they ain't trusting you.
So what they would do was what they would do
was when the people that they ate were from would
go raid a village, the kids would go in there
and eat the scraps. But it got to the point
where the other soldiers wasn't leaving us. So lonstory short,

(02:19:28):
his friends were dying a starvation. So it's just him
and his boy, right, And imagine me and you and Norri.
All our boys are dead, It's just me and you.

Speaker 3 (02:19:38):
Thirty eight or died at starvation, and I turned to
you because I'm dying and I look at you and
I'm your boy, and I say, Nori, if I die tonight,
it's okay if you eat me. Imagine that. So Joll
said his prayer to God wasn't delivering me this and that?

(02:19:59):
This serious pread? God, God, what's the pros and cons
of if I eat my friend? And what's the pros
and cons if I don't eat my friend? So that's
where he was at right then and there he can
saved by the un They take him from. Didn't have to, Okay, alright, cool,
heake him to not roby to the rehabilitation center. He's
a wild kid that was illing, so they trying to

(02:20:22):
educate him. He's a fucking beast. He said he was
getting the beef for of his students. You ever see
the horror movie Shits and said the students say something
to him. He taking a pen and pointing it and
I'm like, he's that kid, He's he's wild.

Speaker 2 (02:20:36):
So one of the counselors and it's the promoter that
brought you od there.

Speaker 3 (02:20:41):
Yeah I did him, but he said, I'm gonna tell you, Yeah,
he's been a big white track this out. One of
the counselors is playing run dmc ughdy by Nature Public Enemy.

Speaker 2 (02:20:55):
So he hears it, what's the what's that? The counselor
is like, oh, so you like this? What's that? What's that?

Speaker 3 (02:21:04):
He said that was the only time he felt something
that was good to him.

Speaker 2 (02:21:08):
Oh you want to hit it?

Speaker 3 (02:21:09):
Yeah, yeah, you know imagine crazy, crazy African killer machine.

Speaker 2 (02:21:14):
Here's naughty native stuff. The councilors play, Okay, here's the deal,
stick gild Man. You start going to school, this and
that just to hit the tape.

Speaker 3 (02:21:23):
Okay, So he hit the tape, goes to school, show
me something, becomes a straight at student, makes it to
the university, goes into the university majors in communications and music,
starts to becoming a MC for his from Sudan, who
gets to open for Nelson Mandela, this and that, whatever,
whatever whatever.

Speaker 2 (02:21:42):
So he does because of hip hop. He said it
was the.

Speaker 3 (02:21:46):
Only thing that made him feel like he was working.
He correlates. So then he does all of that. He
does all of this great stuff for his country. They
bring him to New York City to get honored by
the hard Rock This is before hard Rock Ain's ownership
because the hard rockers and the big.

Speaker 2 (02:22:06):
Philanthropy stuff like that. So they bring them in and
one of the ladies from the Harrrock movie there was like, DMC,
we have this kid, tells me a story.

Speaker 3 (02:22:13):
Come tomorrow. We want to surprise him with you cool.

Speaker 2 (02:22:15):
So I come to the luncheon and it's a bunch
of people in there, like he does some incredible ship.
So they said just go sit at the end of
the table. Sitting at the end of the table and
he's speaking. He's meeting all these people and sending nobody
announces me, and then he looks and he sees me
just so and he comes over to me and he
just cries on me and he's like, yo, run DMC

(02:22:38):
know that my nature hip hop saying man, he just
tells me the story, and I'm like, I'm like blowing away.
So then he goes, will you come to my country?
And this is what I'm answering your question now, So
I'm thinking yeah. I answered yeah immediately, but I'm thinking,
j you know what I'm saying. So we fly out

(02:23:01):
to South student we say we run engine no, no, no,
just me, my DJ Eric and my security and well
it's funny this is not. When they showed me the
brochure of where we're staying at, it's like, oh, ship,
a pool, air conditioning building. But we get there, it's

(02:23:22):
just huts. No toilet ball, no toilet ball, no toilet
Hold up.

Speaker 3 (02:23:31):
The cut us is fucking bugs.

Speaker 2 (02:23:35):
Everywhere, to the point where it's so many bugs and
they so big, you just get it's a waste of
time and.

Speaker 3 (02:23:44):
Fu show time like to that point. So that was
my wildest place off Cudent. But the beauty of it
is that they know our hip hop right and they
value it. So we go to sound check and if
you look him up right now, he's the vice president
of Sudan.

Speaker 2 (02:24:05):
Yeah he wears cowboy hat and cowboy boots. So we
see we ain't we ain't seen none of this the
whole time. All of a sudden, we look up. We
see range rovers, we see escalades, we see Mercedes Bens
and we see BMW And it looked like something out
of a Tom Cruise Mission Impossible movie. They moving like that.

(02:24:27):
We just see this ent roge of cars coming up
to the place of the ship right pulls up to
like the ship in the movies.

Speaker 3 (02:24:34):
Those stunt drivers, the motherfuckers exist, they pull up, security
gets out right, so the Vice President of South Sudan
gets out and we in the sound check and the
vice president walks in there and this shit is scary man,
motherfuckers with machine huns this and there, and you know,
the vice president, he's different.

Speaker 2 (02:24:51):
Where's the rapper? Where's I'm come to see the like
with that idiot, I mean ship? Where's the high My
DJ his ful like, he's right here. So I come.
The guy comes to me and he's literally taking me
like this. He comes, I want to see the all
this the wrapper rapp and he's fuck yo, He's like,

(02:25:24):
start right, He's shaking me the wrappers and like that.
So then you I want to see your show. And
then he sits down in the showtime and he's sitting there.
The thing what's funny about this story is that he's
fucking the you know, the one like the mean ship
like war lord. I want to see your show and
he said, and he's sitting there. So I'm thinking, yo,

(02:25:48):
if I ain't dope, it's my right, you know. But
he's sitting there.

Speaker 3 (02:25:54):
Everybody's around him and all the people it's about or
what do you say about two andre and fift people.

Speaker 2 (02:26:01):
They all in the back like his soldiers. The regular okay,
the regular people, okay, crowd. You know, first one I
was in like this, they like, oh, it's damnsey. But
when he came, oh oh, when he came, okay, it's
kind of like some scary dictator shape, like I'm thank
you damn. If I ain't dope, this is gonna be crazy.
So then my DJ Charlie Chan, he just go, yo,

(02:26:22):
d just do what the fuck you do? So I said,
all right, you know he's thinking, you know, fift week,
So yo, y'all come up to the front. We pull
the people up the front. We performed like forty five minutes.
We had those aft your hands and the records Breakdow

(02:26:43):
knew the recket so but that was my craziest experience ever.

Speaker 3 (02:26:48):
But you know, Russia's cool. We went into Moscow. They know,
they fucking know mob deep there, you know what I'm saying.
They know they know underground and ship like that. But
South Sudan, what was beautiful is they knew Park, they
knew Big, they knew.

Speaker 2 (02:27:02):
Our hip hop. But it was the scariest trip of
my life. Let me ask you, because You mentioned Poking
Big a couple of times, right, and you said that
you was on tour with Parc and Big together. No not,
you opened up separate, separate, right, We opened up for them.
So two pac question, you saw the relationship that they
were cool? No? No, I never seen them together. They

(02:27:25):
opened up for pucking Big at two times. This was
after they split.

Speaker 3 (02:27:29):
When I first met Park. What was crazy about?

Speaker 2 (02:27:31):
What park? We played?

Speaker 3 (02:27:34):
What's the biggest mall in the world, I think was
Minnesota or something like that, all of America. Yeah, yeah,
so we was we was, we was doing the show.
They was open for Park and Yo, let's go to
the mall. You know, that's what you do when you
go to So we go to the mall and it
was just crazy about I saw this happened when we
walked in the mall. I don't know if they got

(02:27:54):
a single Park out, but the security, the police officer
just walked over there and said, you take your hat
off like were walking in the mall.

Speaker 2 (02:28:05):
You know what I'm saying. Jay got his hand, but
the police off and then poked you like what the fuck? Seman?
This is what I'm talking yo, Pop calm now, and
this is that boom boom boom boom boom, whatever what
I mean. Jay's like, yo, man, how you gonna tell
Park to You ain't tell me to take my minds off.
I don't know if it was a pop thing police No,
probably yeah, yeah, yeah that's probably why. Yeah, that's probably why.

(02:28:29):
But I saw that. But overall, Park was brilliant.

Speaker 3 (02:28:32):
He was cool, he was funny, and all he could
fucking talk about was the fuck he I think he
even made a whole record about it. His whole ship
was trying to convince me that I'm legit, Like if
you like you know what I'm saying, which is beautiful,
Which is beautiful. But yeah, we hung went Park, We
hung went Big. Big was just like Big was like
who could I describe Big? Right?

Speaker 2 (02:28:51):
Big was just like fucking he was just lovable, right,
and I'm saying he was.

Speaker 3 (02:28:55):
He was just a funny, lovable like him and Jay
really got along because you know, Jay flying Jason moved
a lot of weed too, and sh yeah exactly.

Speaker 2 (02:29:04):
Yeah they have blunts. Yeah you know, so where was
you at when you kind of like see you know,
they're they're they're like this, this is like this is
like I want to say, there's always been beef and
hip hop because like there's always been like the battles
and stuff like that, and these battles kind of like
sometimes it into something. Of course, this was the first,

(02:29:24):
like this was the first difference was like, how did
you feel like, you know what I mean, you being
one of the architects of hip hop and these people
taking it this far? And well, I kind of understood it,
but I don't think people, I don't think the media,
and I don't think people like us. We didn't get
vocal enough because what was happening in the beginning of it,

(02:29:45):
it was almost like the two rival the two rival
high school teams. The players settled a beef on the field.
But if I see you fuck you, this and that,
this and that. So there was no there was no
this did not this, There was no determined there was
no describing that this should just stay on record. But

(02:30:10):
then it was it was different. It was more deeper
because Pop felt something personally was done to him. But
but the East coast, West coast ward, we never seen it. Right,
we was going over there, but see it's a little
different LUs the same thing. We just interviewed him and
he said he was never affected by the East Coast West.

Speaker 3 (02:30:31):
He was another col sug Knight was gonna buy us.
Sug Knight was gonna put run DMC on death row
records proper they were starting.

Speaker 2 (02:30:49):
He was going not definitely, No, he's gonna put us
on death row. We had a meeting with him at
and Beverly Hill. We had a big the Beverly Hill. James. No,
I don't think we.

Speaker 3 (02:31:06):
Would have had to neither.

Speaker 2 (02:31:07):
We had meeting with Sure. This was like when death
Row was right at their height.

Speaker 3 (02:31:12):
Before, right before U the downfall of it. I do
remember these rooms, you know, I'm saying. We sat there
with him and he said, buy you off that you're
running them. See, I mean a lot to this culture.
And they said, you know you got to say something
about sugar.

Speaker 2 (02:31:24):
Sugar aright.

Speaker 3 (02:31:25):
He had right intention because every time I see him,
me ma Orka, he used to just show up and
come and sit down and say, man, you know it
used to come here.

Speaker 2 (02:31:37):
Huh No.

Speaker 3 (02:31:38):
No, this was in a sushi restaurant, or it was
at the Mandrion Club or whatever. And he said, you know,
we was just amazed and he said, Shug said this.
We were just so amazed that when your cast came
here from New York and he said this, we were
just so amazed to see how you're stuck together because
remember running m CLL this and we moved together.

Speaker 2 (02:31:57):
It was just something about I don't know boy, yeah,
but you know, and he talked about that. But he
said he was gonna buyas bring us on to death
Row because he says, death Row we at the top
right now, and you should be with the top row,
you know, that whole ship. And then somebody else had
told me now that motherfucker was doing that ship so

(02:32:18):
he can fucking take the kings from the East and
throw it in their face. Yeah, I don't even got
your run DMCs. Now, I didn't think about it like that.

Speaker 4 (02:32:26):
I don't you know what I'm saying, because he did
that with with Hammer too, where he brought Hammer.

Speaker 3 (02:32:31):
I mean, yeah, Hammer's on the West. But I think
he genuinely appreciated it.

Speaker 2 (02:32:35):
No, he did. The two three times that I sat
with Shook personally with no rud Ro, I didn't see
all of that.

Speaker 3 (02:32:43):
He generally like, was they they they wanted to have
the thing I talked about that we were doing with
hip hop outside of the business. So I think Shug
wanted to have run DMC as the the holy grail.

Speaker 4 (02:33:00):
It's like the ultimate trophy, right if you're a hip
hop head and you have power money, what's.

Speaker 2 (02:33:05):
The un see? And I gave a lot of money.
And I remember the night Pop died, we was the
what was the club that they had in Vegas? Vegas?
Seven Biggies six Yeah, yeah, yeah like that.

Speaker 3 (02:33:23):
So we was hired by them to perform at the
after party m for the Tyson Fight.

Speaker 2 (02:33:30):
For the Tyson Fight.

Speaker 3 (02:33:30):
Wow, bro, this is this is one. This is when
the Luxe was. I got married with the Luxey. Yeah,
this one was new like it was flash it so
I'll never forget. Brought us there, paid for everything we
used to hire in entertainment.

Speaker 2 (02:33:44):
So y'all was there that night in Vegas. Let me
tell you what holy ship. So we get a call
against the call. It shook, Yo. This is a funny jay. Sorry, Yo,
I'm coming to me and Pop coming and get y'all
you're gonna ride to the fight with us, because remember
who was in the in the in the in the
the seven fifteen with them. Nobody was in the back seat.

(02:34:07):
Me running Ja was supposed to be in that back seat.

Speaker 3 (02:34:09):
Whoa, he calls, calls a look, say yo, I'm coming
to get y'all park. We want you to ride to
the fight with us. Y'all going ahead without us? Why,
what's the problem Jay's getting dressed? What are you talking about?
Just show Dn standing there. When Jay would get dressed,

(02:34:32):
Jay would have all his clothes out there. It's worse
than your wife or girl. Again, how does this look?
Just in that for like three hours.

Speaker 2 (02:34:41):
The reason why we didn't ride to the fight with
Pocket because Jay was getting dressed.

Speaker 8 (02:34:46):
Jay would spend hours. He's seriously, you'll be telling us
that's coolk hold and you would like it would be
a fashion show.

Speaker 2 (02:34:59):
That reget my lion. Day's getting dressed. This case is
a blessing, right, so huge blessing. So we say we
meet at the after part. We get to the after party.
Hammer's there, the whole crew, everybody's there, melm and everybody's there,
this and that. So yeah, yeah, did he have one
little pants? No, he didn't have a pan.

Speaker 3 (02:35:22):
This was the suit rich tuxedo, joins Hammer. So we
in the club waiting for the fight to end. All
of a sudden, one dude comes in. It's about maybe
one hundred people in there. They all leave, empty cup
music all. A guy comes in with a briefcase.

Speaker 2 (02:35:39):
To me running Jay. Everybody leaves. God comes with the briefcase.
Put the briefcase, opens it up. It's all casts two
grand cash. Yeah, y'all getting paid to nine No show,
go home. Wow, we got to pay like we didn't
know what's going on. So next morning I had an
afternoon flight. I'm in the gym on a on a treadmill.

(02:36:00):
And then CNN last night in Vegas, Tupacus show. Oh Ship,
that's why it happened.

Speaker 3 (02:36:06):
So I didn't find out Pa got shot till the
next morning, and I find out that's why, y'all.

Speaker 2 (02:36:11):
I'm talking about we in the club like this, honey,
my phone. One dude comes in, the whole.

Speaker 3 (02:36:17):
Guy comes in like Ship out of the movies. Briefcake
paid us in cash, y'all go home, no show tonight.
I didn't find out till the next morning night Paca show.
But the reason why you could ask Eric, we coming
to get y'all and.

Speaker 2 (02:36:32):
We I'm like, oh shit, I'm begging with pocket Shug.
No you're not why Eric, Because he's getting dressed and
he was at the Luxe. Aw as well, because that
picture with Pocket and Shug is in front of the Luxe.

Speaker 3 (02:36:44):
I said, one in the car.

Speaker 2 (02:36:46):
Yeah, that's in front of the luxew That's what I
said tonight. Yeah, they left and we had to wait
for Jay to get dressed. Yeah, that's my favorite hotel. Yeah,
hell yeah, I love Yeah, came out there exactly we did.
That's crazy.

Speaker 3 (02:37:01):
I would have I would have never put you guys
in that scenario.

Speaker 2 (02:37:05):
I wouldn't have never said that. I would have never.
But you know it's like, yo, who were going to
get to put run DMC alright, It's like, oh ship right,
so that's honorable. It's like but you know, I say,
they could have win, got pop, could have did the afterpart.
They wanted to death Row wanted us to so they

(02:37:27):
can sit there as the audience. That's flysh what man wild?

Speaker 3 (02:37:34):
Do you want to go back to the Dominican thing?

Speaker 2 (02:37:36):
Oh? All right? So what did I hear that you
was Dominican? Where's this our MTV or something? Yeah?

Speaker 3 (02:37:44):
Yeah, because I did a special my adoption journey. Okay,
when Down with the King came out right, Uh, put
us back on the road, back on the charge video
on it. The very next day after the video, I
woke up and I wanted to kill myself.

Speaker 2 (02:37:57):
I don't know why. I don't know. I just woke up.

Speaker 3 (02:38:01):
I said, I don't want to live no more. Wow,
God bless, And it was just void in me and
I ain't know what it was. And I said to
why am I for the fuck? And I sat and
I was like, yo, you back at where you was
this and that that's not enough. Something's missing. It was
just something missing, and I was like, okay, let me
look at my life. John McDaniels for Hollis Queens, New

(02:38:22):
York Banners, my mother Bifer's, my father office, my brother runs,
my pal, Jay's, my DJ.

Speaker 2 (02:38:28):
This hip hop thing.

Speaker 3 (02:38:29):
I went first to go go first of all, platic first,
and the covered room stone first, went to sneaker deals
this and now I'm back with you, said why am
I fucking feeling like this? And I didn't know what
the fuck that shit was and feeling just stuck with me,
just stuck with me, stuck with me, suck with me,
and I'm living with it, functioning. And what was crazy
at this time was in nineteen ninety.

Speaker 2 (02:38:50):
I got diagnosed with a cute pancreatitis because I was
drinking a case of forties a day, and I want
to tease a case, a case six or twelve forty.

Speaker 3 (02:39:02):
I put refrigerator in the back of my truck so
I didn't have to stop at the grocery sevice.

Speaker 2 (02:39:07):
And this is OEO say not fake all right? Cool?

Speaker 3 (02:39:12):
I told you earlier I hate fake shit. That's when
I shot so human.

Speaker 2 (02:39:16):
That's fake shit. You don't even you don't even take
that conversation about more liquor. But it's gotta be old
old gold more liquor too, or yes, old English eight hundred.
The VC boys brass Monkey is because we wrote slow
and low with them, poor Revere slow.

Speaker 3 (02:39:35):
We wrote slow and load for them. We wrote poor
Revere for them and their brass monkey. Opening rhyme is
from my old English rhyme. I had a rhyme that
was about old English. I got this rhyme that's more
than real. When you drink all English, it's how you
feel you're reaching the freezer for forty ounce or thirty
two ounce, whichever counts, you feel each bottle for the
one that's cold. It's got to be cold when you're

(02:39:57):
drinking no gold, but you might get the one that
you gotta get it hot. That's all they've got a
dollar thirty five. That is the price. That's not too much.
If you want to get nice, you pay your money.
Walk out the door. You say to yourself, I remember
that store. You're looking around for a place to stem,
and with a quarter old English inside your hand, you
crack the cort. You put it to your lip, you

(02:40:17):
tilt it slightly, and you take a ship now. And
by now you should know the deal, because that one
ship you already feel. You feel in bold. So you
try to guzzle, and you do it again, because it
ain't no puzzle. Sat this own English ride that they
just said, we got this ride, and that's on than meal.
When you drink braskemall get is how you feel. So
I was drinking a case of forty is a day

(02:40:38):
and I got a q pancreatitis I.

Speaker 2 (02:40:40):
Was going through.

Speaker 3 (02:40:41):
I didn't have no well. I guess this is a
symptom of depression. I can't drink no more but then
down when the king comes out. So when that elevation came,
it pushed me further down. So I got to the
point where I didn't want to live with this feeling
in me right, so I said him, I kill myself.
But before I go, I got records, I got videos.

(02:41:04):
I think there's two books on us. I want to
leave a book because I want people to know Daryl,
the guy behind it, King of Rock. So I came
up with the idea, just in case I kill myself tomorrow,
I want to write a book and I'm gona go, Yo,
what's up, world, I'm Darald McDaniels. You know me DMC
from the groundbreaking rap group Run DMC first to Go
Go First, to Go Platinum first, and a cover of
Rolling Stone First.

Speaker 2 (02:41:24):
With the secret deals. Everything that hip hop is doing.

Speaker 3 (02:41:26):
They say it's because of me Running Jay, but I'm
really just Daryl McDaniels, no different from any boiled girl
on the face of the earth. I was born May
thirty first, nineteen sixty four, and and I was like
I was going to make that.

Speaker 2 (02:41:39):
I realized I didn't know no details about the day
was going, so I called my mom's up.

Speaker 3 (02:41:43):
Now at this time, for anybody listening, I should have said, Mom,
I want to kill like I should have let it out,
but guilt, shame, not wanting to be vulnerable. Plus I'm
a rap I gotta be cool, and I'm a black
man and all that shit. And I don't want to
bother on my mother with this stuff that I'll do
it by myself. That's just the wrong thing to do.
But I said, Mom, I'm writing this book, and just

(02:42:05):
to make it more interesting for the reader, I want
to know three things about the day was born.

Speaker 2 (02:42:09):
How much should I wait? What time? What hospital?

Speaker 3 (02:42:11):
So she tells me, I love you, I love you,
so I love you to my hump. The phone, ourl
goes by. She calls back with my father.

Speaker 2 (02:42:17):
At this point in my life, I'm an alcoholic suicide
of metaphysical spiritual record's thinking of killing himself. Who can't
drink no more? Because I wanted to drink to help
me deal with emotions and stuff that I was feeling,
so I could suppress those emotions.

Speaker 3 (02:42:31):
And the phone rings and my mother says, it's my
mother and father. So I'm thirty five years old. Now
I went the king is killing and I'm suicidal. We
have something else to tell.

Speaker 2 (02:42:41):
You, So I'm thinking she's gonna go, Well, when you
was born, there was a power outist in the hospital
who gave birth to you by canadlelight. No, she hit
me with this. We have something else to tell you.
What is it?

Speaker 3 (02:42:50):
You was a month old when we brought you home,
and you're adopted and we love.

Speaker 2 (02:42:54):
You by click that They didn't when she hung up
the phone. Know my mother and father.

Speaker 3 (02:43:02):
Honey, honey, he's asking it is We gotta tell him
right now, so they rushed the phone.

Speaker 2 (02:43:06):
You tell him, No, you tell I can see my
mother yet you It was my fucker. When you take
people by thirty five years old and you at a
month old. I found out I was adopted at thirty five.
Then I found out that I was a foster kid.
So long story short, that made me really want to
kill myself. Because of that revelation, I started drinking again.
Now I'm not supposed to be drinking, and my wife

(02:43:26):
love my wife, Surrey. She keeps it well. I say
I'm drinking because making excuses. I'm drinking because I'm celebrating
newfound part of my identity that I didn't know about.
She looked me in my eye. I love women.

Speaker 3 (02:43:42):
Motherfucker.

Speaker 2 (02:43:43):
You fucking drinking because you can't handle the fact that
you just found out that you was adopted, because think
about my whole career. Christmas timing, don't stop doing my show.
I was thirty.

Speaker 3 (02:43:57):
I found out that I was adopted when I was
thirty five years old. Okay, and then the Dominican thing came.
They called back, They called back Rain and this is fun.

Speaker 2 (02:44:10):
Are you okay?

Speaker 3 (02:44:11):
You know what I'm saying, because he just released and
then they goes, well, all we know is your mother
was in Hamilton Heights right up to above Washington Heights.
Where who's in Washington Heights? And we think you're Dominicans.
So this is my mother and father. I'm dealing with

(02:44:31):
all this ancients in motion. They tell her I'm Dominican.
So from that day for five years, I'm running around
the world telling everybody I just found out that I'm
adopted Dominican and the Dominicans. I love my wife for
my wife's.

Speaker 2 (02:44:46):
Know.

Speaker 3 (02:44:46):
You want to know.

Speaker 2 (02:44:48):
I went out.

Speaker 3 (02:44:49):
There's a Dominican rapper, anybody knows name Alpha. It's a fake.

Speaker 2 (02:44:54):
No, no, he said, oh Meg, somebody tiego from Budemco's
a Dominican rapper who's face.

Speaker 3 (02:45:05):
So I go out and buy all this Dominican rapmer.
I'm going buy Dominican cook books.

Speaker 2 (02:45:12):
Yeah, yeah, Daddy, Yankee tells me, and I believe in her, say,
I'll do it.

Speaker 3 (02:45:21):
You should be the grand Marshrew of the Dominican Parade.
I'm going fall I'm telling Bill Adler, I'm telling Bill
asked Bill, I'm calling him, telling him give me everything
on Dominican art.

Speaker 2 (02:45:36):
That's Bill Ella and all of this. Suffen.

Speaker 3 (02:45:38):
I love my wife, my wife, Sorry, she the whole time, Darryl.
Don't you think you should find out?

Speaker 2 (02:45:44):
No?

Speaker 3 (02:45:44):
No, my mother and fall Byford in bed they know what.
So going on going on, going on on, So long
story short, I do it, search and I find my
birth mother. I grew up in Queens. She was in
Stanton Island all the time. Wow, Just which is Craig
Burrow kind of like right over?

Speaker 2 (02:46:00):
And the reason why she was in Hamilton Heights she
was living in Hamilton Heights at the time she was
pregnant with me. No, she was living in Hamilton Heights
before she got pregnant with me. Her father moved the
family to Stanton Island, but her boyfriend was there, so
she would always leave.

Speaker 3 (02:46:15):
Stanton Island go back to Hamilton Heights to see her boyfriend.
And the thing was, she was like eighteen years old.
She was like, yo, don't fuck around and get pregnant.
So she went around and got pregnant.

Speaker 2 (02:46:25):
With my first brother and in Normatti yet and they
were say, yo, don't do the city. She got pregnant
with me. When she came over with me, there was
no way they could keep me, so they gave me up.
So to answer you a question, so I figure, I
see my birth bumping. I yeah, this is that boombering.
It's good to meet you. And she I go, who's
Dominican then? And I said, I'm Dominican, right. She says, no,

(02:46:48):
who told you that Dominican? And I'm like, oh, because
that the month before me My wife.

Speaker 3 (02:46:59):
Is a Dominican publication that I just ran into this
guy walking down on Broadway by asked the place.

Speaker 2 (02:47:07):
And he was like, yo, DMC, you what we wanted
a venue for hip hop? And I'm like yeah, yeah,
and I'm Dominican too. I did a whole interview about
being a Dominican, so my mama to be I had
to call it the guy up. Yoh, yo.

Speaker 3 (02:47:21):
We got a problem. We got a big problem. We
got a big problem was that I just found my birth.
When I found out that I ain't Dominican, should have
hurt his for Oh that's not good, bro y'all like
that whole thing. But then we squared it up.

Speaker 2 (02:47:34):
But the cool thing about it was he got back
on the phone and said, I told my whole audience
and stuff like that video. But he said, no, you're
down with us anyway, because you're DMC. You know what
I'm saying. But I thought I was Dominican, nor because
I found out at age thirty five that I was
adopted and blew.

Speaker 3 (02:47:51):
And after me and my mother had those two conversations,
the next thing that happened was this. The phone rang
for a week because there's all my cousins that I
grew up with who are now thirty five forty fish.

Speaker 2 (02:48:08):
No right, they're not my blood cousins. OK.

Speaker 3 (02:48:10):
These are family. I'm thanking and I'm one of them.
They call and go, oh, dar, we're so glad your
mother we helped that in for thirty five, Oh, Derek, Samantha, Eve, Craig, Sharon, Sonya,
all of them when they Christmas in Hollish right in

(02:48:33):
my in my house in Hollie Queen's. If it was Christmas, Thanksgiving, graduation, wedding,
it was always at the McDaniel's family house. Everything my
mount's putting on you. So my cousins reveal this to me,
and I'm talking about since they were little, every time.
We're going over to McDaniels for Thanksgiving, we're going over
to McDaniels for Christmas, We're going over to McDaniels for

(02:48:53):
the birthday. We're going on over McDaniels because such and
such graduating kids, kids come to the room. Sit down,
these kids for thirty five years. What's the rule when
we go over to mister and mister McDaniels house. Nobody
let Darryl know he's adopted. Oh my god, Oh my god, so,

(02:49:14):
oh my yeah.

Speaker 2 (02:49:15):
Here, I'm getting ready to do a movie about not
a biopic, you're ready to do a movie about that situation.
And no, that's and to think the thing about it was,
it's it's just just two things. When I met other
adopted people.

Speaker 3 (02:49:29):
I love my parents for not telling me because they
were afraid that it might do something. Because my brother
who's there, biological Alfred, he says, what happened was my
mother had other Forster kids that went back to the families,
because I remember cousins that I had that I didn't
see nowise we were growing up. Those were kids that
went back, and my parents officially adopted me when I

(02:49:50):
was five years old. But my brother Alfred said, we
had this other kid, what was the same name as Oscar.
I remember the day he left, and I just remember
my brother's three. I think my brother was six, and
I just remember my brother telling me because mother's here
to get him, and I'm like, okay, my aunt's here
to get Oscar. I'm gona see him next week. Never
saw him again. Then there was other little girls and
stuff like that. But my brother said this would happen

(02:50:12):
and this is what's crazy about all the comic books
and all the shit, and this has to do with
rigs too. So every kid went back. And I'm in
there playing with my toys in the porch and anest
queens and my my mother. But dounthin Mather looks over
at my father and this is funny. What are we
gonna do with this one? It's like a you know,

(02:50:33):
a pet. Take him back to the shelf. My father
says this. My brother says, Oh, you know what, I
think we all adopt this one because you never know
he might grow up and do something that will change
the world.

Speaker 2 (02:50:46):
So it's in front of you, you, in front of
my brother. Oh okay, okay. Even though I'm little, he
heard them say that, and then you know, he even
called Daryn, I'm so glad Mama tell you that, because
I didn't want you to find out on their deathbed,
because a lot of time docs that don't get told.
We cleaning out the house and I'm going, what's these papers?
That would have been really crazy, So at least they
got to get it out before they passed away.

Speaker 3 (02:51:09):
So my brother, what I was gonna say was his
was crazy about all the superheroes. When I was growing up.
The only people that I felt I could connect to
what the superheroes and the comic books. And if you
think about it, most superheroes are nerdy, geeky, awkward people
struggling in their regular lives. But then rig Sent meet
but they turned into these people when I met is

(02:51:31):
spider Man often. I was just gonna say that, talk
about Rix. So Riggs, we have this comic book meeting
and we're doing that and boom ban Man. About two
or three weeks later, Riggs discovers my adoption story theself.
So I come back in the office and he's doing
this and I'm like, hi, Rick, same way when they
meant and he goes like this, Jo D, this is

(02:51:53):
fucking crazy. And Rix says, Yo, D, you are really
on some superhero shit. I was like, what are you
talking about?

Speaker 2 (02:52:00):
Says Yo.

Speaker 3 (02:52:00):
Most superheroes are adopted or have a family issue, or
Superman came from someone that. That's what my mother and
father did. Clark, there's something we need to tell You're
not really from We love you, but you're not what
you have this thing, that's what that Spider Man from Queens.
It had to be raised my aunt May Batman what
happened seeing his parents get killed in front. So everybody

(02:52:22):
has those issues. But all of that led to me
when when I first met Rix, he goes, do you
look my superhero? But going back to that, when I
found my birth mother, she goes, I know you're dying
to know why I gave you up.

Speaker 2 (02:52:40):
My birth mom is his name is bern Senia.

Speaker 3 (02:52:43):
My adopted parents thought I was actually Dominican because of
the whole Washington House Hamilton Heights. But when they was
doing the adoption transaction, they just remember they thought my
mother's name was Bernarda, so Bernarda and Dominic in the area.
That's what they thought about. My mother's name is Brincinia.

(02:53:04):
But she says, I know you're dying to know why
I gave you up. And I was like shit, Lady
that said, I understand, and she hit me with this,
I gave you up to give you a chance. So
then all of this and went back to the void.
When down went the King went back up. When down
with the King went up, and I went into the depression,

(02:53:24):
that was you know, it's like one of the gods
just says, Mercury, fly down and revealed to him.

Speaker 2 (02:53:30):
Who he really is.

Speaker 3 (02:53:32):
When I went into the depression. It's same when I
met my birthfather. She said, you was going through a
depression right that time. Nineteen ninety three, Down went the King,
she said, in nineteen ninety three, her secret that she
knew she had given me up. Her best friend turns
to her, No, her daughter turns to.

Speaker 2 (02:53:52):
My sister. Jeeta turns they're watching an adoption thing on TV.
And my sister turns to my mother joking you, I
have no secrets out there. My mother says, yes, I do.
Geter goes what we gave this kissing so they never
knew it was me. My brother I found out had
a sister and two brothers. I didn't know about my
older brother. Mark to this day.

Speaker 3 (02:54:12):
Looks like the eighty six DMC glasses goatey and this
is gonna blow your mind, he draws. So his whole
life from rock box to downwent the king, his whole life.
He got this, Mark, Mark, come here that god DMC
could be your brother. Eighty six Mark markham by eighty eight,
I know, motherfucking DMC could be my brother.

Speaker 2 (02:54:34):
Come to find out DMC. How crazy is that? So?

Speaker 3 (02:54:39):
Yeah, I found out that I was adopted. I thought
I was diminishing because I was trying to grasp on
any identifying and understandable to.

Speaker 4 (02:54:48):
Fill the boys and all of this is how you
segued into advocating for mental health.

Speaker 2 (02:54:54):
Yes, exactly.

Speaker 3 (02:54:56):
And can you talk about some of the stuff you're
doing in that?

Speaker 8 (02:54:58):
Yeah?

Speaker 2 (02:54:59):
Yeah, So out of that that whole brought up this
is just crazy.

Speaker 3 (02:55:03):
It didn't end it though, Alcoholic suicide and metaphysical wreck
who just found out that he was adopted and was
a forster kid. Jim I said, Jay, get shine help
and then and then and there yet I remember my
mother father. Three months later, my father died. I remember
the night Jay died. My father goes, why would anybody

(02:55:23):
want to kill Jay? This is such a then my father,
so imagine what I was dealing with. But then I
met another adopted person who said thee there's something that
you need to do.

Speaker 2 (02:55:35):
I was like, what's that? And when I found out
I was adopted, Remember.

Speaker 3 (02:55:38):
I had pancreatitis, I started drinking again and so I'm
drinking and someff.

Speaker 2 (02:55:43):
But then somebody said, deep, you need to go to therapy.

Speaker 3 (02:55:47):
At first, I ain't going to no fucking therapy that
and then I said, okay, fuck it with Tony Stark,
so Peter Parker go to therapy.

Speaker 2 (02:55:54):
I had to depend on my coun So I went
to therapy and I found out therapy it's really ooh.
And I wasn't ashamed to talk about it because hip
hop has taught me or keep it real. So how
the work started was I go to therapy and in therapy,
the therapist doesn't help you. Therapy helps you. The therapist

(02:56:15):
doesn't help you. So a lot of people don't want
to do. No, you gotta go because the therapist is
just a decoy to do two things for you, because
you haven't done it with yourself. Two things happen.

Speaker 3 (02:56:25):
You say stuff to yourself that you said before but
you didn't listen to. Or you say stuff that you
need to hear. You say to yourself but you don't
want to say it to you in the mirror. That's
hard facing yourself, so you face So I went to therapy.
It's cool, I got clean and sob.

Speaker 2 (02:56:45):
And whatever whatever.

Speaker 3 (02:56:47):
So when I get out of therapy. The reason why
this book happened and the reason why home I do
what I do is for a very funny reason. My
partner Run during that time had Runs House, very successful show.
Ten seasons of it was in the bathtob of the BlackBerry.

Speaker 2 (02:57:09):
Remember that.

Speaker 3 (02:57:10):
So the first season people would watch it and they know,
I know at the inn finale, DMC is gonna show up.

Speaker 2 (02:57:17):
I didn't show up season one. I know this shit.
I didn't show up the three. So after I get
our therapy and rehab, I get this question, Norri, everywhere
I go, why you ain't on Runs House?

Speaker 3 (02:57:29):
What's the beef the whole social media shit, and that's
in that they GMC's pouring and cared Russell and run
got Bentley's and this and that.

Speaker 2 (02:57:37):
No, no, no, the reason why I run.

Speaker 3 (02:57:39):
DMC ain't together is because Jay's dead out about that.
We can't replace our fucking drama. Oh I forgot about that?
So where you been DMC and me? Keeping it real?
I go, well, I was gonna kill my I tell
people this, but I just told you so. These people
are coming at me on the celebrity DMC shit. They

(02:58:00):
see the mighty king of rock who walked his way
in as Adidas while telling the world how tricky life
could be.

Speaker 2 (02:58:06):
But now I'm saying, you know, I was gonna kill myself.
I was alcoholic and everybody was going twelve I want
to say the forty, twelve forty, and then two things,
twelve fucking forties. Yet over the phone, yere this and that.
But every time I would do that E I would
get this reaction. These people would stop, look around like
the CIA was around, and.

Speaker 3 (02:58:28):
They would whisper to me, I've never told anybody this,
d me to wow. Now they're telling they didn't tell that.
Workers family, They struggling like ours. But because I'm damn
c adda my ada, and I just revealed at them.

Speaker 2 (02:58:45):
Now they're safe.

Speaker 3 (02:58:45):
They would tell me, but this isn't when that hurt me,
This is what got me working. If it wasn't them,
they would look around, and this is what stigma exists.
People are guilty and shame and afraid. But this is
the one that I hate the most. They were looking
around and.

Speaker 2 (02:58:59):
If they didn't say me too, they would go I've
never told anybody this, but my mother, my daughter, my father.
So that hit me up. You mean, for the last
eight ish your daughter's home smoking meth and struggling, and
you're worried about how people going to think about you
for having that daughter. So I said, let me get
more vocal about So I just started going to wherever

(02:59:23):
I was invited. Once people on my story, I was sharp,
and I'd tell my story. I would go to high schools,
I would go to middle schools. I would go to
group homes. I would go to Forster Care Agency. I
would go to hospitals. I would go to fire departments.
I would go to police since because a lot of
police are having mental issues across the board. Every time
I talked, I realized what this world has been preparing

(02:59:46):
me for through the hip hop the King of Rock.
Shit was just to set up for what I was
really put here to do.

Speaker 3 (02:59:52):
I found out that I'm a billion times more powerful
telling people when shit isn't going good for me. My
whole care read was Christmas Tim Hollis Queen's I'm the
Devastating This and I always reported to y'all my goodness,
and it was very inspiring. It's even more inspiring when
I met that a vulnerable, scared, afraid, weak and confused,
because then those people go, you know what, I'm gonna

(03:00:15):
go get help to you. So that that's why I
do it. Because of my joke is because of Pete
rocking Down went the King. I talk about mental health
because that was a catalyst.

Speaker 2 (03:00:26):

Speaker 3 (03:00:28):
Because in eighty eight, if y'all remember and from No.
Eighty nine we put out a flop album. We put
out a flop album called Back from Hell. Y'all don't
remember it. I don't remember that. You remember the ad?

Speaker 2 (03:00:42):
No? Do you remember pause when he's doing nw Jack swinging?
That was part of my depression. I talk about his book.

Speaker 3 (03:00:53):
Jay was flying, he was doing that. So Jay had
us doing these new jack swing records and then pause
was good. People say, oh, that was good and this
and that. I didn't want to do it, but I
did it to please then, and it made me drink
because when Jay said let's do now, there's nothing wrong
with nu jack swing and all of that shit, I
just don't like it. Right, This wasn't I don't want

(03:01:15):
to rap over that shit. But when I was in therapy,
my therapist said, motherfucker you. I was diagnosed with suppressed emotions.
All the drinking I was doing is was because I
didn't want to tell people the truth.

Speaker 2 (03:01:27):
About I don't want to do that record. I don't
want to go to there. I did so much people
pleasing that I was suppressing with the alcohol.

Speaker 3 (03:01:34):
So when I got out of rehab, my when I
got into rehab just happened to me.

Speaker 2 (03:01:41):
My therapist was I was, what thirty six, so my
therapist probably was like forty six, forty eight white guy.
It's a white doctor thing and a clipboard. So he
comes in for my first therapy session in rehabit and
he sits down and he says, Darryl during your career.
Referend DMC that runs Russell or anybody at the record

(03:02:02):
company do anything to get you upset. And I'm said,
and I lie no, And you know, he's said he's
the doctor, and he got his glasses and I go no.
He looks up at me and glasses and he does this,
alasses all start some button in the white cloak. So
I'm sitting there with just my fucker gonna hear some shit.

Speaker 3 (03:02:24):
And he sits down and it's crazy. He had I
weigh him all the time. He had on an AC
DC shirt. I guess he did that to break the ice.

Speaker 2 (03:02:31):
He sat there and he looked at me and E
and he sent you a goddamn mother fucking liar. And
when he said that to me, yeah, man in nineteen
eighty three, must nineteen eighty So I started the man
Russell did this. I started remember everything profile of you.
It all poured out of me.

Speaker 3 (03:02:47):
So when I got out of rehab, this is funny,
he says to me.

Speaker 2 (03:02:51):
From now on, D be hip hop, keep it real,
always tell the truth. And he said it might have
it might have set some people. They might not like
you for that moment, but they'll fucking get over it.
But I also got to be ready to receive it
to when they do it. But then he says this,
He says, from now on, speak your truth, Tell the truth,

(03:03:15):
no matter what right, and I go. Even if my
wife asked me if she's sat in this true story.

Speaker 3 (03:03:26):
Not that one, she all this says out there, this
is life for not that one. But now you ask
me my opinion, I give it true truth. I don't
even want to say truth. Such a free he just said,
from now on. My manager Eric hates me. Sometimes they're

(03:03:46):
going to give you five hundred thousand dollars.

Speaker 2 (03:03:49):
Who is it? What is it doing with it?

Speaker 6 (03:03:51):
For?

Speaker 2 (03:03:51):
I don't like it? Nope, he think I'm crazy. But
I'd rather make a hundred thousand dollars five times and
take to five hundred thousand dollars. I'd rather one hundred
and fifty dollars do the math to get to I'd
rather make a hundred dollars a thousand, ten thousand times
to get the million than taking the million foot And

(03:04:12):
that's what I was doing my whole career and the
reason why I bring up the Back from Hell album.
If you listen to Back from.

Speaker 3 (03:04:17):
Hell album, The only guy that knew something was going
wrong artistically run with front of C was Dante Ross.
But you know what, when we put back from Hell
Out and Paus out, he was that motherfucker must have
been in therapy.

Speaker 2 (03:04:32):
That motherfucker. What the fuck is running deep see doing
new jack Fish's bullshit like he went him? No, he
Kevin real, Kevin real.

Speaker 3 (03:04:42):
But that's what I should have did, and it could
have went like this, Yo, Then y'all do the records, y'all.
Ud you know, I have no problem, only want to
be on the record in the first place I was
gonna be, so I'm already there. But then the whole
thing was I mean, when I lost my voice. Russell
even told one day and day, but you gotta show up.
The motherfuckers ain't buying Run. They buying Run DMC. So

(03:05:05):
you're standing there, shut up. I did millions of show
when I couldn't rhyme. Imagine that, and you was lip syncing, well,
Jay was playing the vocals and rhyming over with me.
So in course of the moment, people don't know, but
that went on for probably like maybe two and a
half years maybe, so imagine how I felt. And then

(03:05:26):
I even realized those are part of the suicidal thoughts.
I talk about it in the book I can't. I'm
thinking I was only put here to rhyme.

Speaker 2 (03:05:33):
So if you keep superpower, the superhero lose the superpower.

Speaker 3 (03:05:38):
What happens, But then you realize who you really are.
I didn't have to go get to operation for my voice.

Speaker 2 (03:05:46):
It just came back. I was hanging with Chuck d
one day and it's like that superhero. I started glowing
and ship like it was. You didn't get an operation nothing,
So you're just sitting there with Chuck. But well, well
too to the mental health thing is it's all very mental.
When I was in therapy, my therapist said, don't let

(03:06:10):
nothing define you or your situations or your operations. And
I was like, what do you mean, how do you
do that?

Speaker 3 (03:06:16):
She said, you've been doing it your whole life, and
I never knew this. She said, she brought up to
where lives can be never singing. The good news is
that there is a crew. It's about time for a
brand new group. All other things won't be the same.
But then she said, don't you know all of your
most powerful lyrics, like the one that you got just
ended with you start with this is crazy. And now

(03:06:38):
I'm not religious. I think religious to bide. I think
politics the bid. The arts is the only thing that
succeeds where politics and religion fails.

Speaker 2 (03:06:46):
Politics and religion fails us. I agree, I'm saying it, yeah, Religi, yes,
you holy motherfuckers. That shit fails us. But the arts
succeeds where politics and religion fail. But she said to
me this, She said, don't you know most of your
powerful rhymes start with the two words I am. I'm DMC,

(03:07:07):
I'm the son of byfriend, I'm the king of rock,
I'm the devastating my control of d MC. All my
i ams manifested into them. I was imperfect. I didn't
need nothing else.

Speaker 3 (03:07:18):
But when I forgot about that and I went I
went to a bunch of voice doctors. One doctor told me,
and this is before I knew it was mental, there's
nothing physically wrong with you.

Speaker 2 (03:07:30):
Your voice is a little red, your throat is a
little red. Because you're out there every night pushing it.
Nothing's coming out. You know.

Speaker 3 (03:07:38):
Obama had wrote a book, and in the book he said,
your voice isn't how you sound, your voice is who
you are. So when I found when I'm adopted, Oh
there's my birth mother screwing the missing pop pop.

Speaker 2 (03:07:58):
It was all mental was full to Vni Sigul because
he lost his voice. I haven't spoken to I knew
what's his name, the DC. He was in a car,
but I was.

Speaker 3 (03:08:09):
I was diagnosed with the thing called spasmodic dysphonia, which
is involuntary spasms of your vocal cord. But my crazy
diagnosis was you even have one or the other.

Speaker 2 (03:08:21):
It's abductor or ad doctor like in the gym, they
have an abductor machine for your length and added the
doctor diagnosed me with both of them, and then I
would They gave me the botox shot with the needle.
The needles about this long.

Speaker 3 (03:08:39):
I went to Mount Sign and they put both tooks
in your vocal cords to stop the electric impulses from
your brain getting there. So they did it to me
and I passed out and it was like here for
the number of days that the voice number came back
until I found my birth It's crazy. So now I
think what's healing me is therapy is addressing your issues

(03:09:04):
because when I.

Speaker 2 (03:09:05):
Speak, wonders like DMC, I ain't got no money. Like you,
I can't afford a therapist.

Speaker 3 (03:09:09):
So what do you tell somebody struggling with an emotion
or condition, suicidal whatever whatever? I say, Sometimes you don't
need money for therapy. I say, in your darkest hour,
when even if you can't smile, there's somebody that you
think about that brings a smile to your spirit. That's

(03:09:30):
the person you go to and do what people was
doing to me. But I had to get it out
of you go to I said, it might be you
know how you grew up in the neighborhood, and you
love mister Hooper who runs the store, and I've known
you sent you or the barber that cut your hand.
Those are the people you go up to here and say, yo,
I've never told anybody you got to integrat storing like
this so they understand when it's coming.

Speaker 2 (03:09:50):
I've never told anybody this. But I want to kill myself.
There's nothing wrong.

Speaker 3 (03:09:55):
And when I speak, there's nothing wrong with a person
saying they feel like killing themselves. And what you mean
it's a no, no, no, it's not a good thing,
but it's nothing wrong with it. For instance, if it's
hot in here, could I tell you not to feel
hot if it's a hundred degrees in there?

Speaker 2 (03:10:14):
Can I tell you not if it's cold outside, Can
I tell you go out there nor it's Timblau and
not feel cold? No? Can I tell you not to
feel hungry? So I'm realizing it's a feeling that they
have what you have to do when your approach with
that sit down with the person. And even if it's chemical,
there's a catalyst, a who, what, when, where and why

(03:10:36):
that causes that feeling.

Speaker 3 (03:10:38):
Find out who, what, when or why it's doing it.
And here remove my strength of not drinking again. And
I went to rehab. And when I was in rehab,
I was in there for thirty days. Oh, I was
going to do this at Leo's thing, But I get that.

Speaker 2 (03:10:52):
Don't need you to speak. Just come on stage with me.

Speaker 3 (03:10:56):
For the fuck out of kot prepare. The whole fuck
is about your ass.

Speaker 2 (03:11:01):
I ain't got nothing to do with this fucking music. Pullshit,
I got you. You can't get it. You know, think
you forgot because he's telling he's calling Eric and wanted
me to come.

Speaker 3 (03:11:11):
And I'm getting back. I gotta speak.

Speaker 2 (03:11:13):
I speak about him and Kathy, and you'll be in
my role I get that. I don't need you to
speak this coming. See.

Speaker 3 (03:11:20):
I went hit in the back, you know, because I
don't like to be here. But I gotta come in
Leon because Leo is part of the people that saved
my life. Because when I was going through this, Leo
actually paid for my rehab for me to go to.

Speaker 2 (03:11:35):
The Rihow darylstricky.

Speaker 3 (03:11:37):
He can't fucking die.

Speaker 2 (03:11:38):
We can't have Daryl died. And it was Kathy. I
love Kathy sime oneas I was disappointed she wasn't in
l a leor fuck is up with that? Well, okay,
it was blood.

Speaker 3 (03:11:54):
So Kathy went to Leo and Leo was I paid
for Daryl go to fucking meet. I went to fucking
so I gotta come in and I tell Leo it
wasn't because of this music shit. I was gonna need you.

Speaker 2 (03:12:06):
At a die. The reason why we met was much
deeper in this music shit. But it's cut that to
hip hop brought us together. So I got out of
rehabit now I go.

Speaker 3 (03:12:15):
I did a book called Darryl's Dream, which is a
story about me in third grade getting teased, bullied, and
picked on because I want to save my poem and
other kids don't think it's cool. But then I save
my poem, I get a standing ovation. Now all the
motherfucking kids want me to teach them how to say bowdream.
All of a sudden, my cool, just like Nori. All
the motherfucks that was coming in, motherfucker run. All the
bullies in the hard rocks, Oh, now you want to

(03:12:38):
be my friend?

Speaker 2 (03:12:39):
Mother. They ain't even waving at me. Now you know
what I'm saying. You know, motherfucker that took my sneakers
over there, and the motherfuckers snapped here. You made me Rhyn.

Speaker 3 (03:12:48):
Now all the hard rocks want to be but it's
the same stories.

Speaker 2 (03:12:51):
Okay, So now you know, every year since my childhood,
it doesn't feel like this holiday unless I hear this record, right,
and I will also give it to Mariah Carry as well.
Every year. So let me ask you, every year at
Christmas time, we're cooler because it's hip hop. Yeah yeah,
yeah platinum every year Christmas time. No, because all the

(03:13:15):
money goes to the special Olympics, Pubblish shit, hel all
the money was trying to be good niggas back then. No,
we didn't want to do that shit either. No, No,
let me tell you another.

Speaker 3 (03:13:29):
We didn't want to do that ship when they approached us.
When they want you to know, that's corny fake. There
ain't gonna be no Christmas wrapping elves like we thought
it was gonna be corny shit. No, we didn't want
to do it. It's for the special Olympics. Let them
find somebody else. Bill Adler shout out to Bill Adler.

Speaker 2 (03:13:48):
He comes to it. Y'all could do what y'all want
to do.

Speaker 3 (03:13:52):
He Bill comes and plays us the music, the back
Door Santa sample.

Speaker 2 (03:13:59):
Because at first meet Me and Run wasn't gonna do it.
But when we heard don't.

Speaker 3 (03:14:06):
We could do that shit give me a pinion. So
Me and Run we went and wrote our rhymes. But
every year we don't see no money from that.

Speaker 2 (03:14:13):
That's all wow. Start to end. Well, let me just
tell you do this. If I don't hear that record,
it's not no. Here's where we are with that. And
this is so cool about hip hop. This was about
four years ago.

Speaker 3 (03:14:29):
I don't know if it was a journalist or is
doing an interview or whatever they said.

Speaker 2 (03:14:33):
Who would have thought.

Speaker 3 (03:14:36):
In the existence of this universe that hip hop would
do something, would continue to do something phenomenal. After all
the phenomenal stuff that is done. That's why I believe
this fifty years of hip hop, yall, we just getting started.
Still got more to do, innovation, creativity. We got Hollywood

(03:14:56):
to take over now and conquer different stories.

Speaker 2 (03:14:59):
So much to do.

Speaker 3 (03:15:00):
They said, Christmas used to be Justice Laurie, the black
guy Nat King Cole singing just not roasting on an
opening fire right all. The white guy Ben Crosby actually
singing I'm dreamy. Remember that's Christmas who in a million
years said that's just going to change. Now they say,

(03:15:22):
for the rest of the existence of this universe, it's
Nat King Cole, Ben Crosby and run MCS Christmas in Hollis.
That's guy that me my mom. I was like, whoa
you mean? I'm like Curry Cuomo now. But it's but
it's a hip hop shit.

Speaker 2 (03:15:42):
We don't.

Speaker 3 (03:15:44):
Like you know what I'm saying. That's a huge achievement,
even the Rockawall Hall of Fame. I want people to
understand something. People always go, d you don't know who
you are. I do know I am, But that's why
I have to wring that out of it. You know,
I don't want free shit, this and that, but I
don't want appreciate this this in that point the Rock
and Roll Hall of Fame. Y'all got to understand something.

(03:16:05):
We did the video about us being denied entry into
the place that don't exist. Now when we're allowed to
get any motherfucker's man. Jeane Simmons, all these mother fucus
is mad. Jane yeah from kids, Yeah, he was mad.
He respects us now.

Speaker 7 (03:16:25):
But.

Speaker 2 (03:16:27):
Well he was making it hating the point that we
don't play instruments, so is denied entry into the rock
roll of Fame. My thing is this.

Speaker 3 (03:16:35):
You gotta understand. I think this is my most valuable award,
and let me tell you why, because it's from people.
Yeah right that my genre and my culture this and that.
But the Rock Roll of Fame is cool, but me
having the trophy is not great as this.

Speaker 2 (03:16:56):
I don't want people to understand this my victory, our victory,
anybody's victory, but more importantly hip hop's victory. Let them
all bicker and beef and have the criticism that they
say that first of all, the blues is the roots, motherfucker.

Speaker 3 (03:17:12):
Everything else is the fruits.

Speaker 2 (03:17:13):
Number one.

Speaker 3 (03:17:14):
They got it from all the black blues, all this music,
alternative hip hop, the black blues artists. And if you
sit down with Keith Richard's, sit down with Vick Jaggers,
sit down with Steven Tyler Aerosmith, you sit down with
Eric Clapton, you got white people.

Speaker 2 (03:17:29):
And when you talk about rock music, they mentioned the
blues artists, which is why all of these artists and
hip hop should know who the fuck supoon these is
a jazz motherfucker knows who's Miles Davison culture.

Speaker 3 (03:17:42):
But our victory is this Nori and E. The trophy's cool,
but I already won when I was just considered. Worry
enough for the nomination because that tells you your work
is done. So we're looking for it just to be considered.
Where don't you got to take her home? But you
that's your victory. So they can say it's not a genre,

(03:18:04):
this and that. When we had walked to Sway in Adidas,
we do press conferences. Excuse me, run DNJ, Where do
you think you'll be in three years? They thought we
was a fat, they thought we was old. You know
what I'm saying, So it ain't about what other people think,
It's about what you know.

Speaker 2 (03:18:19):
You know, a great philosopher once said, I don't fuck
with people that's talking say I believe, I believe. I believe,
you don't hear. And that's what's really crazy about religion.
You believe that shit. You could believe. What the fuck
you want? One person, I believe it, this is it.
I believed it. No, no, no, do you know when

(03:18:41):
I speak, I see, I know that I know this.
I know I know. How do you know?

Speaker 3 (03:18:46):
Because I experience it? And y'all calling me legendary. I
got hit with this about a couple of months ago.
I forgot what I was watching and they saying, you know,
one person isn't legendary. The people calling legendary don't mean
don't know that. They're part of the legend because they
were there. It's not about who, it's about who experienced

(03:19:08):
it all.

Speaker 2 (03:19:09):
The person that's calling me a lego, gmory, you a
fucking legend, they're talking to themselves. The guy said, a
legend means the people who were there to experience the
legend of Billy the Kid. It only exists because the saloon.

Speaker 3 (03:19:28):
Guy saw it and passed it.

Speaker 4 (03:19:31):
The original term of that word is passing on that
story from someone who saw it.

Speaker 2 (03:19:38):
So I always say we are reluctant.

Speaker 3 (03:19:43):
And since it's the fiftieth year of hip hop, it
should be demanded that we talk about the pioneers before
recorded rap.

Speaker 2 (03:19:54):
And he mentioned the need to be talked about Hollywood.
You're coming out of there, Reich, DJ Hollywood, all of them. Okay,
DJ Hollywood, are you so Hollywood? Yeah, we're out of
Hollywood when we come. We don't need no more. I
was a drug dealer, now I'm a rapper. Story. I
was a gangbinger and a rapper.

Speaker 3 (03:20:15):
Think about this story from seventy four to seventy I
mean from seventy one to seventy four. There are so
many stories of our people. And okay, they were DJing
and breakdancing and doing graffiti. What was happening economically? What

(03:20:36):
was happening politically?

Speaker 2 (03:20:37):
What was happening?

Speaker 3 (03:20:38):
We gotta go into Hollywood now and tell all of
the stories. You know what I'm saying.

Speaker 2 (03:20:43):
And hip hop is fifty years old now we're just
getting started. We gotta dominate the airways, we gotta dominate
the screen, we gotta dominate literature. Now we can start
telling all the other stories that need to be heard.
Or else they're going to get lost. Let me ask you,
because you was saying this earlier. One of the first
people to have a sneaker endorsement, You guys have a

(03:21:05):
stock in Adidas. I think Eric said he's working on
that for us right now.

Speaker 3 (03:21:11):
That needs.

Speaker 2 (03:21:13):
Adidas need to you know, I mean because like you
were saying it earlier. You know, curls, no braids, pis
he heads still get paid. I'm one of the good
reasons why yezies can get made. I'm about to ask
you to get he really just does not need to
write to check. He gave him promotion in market and

(03:21:35):
we solidified them. See, we took them to lifestyle in fashion.
They were just forcing them for what made job? What
made job? Because, like you were saying earlier, you was
like everyone was wearing Pulmas at the time.

Speaker 3 (03:21:50):
What major was an economic decision to select Adidas?

Speaker 2 (03:21:53):
What do you mean economic?

Speaker 3 (03:21:54):
You mean like right now, no Pumas was dope and
that Pumas and Adidas is connected. Do you know the
story two brothers of the Dalcin then had an argument,
Fuck you, I'm gonna go start my own company, went
and started Pumas. He left the fist up. So Pumas
Adidas were simultaneously come up in New York City. But
here's the problem. Persuade Pumas. Somebody step on and you fucked,

(03:22:20):
uterrain fucked.

Speaker 2 (03:22:22):
The leather ones were cool, lasted a little longer than
the suede ones, but they would bend and they would
start to crack.

Speaker 3 (03:22:29):
This is an economic decision. Do I spend my thirty
five dollars on the pumas somebody step on in the ring,
or do I get to shelter that all I need
to do? Why do you think I carry rags at
the end of the night when I get back to
my room, I just went it and wipe it off.
His look brand new. It was the economic descent. They're
more durable. I didn't know I was going to get
a sneaker deal. So my first pair of Adidas. I

(03:22:50):
don't play ball, so Mosco last three years. So it
was an economic decision that we did.

Speaker 2 (03:22:55):
In Betas. The shoelaces thing came out because of this
hold on. I figure the shoel thing. Let me ask
you this one thing. Have you ever owned a pair
of Nikes? Yeah? Recently two thousand.

Speaker 3 (03:23:14):
And Nelly and put out.

Speaker 2 (03:23:18):
Air Force You mean to tell me that you Yeah,
what year was that? Well, it's Nelly and jay Z
because jay Z.

Speaker 3 (03:23:25):
Was infamous for rocking the the for swimming, right, what
year was that? So here's the story. I'm in New
York City, the foot locker on Broadway by the McDonald
ash to place McDonald's Broadway before Houston.

Speaker 2 (03:23:45):
There's a foot locker right.

Speaker 3 (03:23:48):
By McDonald's were profile records used to. So I forgot
I was going to an interview. This was like two thousand.
It was when Nelly and when air Force ones was popping.
So I go in the foot locker.

Speaker 2 (03:24:03):
I got on a blue T shirt, I got on
blue Levis, and I got on white on white Adidas.
So in my crazy mind, I need Adidas with the
blue stripe. I ain't right. And I had a new
white on white white superst with the white side. But
I'm very old CD. It was hurting me. So I

(03:24:24):
go in the foot locker on Broadway and I go
in there. Yeo, I looked everywhere. I need the white Superstars.
I thirteen with the blue stripe, go on the back.
We don't got them? Did you do twelve? No? Twelve
hurt my feet. So over there on the podium, I
told this story. I had Adidas basically do. Over there

(03:24:46):
on the podium is an air Force one spinning with
a blue stripe and it got lights around it. It's
a true story. So I look give me those hmm stopping.

Speaker 3 (03:25:02):
Everyone's like, no, no, because you know why because the
workers were young.

Speaker 2 (03:25:06):
Okay, so they didn't get it. Okay, who the fuck
I am? You know what I'm saying. Manager was young too.
You know, I walk in foot.

Speaker 3 (03:25:15):
I could think everybody gonna know, but like a lot
of times, if they're young.

Speaker 2 (03:25:18):
They don't know. So I put them on.

Speaker 3 (03:25:20):
I walk out the door and I'm walking down. I said,
I'm walking a garbage truck. True story. What's up with
the fuck? And that's what the driver says. I keep
walking right. I get to the corner Broadway and Fourth
Street where Tower Records used to be.

Speaker 2 (03:25:42):
The bus driver boo d man, Come on, man, that's wrong.

Speaker 3 (03:25:46):
Whatever you doing. I get to the corner of Broadway
house police officers standing there. I come over and one
guess he probably was Puerto Rican.

Speaker 2 (03:25:59):
Dude. You I'm saying, you know, they standing there, and
be it comes up to It'll be able again. He didn't.
He was like, yo, man, what are you doing? Why
you got a niks around? I walked back.

Speaker 3 (03:26:14):
I want to tell you this.

Speaker 2 (03:26:16):
I walked back to the foot lock because you gotta
understand I left the white on white send there, okay,
ain't one on one, yo, take these sneakers. Give me
my white on once. Do you want your money? Know
you can give them this summery never will attempt to
put on anything else because the people won't let me do.
That is such a dope story. That is like in

(03:26:38):
the b Boy, bush Driver, garbage man and police go
on for that. I can't win else. I'm married to
the motherfuckers for life. So they really got and and
you don't pay for Adidas at this When was the
last time you paid for a pair of Didas about
a week ago? Because you just rush yeah, yeah, called

(03:27:01):
up no, I don't want to go FLA and they
tell me no, don't do it. But you know I
get them because I want them. So if you had
to pick Adidas right now, Parrals or all Easy Superstars,
well you ain't with either one of the.

Speaker 3 (03:27:22):
I'm not ins like people say running your ce created
the sneaker. It was a culture that already exists, but
Adidas created it. Everybody told the convention writes about it.
It started then, it was there, but we identified it.

Speaker 2 (03:27:37):
Okay, So if I'm dressing one run dmc attire and
I have on the Swist suit. But I go to
the store and it's only Stan Smith's there. Does that
complete my mom? No, you gotta you gotta go find

(03:27:59):
a super star if you got to swis Okay. We
was in the Stan Smith documentary.

Speaker 3 (03:28:05):
I hang with Stan Smith all the time, and even
Stan Smith said, run you have seen he's a lifetime
deal if he got one.

Speaker 2 (03:28:10):
He said that Wow.

Speaker 3 (03:28:12):
But the Stan Smith's you gotta go watch the Stan
Smith document.

Speaker 2 (03:28:15):
How definitely I'm I'm watching it. I get his credit.
He had to interview us and it Stan Smith is
more of the the casual. It doesn't represent what the
superstar represents with the sweatshirt tennis player. Correct, yes, exactly. No,
he can't put the stand smiff. That's that's like wearing

(03:28:37):
slippers the grocery store. Yes, it's wrong. He said. It's
Miami people. They slip the grocery store. Notice. Everybody was like,
wait a minute, the motherfucker isn't wearing cracks now, No,
but to stand Smith, it doesn't complete. It doesn't mean

(03:28:59):
you could do it. You can put your idea with
Sain Smith, but it's not that thing. Okay, So you've
never wore any other athletic uh again Arl? Yeah, I
mean I could tell you. I think the year Jay died.
What's Awful Awfl's last name, Eric Awful who used to
work for yeah, Orval Hall.

Speaker 3 (03:29:19):
Used to work for Adidas. When he left Adidas. He
was member of the Cocksport Teeth. Yeah yeah, they still popping.
Oh really, I got the pictures of me doing the alligator,
but the peacock okay, yeah, yeah, yeah I did. I
did with the roost. That's across the allegation the rooster.

Speaker 2 (03:29:37):
I was repping the cox sportise for like three months when.

Speaker 3 (03:29:41):
You playing it, when he was right after that, right
after that. But I did it for my friend and
stuff like that. But then it didn't feel right. It's
in awable, I can't you know. I did it for
him so he could get to check and ship like that, but.

Speaker 2 (03:29:58):
This didn't feel It's just what me with and on
and so.

Speaker 3 (03:30:01):
I didn't like he I did the Cocksports team. Oh
oh shoot, yeah, damn Back from Hell. We was wearing ewings.

Speaker 2 (03:30:11):
I'm about to ask you about it. On the car.
We wore ewings for like a whole fucking year. That's
when we wore ewings when Ewan was sweating at the bowline. Yeah,
we wore ewings when the Ewins first came out, And yeah,
we want they on cover. That's crazy. I'm I'm so happy.
You know, people don't know anything. Y'all know your assual
y'all know about Back from Hell and your abb No, no,

(03:30:33):
let's just keep it. Yes on that album. We got
on fucking we got on the fucking Ewings three on
the back. Yeah, we was walking draft first game. But
see that kind of gets to pass because that's when
you and left Adidas started his own sneaker, so it's
kind of still in the same family. So it was
more of a New York thing. But that was wrong too.

(03:30:54):
My wife always told me she hated them seekers, and
my wife was funny, she I'm gonna be Tenue, but
the fucking Adida's hard. I'm like, no, I'm doing this
for Jay and Patrick Ewing. That's funny. Me wearing Humans
was part of my depression. I know, I didn't want to.

Speaker 3 (03:31:11):
Wear them, but Jay was like, Yo, we're gonna be
a flying and we was.

Speaker 2 (03:31:15):
Wearing April wears. Again, we were wearing a Jay wearing
April Walker apparel and ship like that. Like, but I
should have said that ship is cool for me walk.

Speaker 3 (03:31:26):
Away like you know everybody was, man, I didn't want
to wear that shit, wear my fucking souper. That was
during Down with the King era, I remember, right, yeah exactly.

Speaker 2 (03:31:34):
But like, I know, there's a Biggie Smallest line where
it says, you know you have to think that hip
hop and make it this far, like did you ever
think like? Because honestly, like, I'm born in seventy seven.
I can't remember where Adidas is not related to you guys.
I like, I I'm born in seventy seven, forty six
years old. Some people call me an old man, right,

(03:31:54):
But what I'm trying to tell you is I can't
remember a time where Adidas wasn't attached to run DMC,
you know, at all. So to me, it's like anonymous
yeah yeah to me. To me, whenever I see somebody
where the suit run, like, I'm not thinking Adidas no,
like I think, Yeah, you know what I'm saying, Pip

(03:32:17):
hop for sure, exactly for sure. Yeah you know what
I'm saying. I think that's what I've made to my
Adidas told my your are our Idias. All the mother
shis is yours. These are my that.

Speaker 3 (03:32:30):
Oh look at all and every fashion design and every Harlem,
I mean every fashion week. All you have to do
is put on the run DM track suit with the
Adidas and walk down and run ring.

Speaker 2 (03:32:43):
It never gets all. You put on a leather blazer
with the leather pants like golf and walk down and
right right. It's not true? Is it true that that
you guys were trying to do a deal with Adidas.
But then you guys had a show of Madison Square
Garden and I believe you are run and told me
take it off, and they held it, take it off
and held it up. What had happened was they didn't

(03:33:04):
understand wild. Yeah, they didn't understand. They're checking the weekly
sales of product and the shelter was in the closet,
in the back of the closet, but they couldn't understand
why was out selling everything?

Speaker 3 (03:33:20):
And you know how they do the grass, They didn't
have enough room on the wall do the progression of
the girl for the sailing and sneaker. So word has
it that there was an intern there.

Speaker 2 (03:33:31):
Dudes, you don't know.

Speaker 3 (03:33:33):
Run DMC made a hip hop song about.

Speaker 2 (03:33:35):
Your sneakers, So didas is the holdor helo? Look? Come?
What the hell is a run DMC? And what the
hell is hip hop? So the dude was like, oh,
this code it is the shoot. Now you know how
exactly it's this true? JB.

Speaker 3 (03:33:48):
This this must be true. So they sent the spy.
His name was Angelo Anastasio. It was the head guy
of Adidas America. Like they have a head dude over
out in La So he calls the office Snooper and
you know, I want to come to the Rundem Sea show.
Can I get some tickets? Come the show? So he
comes to the show. It's the Raising Hell and Madison

(03:34:10):
Square Garden. We seven records and runs. Run says, take
it off, mee, I take it off, hold it up,
I hold it up twenty nine thousand. I think, what's
the capacity to guard twenty nine thousand people who hold up.

Speaker 2 (03:34:23):
The brand new Adidas? And you know, looks goes running.

Speaker 3 (03:34:27):
It's you no Instagram, no twists, yep and no said yeah,
they give us a million dollar deal.

Speaker 2 (03:34:33):
We got that. Yeah. That we put out the Cadillacs,
El Dorado and the fleet was it was the first time,
in addition to the run DM Sea Show Toe, it
was the first time in the history of the company
that they changed the color of the box because.

Speaker 3 (03:34:50):
The box was always like blue. When we put out
the Eldorado, Fleetwood and the the Felder Lot of Fleetwood
in the Sedannahville, they made the black box all black
box with.

Speaker 2 (03:35:02):
The rendym C logo. Was the first time in the
history of the country company. So game changing. We changed fashion,
we change marketing, we change advertising, we change music. Like
they changed the culture completely. What's left for you to do?

Speaker 3 (03:35:23):
Change Hollywood? That's my next mission.

Speaker 2 (03:35:25):
I don't want to everybody. I get calls all the
fucking time about p I don't want to be an actor,
you know what I'm saying. I don't want to. I
want to get behind the camera.

Speaker 3 (03:35:34):
I want to sign. I want to sign.

Speaker 2 (03:35:36):
I want to. I want us to stop telling the
same stories. Hip hop has a habit that's telling the
same stories, but Hollywood does too. They just tell Cinderella
over and over and over and over. There's news, there's
this new princesses and kings and adventures and entrepreneurs and.

Speaker 3 (03:35:53):
School lasst education, educational situations to tell. So what I
want to do in my pos this and especially since
I'm here, I could have condmmenced suicide. I'm not shot
in OD. I didn't kill myself. I ain't get shot.
So I feel that I have a responsibility. So what's
left for me to do is take this and make

(03:36:14):
this cartoons in live action films, just like my idol
Spider Man and the Hawk and stuff like that. So
it's fifty years of hip hop, were just getting started.
We have a lot of we have a lot of creativity.
So I want to be part just like I was
here to do the records, do the sneaker deals, this
and that. I said, I'm like, man, if I could
do that, I could do the same thing in Hollywood.

(03:36:35):
And the good thing about me is I can call
and get those meetings.

Speaker 2 (03:36:38):
But I don't want to go into meetings and have
Hollywood sain't No, it'd be better if you do.

Speaker 3 (03:36:42):
To know, we don't have to be negroes and they
have to be Gangbang. There could be so much other
stories to tell, like who would have thought this Catholic
school comic, reading classic classes, wearing nerd, We'll grow up
not to be just a part of hip hop, but
one of the kings of hip hop, pillas who was

(03:37:04):
able to change every associated genre or entity that we
came in to connect with. Who whatever thought about that?
So those are the stories that.

Speaker 2 (03:37:19):
Which changed the world exactly. I mean, Bust has said it. Man,
these motherfuckers didn't just change music. They changed you know,
buss it.

Speaker 3 (03:37:28):
They changed everything absolutely, you know.

Speaker 2 (03:37:31):
What I'm saying.

Speaker 3 (03:37:31):
And the beautiful thing Kaz always says that hip hop
didn't really create anything, wereated everything. So it's that we're
not what I don't want us to get and especially
don't want this generation that's looking at the celebration. Don't
get caught up in the fiftieth celebration being over, because

(03:37:52):
if we change music and we changed fashion, that means
we can change. When we say jam message, everything that
he touched turns the goal, Everything that we touch turns
the goal.

Speaker 2 (03:38:04):
So like when you said I really meant that, I
was like, Yo, this is like me coming on soul train.
You know, I went on soul train, of course.

Speaker 3 (03:38:11):
But for me coming here, this is me being here
with you know, you guys are my fucking Mike Douglass,
is Merv Griffins.

Speaker 2 (03:38:20):
You'all guys are min Johnny Cars got so the kids,
the kids need to see that. Let me ask you
something because you said it earlier. I think you said
your father said it. You said, why would anybody hurt Jay?
Right me, you know, as a younger, and you know,
I didn't understand that at all, Like like I couldn't

(03:38:44):
comprehend it. I couldn't comprehend it. I couldn't understand. I
couldn't identify because every time I seen Jay, it was
just always love. It's like, especially in Queens. Happened in Queens,
it was like very shocking to me, and especially in
his studio, you know, I mean, and the jam Master
J documentary Who Killed jam Master J? On Netflix? And

(03:39:05):
I'm still kind of confused, you know what I'm saying.
So I just want to ask your perspective for that,
you know what I mean? Or that night when you
got the phone call, right when.

Speaker 3 (03:39:13):
It first happened. First thing that happened was ten o'clock
news Channel nine, Channel five and eleven not channel CBS,
ABC and eleven ten o'clock news Channel five, Channel nine,
Channel eleven breaking news ham Master j Shine. The study consumed.

Speaker 2 (03:39:33):
Now when I'm hearing this, I'm going, okay, somebody did
get shot, right, but it's not j So Hour goes
by and his what's crazy. The next day we were
supposed to go play beaver and and j was supposed
to go perform at the Washington Wizards halftime basketball some
package when Jordan was on. I don't know if no, no,

(03:39:57):
this was after Jordan. Okay, cool, we're supposed to play halftime,
remember it, so eleven o'clock news Channel two, Channel four,
Channel seven.

Speaker 3 (03:40:05):
So now by this time, I'm seeing the pictures of
the body bag being and then again all right, somebody
ours Hollie, fuck, somebody dig get shot, but it's not Jay.

Speaker 2 (03:40:18):
Eric's daughter Erica calls me crying, Hey, coot, j whatever woe.
This might be serious.

Speaker 3 (03:40:26):
I tell my wife. My wife goes sixth door. We
give my son, who said with us he was a
little baby, to the babysitter. So we jump in the
car and we jet to Queen's. We're living in Jersey
right now. Jet to Queens.

Speaker 2 (03:40:40):
I pull up to the studio, which was about a
one hundred and sixteen ninth Street bus terminal by the
New York Public Library on the other side and the
bus seven er. So I pull up. This is when
I know it was reality. I get out the car.
I see Chuck Deer public enemy in Ed Lover cry

(03:41:01):
and I know it was for real. So that's it.

Speaker 3 (03:41:04):
I get out the car, see Ed Luck crying like this,
Chuck d crying. All happened so fast, So police come
grab me. The priestcint is right across the street.

Speaker 2 (03:41:14):
Take me to the priests and sit me down and
asked me all of these questions this, and then boom
if you was there? Boom boom asked if it's there,
and also did you see this? What was they like
this in boombe I don't know. We toured this and
the boom just a whar wind. So that that's that's
how I found out. And then as time went on,
I remember might have been on my Space or something,

(03:41:37):
but somewhere you know, it was coming up.

Speaker 3 (03:41:39):
Everybody was disappointed, whatever, and then I just nonchalantly and
innestly innocently posted I'm not mad at the guy that
shot Jay should have never did that.

Speaker 2 (03:41:52):
Man, the whole world cursed me like like crazy. So
I said, okay, let me, let let me elaborate on
what I just said. I'm not mad at the guy
that shot Jay. The guy that shot J personally is
it my problem and that's not my fight. My struggle
and people understood this. My struggle is the mindset that

(03:42:13):
would cause an individual to do those things. And not
only for jam Master J, but for Park, for Big
Scotland Rock, for Freaky Tie, but not only for them.
What about the jam Master J, Parks and bigs that
are getting shot in our communities all day. So we
as hip hop we got an assignment and then people, okay,

(03:42:36):
we underste what you said. I know I feel about that,
about the god and stuff like that, but that's not
my fight. It's not the individual, because we have the
ability to change those persectives.

Speaker 3 (03:42:46):
But speaking on that, it is what it is. The
dudes they did or whatever they did, they did what
he did. But what hurts me is this Jay could
have had his studio in Manhattan and around the corner
from Diddy's. He can had a studio in La He
chose to put his studio, five minutes from where he

(03:43:07):
came from.

Speaker 2 (03:43:08):
He opened a door to let everybody else in and
you could talk to people.

Speaker 3 (03:43:13):
Jay was like if you can't replicand the secretary, he
was a mass of creating opportunities, you know. And then
the whole thing was, Look, all my friends are even
dead in jail or they stick up kids. And then
drug dealers. So I'm connected to drug dealers and I
know a lot of it. Am I doing dally Joe?

(03:43:34):
Am I around it?

Speaker 2 (03:43:35):
Am I involved through those transactions? No?

Speaker 3 (03:43:37):
But all my friends are drug deals. But Jay was
five minutes from where he came from. He opened that
door for the soul. It's a shame that the very
thing Jay escaped from is the very thing that killed
him because he was trying to deliver other people's from.
So I'm still it's still confused to me. I only
get reminded about it when people bring it up.

Speaker 2 (03:44:00):
You know what I'm saying. I'm like, damn, that shit
is crazy. But even the ogs, like everybody crossed the
board was like, we don't care what that shit was.
You don't shoot j That's true, you know what I'm saying.
And I was like, Wow, that's like that, you know, so,
and then and and and for years it was like
we didn't see Run DMC together, right, was that like
the major reason? Yes, all, I said, we can't be

(03:44:22):
the only reason, and I said that run DMC, we
can't replace our dramma. But then Tom went on, and
then we started getting requests to do festivals, so we
was like, okay, but even now, I mean, you was
fortunate and everybody was fortunate to see the show at
Yankee Statement because we looked great, sounded great, and it

(03:44:46):
was flawless, you know what I'm saying. But probably leading
up to that stay even at.

Speaker 3 (03:44:50):
That show, you're not seeing Run DMC as Run DMC
j message. It's seeing the two members formally of that
great band. It's like, what I'm trying to say is
it's still in me phenomenal. It's like seeing Paul McCartney
and Ringo. It's just not the same, right, It's not
run It's running d m C, but it's not Run DMC.

Speaker 2 (03:45:11):
And then who was the DJ for y'all that night?
We had two DJs, DJ Kellie Champ which is Mine DJ,
and DJ Ruckets which is Runs DJ. Because when we
came back together. We had to compromise. Yeah, you ain't usual.
I'm not just using your DJ.

Speaker 3 (03:45:24):
You a little kids shit you us, so we both
use our DC so everybody could shine, but y'all on
the same records. So don't get that part because and
when it.

Speaker 2 (03:45:35):
Goes to your part, your DJ goes on your party,
they alternate. That'd be crazy.

Speaker 3 (03:45:44):
It's crazy, that's really Yeah, that's Fay taking it.

Speaker 2 (03:45:51):
But it's like.

Speaker 3 (03:45:54):
Now, if Run DMC was to record again, if we
was to record again, we couldn't record as run DMC.
Why because when in the overall picture of of.

Speaker 2 (03:46:10):
Music, musical ship, musicianship, in the overall picture of musicianship,
what we would do is we form a new band.
When you look at I said, when you look at
Audio Slave, they they was audio Slave, and then there
was what's the other band? They became.

Speaker 3 (03:46:28):
Oh you look at perfect example David Grold and you
know what I'm saying. So you have bands who changed
the name with some of the original members. You know
what I'm saying. So me and Ron would have to
figure out what we're gonna call this recording entity because
we can't come as you Run DMC.

Speaker 2 (03:46:46):
It'll be running DMC and the champs with feature. You
know what I'm saying, we would have to give you
another when you see us now that's run in DMC
doing run DMC. But for us to record, no, because
that it wouldn't tarnish that ship because we dope anyway.

Speaker 3 (03:47:04):
But it's more respect right to form a new band,
which is really kind of cool to sound Garden. It
was Soundgarden and Audio'll say you morph into if me
and Run say we're going to record now. We said
it was the last show at at Yankee Stadium. It's
the last show. Everybody ever said you got the last

(03:47:26):
show in New York and Yankee Stadium. We can do, Oh,
run DMC's last show in l A right, we can
do run DMC's last show. Ran into it if if
that comes up, but forced to record, and for me,
for my adventurous creative spirit, I would want to do
it under a new name. You know what I'm saying.

(03:47:46):
Your room we're gonna be angel Dust.

Speaker 4 (03:47:51):
But the last room, the last tour of doing all
the last shows would be kind of ill everybody.

Speaker 2 (03:47:56):
How about a versus huh? How about a versus with
who would bring DMC verse against the verse. Yeah, the verses, oh,
I don't know, I don't know public enemy to.

Speaker 3 (03:48:12):
BCS, don't want to do definitely don't want to do
something because they can't do it without m C. A See,
I was a little that me and Ron could do
it because Jay wasn't a MC, right, you know what
I'm saying, Like they like soul Oh, shout out to
true By. I got a record on Spotify and you
two called Kingdom come where. I pay my respects to
true By because every time I was around true By,

(03:48:34):
he just looked at me like I was the greatest
thing in the world. And he was like, I mean,
like really and he would tell me, oh no that
you don't know the like you don't know like I
loved him like I love true like recip.

Speaker 2 (03:48:49):
So. But in a versus d P M, d M, yeah,
they but yeah, a little too hard. We would have
to run DMC. We would have to go up against
like Taylor Swift for someone. You know, I'm just saying

(03:49:09):
that we would run the MC who would run DMC
in a versus Because you gotta understand it, Doug running
m C is just a little unique because a lot
nique you know, you know, if yeah, a lot unique
because one of the things that we always did, Pete
Rock did it in a way that it's fucking you know,

(03:49:30):
they said we were the Kings, but Pete Rock made
the world bout. But one of the things that would
always pushed me and run off now and I get
upseted about now is we would always get those instances
where people is like running, Sea's already falling off.

Speaker 3 (03:49:45):
So the first time that they started thinking that we did,
here we go to let motherfuckers know it ain't about
these fucking wrecords in the studio, Dre drop Big B.
You know, I'm saying I'm from Hollis Queen's in the
games we play, see here we go. Listen, Here we
go right now from start and it's the one of
the most perfected performances of hip hop.

Speaker 2 (03:50:08):
DJ ain't in bars. Turn your fucking record off, motherfucking
Let's go down to the park and see you can
perform for a hour. A lot of motherfuckers can't do that,
So here we go. Then, if you remember y'all forgot.

Speaker 3 (03:50:21):
Red Men and Dayla Sol shout out to them when
they did party people Loom killing your dreams. Have me
and run made that ship because motherfuckers was popping ship
thinking that we ain't dope. Motherfucker dope. I'm dope eternally.
So we did party. People, your dreams have now been fulfilled.
Get out your seat and let's get ill. That's right, y'all.

(03:50:44):
We're not just rough. We're more than tough. And when
it comes to run, but then we got enough. We're
ill with chill with scar so dope.

Speaker 2 (03:50:54):
That just suit me up too. Y'all know I did
a song with Biggie right, don't don't get twisted my
downfall that.

Speaker 3 (03:51:03):
I'm at home just being DMC.

Speaker 2 (03:51:05):
I get a call, yo, BI want to make your
verse to chorus and ship he could relate to that ship.
That's not all MC's have the gall to pray and
plan for my downfall.

Speaker 3 (03:51:15):
But my rhyme was, I'm not running. I'm just stunning smart,
not stupid, because I'm so cunning and she's regretting. I'm
upsetting my recitals take titles in dollars.

Speaker 2 (03:51:25):
I'm betting.

Speaker 3 (03:51:26):
But we made together forever, we say, yo. Just put
the eight o eight on because think about a New
York City was doing that eight o eight before the
South the South got it from us dumb dumb, dumb, dumb,
dump dumb girl as Jamaine dupri We was fucking eight
o eight and now asses off. But we put out
party people. We had to shut you all up in
the Then when we was doing Raising Hell, Run came along.

(03:51:50):
Run came with UV Yelling, which was just all have.

Speaker 2 (03:51:57):
Calling, but he wrote he came when You'll be Yelling,
which was his version of a print song. He was
inspired by Dove's cry I can see you See that
was one.

Speaker 3 (03:52:10):
So he comes in to the studio and raising Hell.
I got this idea, So him and Jay lay it
down and then me and Ray did the ad libs.
So Run leaves because Run always had kids. He was like,
I think he was three kids deep by this time.
First in a hand, Yeah, married, yep, exactly. Didn't make
those numbers, but you know he was good running. So
when he left, Jay, this is why I love Jay.

(03:52:31):
I'm just sitting there now. That would have could have
been just record. Jay turns to me and he says, Deed,
so what are you gonna do now?

Speaker 2 (03:52:39):
And I'm like, what do you mean? Jay? This is
why you gotta love Jay. Run got his record? Where's
your record, and I was like, thanks for asking Jay,
because I was always writing to be writing anyway.

Speaker 3 (03:52:52):
I never wrote for records. I was just always writing,
put the beat on, let me figure it out. So
I say, Jay, motherfucker, it's trying to say that we
ain't on that King rock him terrorist one level. I
beg to differ. So he said, what do you want

(03:53:12):
to do? I said, I got these rhymes. Now I
didn't know what the song was going to be. I said,
I got these rhyms, and you said, let me hit
a rhyme. I'm the devastating my control the DMC, and
can't nobody mess around with me. I'm the king of rock,
rap and of rhymes. So I could just end the
conversation right there. I'm not only king of rock, I'm
the rapping and you want to run whatever they or
king of rock, rap and of rhyme. I deal what

(03:53:34):
I feel and it feels fine. If it's okay to Jay,
then I will play around a sound with put down
for the rhymes.

Speaker 2 (03:53:40):
I say. Then I went into.

Speaker 3 (03:53:43):
You jock watching clock while I rocked the spot better
known to the world as the King of Rock.

Speaker 2 (03:53:48):
I like to speak my piece when I'm on the mic.
I'm the best, or at least I'm the one you like.

Speaker 3 (03:53:53):
So I had these rhymes and the day was like, oh,
here's what we're gonna do in eighty five. And when
we was touring with the Fat Boys, watching them ted
down coliseums, Run used to do this thing where he
would imitate Buffy. I would holler, hit it run. If
you listen to hit It run, that's Run imitating Buffy,

(03:54:13):
which was a joke that Run always did on his tour.
So Jay goes yo.

Speaker 2 (03:54:17):
That thing Run used to do on the Freshfest, which
is hip hop's first tour before Raising Hell Freshfest one,
Fresh Fest two Run dmc Curtis Blow Houdini.

Speaker 3 (03:54:29):
Jermaine dupri was a dancer with Houdini. So Jay says,
we're gonna make hit It Run. So I said, Jay,
just give me a beat that is fucking fucking pulsating.
So we went and we made hit It Run. I
had to right hit it run. So I don't want
motherfucker's thinking that we just fucking it's tricky.

Speaker 2 (03:54:48):
It's like that, motherfuckers. So at every cusps, at every
transformation on hip hop, we were we were in a
position to do all of it that stuff, but we
didn't have to because, like you said, we found a
niche with making records like Tricky, but we also had
Sucking Seas right. We had Down Went the King, but

(03:55:10):
we also had Mary Mary.

Speaker 3 (03:55:12):
So our presentation and presence in hip hop was very versatile.
That's why chuck y y'all kind of would like the
Beatles because when you think a round to see, you
think of all the songs. But most of those songs
that y'all don't know were just rap routines that kind
of went on cassette tapes in seventy nine. So is
it seventy nine or is it two thousand and four?

(03:55:34):
I got a song out right now produced by Bombinuck
Who's That's Me Iced Tea Chuck and and shit is
killing you know? And I love Rick Rubin saying your
old stuff ain't better than your new stuff, and your
new stuff ain't better than your It's just it is it.

Speaker 2 (03:55:48):
Is, you know what I'm saying. So let's talk about
this one record, Beats to the Robs. I forgot about
that one that was before It's time. It's been a
sample a lot, yep, yep. That record was like.

Speaker 3 (03:56:07):
The current hip hop people didn't understand it, but every producer,
every MC, every.

Speaker 2 (03:56:15):
You said you been carrying at that time, that's yeah,
because it was like beat but everybody was like that.

Speaker 3 (03:56:21):
When Beast of Rhyme came out, everybody in the industry
was kind of like when we walked through the door,
they move out their way, like oh, like beacing around
with just that ship beats to the ram and rama
is part of you, Like it's that ship a man,
it is around. It's that like, go listen to pieces

(03:56:42):
of rhyme. Everybody shut the fuck out before you got
that ship is crazy. What I say, hard core rhyms
go on. Like I said before my beasts.

Speaker 2 (03:56:55):
Were played in may RUMs laid j d J and
I got paid me something and of nothing yo, d
that you Yes, my brother, I'm gonna do it for you,
roaming the zone of the microphone and I'll hold the throne.
But I'm not alone. Got bone of stealing, not a stone.
I'm going to be prone to.

Speaker 3 (03:57:09):
Make your mama moone.

Speaker 2 (03:57:12):
Time for the rhyme and let the shart seine came
with the game and the name company run having fun.

Speaker 3 (03:57:17):
Let me give your ring Joe gotta go now. Word
from the like, yeah beaston rhyme is that ship?

Speaker 2 (03:57:23):
Yeah, let me just say something in dmc man so.

Speaker 3 (03:57:27):
And I like I like being.

Speaker 2 (03:57:29):
I like being not being in your top five?

Speaker 3 (03:57:32):
Who you know when top five? Yeah, I like to
because I'm in a class by myself.

Speaker 2 (03:57:37):
Absolutely can't put me in it.

Speaker 3 (03:57:40):
So I'm better than the top five. That's why I
don't come up. You can't put me in that ship.
That's limitating in my presence and my abilities.

Speaker 2 (03:57:48):
So I know. I actually this a little earlier, but
we got we got the single, we got the use,
this is, this is, this is this is, this is
a this is a cartoon as well. Yeah, I mean
and off.

Speaker 3 (03:58:02):
Collaboration is the key to transformation.

Speaker 2 (03:58:06):
And then the kids book and then another kinds of book,
the kids book I did with collaboration with Nickelodeon. It's
the first book in a series of books I'm gonna
do like ten books. The first one is Daryl's Dream,
next want to be Daryl's Decision, next one to It's
all gonna be dilemmas.

Speaker 3 (03:58:21):
That's the children.

Speaker 2 (03:58:22):
Is this going to turn into like series like Chris
Rock Everybody hates Krits It could be live action. I
gave you, I gave you, yeah, sitcom. So as I
look at it, I feel like everybody's, well, it's.

Speaker 9 (03:58:35):
Definitely gonna be a cartoon. Yeah, it's needed, But I
didn't think of that. Yeah, hell yeah, I think that.
I think the hip hop we should get everything from
hip hop. Like, if you're gonna watch cartoons, you're gonna
do that's what. Yeah, you're gonna you're gonna order a
mil prep. I think it should what it is if

(03:58:57):
you're gonna hire a train.

Speaker 2 (03:59:00):
No, we at that point that it's so hip hop
that you don't even realize that exactly. It's it's like,
you know, it's like when our parents was able to
go see Temptations and four times.

Speaker 3 (03:59:10):
It's like look the Stones Kiss.

Speaker 2 (03:59:13):
We at that point with us right now.

Speaker 3 (03:59:15):
And it's good because the older, the o gs and
the eldest can now get work without even trying for it,
because it's just the thing where now I've read an article.

Speaker 2 (03:59:25):
Now we are starting to sell tickets again. Oh yeah,
oh yeah, yeah, we at that point right now. Yeah,
I'm saying it's dope. That's the good thing. I am now.
What I saw on American Band standing and soul train.
We are now that crazy right? Crazy right. It's a

(03:59:47):
cliche question, and I'm not sure if I answered it.
I asked you this earlier, but did you ever think
that hip hop would make it this far? Nobody didn't?
You did?

Speaker 3 (03:59:55):
I didn't answer, you know, I didn't Jay did. Jay
would answer that and say, yes, I knew it would
because it was so big when I first heard it,
and then I read well, like all the shit that
I do when I run the cold, crush it and
mod shit, that should have been a signal to me.

Speaker 2 (04:00:12):
But I didn't think that.

Speaker 3 (04:00:13):
I thought it was just gonna stay in our region.

Speaker 2 (04:00:15):
I thought what I thought it was going to do
was I tell her was going to.

Speaker 3 (04:00:18):
Stay in our rear. I thought he's gonna have great records,
do some chart shit, grammy shit. But I thought it
would eventually become you know, last night in Atlanta, I
spoke with somebody in DC about that where Go Go
is the one thing I can respect about Go Go.
They didn't let the industry determine the life or death
of their job. Yeah thing, even at the height of

(04:00:39):
Go Go.

Speaker 2 (04:00:39):
Well, I speaking to the guy last night eighty six
to eighty eight, we's coming through the met to run DMC,
Dougie Fresh, I'm talking about all of us.

Speaker 3 (04:00:47):
But at the end of the night, after the Rags
in Hell tour, after all ll.

Speaker 2 (04:00:51):
Did it, after we did buy all go back fucking home,
their go go and exactly yeah, and they know me that.
I was like, I've never seen fish so cool. And
then they combined it with the hip hop. You know
what I'm saying. But for me, I thought hip hop
would be just go go, it would just be our
cultural thing, like you know how different cities have New

(04:01:12):
Orleans have their things and that I didn't think it
was going to do this type of shit. But Jay
always said this. I knew it were because it was
so big when I first heard it. So imagine what
Jay is saying is that's what the kids in Germany heard,
That's what the kids in Africa felt, That's what the
kids in When we first went over to Japan in
eighty six, we get off the plane, I would say

(04:01:34):
about sixty percent understand English, forty percent then for me
were talking about the flyg in the communication. Communication is
a cool thing and sometimes you didn't even got to
say it work. The kids the audience over there would
go win WMC, you know in the Japanese dialect, and
they went saying work. They would just do this with

(04:01:55):
the suit and we would go. That was the language.
That was it. It was communicating. So when Jay I
didn't think like Biggy said, did you, some people might say, yeah,
I don't know. If kaz in them. Every kaz answer
that question. He said no.

Speaker 3 (04:02:10):
He said he said if he would, if he would
have would.

Speaker 2 (04:02:16):
But I didn't take that. Me and Run always said this,
me running, Jay always said this. If it didn't have
industrial successes and commercial successes, we would be the guys,
you know, forty fifty years old, the post office dude,
just self employed businessman making the teacher no no, no,

(04:02:40):
coming to the cookouts and the parties, putting the turntables
up and rapid right in front of all the little
It's now looking like, yeah, exactly. But let's talk about
these cookies before we get up out of here. Daryl
makes cookies, Okay, I like doing stuff to make people happy.

Speaker 3 (04:02:57):
Are you making these yourself? I have a baker who's
doing my recipe. Okay, So just tell about comics.

Speaker 2 (04:03:04):
I'm like stan Lee. Think of the ideas take up
to heroes.

Speaker 3 (04:03:07):
But then I go get artists, anchors, pencillers, colorists and
writers to write it for me. So I'm my company
is I'm Daryl's Mint producing the cookies. Is the greater
director of everything.

Speaker 2 (04:03:19):
They look good. I'm taking no no, you got So
that came about. That came about from I said, Well,
from day one, I'm always on a movie set. It's
always a craft table.

Speaker 3 (04:03:34):
I'm always at an event, show, whatever, and it's always
like munchy stuff there.

Speaker 2 (04:03:38):
So about seven years ago, I was at.

Speaker 3 (04:03:40):
An event in the city where a lady from Harlem
was debuting her big goods, and I'm one of my favorite.

Speaker 2 (04:03:48):
I eat a lot of sweets. People ask me, what's
the suc secret to my weight maintenance. I eat a
lot of sweets. Sometimes I eat sweets and don't eat
regular food. But organic said, I want to do no
chips the Hoy type ship chips o oy. I hate yeah,

(04:04:09):
damn chips a hoy, red velvet cake, apple pie hoy. No,
I'm red velvet chips a Hoy. I ain't gonna I'll
be I'll be I'll be destroying it and I'll be
at like, where's the cookies. APT like, I don't know,
why are you asking? I'll be speaking. I'm like, why
are you looking at me? I was like knowing my

(04:04:30):
my back of my teeth is mad red velvet cake.
Back then, I eat a lot of sweets. But makes
me go to the gym. M. That's a balance. I
want to eat them. I gotta do the work. So
the cookies came about.

Speaker 3 (04:04:42):
It was this lady for Harlem showcasing her cookies and
her cakes and the cupcakes and all that ship. And
I'm always around kids and family, so I just particted sandwich. Oh,
these cookies are good. And then I said, I'm gonna
make cookies. I'm calling my cookie company. Jarrold makes cookies.
And I just said that, and everybody in the room
stop and said we'll buy him.

Speaker 2 (04:05:04):
So LUNs. Moving ahead, fast forward ahead. I said, you
know what I'm doing good with this comic books. I
can do. Darln makes cookies, I can do Daryl makes chocolate,
I could do, Dohl Mikes candy.

Speaker 3 (04:05:18):
A lot of cool stuff that I like. I can't drink,
so I can't make my own liquor. I don't think
Adidas is my company, so I don't need to make
a DFC homeanalize.

Speaker 2 (04:05:31):
So I decided to do the cookies because.

Speaker 3 (04:05:33):
I'm always around kids, families, and I go to schools
all the time. So I want to have a product
that's affiliated with something that I'm really part of. And
Riggs told me this, He said, Deep, you can do
with this book what you've been doing with your music
all the time. What do you mean inspire, motivate, educate
while you entertain or smiles on people's faces.

Speaker 2 (04:05:55):
So I'm just trying to come up with products that
could really make me iconic in lifestyle other than what
everybody's already doing. So comics is a you know what
I'm saying, I don't know about yourself. Yeah, I don't
have to be in the competition. My competition is but
you know, coming in cookies, Okay, nobody really has cookies.

(04:06:18):
So now I can move only marijuana cookies. Well there's
what I can do. I can put Daryl makes cookies,
marijuana cookies inside the dispensery. I'll be I'd be an endorser. Okay,
that's because I'm speaking of that. But everything's good. See
I didn't just come to do your show. See whatever

(04:06:38):
you want, we're gonna really do it and you're gonna
end it. No, I can really do it, Dad, I
lost my treads on Daryl makes cookies. You're endorse it.
I want to do stuff that's that I'm able to
do that is not what everybody else is doing. So
I can't do jam Assa Jay's kids speaking of none,

(04:06:59):
they got t shirts for you that I got. Jam
Master Jay's kids do the pre road joints called Jamj's
like coming a cassette thing. Oh jamjs Oh was that right? Exactly?
That's why. But yeah, the cookies is just another thing
that I want to do that makes people happy. And
oh here's my train of thought. When I did the
cookie things, everybody at my gym is like, yo, what's

(04:07:20):
so with the protein cookies? So I'm doing these cookies.
The next cookie is the protein cookies. But it's not
a healthy cookie. Don't even remember, right, it's a cookie
with protein in it that for your protein. I thinks, no, no, no, never,
that never did. I'm gonna make them vegan, not caring,
no koe. Yeah, I had kel chips and ship brew

(04:07:41):
in my life. But it's like, so.

Speaker 3 (04:07:45):
I'm trying to I'm trying to put that and it's common.
My whole thing is this, and when me and Rick
started to Comic book Company, this ain't just the thing
where I don't want five years and ten years or
even twenty years and people go, remember that common book
DMC had one hundred years from now, two hundred years
from now, when they people talk about Fred Flintstone, spider Man, Superman, and.

Speaker 2 (04:08:08):
I don't even you don't even gotta like my hero.
You ain't even gonna like my character. I want you
to connect with the character that you feel closer to you.
So just like my cookies, I want my cookies to
be writer. Oh you got Nobisco, you got Keebler, you
got Tats, you got Petrits for him, and kids fifty

(04:08:30):
years ago will be able to their parents and their
grandparent will say, Yo, this is this hip hop god.
This is good for our culture and our cultural existence.
Like he was saying, I'm gonna tell you something. What
I want DMC the comic book to be. I want
you to get with Snoop and have Snoop's own version
of that, right, so it'd be a crossover, like you

(04:08:52):
know what I mean. And then you get with like,
for instance, a minute, I thought of that. I thought
of Kodak Black, Right, Kodak Black is this new guy
from this new generator. But he's a superhero too, you
know what I mean. His superhero strengths might be different
from a na superhero strength. Oh no, what I'm saying
is I think you should go to give each individual,

(04:09:13):
like to me generation, every artist has a version of
a superhero, like how he said, So why not why
not come on off top like and it's crazy. I
would think of you God, like that character of you hard, like,
like you know you God, and like you know, make
a whole little.

Speaker 3 (04:09:34):
A cartoon out of that.

Speaker 2 (04:09:35):
That's something that I'm just being honest with you because
that's something that we when I get my network on
Cartoon Network. Okay, that's what I'm going ship. Damn.

Speaker 3 (04:09:44):
See that's what I'm thinking. I even want to do
d m C TV. You know what my tagline is,
and everybody loves to do that. Ship d d m
C TV what MTV used to be and show videos
and no reality and show bands and new ship young
and all talent. I said that the other day, and
I'm like, WHOA, I'm gonna have to go sit down
with like an investment company saying.

Speaker 2 (04:10:05):
Let's do this ship and advertisers killed to be on
DMC TV. Absolutely before you know the diversity of our
culture musically sing us new bands, all that shit, Like,
there's so many day lost souls and slick ricks of
this yearneration. They're just not getting their opportunity, you know

(04:10:26):
what I'm saying. So us as people who who walk
the walk and talk to talk, we walk.

Speaker 3 (04:10:33):
This way moving, Yeah, all of us who walk this
way in this very tricky business, no unentertendent. Now I'm
trying to encourage around.

Speaker 2 (04:10:43):
Yes it is. It's trickery, very trickery around and we
made it, you know what I'm saying.

Speaker 3 (04:10:52):
But now hip hop is fifty years old, we just
get started. Not only do do we need more artists
and talent ownership is stuff like that, we need more
suits behind the desk in the corporations. So if we
include everything that hip hop is capable of, we can.

Speaker 2 (04:11:11):
Accomplish those things to the point where we can be
so potent that damn nobody's buying Louis anymore. The all
the Louis people. When I'm talking about generationally, the old
eighty six year old lady walking in stores that we
created with our designers and buying those pieces for those
same price points. We can do that, and all we

(04:11:33):
got to do is turn that focus of their.

Speaker 3 (04:11:35):
Energy, give the appreciation and intention of why you buying
it for in the first place to the people that's
right here in our communities, so that we can become
the next Horrist docles like I don't need to start
another sneaker company. I need to be a partner and
owner in Adidas moving forward. So we are all of

(04:11:55):
those things. And I think this is just the sort.
But me Race only did this to here. If you're
if you're a comic book artist and now you know
you gotta go.

Speaker 2 (04:12:08):
Through the you gotta sign me to super Dog. Got
y'all sorry about you got it? Super Dog? Yeah, gotcha
is done, is done. I don't worry about it. That
would definitely with dogs does Answerer Hero. Here's how deep
hip hop we are when we do we have artists
do the work. Yeah, you know, I was fire because
after we finished the whole book, we invite a Griffiti

(04:12:30):
artist to come tag the universe. So you know, a
lot of times the artists will do the graffiti. No,
you did the artwork.

Speaker 3 (04:12:38):
Now I get the book in the art to graffiti
artists and they go into my universe and really tag it.
So that's how delicate and fun tune we gotta get
with this hip hop ship. You know what I'm saying,
and that I believe that's what we're edited. No, I
don't like believing. I know that's because if I believe it,
it might not happen for everybody else. But if I know,

(04:13:00):
that's what can't happen for you.

Speaker 2 (04:13:02):
Yo, Man, I'm just being honest with you. This is
such a pleasure, This is such an honor, This was
such a a fulfiller for me. Man, you know what
I mean, Like, you truly are a hero. You truly
are a legend. You truly are I car and you
truly are tight and you truly are you know everything
that you deserve. So we wanted to really give you

(04:13:23):
your flowers, man, because I got them. You know what
I mean, you wanted to.

Speaker 10 (04:13:26):
I mean, you know that's physically but even you know
what I mean, because mant.

Speaker 2 (04:13:34):
Misday No, No, but that's the purpose of this exactly.
But you know you are.

Speaker 10 (04:13:42):
You are the definition of longevity. You know what I'm saying,
Like so many people. You know, I don't want to
say I laugh at people sometimes, but sometimes I see
people coming in this game. They got a hot one year.

Speaker 2 (04:13:55):
And boy ask these people in the world to order
the people that came before them. And then then that
next year you see them go away. You know what
I mean. So in order to be here for this
this year is you had to see if I see it,
I know how many people you saw come and go.
I don't see how many people. So what we wanted
to do is praise our legends man, and you are

(04:14:17):
one of them. You are definitely well. You know what
you You did something that needed to be done because
when I was thinking about all like hip hop, you're
doing what needs to be done while setting an example.
Because the beautiful thing what I noticed when you speak
to Mick and Keith or Joe and see from Ryl
Smith it's an interview about them, but they go into

(04:14:39):
the black blues artists. Ye as big, as as huge
as the Stones is, as rich as the Stones is.
So y'all doing something that Bump talks about a lot.
I hear Harris want talk about it that in ll
just he's doing wonders with rock bells. He came. He
was like, off man, when you see Miles Davis, you

(04:15:01):
ain't thinking about his make account, right, Yeah, I heard
him say that because the richest number one selling artists
that add their little one hit wonder that it's a
celebrity and really famous.

Speaker 3 (04:15:13):
Still they'll get on Entertainment tonight before them. But Ella saying,
now this ship right here that we have, it's beautiful
that y'all taking upon yourselves to acknowledge that, but not
only talk about your showcasing. It's one thing. You know,
you could just have your podcast and at the end
of every record shout out to the legs y'all bringing them.

Speaker 2 (04:15:33):
On because you know what it is. You know, that's
one of the beautiful, beauty, beautifulest parts of this show
is you know, sometimes we will interview an artist and
then all of a sudden, I just look at their
Instagram and they out every weekend after that, and you
know what I mean, Like, it's just like and that's
the best point because because what it is is sometimes

(04:15:56):
it's just an unforgetting herod. You know what I'm saying, Like,
like a lot of us and then, yeah, you don't
want us to be like the veterans, like these wars
for right exactly. So I want to keep us alive,
you know what I mean. I want to keep us.

Speaker 3 (04:16:08):
This is a reminders of the audience. They know about
me now while I'm living and not finding out about
you talking about me.

Speaker 2 (04:16:15):
What about legends? DMC? I know what he did? He does? Oh,
so I want you to This is your house. Anytime
you want to promote. I don't even even care if
you want to promote eyebrows. It's okay. You can come
over here and come over here anytime you want your
new news. But your little toe now, no matter what
you want to out here. You know what I mean,
we we here. This is your house. You know what

(04:16:36):
I mean. This is run dmc house, you know. So
I want you to know that, man, I want you
to know how important you are. You're like that big
Daddy Cane and Bismarck to me because they were my
drunk run, my forty drinking run. I would always go
to Cane Hut. I'm surprised y'all didn't ask him. There

(04:16:57):
was crazy Kane only drink red wine now, well, but
back then he wasn't drinking the forties. He would invite
me over his house. I would go over his house
and empty out his fidget sh and fill it up
with forties. And he called his mother, Mom, you would
have no idea what's going on? That's how all that
I was DMC. Yes, Mom, that DMC just came in

(04:17:18):
and took all my food and shit and filled the
refrigerator with forties. Rest in peace of biz Mark, Rest
in peace.

Speaker 3 (04:17:28):
Right before he passed, his wife was calling people for
words of encouragement.

Speaker 2 (04:17:33):
Okay, I heard.

Speaker 3 (04:17:34):
About Yes, called me and said, I need you. You
know he can hear us this and that boom. He
can't respond, but we know he can hear us. I
need something for you to tell Bismark And she said, wow,
this is that's that's.

Speaker 2 (04:17:49):
Like I feel like crying. I said, tell Biz and
he's going to know what I'm talking about. Just whispering
is the DMC says thanks for letting me in. I
would be in a drunk stupor three two in the morning, No,
Matt and I would go to Bi's house and.

Speaker 3 (04:18:10):
And if it wasn't his family, Steve c at the
don't let him in. This would always let me in
long Holes. No in Long nine, Long Island when he
lived in Jersey. I think it was any of my
house in Jersey.

Speaker 2 (04:18:25):
Three, you know, one in four and to the point
where he would be on the road, it's hold on
and if people would let me in his house. And
I looked back and I said, I look back and
what I was doing now? But biz Marky will always
let me in, and Kane would always let me. I

(04:18:45):
love King God, Damn, I spake some noise for that moment.

Speaker 3 (04:18:52):
Thank you for having me. Let me just reveal one
thing I never thought I would be on the show Man.
We've been trying though. No, was not drinking when when
my managers, Bro Little little Eric Blam was saying this
and that they really they want me, Like.

Speaker 2 (04:19:10):
Just for some reason, I didn't think I was cool enough. Really,
you're cool enough for you to be here. Yes, I
think you. Thank you. That's a compliment to yo, the compliment.
I'm honored and humble to sat that that was on
your mind. I'm gonna be honest with you. Like I
said earlier, I wasn't saying this because it sounds good

(04:19:31):
like in a lot of ways. You was the first
commercial successful coming out of our burrow like you was.
I want to say national, but I want to say
world wide. You know what I mean? Like you know
what I mean. Like before that we had records in
Queens and things like that. But like the first time
I seen Walk this Way, that was on MTV, this
SUPERSTI you guys, was in between like five different like

(04:19:54):
you know, white category videos and this remember right over that.
I can see that level that's crazy to me. And
like and then then it's from Queens. You know what
I'm saying. I know him being a DJ, you know
with Jam Message J. I know this guy, where's Adidas
to this day?

Speaker 3 (04:20:09):
Cose of you guys?

Speaker 2 (04:20:10):
You know what I mean?

Speaker 3 (04:20:12):
So this means the world to us.

Speaker 2 (04:20:13):
You know what I'm saying. Big up. First off, I
want to say rest in pieces of Jam Massa J,
his family, my condolass and also you know know, big
up to I'm gonna call him DJ Ryn, you know
what I mean, And big up to the whole run
DMC family. Because in all honesty, like I said, if
it wasn't for y'all, I don't think this show would
even exist. I don't think I would exist as the

(04:20:34):
artists don't think he would. This is a DJ and
that's that's that's no exaggeration, real talk. We love you, man,
Thank you so much for stopping by said we love you.

Speaker 3 (04:20:45):
This is your show.

Speaker 2 (04:20:45):
Anytime you want to come through here, it doesn't matter
what you want to promote my brother.

Speaker 11 (04:20:55):
Drink Champs is a Drink Champs ll C production in
association with Interval Presents. Yes hosts and executive producers n
O r E and dj e FN from Interval Presents
executive producers Alan Coy and Jake Kleinberg.

Speaker 3 (04:21:11):
Listen to Drink Champs on.

Speaker 4 (04:21:12):
Apple Podcast, Amazon Music, Spotify, or wherever you get your podcasts.

Speaker 11 (04:21:18):
Thanks for joining us for another episode of Drink Champs,
hosted by Yours Truly, dj e FN and n O
r E.

Speaker 4 (04:21:24):
Please make sure to follow us on all our socials
That's at drink Champs across all platforms, at

Speaker 11 (04:21:29):
The Real Noriagon ig at Noriega on Twitter, Mine is
at Who's Crazy on ig at dj e f N
on Twitter, and most importantly, stay up to date with
the latest releases, news and merch by going to drink
Champs dot com.

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