October 24, 2024 • 27 mins
Consider this your public service announcement - this episode is about the kings of nu-metal, the royalty of rap-rock, and the band responsible for the most red New York Yankee hats sold this side of the millennium - Limp Bizkit.
If you’ve seen any of the footage from either of the Woodstock ‘99 Docs that came out a couple of years ago, or if you are of a certain age to have lived through it - you’ll know that Limp Bizkit - for better or for worse - were a BIG deal… like really big.
You can head back in to the Encore Archives in our Evanescence, Linkin Park, Sum 41 or Finger Eleven episodes to get a sense of how popular aggressive, metal-tinged, hip-hop appropriating music was in the early 2000s, but one could argue that none of it would have been given such a wide blast radius in that era if it wasn’t for the groundwork laid down by Fred Durst and the Boiz.
Of course *purists* will tell you that bands like Beastie Boys, Red Hot Chili Peppers, Rage Against The Machine, and even Faith No More were the true innovators of the genre - and they’d be right!
But where we’re going - we’re not bothering with such high minded concepts as ‘innovation’ or ‘musicality’ - after all, the song we’re talking about today is from a record called ‘Chocolate Starfish and The Hot Dog Flavoured Water’; released in an era where ‘Good’ music was defined as any song that had too many swears on it.
This is the Story of Limp Bizkit's Rollin' With newly unearthed audio from the band themselves!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
This is Encore. The stories behind the songs. Here's Iar
Radio's Miles Galloway.
All right, partner. Keep on rolling, baby. You know what
time it is? I'm Miles Galloway. And this is the
story of Limb biscuits. Rolling.
(00:22):
Yes. Consider this your public service announcement. This episode is
about the kings of New Metal, the royalty of rap
rock and the band responsible for the most red New
York Yankee hats sold this side of the millennium. Limp Biscuit.
Apologies to the actual New York Yankees don't fact check
(00:43):
me on that one.
I remember being as hardcore a Limp Biscuit fan. You
could find, I didn't just have the red Yankee hat.
I had the Red Adidas three stripe tracksuit to match.
If you've seen any of the footage from either of
the Woodstock 99 docks that came out a couple of
years back or if you are of a certain age
to have lived through it, you'll know the limp biscuit
(01:04):
for better or for worse were a big deal. Like
really big.
You can head back into the Encore archives in our
evanescence Lincoln Park some 41 or finger 11 episodes to
get a sense of how popular, aggressive metal tinged hip
hop appropriating music was in the early two thousands. But
one could argue that none of it would have been
(01:25):
given such a wide blast radius in that era if
it wasn't for the groundwork laid down by Fred Durst
and the Boys, of course, purists will tell you bands
like beastie boy,
red hot chili peppers rage against the machine and even
faith no more were the true innovators of the genre
and they'd be right. But where we're going, we're not
bothering with such high minded concepts as innovation or musicality.
(01:47):
After all the song we're talking about today is from
a record called Chocolate Starfish and The Hot Dog Flavored
Water released in an era where good music was defined
as any song that had too many swears on it basically.
Or as Fred himself would say.
Yeah, I don't know, man. I think that uh I
think we're definitely at the bottom of the list. We're
(02:08):
without a doubt, one of the worst bands probably ever
created in the history of music. John, you could say
something if you like. So let's go back a bit.
Shall We?
Lynn Biscuit was formed in the mid nineties by a
youngish William Frederick Durst and his friends, Sam Rivers and
John Otto Fred was an avid skateboarder, amateur rapper, beatboxer
(02:31):
and DJ who had a real love of punk, hip
hop and heavy metal after writing a few songs with
Otto and River
guitarist Wes Borland would eventually join the group permanently after
a rotating cast of temporary ax Men came and went.
Fun fact, one of those guitarists was a man named
Terry Balsamo who would eventually replace Evan Essence's Ben Moody.
(02:51):
When the partnership between Moody and Amy Lee would break
down in the early two thousands,
Lynn Biscuit, which was named by Durst to specifically turn
snobby listeners off from listening to their output became a
cult favorite of the Jacksonville Florida music scene, particularly due
to Fred's borderline, used car salesman, marketing of the band
going everywhere from clubs to record stores to local high
schools to promote the group, often pretending to be the
(03:13):
band's non-existent manager at the time and partially due to
their smashmouth covers of Paula Abdul's Straight Up and George
Michael's Faith.
It also didn't hurt that. From the very beginning, Wes
Bland would perform in outrageous and bizarre costumes from full
body paint to every combination of wigs suits, masks and makeup.
You could ever imagine. It's like his wardrobe was a
(03:34):
spirit of Halloween. It was really a must see attraction
on stage. Fred, who I've failed to mention also fancied
himself as a tattoo artist because of course he did
managed to smooth talk his way into a beer and
tattooing session with New Metal forefathers Corn when they were
in town,
Corn didn't like Fred's body art, but they did like
(03:56):
his songs taking the time to listen to Lim Biscuit's
demo tape and eventually inviting them on tour with them
in order to beef up their sound and add a
little more hip hop player, former House of Pain Turntables. DJ.
Lethal was soon added to the group, Wes Borland would
briefly leave Lim Biscuit due to creative differences but would
soon rejoin the group after a newly signed Limp Biscuit
(04:16):
had a nearly fatal tour van accident on their way
to record their debut album
produced by the Godfather of New Medal Ross Robinson and
funded mostly by Corn's bassist Fieldy Lynn Biscuit's debut $3
Bill Y'all was released in 1997 and included the single's
counterfeit and a studio version of their infamous cover of
(04:37):
George Michael's Faith. The album was six
successful enough and although Faith was all over rock radio
at the time, you'd be forgiven for thinking Limp Biscuit
was nothing to write home about with all music summing
the record up as one with not many original ideas,
but they do the sound. Well, they have a powerful
rhythm section and memorable hooks. Most of which make up
for the uneven songwriting
(04:58):
by 1999. Though New Metal was in full force and
Lim Biscuit was leading the charge. Durst would be offered
the role of Senior VP at Interscope Records and would
be instrumental in signing bands like Stained Cold and Puddle
of mud. I'll forgive you if you're not entirely familiar
with their respective discographies, infamous pre meme song, Nookie was
(05:20):
released in June 1999 as the band's lead single off
their sophomore album.
Significant Other and redefined the band in the rap rock
era as a cheesy little song described by Fred Durst
as about my ex-girlfriend, how she treated me like shit
and I couldn't leave her, wouldn't get over it. He
said she screwed my friends and used me for my money.
(05:40):
I tried to figure out why I did it and
I figured I did it all for the Nookie Nookie
would help push limp biscuit and significant other to multi
platinum status in the US as well as bestowing the
boys with their first
gray award nomination for best hard rock performance and they
lost a Metallica fair enough, I guess follow up singles
rearranged and end together. Now featuring Method Man would further
(06:03):
show off the band's rock and rap sides and help
legitimize them as a band with their finger on the
pulse of the music zeitgeist. Here's Fred talking with Rick
Campanelli in 1999. We're seeing a lot of the uh
the new rock music out there paying, paying homage to
the hip hop.
Um The initial reaction of the hip hop community. How
(06:25):
do you think they reacted to this, uh you know,
rock borrowing or integrating
hip hop into the styles? How do you, how do
you think they, it's sort of like not stealing in
a way? But
I think that I think that line, I think that
line's kind of dissolved. It's a hip hop world right now.
You know, and that's the way it is. And, uh,
(06:46):
I think if you're in a rock band and you're, uh,
bringing hip hop into rock music, you really need to
have hip hop as part of you. You really need
to have the swing and really
pull it off for real. You know what I mean?
Instead of just some singer in a rock band just going,
I'm gonna rap, you know, and they're rapping and, or
some hip hop band going, hey, man, we're gonna put
(07:08):
some heavy guitars in here because we're just gonna put
some rock music in and that's bullshit. So what, what
it is is, it's like, I don't know, it's just
this thing that's happening right now. It's like people who
like
do it, not just because it's cool. Yeah. Just because
you tell something about this band, man. It's like we,
(07:30):
we got, we found this balance this right balance with,
with hip hop and, and, and rock and, and melodies and,
and just his vibes and I don't know how we
did it, but we're very lucky, man. The chemistry of
this band is unbelievable. This new record is,
man, I'm feeling it hard. You know, either everybody's gonna
(07:51):
hate it and think we suck or they're gonna love it.
We do suck. Our first record sucks. I mean, what
can we say? We, we, we were, we were, we were,
we were a brand new band. We were touring,
we went in, we went in our, our garage for
six days. Wrote the record, went and recorded it. Bam
didn't give a damn. Went on tour just torn, torn, torn.
And what we learned on tour was like a lot
(08:12):
of that stuff didn't work live or people couldn't understand
me or connect with me because the words were like
you preaching noise about the words that you don't want.
Instead of you preaching noise about the words that you
don't wanna hear. You know, it's like, ok, man, you
gotta break it down
what they like. What, what our fans like is what
we need to give them. We don't need to go
on our make music just for ourselves and make it
for ourselves and make it mainly for our fans. Despite
(08:34):
all of this, it's significant others. Fourth single break stuff
that perhaps lives on an infamy,
not actually released as a single until the year 2000
break stuff was simply an album track on significant other.
By the time the Woodstock Music Festival rolled around in Rome,
New York in the summer of 99 already a total
disaster from the get go. Thanks to now, well documented infrastructure,
(08:58):
sanitation price gouging security, overheating and overcrowding issues
that could be defined as straight up negligence acts such
as Limp Biscuit, corn, red hot chili peppers, Metallica DMX.
And Kid Rock took the stage over the four day
mega festival experience. It's now estimated that there were around
400,000 attendees at the festival even though capacity was listed
(09:22):
at around 250,000.
As you might imagine, as any sane person might, an
isolated cramped festival of naively marketed peace and music became
a pressure cooker for absolute chaos. With multiple cases of vandalism,
property damage, violence, sexual assaults and even deaths reported at
the festival from day one, it looked like total anarchy
(09:44):
corn DMX, insane clown posse and limp biscuit in particular
quickly
became the figures of blame due to the aggressive nature
of their music with the organizers claiming they had no
idea that was the style of music they'd be playing
and that a voracious and desperate crowd would go. That
wild Durst was specifically vilified for his role in the
(10:05):
chaos for not doing enough to try and calm down
the crowds first. After performing their song, 1999 Durst is
quoted on stage as saying they wanna ask us, you know,
to me
out a little bit, they say too many people are
getting hurt, don't let anybody get hurt, but I don't
think you should mellow out, mellowing out. That's what Alanis
Morrissette had you mother do if someone falls, pick him
(10:26):
up then in the most infamous of on stage dresses
right before the breakdown in break stuff before he proudly
asserts he packed a mother chainsaw in the lyrics. Durst.
Proclaims time to reach deep down inside and take all
that
negative energy, all that negative energy and let that shit
out your system. You got girl problems, you got boy problems,
(10:48):
you got parent problems, you got boss problems, job problems,
you got a problem with me. You got a problem
with yourself. It's time to take all that negative energy
and put it the oh sorry if I got a
bit carried away there finally, after also admittedly calling for
the crowd to let out all of their positive energy.
During
a performance of Nookie Fred attempts to crowd surf on
(11:09):
a piece of plywood in the sea of moshing fans
following the set. The police informed Durst that fans at
the very least had destroyed parts of the festival infrastructure
in an effort to provide him with his makeshift plywood surfboard.
But Durst maintains that he didn't witness anyone being hurt
saying I didn't see anybody getting hurt. You don't see
that when you're looking out in the sea of people
(11:31):
in the stage is 20
feet in the air and you're performing and you're feeling
your music. How do they expect us to see something
bad going on much? Music, sister station music? Plus at
the time was on the ground at Woodstock 99 and
got an immediate reaction from Durst as well. Yeah, I know,
I know, I heard, well, I didn't hear actually, what
is it? What what happened through all this craziness, the
people starting, started to rip off the soundboard or something.
(11:54):
They started to literally tear the place apart and, like, uh,
it was pretty intense. Yeah, watching it from up above
or on the screens was really, really scary. Did you
get scared at one point? No way. No, that's why
I had to go down and get in. That's why
you were riding on the boards. You actually just decided
to jump in and ride on the plywood boards. It
(12:14):
looks so fun. I mean, I want to be a
part of that too. So, do you feel like you're
actually interacting and getting the Woodstock
or is that not what the Woodstock thing is? I'd
rather be further out in the crowd, but I, I
didn't get far out. It was really crazy. Yeah, it was,
it was especially seeing you during faith just trying to
get a grip on things. Did you expect it to
be this crazy? I mean, the new record just skyrocketed
(12:37):
up the charts. You kick the shit out of the
Backstreet Boys off the charts and everybody else. Did you
expect it to be all this big?
No, I didn't expect it, but I'm very grateful that
it is that big and all we can do is
think about the future and keep delivering, uh, something better
for a while. It was all people could talk about
with much is Su Yin Lee grilling Wes Borland. Soon
(12:58):
after I,
Speaker 2 (12:59):
I did
see you at Woodstock and, um, your first, uh, your
first single rearranged, um,
was kind of the, the video was a response to Woodstock.
But how did you feel when everything was going down
in terms of your performance and the frenzy of the crowd?
What was your perspective while performing at Woodstock? A lot
of what happened at Woodstock, we didn't really know it
was going on because we just sort of saw a
(13:22):
big swarm, you know, swarming sea of people. It's kind
of hard to see one thing or another, you know,
to distinguish what's going on. We didn't realize that,
um, the Sound Booth Tower was being raided and we
didn't know where the sheets of plywood were coming from
what was going on at all. Um, you know, we were,
(13:43):
the people were apparently getting a little flustered on the
sides of the stage and telling us, you know, this
is something's going on and we're like, when did it
hit you? It was it after the fact when you
read the, we didn't realize that anything like that had
happened until press releases started coming out and we went what?
And yeah, Limp Biscuit gets blamed for everything that happened
(14:03):
Sunday night when they weren't even there at Woodstock.
Speaker 1 (14:06):
The
Specter of Woodstock 99 has followed Limp Biscuit around to
this very day with Durst acknowledging the performance as recently
as 2021 where prior to firing up break stuff at
Lollapalooza in Chicago Durst. Reminds the crowd, let me make
this clear. This is not Woodstock 99 all that bullshit.
But
as they say, there is no such thing as bad
(14:26):
publicity and there was also no stopping the new metal
revolution within a little over a year post significant other
Lynn biscuit was back and more aggressive than ever with
their third LP. The aforementioned chocolate starfish and the hot
dog flavored water. Much like the band's name itself. I'm
not gonna put you through the complete etymology of why
(14:47):
the album
was named the way it was. But for those who
unfortunately already have an inhalation. Fred Durst has admitted he
nicknamed himself Chocolate Starfish because people often already call him
a jerk. Yeah, let's go with that released as a
double single with the Frat Boy anthem. My generation. No,
not the who song, Roland Air Raid Vehicle was unleashed
(15:08):
on the world on September 5th 2000. And how does
one describe Roland?
Well, first and foremost, it's unabashedly a new metal anthem
full of soaring down tune, guitars and hip hop swagger lyrically,
it's not very complex with a hokey pokey style chorus.
Move in, move out, hands up, hands down, back up,
back up, paired with, of course, the song's main lyrical directive,
(15:30):
keep roll and roll and roll and roll and as
predominant themes of the song, but also a braggadocious ode
to the very concept of Lim Biscuit itself with Fred Durst.
Rhyming about how much the kids love. Lim Biscuit. Jonesing
for their next fix of rap rock excess in the bridge.
For example, Durst calls out all the Lim Biscuit fans
around the world to show the band love, including in
(15:52):
no particular order, the ladies,
the fellas, the lovers, the haters, the hot mamas, the
pimp daddies, the rockers, the hip hoppers, and of course,
the people who don't give a naturally paired on the
airwaves with my generation, which is kind of the same
song but with less celebration and more aggression. Lynn Biscuit
were probably the only rock band in the world at
the time that could getaway with releasing music purely for
(16:13):
the vibes.
Speaking of vibes, I think it's important to note that
the reason for the official title of the song we're
talking about in this episode is called Rollin Air Raid
Vehicle is because there are actually two very distinct versions
of this magnum opus on Chocolate Starfish. The less talked
about urban assault vehicle version of Rollin produced by hip
hop royalty. Swiss beats sits at a lofty six minutes
(16:36):
and 22 seconds and features the likes of Red Man
method man and DMX in all their glory rapping over
a slowed and slinky hip hop beat. It would eventually
make its way onto the very first fast and The
Furious soundtrack as we've discussed on encore before the early
two thousands were the Golden Age of the music video.
And Roland certainly gave fans their visual money's worth.
(16:58):
Ben Stiller opens the video by approaching a solitary Fred
Durst sitting on a bench near a valet sign. Stiller
assumes Durst is a valet driver and throws him the
keys to his rolls Royce in a pretentious Hollywood fashion
Fred commandeers the car and was shown beauty shots of
New York City before being greeted by the band on
the roof of one of the twin towers of the
World Trade Center. But more on that later,
(17:20):
while Fred Joy rides around the city, he picks up
a comically swagged out Wes Borland and the rest of
the Limp biscuit gang to embark on more hijinks before
cutting between equally iconic and ironic shots of Fred Durst
on a video set complete with giant disco balls, flashing
lights and tightly choreographed female dancers all dressed as you
guessed it. Fred Durst long seen as a 2000
(17:44):
counterculture fashion icon Durst's insistence on wearing New York Yankee
hats at all times had been a staple of the
Limp biscuit uniform for years. So it only made sense
for the outfit of baggy jeans, oversized t-shirts and his
signature red hat to be immortalized. In music video. The
dance moves on display are comically bad by any standard,
but in the sober light of the 20 twenties, it's
(18:06):
actually kind of
arming despite the band's reputation, nothing particularly offensive happens in
the video. I mean they technically steal the car, I guess.
But come on still I had it coming, reflecting back
on it a decade or so later, Durst and Borland
explained to Enemy that the video was supposed to be ironic,
a gentle rib on hip hop music videos and bling culture,
but they weren't entirely sure people got that. Well, believe
(18:29):
it or not. At the time,
there were so many certain styles of hip hop videos
that were coming out and saturating the market and,
and there was a chance I thought to kind of
poke fun at those types of videos with a rock
band
and, um,
and go bigger than any of them have gone. You know, the, what, what's,
(18:52):
what's bigger on top of the World Trade Center, you know,
helicopters and, and the whole deal and, and some, you know, what, what,
what cars are important
to in that world it seems. And you go, ok. Well,
the Rolls Royce. Well, what would we do on a
Rolls Royce act like a bunch of jackasses, you know. Yeah,
we were throwing money into the street, like fake money
(19:14):
and people were almost getting hit by cars running into
the street to retrieve it. Like thinking it was real
money being. Do you remember that? I do. But, you know, we, we, we,
we thought we saw the times put this cheeky element
into our stuff. A little bit of sarcasm. And, um,
and it seems that for the most part, almost everyone
(19:35):
has looked over it. Unfortunately, unbeknownst to anyone at the time,
there would soon be a far deeper meaning to such
a lighthearted video. Perhaps one of the most iconic MTV
V MA s of all time was the one that
took place on September 6th, 2001. Just a year after
Roland was released to the public. We've talked about it before.
(19:56):
This was the year that Christina Aguilera and company won
video of the year for Lady Mama.
And the first real time we got a glimpse into
the mind of Tina. Speaking of pop stars shedding their skin.
This edition of the V MA S is also the
iconic slave for you year where Britney performed the sultry
track with an albino Burmese Python draped around her neck.
(20:17):
It was at that year's ceremony, Limp Biscuit took home
the prize for best rock video for Roland. And according
to the band also received a kind letter from the
World Trade Center itself for showcasing the building in such
a mainstream way.
Then of course, within days, the unthinkable happened with the
attacks of 911, destroying the building and changing New York
(20:37):
City America and the world forever. Here's Fred and Wes
speaking with enemy again about the surreal bond. The rolling
video will share with WTC and in a weird way
the before times forever. And that video had life for
about one year and then the World Trade Center.
(20:57):
Exactly. One year, exactly one year. And we got, uh,
we actually won a Moon Man at the MTV Awards
on September 7th. And there was a nice, got a
nice letter from the World Trade Center staff, you know, for,
you know, congratulations 2011 and we flew out on the
(21:17):
eighth or the ninth
and then they, and then three days later we just
got that letter too from them and you know, saying
thank you for lesbian, a small part of your video and,
and um
yeah, a very interesting time in all of our lives.
At that time, we didn't know we were just on
some magic carpet barely holding on to it by a
(21:39):
thread not knowing what the fuck is going on. Well,
they quit playing that video like right away. That's that
was it, the video was off the air as soon
as that happened,
eventually as the world healed, Roland would be allowed back
into video rotation. But as the events of 911 touched
every facet of life, there is no doubt the music
(22:00):
industry felt shockwaves. Here's a Candid Limp Biscuit with George
Stromboli Poulos in late 2001 because will it be relevant
with people's emotions? Now, cos we're not just upset about
things we used to be now that it's kind of
a different vibe to it, you know, do you think
people can keep up?
I definitely think so. You know, there's just a different
wave in music right now. Things are kind of, you know,
(22:21):
especially I feel sorry for all the rock bands out
there right now. They're in heavy because record companies are
looking for the PG, let the birds fly. It's come
into
flower rock thing where it's the birds and the bees
and the waterfalls and the oceans. They want to heavy
rock and aggression with the bad things happening in the world.
And I think that's bullshit. I think that that's not
(22:43):
it at all. I think if your message is to
provoke physical violence or death or killing, I think that's
something to filter through now. I think like,
come on, man, we're really lucky to be standing here
breathing right now like this world's going crazy, like humanity
is the key and but like it, if
it should just make you a little more grateful to
(23:04):
be alive and we should come together and bond as
human beings. Although Roland would peak at a meager 65
on the billboard. Hot 100 Limp biscuit were able to
ride the wave of the new millennium in style with
chocolate starfish and the hot dog flavored water going platinum
in its first week and four times platinum within the
first two months of release. Thanks to their particularly prolific
(23:28):
1999 to 2001, the success of rolling my
generation and 2000 one's legendary wrestling anthem my way, which
was used to massive success at the peak of the
wrestling boom of the early two thousands. Chocolate Starfish would
do another 2 million in album sales in the two
years following the album's release. The album's success impacted their
(23:50):
back catalog by the millions as well. Boosting the sales
of the already five times platinum's significant other up by
another two mil and even pushing $3 bill up by
a cool million around
turn of the millennium. To say that the album had
mixed reviews would be an understatement with Rolling Stone giving
the record a solid 3.5 stars noting chocolate Starfish in
(24:10):
the hot dog flavored water is looser and livelier and
just plain better than anything they've ever tried before making
Fred Durst a believable high school antihero for our time, Kerang,
however quickly named the album the worst of the year,
Lynn Biscuit, the worst band of the year. And Fred
Durst as the very British Arse of the Year
Entertainment Weekly. When a bit more existential, posing the question
(24:34):
unsatisfying as they are. Chocolate Starfish's stylistic detours have more
than a suggestion of self preservation to them. What happens
in another year or two when the rap metal audience
grows up? Will fans still want this music or will
bands like Lynn Biscuit wind up in the closet next
to the Gisele Bunion posters? Ultimately, it wouldn't take long
for a time
(24:54):
to answer that question for us by 2003. Lynn Biscuit
would be usurped by Lincoln Park as the kings of
new metal and heavy music fans would quickly trade in
the self-aggrandizing sounds of rap rock for music that landed
more on the spectrum of self serious to self loathing.
As a wave of emo scream and garage rock revival
began to fill up the CD Towers and itunes libraries
(25:16):
of mainstream rock fans.
The band would continue to release music to very little
fanfare in the years that followed. Although they would eventually
just about limp over the line to platinum status. But
2000 three's results may vary by 2006. Lim Biscuit would
go on hiatus. Reuniting in 2009. They do sporadic live
performances throughout the 20 tens and even briefly signed to
(25:38):
Lil Wayne's Cash Money Records to release a fever dream
of a collaboration with Wheezy in 2013 called Ready To
Go
in 2021. While we were all still tucked away in
semi lockdown. A decidedly middle aged limp Biscuit returned out
of nowhere with a delightfully titled album Still sucks. The
album's lead single, Dad Vibes was as zany and as
(25:59):
self aware as ever leaning heavily into the trope that well,
they were a bunch of middle aged men making music,
nobody likes anymore. And while this didn't exactly revitalize the
band to the top of the charts, the album was
positively rev
with metal outlets, Loud Wire and Metal Hammer, putting it
at a lofty number four of the best metal albums
of the year. Even Limp Biscuit, super haters of the
(26:21):
year 2000 Kerang magazine had something nice ish to say
about the band's most recent output, stating haters gonna hate.
But really this knowingly middle aged iteration of Limp Biscuit
is far more likable and less obnoxious than their younger self.
But even so they've lost none of their big durst
energy
and the knowing winks have only become bigger and knowing
(26:41):
her with new meal going through a bit of a renaissance.
Thanks to Gen Z and the power of tiktok. Will
we see a rolling redo anytime soon? Well, anything is
possible and to that, I say, all right, partner, I'm
Miles Galloway. And that was the story of Limp Biscuits.
Rolling
Encore is an iheartradio Canada podcast. Subscribe to this podcast
(27:05):
on iheartradio or wherever you get your podcasts. Download the
iheartradio app for more great podcasts just like these.
This is Encore. The stories behind the songs. Here's Iar
Radio's Miles Galloway.
All right, partner. Keep on rolling, baby. You know what
time it is? I'm Miles Galloway. And this is the
story of Limb biscuits. Rolling.
(00:22):
Yes. Consider this your public service announcement. This episode is
about the kings of New Metal, the royalty of rap
rock and the band responsible for the most red New
York Yankee hats sold this side of the millennium. Limp Biscuit.
Apologies to the actual New York Yankees don't fact check
(00:43):
me on that one.
I remember being as hardcore a Limp Biscuit fan. You
could find, I didn't just have the red Yankee hat.
I had the Red Adidas three stripe tracksuit to match.
If you've seen any of the footage from either of
the Woodstock 99 docks that came out a couple of
years back or if you are of a certain age
to have lived through it, you'll know the limp biscuit
(01:04):
for better or for worse were a big deal. Like
really big.
You can head back into the Encore archives in our
evanescence Lincoln Park some 41 or finger 11 episodes to
get a sense of how popular, aggressive metal tinged hip
hop appropriating music was in the early two thousands. But
one could argue that none of it would have been
(01:25):
given such a wide blast radius in that era if
it wasn't for the groundwork laid down by Fred Durst
and the Boys, of course, purists will tell you bands
like beastie boy,
red hot chili peppers rage against the machine and even
faith no more were the true innovators of the genre
and they'd be right. But where we're going, we're not
bothering with such high minded concepts as innovation or musicality.
(01:47):
After all the song we're talking about today is from
a record called Chocolate Starfish and The Hot Dog Flavored
Water released in an era where good music was defined
as any song that had too many swears on it basically.
Or as Fred himself would say.
Yeah, I don't know, man. I think that uh I
think we're definitely at the bottom of the list. We're
(02:08):
without a doubt, one of the worst bands probably ever
created in the history of music. John, you could say
something if you like. So let's go back a bit.
Shall We?
Lynn Biscuit was formed in the mid nineties by a
youngish William Frederick Durst and his friends, Sam Rivers and
John Otto Fred was an avid skateboarder, amateur rapper, beatboxer
(02:31):
and DJ who had a real love of punk, hip
hop and heavy metal after writing a few songs with
Otto and River
guitarist Wes Borland would eventually join the group permanently after
a rotating cast of temporary ax Men came and went.
Fun fact, one of those guitarists was a man named
Terry Balsamo who would eventually replace Evan Essence's Ben Moody.
(02:51):
When the partnership between Moody and Amy Lee would break
down in the early two thousands,
Lynn Biscuit, which was named by Durst to specifically turn
snobby listeners off from listening to their output became a
cult favorite of the Jacksonville Florida music scene, particularly due
to Fred's borderline, used car salesman, marketing of the band
going everywhere from clubs to record stores to local high
schools to promote the group, often pretending to be the
(03:13):
band's non-existent manager at the time and partially due to
their smashmouth covers of Paula Abdul's Straight Up and George
Michael's Faith.
It also didn't hurt that. From the very beginning, Wes
Bland would perform in outrageous and bizarre costumes from full
body paint to every combination of wigs suits, masks and makeup.
You could ever imagine. It's like his wardrobe was a
(03:34):
spirit of Halloween. It was really a must see attraction
on stage. Fred, who I've failed to mention also fancied
himself as a tattoo artist because of course he did
managed to smooth talk his way into a beer and
tattooing session with New Metal forefathers Corn when they were
in town,
Corn didn't like Fred's body art, but they did like
(03:56):
his songs taking the time to listen to Lim Biscuit's
demo tape and eventually inviting them on tour with them
in order to beef up their sound and add a
little more hip hop player, former House of Pain Turntables. DJ.
Lethal was soon added to the group, Wes Borland would
briefly leave Lim Biscuit due to creative differences but would
soon rejoin the group after a newly signed Limp Biscuit
(04:16):
had a nearly fatal tour van accident on their way
to record their debut album
produced by the Godfather of New Medal Ross Robinson and
funded mostly by Corn's bassist Fieldy Lynn Biscuit's debut $3
Bill Y'all was released in 1997 and included the single's
counterfeit and a studio version of their infamous cover of
(04:37):
George Michael's Faith. The album was six
successful enough and although Faith was all over rock radio
at the time, you'd be forgiven for thinking Limp Biscuit
was nothing to write home about with all music summing
the record up as one with not many original ideas,
but they do the sound. Well, they have a powerful
rhythm section and memorable hooks. Most of which make up
for the uneven songwriting
(04:58):
by 1999. Though New Metal was in full force and
Lim Biscuit was leading the charge. Durst would be offered
the role of Senior VP at Interscope Records and would
be instrumental in signing bands like Stained Cold and Puddle
of mud. I'll forgive you if you're not entirely familiar
with their respective discographies, infamous pre meme song, Nookie was
(05:20):
released in June 1999 as the band's lead single off
their sophomore album.
Significant Other and redefined the band in the rap rock
era as a cheesy little song described by Fred Durst
as about my ex-girlfriend, how she treated me like shit
and I couldn't leave her, wouldn't get over it. He
said she screwed my friends and used me for my money.
(05:40):
I tried to figure out why I did it and
I figured I did it all for the Nookie Nookie
would help push limp biscuit and significant other to multi
platinum status in the US as well as bestowing the
boys with their first
gray award nomination for best hard rock performance and they
lost a Metallica fair enough, I guess follow up singles
rearranged and end together. Now featuring Method Man would further
(06:03):
show off the band's rock and rap sides and help
legitimize them as a band with their finger on the
pulse of the music zeitgeist. Here's Fred talking with Rick
Campanelli in 1999. We're seeing a lot of the uh
the new rock music out there paying, paying homage to
the hip hop.
Um The initial reaction of the hip hop community. How
(06:25):
do you think they reacted to this, uh you know,
rock borrowing or integrating
hip hop into the styles? How do you, how do
you think they, it's sort of like not stealing in
a way? But
I think that I think that line, I think that
line's kind of dissolved. It's a hip hop world right now.
You know, and that's the way it is. And, uh,
(06:46):
I think if you're in a rock band and you're, uh,
bringing hip hop into rock music, you really need to
have hip hop as part of you. You really need
to have the swing and really
pull it off for real. You know what I mean?
Instead of just some singer in a rock band just going,
I'm gonna rap, you know, and they're rapping and, or
some hip hop band going, hey, man, we're gonna put
(07:08):
some heavy guitars in here because we're just gonna put
some rock music in and that's bullshit. So what, what
it is is, it's like, I don't know, it's just
this thing that's happening right now. It's like people who
like
do it, not just because it's cool. Yeah. Just because
you tell something about this band, man. It's like we,
(07:30):
we got, we found this balance this right balance with,
with hip hop and, and, and rock and, and melodies and,
and just his vibes and I don't know how we
did it, but we're very lucky, man. The chemistry of
this band is unbelievable. This new record is,
man, I'm feeling it hard. You know, either everybody's gonna
(07:51):
hate it and think we suck or they're gonna love it.
We do suck. Our first record sucks. I mean, what
can we say? We, we, we were, we were, we were,
we were a brand new band. We were touring,
we went in, we went in our, our garage for
six days. Wrote the record, went and recorded it. Bam
didn't give a damn. Went on tour just torn, torn, torn.
And what we learned on tour was like a lot
(08:12):
of that stuff didn't work live or people couldn't understand
me or connect with me because the words were like
you preaching noise about the words that you don't want.
Instead of you preaching noise about the words that you
don't wanna hear. You know, it's like, ok, man, you
gotta break it down
what they like. What, what our fans like is what
we need to give them. We don't need to go
on our make music just for ourselves and make it
for ourselves and make it mainly for our fans. Despite
(08:34):
all of this, it's significant others. Fourth single break stuff
that perhaps lives on an infamy,
not actually released as a single until the year 2000
break stuff was simply an album track on significant other.
By the time the Woodstock Music Festival rolled around in Rome,
New York in the summer of 99 already a total
disaster from the get go. Thanks to now, well documented infrastructure,
(08:58):
sanitation price gouging security, overheating and overcrowding issues
that could be defined as straight up negligence acts such
as Limp Biscuit, corn, red hot chili peppers, Metallica DMX.
And Kid Rock took the stage over the four day
mega festival experience. It's now estimated that there were around
400,000 attendees at the festival even though capacity was listed
(09:22):
at around 250,000.
As you might imagine, as any sane person might, an
isolated cramped festival of naively marketed peace and music became
a pressure cooker for absolute chaos. With multiple cases of vandalism,
property damage, violence, sexual assaults and even deaths reported at
the festival from day one, it looked like total anarchy
(09:44):
corn DMX, insane clown posse and limp biscuit in particular
quickly
became the figures of blame due to the aggressive nature
of their music with the organizers claiming they had no
idea that was the style of music they'd be playing
and that a voracious and desperate crowd would go. That
wild Durst was specifically vilified for his role in the
(10:05):
chaos for not doing enough to try and calm down
the crowds first. After performing their song, 1999 Durst is
quoted on stage as saying they wanna ask us, you know,
to me
out a little bit, they say too many people are
getting hurt, don't let anybody get hurt, but I don't
think you should mellow out, mellowing out. That's what Alanis
Morrissette had you mother do if someone falls, pick him
(10:26):
up then in the most infamous of on stage dresses
right before the breakdown in break stuff before he proudly
asserts he packed a mother chainsaw in the lyrics. Durst.
Proclaims time to reach deep down inside and take all
that
negative energy, all that negative energy and let that shit
out your system. You got girl problems, you got boy problems,
(10:48):
you got parent problems, you got boss problems, job problems,
you got a problem with me. You got a problem
with yourself. It's time to take all that negative energy
and put it the oh sorry if I got a
bit carried away there finally, after also admittedly calling for
the crowd to let out all of their positive energy.
During
a performance of Nookie Fred attempts to crowd surf on
(11:09):
a piece of plywood in the sea of moshing fans
following the set. The police informed Durst that fans at
the very least had destroyed parts of the festival infrastructure
in an effort to provide him with his makeshift plywood surfboard.
But Durst maintains that he didn't witness anyone being hurt
saying I didn't see anybody getting hurt. You don't see
that when you're looking out in the sea of people
(11:31):
in the stage is 20
feet in the air and you're performing and you're feeling
your music. How do they expect us to see something
bad going on much? Music, sister station music? Plus at
the time was on the ground at Woodstock 99 and
got an immediate reaction from Durst as well. Yeah, I know,
I know, I heard, well, I didn't hear actually, what
is it? What what happened through all this craziness, the
people starting, started to rip off the soundboard or something.
(11:54):
They started to literally tear the place apart and, like, uh,
it was pretty intense. Yeah, watching it from up above
or on the screens was really, really scary. Did you
get scared at one point? No way. No, that's why
I had to go down and get in. That's why
you were riding on the boards. You actually just decided
to jump in and ride on the plywood boards. It
(12:14):
looks so fun. I mean, I want to be a
part of that too. So, do you feel like you're
actually interacting and getting the Woodstock
or is that not what the Woodstock thing is? I'd
rather be further out in the crowd, but I, I
didn't get far out. It was really crazy. Yeah, it was,
it was especially seeing you during faith just trying to
get a grip on things. Did you expect it to
be this crazy? I mean, the new record just skyrocketed
(12:37):
up the charts. You kick the shit out of the
Backstreet Boys off the charts and everybody else. Did you
expect it to be all this big?
No, I didn't expect it, but I'm very grateful that
it is that big and all we can do is
think about the future and keep delivering, uh, something better
for a while. It was all people could talk about
with much is Su Yin Lee grilling Wes Borland. Soon
(12:58):
after I,
Speaker 2 (12:59):
I did
see you at Woodstock and, um, your first, uh, your
first single rearranged, um,
was kind of the, the video was a response to Woodstock.
But how did you feel when everything was going down
in terms of your performance and the frenzy of the crowd?
What was your perspective while performing at Woodstock? A lot
of what happened at Woodstock, we didn't really know it
was going on because we just sort of saw a
(13:22):
big swarm, you know, swarming sea of people. It's kind
of hard to see one thing or another, you know,
to distinguish what's going on. We didn't realize that,
um, the Sound Booth Tower was being raided and we
didn't know where the sheets of plywood were coming from
what was going on at all. Um, you know, we were,
(13:43):
the people were apparently getting a little flustered on the
sides of the stage and telling us, you know, this
is something's going on and we're like, when did it
hit you? It was it after the fact when you
read the, we didn't realize that anything like that had
happened until press releases started coming out and we went what?
And yeah, Limp Biscuit gets blamed for everything that happened
(14:03):
Sunday night when they weren't even there at Woodstock.
Speaker 1 (14:06):
The
Specter of Woodstock 99 has followed Limp Biscuit around to
this very day with Durst acknowledging the performance as recently
as 2021 where prior to firing up break stuff at
Lollapalooza in Chicago Durst. Reminds the crowd, let me make
this clear. This is not Woodstock 99 all that bullshit.
But
as they say, there is no such thing as bad
(14:26):
publicity and there was also no stopping the new metal
revolution within a little over a year post significant other
Lynn biscuit was back and more aggressive than ever with
their third LP. The aforementioned chocolate starfish and the hot
dog flavored water. Much like the band's name itself. I'm
not gonna put you through the complete etymology of why
(14:47):
the album
was named the way it was. But for those who
unfortunately already have an inhalation. Fred Durst has admitted he
nicknamed himself Chocolate Starfish because people often already call him
a jerk. Yeah, let's go with that released as a
double single with the Frat Boy anthem. My generation. No,
not the who song, Roland Air Raid Vehicle was unleashed
(15:08):
on the world on September 5th 2000. And how does
one describe Roland?
Well, first and foremost, it's unabashedly a new metal anthem
full of soaring down tune, guitars and hip hop swagger lyrically,
it's not very complex with a hokey pokey style chorus.
Move in, move out, hands up, hands down, back up,
back up, paired with, of course, the song's main lyrical directive,
(15:30):
keep roll and roll and roll and roll and as
predominant themes of the song, but also a braggadocious ode
to the very concept of Lim Biscuit itself with Fred Durst.
Rhyming about how much the kids love. Lim Biscuit. Jonesing
for their next fix of rap rock excess in the bridge.
For example, Durst calls out all the Lim Biscuit fans
around the world to show the band love, including in
(15:52):
no particular order, the ladies,
the fellas, the lovers, the haters, the hot mamas, the
pimp daddies, the rockers, the hip hoppers, and of course,
the people who don't give a naturally paired on the
airwaves with my generation, which is kind of the same
song but with less celebration and more aggression. Lynn Biscuit
were probably the only rock band in the world at
the time that could getaway with releasing music purely for
(16:13):
the vibes.
Speaking of vibes, I think it's important to note that
the reason for the official title of the song we're
talking about in this episode is called Rollin Air Raid
Vehicle is because there are actually two very distinct versions
of this magnum opus on Chocolate Starfish. The less talked
about urban assault vehicle version of Rollin produced by hip
hop royalty. Swiss beats sits at a lofty six minutes
(16:36):
and 22 seconds and features the likes of Red Man
method man and DMX in all their glory rapping over
a slowed and slinky hip hop beat. It would eventually
make its way onto the very first fast and The
Furious soundtrack as we've discussed on encore before the early
two thousands were the Golden Age of the music video.
And Roland certainly gave fans their visual money's worth.
(16:58):
Ben Stiller opens the video by approaching a solitary Fred
Durst sitting on a bench near a valet sign. Stiller
assumes Durst is a valet driver and throws him the
keys to his rolls Royce in a pretentious Hollywood fashion
Fred commandeers the car and was shown beauty shots of
New York City before being greeted by the band on
the roof of one of the twin towers of the
World Trade Center. But more on that later,
(17:20):
while Fred Joy rides around the city, he picks up
a comically swagged out Wes Borland and the rest of
the Limp biscuit gang to embark on more hijinks before
cutting between equally iconic and ironic shots of Fred Durst
on a video set complete with giant disco balls, flashing
lights and tightly choreographed female dancers all dressed as you
guessed it. Fred Durst long seen as a 2000
(17:44):
counterculture fashion icon Durst's insistence on wearing New York Yankee
hats at all times had been a staple of the
Limp biscuit uniform for years. So it only made sense
for the outfit of baggy jeans, oversized t-shirts and his
signature red hat to be immortalized. In music video. The
dance moves on display are comically bad by any standard,
but in the sober light of the 20 twenties, it's
(18:06):
actually kind of
arming despite the band's reputation, nothing particularly offensive happens in
the video. I mean they technically steal the car, I guess.
But come on still I had it coming, reflecting back
on it a decade or so later, Durst and Borland
explained to Enemy that the video was supposed to be ironic,
a gentle rib on hip hop music videos and bling culture,
but they weren't entirely sure people got that. Well, believe
(18:29):
it or not. At the time,
there were so many certain styles of hip hop videos
that were coming out and saturating the market and,
and there was a chance I thought to kind of
poke fun at those types of videos with a rock
band
and, um,
and go bigger than any of them have gone. You know, the, what, what's,
(18:52):
what's bigger on top of the World Trade Center, you know,
helicopters and, and the whole deal and, and some, you know, what, what,
what cars are important
to in that world it seems. And you go, ok. Well,
the Rolls Royce. Well, what would we do on a
Rolls Royce act like a bunch of jackasses, you know. Yeah,
we were throwing money into the street, like fake money
(19:14):
and people were almost getting hit by cars running into
the street to retrieve it. Like thinking it was real
money being. Do you remember that? I do. But, you know, we, we, we,
we thought we saw the times put this cheeky element
into our stuff. A little bit of sarcasm. And, um,
and it seems that for the most part, almost everyone
(19:35):
has looked over it. Unfortunately, unbeknownst to anyone at the time,
there would soon be a far deeper meaning to such
a lighthearted video. Perhaps one of the most iconic MTV
V MA s of all time was the one that
took place on September 6th, 2001. Just a year after
Roland was released to the public. We've talked about it before.
(19:56):
This was the year that Christina Aguilera and company won
video of the year for Lady Mama.
And the first real time we got a glimpse into
the mind of Tina. Speaking of pop stars shedding their skin.
This edition of the V MA S is also the
iconic slave for you year where Britney performed the sultry
track with an albino Burmese Python draped around her neck.
(20:17):
It was at that year's ceremony, Limp Biscuit took home
the prize for best rock video for Roland. And according
to the band also received a kind letter from the
World Trade Center itself for showcasing the building in such
a mainstream way.
Then of course, within days, the unthinkable happened with the
attacks of 911, destroying the building and changing New York
(20:37):
City America and the world forever. Here's Fred and Wes
speaking with enemy again about the surreal bond. The rolling
video will share with WTC and in a weird way
the before times forever. And that video had life for
about one year and then the World Trade Center.
(20:57):
Exactly. One year, exactly one year. And we got, uh,
we actually won a Moon Man at the MTV Awards
on September 7th. And there was a nice, got a
nice letter from the World Trade Center staff, you know, for,
you know, congratulations 2011 and we flew out on the
(21:17):
eighth or the ninth
and then they, and then three days later we just
got that letter too from them and you know, saying
thank you for lesbian, a small part of your video and,
and um
yeah, a very interesting time in all of our lives.
At that time, we didn't know we were just on
some magic carpet barely holding on to it by a
(21:39):
thread not knowing what the fuck is going on. Well,
they quit playing that video like right away. That's that
was it, the video was off the air as soon
as that happened,
eventually as the world healed, Roland would be allowed back
into video rotation. But as the events of 911 touched
every facet of life, there is no doubt the music
(22:00):
industry felt shockwaves. Here's a Candid Limp Biscuit with George
Stromboli Poulos in late 2001 because will it be relevant
with people's emotions? Now, cos we're not just upset about
things we used to be now that it's kind of
a different vibe to it, you know, do you think
people can keep up?
I definitely think so. You know, there's just a different
wave in music right now. Things are kind of, you know,
(22:21):
especially I feel sorry for all the rock bands out
there right now. They're in heavy because record companies are
looking for the PG, let the birds fly. It's come
into
flower rock thing where it's the birds and the bees
and the waterfalls and the oceans. They want to heavy
rock and aggression with the bad things happening in the world.
And I think that's bullshit. I think that that's not
(22:43):
it at all. I think if your message is to
provoke physical violence or death or killing, I think that's
something to filter through now. I think like,
come on, man, we're really lucky to be standing here
breathing right now like this world's going crazy, like humanity
is the key and but like it, if
it should just make you a little more grateful to
(23:04):
be alive and we should come together and bond as
human beings. Although Roland would peak at a meager 65
on the billboard. Hot 100 Limp biscuit were able to
ride the wave of the new millennium in style with
chocolate starfish and the hot dog flavored water going platinum
in its first week and four times platinum within the
first two months of release. Thanks to their particularly prolific
(23:28):
1999 to 2001, the success of rolling my
generation and 2000 one's legendary wrestling anthem my way, which
was used to massive success at the peak of the
wrestling boom of the early two thousands. Chocolate Starfish would
do another 2 million in album sales in the two
years following the album's release. The album's success impacted their
(23:50):
back catalog by the millions as well. Boosting the sales
of the already five times platinum's significant other up by
another two mil and even pushing $3 bill up by
a cool million around
turn of the millennium. To say that the album had
mixed reviews would be an understatement with Rolling Stone giving
the record a solid 3.5 stars noting chocolate Starfish in
(24:10):
the hot dog flavored water is looser and livelier and
just plain better than anything they've ever tried before making
Fred Durst a believable high school antihero for our time, Kerang,
however quickly named the album the worst of the year,
Lynn Biscuit, the worst band of the year. And Fred
Durst as the very British Arse of the Year
Entertainment Weekly. When a bit more existential, posing the question
(24:34):
unsatisfying as they are. Chocolate Starfish's stylistic detours have more
than a suggestion of self preservation to them. What happens
in another year or two when the rap metal audience
grows up? Will fans still want this music or will
bands like Lynn Biscuit wind up in the closet next
to the Gisele Bunion posters? Ultimately, it wouldn't take long
for a time
(24:54):
to answer that question for us by 2003. Lynn Biscuit
would be usurped by Lincoln Park as the kings of
new metal and heavy music fans would quickly trade in
the self-aggrandizing sounds of rap rock for music that landed
more on the spectrum of self serious to self loathing.
As a wave of emo scream and garage rock revival
began to fill up the CD Towers and itunes libraries
(25:16):
of mainstream rock fans.
The band would continue to release music to very little
fanfare in the years that followed. Although they would eventually
just about limp over the line to platinum status. But
2000 three's results may vary by 2006. Lim Biscuit would
go on hiatus. Reuniting in 2009. They do sporadic live
performances throughout the 20 tens and even briefly signed to
(25:38):
Lil Wayne's Cash Money Records to release a fever dream
of a collaboration with Wheezy in 2013 called Ready To
Go
in 2021. While we were all still tucked away in
semi lockdown. A decidedly middle aged limp Biscuit returned out
of nowhere with a delightfully titled album Still sucks. The
album's lead single, Dad Vibes was as zany and as
(25:59):
self aware as ever leaning heavily into the trope that well,
they were a bunch of middle aged men making music,
nobody likes anymore. And while this didn't exactly revitalize the
band to the top of the charts, the album was
positively rev
with metal outlets, Loud Wire and Metal Hammer, putting it
at a lofty number four of the best metal albums
of the year. Even Limp Biscuit, super haters of the
(26:21):
year 2000 Kerang magazine had something nice ish to say
about the band's most recent output, stating haters gonna hate.
But really this knowingly middle aged iteration of Limp Biscuit
is far more likable and less obnoxious than their younger self.
But even so they've lost none of their big durst
energy
and the knowing winks have only become bigger and knowing
(26:41):
her with new meal going through a bit of a renaissance.
Thanks to Gen Z and the power of tiktok. Will
we see a rolling redo anytime soon? Well, anything is
possible and to that, I say, all right, partner, I'm
Miles Galloway. And that was the story of Limp Biscuits.
Rolling
Encore is an iheartradio Canada podcast. Subscribe to this podcast
(27:05):
on iheartradio or wherever you get your podcasts. Download the
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Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.