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Speaker 1: Ridiculous History is a production of iHeartRadio. Welcome back to

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Speaker 1: the show, Ridiculous Historians. Thank you, as always so much

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Speaker 1: for tuning in. Let's give it up up up for

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Speaker 1: our super producer, our very own DJ, mister Max Williams.

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Speaker 2: Yeah, it's big and Max Williams Yes.

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Speaker 1: And to the South Bronx, to the West Coast, to

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Speaker 1: the East Coast, the Gulf Coast sometimes called the third Coast.

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Speaker 1: To the South, the South's got something to say, but

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Speaker 1: the South has something to say.

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Speaker 3: Doesn't really figure into this particular story of hip hop

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Speaker 3: was a little bit later, but boy, Ben, you uncovered

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Speaker 3: a doozy of an episode today in honor of the

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Speaker 3: fiftieth that's right, fiftieth anniversary of a truly American art form,

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Speaker 3: hip hop. We got jazz and we got hip hop.

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Speaker 3: There's other ones peppered in threst. Well, those are the

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Speaker 3: two biggies, musical theater maybe well the blues first, of course,

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Speaker 3: that's true. That's true.

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Speaker 1: And your Nola and I'm Ben, and we are as

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Speaker 1: you said, my friend, we are celebrating, along with several

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Speaker 1: of our peer podcasts, we are celebrating the fiftieth anniversary

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Speaker 1: of hip hop an American art form that has united

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Speaker 1: the world, even while at times it divided its home country.

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Speaker 1: Since this is a music episode, man, I thought it

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Speaker 1: was going to be appropriate to let our good, ridiculous

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Speaker 1: historians out there know about another music related project that

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Speaker 1: you and your team have just debuted. It comes out

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Speaker 1: today as we're recording, and so that means that as

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Speaker 1: people are listening to this episode, you can check out

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Speaker 1: Nole's new show today.

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Speaker 3: Ken And speaking of think you've been speaking of the Blues,

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Speaker 3: The Rolling Stones, contrary to what a lot of people

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Speaker 3: be associate with them, were always kind of a blues group.

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Speaker 3: They considered themselves and the people that handled them considered

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Speaker 3: themselves pure blues musicians. And they really did come from

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Speaker 3: that tradition, that very American tradition, which is weird considering

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Speaker 3: they are a group of British punks in the seventies,

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Speaker 3: in the period we're talking about on this podcast, Stones

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Speaker 3: touring party making an album in the south of France,

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Speaker 3: under the influence of heavy narcotics with criminals, you know,

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Speaker 3: squatting in this crazy villa in villain Nellcott in Nice, France,

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Speaker 3: and it turned out one of the greatest rock and

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Speaker 3: roll slash blues albums of all Time, Exile on Main

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Speaker 3: Street and the subsequent nineteen SEIWO Tour, which was kind

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Speaker 3: of the archetype for rock and roll tours. And this podcast,

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Speaker 3: made with my dear friend Jordan Runtog, friend of the show,

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Speaker 3: and Michael june Alder, also friend of the show, contains

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Speaker 3: a lot of original music that we did on our

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Speaker 3: team and Jordan's incredible writing and narration, and original interviews

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Speaker 3: with the Stones themselves from this period that no one's

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Speaker 3: ever heard before. Courtesy of our buddy Robert Greenfield, who

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Speaker 3: was an excellent journalist for Rolling Stone Magazine who covered

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Speaker 3: the Stones during that era of their career, and he

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Speaker 3: along with his buddy Gary Stromberg, who did pr for

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Speaker 3: the Stones during this era, are heavily featured on the

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Speaker 3: show as well and gave us incredible access. And it's

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Speaker 3: not just a raw rock and roll kind of show.

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Speaker 3: There's a lot of true crime in there, you know,

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Speaker 3: with the drug stuff smuggling, all kinds of criminals running

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Speaker 3: drugs in the South of France and just America in

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Speaker 3: this kind of era of just fighting in the streets

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Speaker 3: and racial protests and violence and Watergate and all of

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Speaker 3: this stuff that's just going crazy through the lens of

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Speaker 3: the Rolling Stones touring America. So that's my spiel Stone

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Speaker 3: Sturing party. Check it out wherever you get podcast. Episode

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Speaker 3: one is out today. It's called America in Flames, Stones

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Speaker 3: in Danger, So.

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Speaker 1: Do check it out, folks. This is a deep dive

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Speaker 1: into iconic seminal music. And you could say the same

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Speaker 1: thing about hip hop, you know, in general. Throughout my

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Speaker 1: entire life, I can say I've met three people who

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Speaker 1: told me they just don't get music. And that's out

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Speaker 1: of millions and millions of people that I've had the

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Speaker 1: fortune and misfortune to run into during my various adventures

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Speaker 1: and misadventures.

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Speaker 2: Why wouldn't people like music? Right?

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Speaker 1: Henry Wadsworth Longfellow had this beautiful quote. He is one

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Speaker 1: of the first guys in the West to say music

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Speaker 1: is the universal language of mankind. Boscott had a quote

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Speaker 1: that I enjoyed even more, and I think you guys

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Speaker 1: will like it too. Boscot said, painting is how we

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Speaker 1: decorate space. Music is how we decorate time. It's brilliant,

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Speaker 1: It's totally.

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Speaker 3: True as a music nerd, and you know, studio rat

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Speaker 3: when you're recording music. You know, in the era of computers,

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Speaker 3: you're working on a timeline literally, you're arranging sounds, you know,

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Speaker 3: from left to right, you know, through the progression of time.

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Speaker 3: I think that is such an incredible and appropriate quote.

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Speaker 3: And we're talking also about decorating time with sound historically speaking,

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Speaker 3: you know that that is sort of what the story

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Speaker 3: of hip hop is. It is the decoration of time

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Speaker 3: through music, through recontextualization of other music. It's such a

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Speaker 3: cool mishmash kind of art form that becomes its own

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Speaker 3: kind of musical history lesson in and of itself through sampling.

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Speaker 3: And we did a whole episode on recently as well

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Speaker 3: as a lot in common with this episode and turntablism,

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Speaker 3: which we're going to get into, and protests. You know,

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Speaker 3: that really is at the heart of the original kind

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Speaker 3: of days of hip hop, especially the era that we're

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Speaker 3: talking about today. That's the FBI and c you know,

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Speaker 3: forces in American government took issue with m M.

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Speaker 1: Yeah, and you know it's funny. In twenty nineteen, a

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Speaker 1: Harvard study I found seemed to prove that Longfellow was correct.

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Speaker 1: This is a pretty new study. They said some songs

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Speaker 1: and patterns of noise, if you want to be scientific

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Speaker 1: about it, just sound quote unquote right to people across

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Speaker 1: the world. And while entertainment may seem, you know, entertaining,

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Speaker 1: it's also a powerful technology. It's a way to convey

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Speaker 1: social and cultural concerns. The cliche is it's a mirror

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Speaker 1: held up to society. But of course cliches are only

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Speaker 1: cliches because they are true. If you have control over

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Speaker 1: books and art, over film and music, then you have

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Speaker 1: gone a long way toward controlling how a society sees itself.

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Speaker 1: So we want to look at one particularly a ridiculous

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Speaker 1: example of this American musical history again and in honor

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Speaker 1: of the anniversary of hip hop, a moral panic that

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Speaker 1: occurred when authorities experienced new music something they felt threatened

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Speaker 1: in their mind. The status quo alluded to it just

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Speaker 1: a bit. The question why on earth, out of all

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Speaker 1: the things the Federal Bureau of Investigation has to worry about,

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Speaker 1: why on Earth what they focus on harassing a group

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Speaker 1: of young, very poor kids in nineteen eighties Los Angeles.

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Speaker 3: Doesn't it just kind of seem quaint now, ben like

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Speaker 3: this concept of them going out of their way being

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Speaker 3: the FBI to mess with you know, this kind of

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Speaker 3: upstart community of you know, bee boys and turntable lists

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Speaker 3: and rappers and this new kind of culture that was

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Speaker 3: emerging in Los Angeles. But not only that, the songs

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Speaker 3: that we're going to get into now comparatively seem quite quaint,

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Speaker 3: you know, in terms of the moral panic you mentioned

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Speaker 3: a moral panic, Ben, which is just kind of a

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Speaker 3: manufactured outrage surrounding the idea of something that could quote

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Speaker 3: unquote corrupt the youth or create mass hysteria or whatever

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Speaker 3: flavor you want to refer to. But like you go

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Speaker 3: back and listen to the lyrics of some of these

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Speaker 3: gangster rap songs we're going to talk about, Boy Howdie

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Speaker 3: are they tame a lot tamer than anybody would have

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Speaker 3: you remember, especially folks like Tipper Gore and the FBI.

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Speaker 3: So to kind of understand, you know, a lot of this,

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Speaker 3: you have to really understand a bit about the origins

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Speaker 3: of rap, which I think is something that fascinates both

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Speaker 3: of us.

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Speaker 2: Ben.

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Speaker 3: You dug deep into some of the earliest examples of

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Speaker 3: sort of rhythmic spoken word with sort of drum circle

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Speaker 3: type music.

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Speaker 1: M Yeah, we're talking about grio. So the story of

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Speaker 1: all your favorite hip hop songs really starts thousands of

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Speaker 1: years ago, albeit indirectly, because way back then millennia in

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Speaker 1: the past, in the continent of Africa, grio would tell

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Speaker 1: these stories while playing handmade instruments, and they may have

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Speaker 1: call and response parts to this too. It came with drums,

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Speaker 1: as you were saying, right, and this was You could

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Speaker 1: think of it as a style of talking somewhere between

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Speaker 1: a ballad and epic poetry or oration. It carried across

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Speaker 1: the Atlantic during the slave trade, and while enslaved peoples

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Speaker 1: were forced to labor in fields and agriculture and other pursuits,

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Speaker 1: they would engage with these traditions of call and response.

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Speaker 1: They would share stories and culture through this grio art form,

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Speaker 1: which continued to evolve. Just so you know where the

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Speaker 1: story begins. Now we're going to fast forward and max

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Speaker 1: just like hold down the fast forward button for a while,

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Speaker 1: where yeah, we're going centuries into the future, all the

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Speaker 1: way to what would later be my birthday August eleventh,

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Speaker 1: in nineteen seventy three in Bronx, New York.

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Speaker 3: That's so cool. We were both born very close to

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Speaker 3: the birth of hip hop. Can't Be Quit, as was

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Speaker 3: our pal Matt Frederick.

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Speaker 2: Let's see.

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Speaker 1: I think they'll be okay with us disclosing this. Matt's

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Speaker 1: birthday is August fifth, Noel, Yours is August eighth.

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Speaker 2: Correct. Mine is the eleventh, So weird.

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Speaker 3: It's almost like odd numbers, you know, if only mine

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Speaker 3: was on the seventh.

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Speaker 1: No. I still I'm you know what I bet so

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Speaker 1: I can make it.

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Speaker 3: Those three, five, seven, nine, eleventh. Okay, never mind. I'm

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Speaker 3: obviously great at math and numbers and stuff.

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Speaker 2: As was DJ Coolherk Totally. I had this attempted to segue.

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Speaker 2: He was alderful.

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Speaker 3: He was known for his math skills and also mainly

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Speaker 3: known as the first DJ and the founding father of

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Speaker 3: hip hop. He and his sister Cindy started hosting which

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Speaker 3: just sounds so wholesome Ben back to school parties in

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Speaker 3: the rec room of their apartment building. And it was

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Speaker 3: it was here where kind of the early roots of

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Speaker 3: hip hop began to take shape. Do you roots take shape?

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Speaker 3: They sure do. I guess as they grow, that's what

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Speaker 3: they do.

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Speaker 1: Yeah, And oh, I've got to ask Max, we we're

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Speaker 1: gonna be rude Winds your birthday?

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Speaker 2: Are you okay? Saying it on air? Oh yeah, yeah,

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Speaker 2: it's April twelve. There's no time related. That's the only

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Speaker 2: reason I didn't mention it. I don't know, it's all.

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Speaker 1: It's all the way though. In my my planning skills

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Speaker 1: are so bad. I'm actually I'm scary good at like freestyling,

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Speaker 1: but planning skills.

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Speaker 2: I need to know. I need to know.

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Speaker 1: April is just enough time for me to get stuff

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Speaker 1: together for your birthday.

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Speaker 3: So freestyling, whether it be on the mic or just

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Speaker 3: you know, at activities, Yeah, yeah, just figuring things out

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Speaker 3: on the fly, I think is a really important skill,

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Speaker 3: and that a lot of that too, really is a

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Speaker 3: skill that goes into these early stages of hip hop

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Speaker 3: where her yeah cool herk is all about like there

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Speaker 3: was my better attempts of transition. Cool heirk is all

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Speaker 3: about like taking stuff that he already has, right to turntable,

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Speaker 3: And a lot of this were people like their parents

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Speaker 3: had a turntable that was a staple of the home.

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Speaker 3: So they take this down to the rec room. Maybe

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Speaker 3: there's already one in the rec room, and hey, wait,

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Speaker 3: maybe let's not just use one, let's take two, you know,

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Speaker 3: and hook them up. They didn't even have probably a

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Speaker 3: proper quote unquote DJ mixer, because that.

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Speaker 2: Wasn't a thing. This is like the beginning.

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Speaker 3: They probably had to hook it up through two inputs

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Speaker 3: on a tuner of some kind, or maybe two completely

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Speaker 3: separate stereos. I would imagine just guessing here, and he

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Speaker 3: would do a thing that is to sometimes referred to

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Speaker 3: as juggling, sometimes referred to as merry go rounding, where

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Speaker 3: you take two copies of the same LP and juggle

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Speaker 3: the break back and forth, or the very least juggle

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Speaker 3: a portion where on the left table you play, you know,

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Speaker 3: up to the point where the break ends, and then

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Speaker 3: you flip over to the other one and you play

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Speaker 3: from there. And it requires some real precision to get

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Speaker 3: that right and to make it sound like a contiguous

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Speaker 3: kind of loop. Now now it's easy to do it

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Speaker 3: in programs like Ableton or whatever, where you can just

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Speaker 3: loop something. And that this is the invention, essentially, or

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Speaker 3: at least the innovation of the idea of looping.

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Speaker 1: Yeah, and this is why so many of your favorite

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Speaker 1: songs and instrumentals exist. And of course it extends well

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Speaker 1: past what would be called hip hop. Now we want

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Speaker 1: to thank a guy named Jim Frick, the editor of

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Speaker 1: the excellent Yes Yes, You All the Experienced Music project

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Speaker 1: oral history of hip hop's first decade.

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Speaker 2: He says, he.

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Speaker 1: Continues, and he confirms your rap is a genre begins

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Speaker 1: at these block parties in New York City in the

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Speaker 1: early nineteen seventies. DJ's start are starting to isolate percussion

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Speaker 1: breaks from disco, from soul, from funk and looping them

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Speaker 1: like you said, Noel extending them and at the time,

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Speaker 1: and there were MC's, but they weren't like they're the stars. Yeah,

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Speaker 1: they were a lot like if you've ever been to

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Speaker 1: a wedding that had a DJ, they were a lot

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Speaker 1: more like wedding DJs.

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Speaker 2: They would come on in between the.

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Speaker 1: Songs, you know, like hey and all the single ladies

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Speaker 1: get out, or like hey, Nana is seventy six, Go Nana.

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Speaker 3: Like a radio DJ, you know, or at least the

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Speaker 3: culture of like think about like the style of speaking,

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Speaker 3: you know, like it probably became more like rap or

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Speaker 3: the rhythmic quality, but it really was just kind of

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Speaker 3: like using all the cool like you know, slang of

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Speaker 3: the time, and like just the rhythm of I'm sound

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Speaker 3: like such a grandpa, like the rhythm of the streets

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Speaker 3: like there was a quality of speech that represented like

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Speaker 3: if you've ever seen what's the Spike Lee movie.

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Speaker 2: Do the Right Thing.

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Speaker 3: There's a character that's like kind of a constant presence

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Speaker 3: in the film who's like a DJ. He has this

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Speaker 3: kind of cool rhythmic quality the flow of which she's

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Speaker 3: introducing the songs, and he becomes this kind of like feature,

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Speaker 3: this almost narrator in the film. That's probably more what

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Speaker 3: early you know MC's were, which stands for Master of

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Speaker 3: Sarah Monies, which is literally the job of someone at

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Speaker 3: an event that kind of keeps things on track, but

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Speaker 3: it's necessarily the star of the show. The music and

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Speaker 3: the dancing was the star of the show right right.

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Speaker 1: The audience, Uh, the the audience was kind of an

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Speaker 1: instrument as well.

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Speaker 2: I would argue that both the DJ and the MC played.

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Speaker 1: There's a lot of Jamaican culture that is inherent in this,

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Speaker 1: in this blend with sound systems right and with the

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Speaker 1: idea of the the PA right, and the MC is

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Speaker 1: part of this the idea of toasting, which is which

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Speaker 1: is less like a rap song, but still it's kind

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Speaker 1: of like a dis track. Anyway, over time, these mcs

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Speaker 1: would later become known as rappers. They would they would

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Speaker 1: talk in rhythm like you said, and they would begin

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Speaker 1: to rhyme, and then they would also they were already

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Speaker 1: talking on rhythm in sync with music, and they started

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Speaker 1: throwing in rhymes with this rhyme schemes. Initially, people dismissed

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Speaker 1: this as a fad. Even people as close as Manhattan

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Speaker 1: dismissed it as a fad. But in nineteen seventy nine

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Speaker 1: everything changed because the Sugarhill Gang came out with rappers

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Speaker 1: the light and people started to pay attention. We also

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Speaker 1: see we've got to shout out DJ Grand Wizard Theodore,

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Speaker 1: who has said to have accidentally invented the method of scratching.

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Speaker 1: There's a great quest love drunk history about this, and

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Speaker 1: the scratching became enormously influential. Grand Master Flash other legends

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Speaker 1: quickly pick it up. This guy Wizard Theodore also pioneers

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Speaker 1: the use of the needle drop. That's where instead of

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Speaker 1: silently queuing up the next record in the rotation, the

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Speaker 1: DJ drops the needle on the exact beginning of the song.

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Speaker 3: Have you ever seen a really, really, really amazing DJ

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Speaker 3: perform It's like seeing a magician, or like an illusionist

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Speaker 3: like it because they're you know, like for example, like

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Speaker 3: kid Koala is a really really really cool one, like

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Speaker 3: obviously a grandmaster Flash DJ Jazzy Jeff, you know, hell,

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Speaker 3: what's his name? DJ Collin. That guy's got serious turntable chops.

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Speaker 3: Like you don't really think of him like that. You

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Speaker 3: think about more as like a producer. But I've seen

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Speaker 3: some videos of him, but that needle drop technique, Like

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Speaker 3: I saw a performance from a live performance from Kikuala once.

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Speaker 3: He does this thing where he plays moon River on

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Speaker 3: like he has four turntables and he pitches the he

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Speaker 3: changes the pitch the speed of the turntable with the

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Speaker 3: slider it's on the turntable while moving the needle per

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Speaker 3: note like he'll pitch it up a semi tone and

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Speaker 3: then move it to another part of the thing. And

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Speaker 3: he's playing it like with the needle drops and it's seamless,

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Speaker 3: and it's so magical to see that done with that

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Speaker 3: level of precision. This is where it begins. The idea

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Speaker 3: of this is not how you were supposed to use

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Speaker 3: a turntable. Your dad would yell at you for scratching

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Speaker 3: the record or dropping the needle like that this is

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Speaker 3: people using technology incorrectly and making it the new way

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Speaker 3: technology is used.

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Speaker 1: And I want to give a shout out to another

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Speaker 1: DJ that I think is amazing. Just DJ Baboo, one

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Speaker 1: third of Dilated Peoples out of the West Coast. He's

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Speaker 1: super about fantastic. Yeah, I think they're props.

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Speaker 3: I think they're excellent, and then people don't talk about

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Speaker 3: them as much as they should.

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Speaker 2: I'm so glad to hear you mentioned them. They're so cool.

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Speaker 1: Well, if we start naming all the all the DJs

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Speaker 1: we love, we've got a different episode. But this is

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Speaker 1: you could tell we're fans of this. I grew up

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Speaker 1: in this, like we we love this stuff. Okay, it's

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Speaker 1: the mid nineteen eighties, sometimes called the golden age of

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Speaker 1: hip hop. Now, this is where run DMC comes from.

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Speaker 1: This is where rock keem comes from. They're pushing the boundaries.

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Speaker 1: This art form, it's important to note, is always continually evolving.

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Speaker 1: And I love I love that we're pointing out it

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Speaker 1: was wholesome in the beginning, very much so, and it

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Speaker 1: was a new genre of music. It would spread past

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Speaker 1: the bounds of the Big Apple, it would touch every.

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Speaker 2: Corner of the globe.

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Speaker 1: And now new generations musicians all across the world put

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Speaker 1: their spin on it. It is one part of a

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Speaker 1: larger culture, you know, including graffiti, including the breaks a

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Speaker 1: break dancing rather the bee Boys, And unfortunately, as it's growing,

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Speaker 1: it comes with some growing pains.

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Speaker 2: Not everybody likes it. And Noel, we can't talk.

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Speaker 1: About the growth of rap and hip hop without talking

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Speaker 1: about the dawn of gangster rap.

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Speaker 3: Yeah, yeah, it's true because you know, to your point,

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Speaker 3: been especially mentioning like Rakim and run DMC. I mean

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Speaker 3: like early rap or hip hop, Like if you listen

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Speaker 3: think about gang rappers of July, it is all kind

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Speaker 3: of this up dup dup dup dat up do dub

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Speaker 3: dub dada. It's a little goofy and it sounds a

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Speaker 3: little dated now. I mean it's important in some of

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Speaker 3: that stuff. There's some really clever wordplay, but it's a

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Speaker 3: little like it's about partying and not even like it's

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Speaker 3: not having a good tis right to a little bit

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Speaker 3: of bravado, you know, but nothing very like substantive, nothing

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Speaker 3: like ra Kim and Rehn DMC start to push that

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Speaker 3: in a different direction, like rare Kim in particular, really

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Speaker 3: sort of elevated the like cadences of rap, and they

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Speaker 3: started making the rhythm of the of the delivery much

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Speaker 3: more complex. But then when you get gangster rapp, you

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Speaker 3: really start to see young people from like South central

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Speaker 3: Los Angeles for example, where there's a lot of crime,

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Speaker 3: a lot of gang activity, a lot of drug dealing

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Speaker 3: and violence using this platform to talk about their lives.

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Speaker 2: And you know, sort of a chicken or the egg

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Speaker 2: type question, you gotta wonder.

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Speaker 3: Like, did they see the commercial value in this or

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Speaker 3: were they just being entirely confessional like or was it

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Speaker 3: some combination of both, because to me, it seems more

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Speaker 3: like it was the record executives that saw the commercial

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Speaker 3: potential and it was more like these guys were more

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Speaker 3: like young punks kind of just doing their thing.

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Speaker 2: But I don't know, maybe I'm being naive. No, it's

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Speaker 2: very rock and roll.

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Speaker 1: There is a very punk aesthetic to it because they're

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Speaker 1: telling the truth. They paint in the mid nineteen eighties,

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Speaker 1: so while it's the mainstream golden age of hip hop,

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Speaker 1: gangster rap is evolving. And there were yeah, earlier songs

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Speaker 1: were fun, they're about partying and dancing. Gangst rap has

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Speaker 1: this violent dystopian picture of a society gone wrong. You know,

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Speaker 1: crime is a career, gangs are a necessity, violence.

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Speaker 2: Is a way of life.

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Speaker 1: And there's an episode we did for Stuff they Don't

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Speaker 1: Want You to Know, which talks about the conspiracy theory

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Speaker 1: that music executives continually try to monetize violent rap and

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Speaker 1: some sort of mastermind way of manipulating society that hasn't

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Speaker 1: been conclusively proven.

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Speaker 2: Do you check out that episode?

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Speaker 1: What you need to what we need to know here

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Speaker 1: is that these these young guys, they're very young guys

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Speaker 1: this time.

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Speaker 2: They are.

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Speaker 1: Maybe out to make a little bit of money, but

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Speaker 1: in the beginning, it's just cool to do something creative.

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Speaker 1: By the way, this is we should give people their

400
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Speaker 1: props to their flowers. Schooly D of Philadelphia is one

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Speaker 1: of the first gangster rappers to come to prominence in

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Speaker 1: eighty five, with songs like PSK what does it mean?

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Speaker 2: What does it mean? Ben?

404
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Speaker 1: Yes, Well it's kind of long. If you look at

405
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Speaker 1: the lyrics. P for the people who can't understand how

406
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Speaker 1: one homeboy became a man? As for the way we

407
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Speaker 1: scream and shout one by one, I'm knocking you out,

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Speaker 1: K for the way my DJ's cutting, other mcs ain't

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Speaker 1: saying nothing.

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Speaker 2: I think there's a typo in there. Cutting. It starts

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Speaker 2: with a C. That's called styling. That's what that's called. Again.

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Speaker 2: Oh my god.

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Speaker 3: Look, you talk about graffiti culture like, you know, all

414
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Speaker 3: of this stuff like lingo or you know, like slang,

415
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Speaker 3: all of the things of this culture contributed to pop culture.

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Speaker 3: It's it's immeasurable. It's insane, you know. I mean, there's

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Speaker 3: so much stuff wrapped into hip hop. It's about so

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Speaker 3: much more than just the music. It's really really, really

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Speaker 3: really interesting. But you're right, Ben, I think it's important

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Speaker 3: to mention that, you know, the Schoolly D was from Philly,

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Speaker 3: but this period really did shift kind of the focus

422
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Speaker 3: of hip hop squarely to the West Coast one hundred percent.

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Speaker 1: Yeah, So shout out to KRS one when Criminal Minded,

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Speaker 1: shout out to the ghetto boys in Houston, Texas. Now

425
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Speaker 1: we have to get to the big group in w

426
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Speaker 1: A in WA stands for blank with an attitude. So

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Speaker 1: we're not gonna we're not gonna use the word ourselves.

428
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Speaker 1: We don't have the qualifications to do. So they come

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Speaker 1: out with this album called Straight Out of Compton, and

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Speaker 1: like you said, it shifts the sort of geographical center

431
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Speaker 1: of hip hop culture. And they're very playing about how

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Speaker 1: violent life is in the streets of South central LA

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Speaker 1: and in Compton, and there's hyperrealism there, but there's also

434
00:24:09,520 --> 00:24:13,600
Speaker 1: a lot of myth, a lot of bravado declarations of immortality,

435
00:24:14,040 --> 00:24:18,760
Speaker 1: and this exaggeration, critics would later argue, becomes a kind

436
00:24:18,800 --> 00:24:22,960
Speaker 1: of self protective, delusional device for listeners who are actually

437
00:24:22,960 --> 00:24:27,720
Speaker 1: involved in this incredibly dangerous lifestyle. In WA is chronically

438
00:24:27,760 --> 00:24:31,360
Speaker 1: and we're getting we're getting that take from an excellent

439
00:24:31,440 --> 00:24:36,720
Speaker 1: article on BBC by Rebecca Lawrence called n WA the

440
00:24:36,800 --> 00:24:38,560
Speaker 1: World's most dangerous group.

441
00:24:39,040 --> 00:24:42,320
Speaker 3: Question mark, question mark. That's the funny thing about this, right,

442
00:24:42,359 --> 00:24:45,439
Speaker 3: the idea of dangerous. You know, like we know that

443
00:24:45,520 --> 00:24:48,520
Speaker 3: people did get murdered, do get murdered, I mean in

444
00:24:48,880 --> 00:24:52,560
Speaker 3: in South central Laws and all kinds of all pockets

445
00:24:52,600 --> 00:24:53,560
Speaker 3: of the United States.

446
00:24:53,840 --> 00:24:54,720
Speaker 2: You know, it's a thing.

447
00:24:54,960 --> 00:25:00,240
Speaker 3: Violence is an American you know tradition, I mean only

448
00:25:00,280 --> 00:25:01,840
Speaker 3: in other parts of the world too. But like we know,

449
00:25:01,960 --> 00:25:05,440
Speaker 3: gun violence has showed no signs of slowing. If anything,

450
00:25:05,480 --> 00:25:07,240
Speaker 3: it's just kind of worse than it's ever been. And

451
00:25:07,240 --> 00:25:09,159
Speaker 3: there are other countries that just don't experience that in

452
00:25:09,200 --> 00:25:11,600
Speaker 3: the same way. So it makes sense that this, you know,

453
00:25:11,720 --> 00:25:15,800
Speaker 3: culture of music that came out kind of mimiced that

454
00:25:15,880 --> 00:25:18,240
Speaker 3: culture of violence. Not mimic, but the very least was

455
00:25:18,280 --> 00:25:20,560
Speaker 3: a mirror kind of being held up to it. And

456
00:25:20,880 --> 00:25:23,440
Speaker 3: you're right, Ben about the exaggeration of Bravada, but that's

457
00:25:23,480 --> 00:25:26,320
Speaker 3: just part of the swagger of being an MC. You

458
00:25:26,359 --> 00:25:29,960
Speaker 3: know what as at heart of these lyrics is real.

459
00:25:30,400 --> 00:25:33,320
Speaker 3: These people were getting killed and the police were not

460
00:25:33,400 --> 00:25:34,560
Speaker 3: to be trusted.

461
00:25:34,800 --> 00:25:37,200
Speaker 1: Right, I would say there's also you know, with the

462
00:25:37,440 --> 00:25:40,760
Speaker 1: with this history of violence, we're specifically talking about the

463
00:25:40,800 --> 00:25:45,000
Speaker 1: history of state sponsored violence against minorities, and these folks

464
00:25:45,560 --> 00:25:49,440
Speaker 1: were not lying about the problems in LA. At the time,

465
00:25:50,080 --> 00:25:54,680
Speaker 1: recession de industrialization had led to these huge job losses.

466
00:25:54,920 --> 00:25:59,639
Speaker 1: Nineteen eighty three, youth employment there was nearly fifty percent.

467
00:26:00,040 --> 00:26:02,960
Speaker 1: Almost one out of every two people didn't have a

468
00:26:03,040 --> 00:26:05,119
Speaker 1: job and would have a very hard time trying to

469
00:26:05,200 --> 00:26:09,320
Speaker 1: find one. Hundreds of rival gangs sprung up, the most

470
00:26:09,440 --> 00:26:12,639
Speaker 1: notorious or well known in mainstream culture being the Crips

471
00:26:12,640 --> 00:26:15,040
Speaker 1: and the Bloods, But they are just the two most

472
00:26:15,080 --> 00:26:20,520
Speaker 1: well known crack cocaine epidemic, the police are increasingly militarized

473
00:26:21,080 --> 00:26:24,520
Speaker 1: in WA, both as a group and in their solo albums. Later,

474
00:26:24,720 --> 00:26:28,760
Speaker 1: they shake up America, they reclaim the inWORD. This becomes

475
00:26:28,800 --> 00:26:32,800
Speaker 1: a huge matter of public debate, right and ice Cube

476
00:26:33,160 --> 00:26:37,200
Speaker 1: makes this argument. He says, look, we're turning this into

477
00:26:37,240 --> 00:26:41,040
Speaker 1: a positive appellation. You know, we are owning this. Now

478
00:26:41,359 --> 00:26:45,439
Speaker 1: it's our We're taking the word back. And of course

479
00:26:45,560 --> 00:26:49,040
Speaker 1: there was a very hefty side of misogyny in the lyrics,

480
00:26:49,560 --> 00:26:52,920
Speaker 1: but hey, it's nothing but music, right. America is the

481
00:26:53,000 --> 00:26:55,480
Speaker 1: land of free speech and theory, and a lot of

482
00:26:55,520 --> 00:26:59,440
Speaker 1: people way before NWA said a lot of much more hurtful,

483
00:26:59,560 --> 00:27:04,479
Speaker 1: much more violent things, for instance, country music, which for

484
00:27:04,520 --> 00:27:07,640
Speaker 1: some reason always gets a pass in the modern day.

485
00:27:07,920 --> 00:27:11,240
Speaker 1: But to some members of America's power structure, these young

486
00:27:11,320 --> 00:27:15,159
Speaker 1: men were a rise of the historic underclass. The FBI

487
00:27:15,320 --> 00:27:18,879
Speaker 1: felt threatened, and things came to a head when n

488
00:27:19,000 --> 00:27:23,399
Speaker 1: WA released perhaps the most well known song, max, I

489
00:27:23,400 --> 00:27:27,320
Speaker 1: guess we should bleep it fuck the police beep.

490
00:27:27,880 --> 00:27:29,919
Speaker 2: Yeah, yeah, yeah, I mean that's what we're talking about here.

491
00:27:30,119 --> 00:27:33,800
Speaker 3: And again at the top, we sort of both were just,

492
00:27:34,040 --> 00:27:37,640
Speaker 3: you know, thinking about how a lot of these lyrics

493
00:27:37,680 --> 00:27:41,800
Speaker 3: now are just so comparatively tame compared to other things

494
00:27:41,800 --> 00:27:44,399
Speaker 3: that have come after that, you know, the level of

495
00:27:44,760 --> 00:27:49,080
Speaker 3: depravity in some more modern music, you know, whether it

496
00:27:49,160 --> 00:27:52,320
Speaker 3: be metal, death metal, or some forms of hip hop.

497
00:27:52,600 --> 00:27:54,679
Speaker 3: But I mean, when you're saying this, this is like

498
00:27:54,720 --> 00:27:59,400
Speaker 3: an anthem, you know, this is like a slogan the police,

499
00:27:59,440 --> 00:28:03,320
Speaker 3: you know, and it's it's now more than ever incredibly important.

500
00:28:03,760 --> 00:28:07,200
Speaker 3: And again I'm not saying I know there's some good

501
00:28:07,680 --> 00:28:09,800
Speaker 3: police out there that are out there to do a

502
00:28:09,800 --> 00:28:12,360
Speaker 3: good job to help people. But in America we are

503
00:28:12,520 --> 00:28:15,600
Speaker 3: kind of in an epidemic of police violence, and with

504
00:28:15,680 --> 00:28:18,679
Speaker 3: things like you know, cop City here in Atlanta and

505
00:28:18,760 --> 00:28:20,960
Speaker 3: all of the public outcries just because there's just no

506
00:28:21,040 --> 00:28:26,040
Speaker 3: trust for the police, you know, with slayings of minorities

507
00:28:26,080 --> 00:28:28,480
Speaker 3: just being broadcast left and right, and you hear about

508
00:28:28,480 --> 00:28:31,439
Speaker 3: a new one, you know, on the regular. This was

509
00:28:31,720 --> 00:28:38,400
Speaker 3: very much opprescient song and is not It's not just shock,

510
00:28:39,080 --> 00:28:41,840
Speaker 3: you know, it's it's real. It's a real sentiment of

511
00:28:42,120 --> 00:28:45,240
Speaker 3: people being scared. I mean, Ice Cube would later say

512
00:28:45,360 --> 00:28:47,880
Speaker 3: in interviews that, you know, if people in his community

513
00:28:47,960 --> 00:28:50,600
Speaker 3: were in trouble, the police were the last people they

514
00:28:50,600 --> 00:28:53,520
Speaker 3: would call, Oh yeah, it wasn't a racist sentiment. It

515
00:28:53,560 --> 00:28:55,920
Speaker 3: wasn't like because they're white or whatever. A lot of

516
00:28:55,920 --> 00:28:57,760
Speaker 3: these people weren't white. A lot of these cops. It

517
00:28:57,920 --> 00:28:59,640
Speaker 3: has something to do with race. It just has to

518
00:28:59,640 --> 00:29:03,080
Speaker 3: do with the systematic violence towards minorities and the way

519
00:29:03,080 --> 00:29:05,120
Speaker 3: those communities are police and the fact that you'd be

520
00:29:05,120 --> 00:29:07,520
Speaker 3: more likely to get in trouble or to get robbed

521
00:29:07,880 --> 00:29:11,000
Speaker 3: by the police than just keeping it within your own community.

522
00:29:11,440 --> 00:29:13,920
Speaker 1: Yeah, and you know, you can make an argument that

523
00:29:13,960 --> 00:29:16,040
Speaker 1: a lot of people had a problem with this song.

524
00:29:16,680 --> 00:29:19,920
Speaker 1: Didn't get past the part where they say, again, fuck

525
00:29:20,040 --> 00:29:22,840
Speaker 1: the police. They didn't pay attention to lyrics that say

526
00:29:22,880 --> 00:29:26,160
Speaker 1: things like fucking with me because I'm a teenager with

527
00:29:26,200 --> 00:29:28,680
Speaker 1: a little bit of golden paper, searching for my car,

528
00:29:28,840 --> 00:29:32,720
Speaker 1: looking for the product, thinking every is selling narcotics, you

529
00:29:32,760 --> 00:29:35,440
Speaker 1: know what I mean. Like they're talking about profiling, they're

530
00:29:35,480 --> 00:29:40,240
Speaker 1: talking about racism, state sponsored violence. They're not just they're

531
00:29:40,280 --> 00:29:43,920
Speaker 1: not just like, eh, you know, south Park style. They're

532
00:29:44,000 --> 00:29:48,120
Speaker 1: making a point here. And this did not get radio airplay,

533
00:29:48,560 --> 00:29:51,760
Speaker 1: of course, it did not get promotion for the label initially.

534
00:29:52,040 --> 00:29:55,480
Speaker 1: Despite all that, in six weeks straight out at Compton

535
00:29:55,920 --> 00:29:59,920
Speaker 1: goes gold, eventually it goes double platinum. It's crossing over

536
00:30:00,120 --> 00:30:05,120
Speaker 1: or into mainstream wide American culture because just like rock music, right,

537
00:30:05,600 --> 00:30:09,080
Speaker 1: just like punk music, people like to hear someone fighting

538
00:30:09,160 --> 00:30:13,200
Speaker 1: the power, and that provoked concern among the US establishment

539
00:30:13,360 --> 00:30:16,840
Speaker 1: parent groups. The religious right eventually caught the attention to

540
00:30:16,920 --> 00:30:19,360
Speaker 1: law enforcement because you know, they're in the song.

541
00:30:20,040 --> 00:30:21,120
Speaker 2: Of course they are.

542
00:30:20,920 --> 00:30:24,560
Speaker 3: They're they're targeted, and essentially, you know, whatever it's, it's

543
00:30:24,640 --> 00:30:28,080
Speaker 3: it's a philosophical targeting. No one is advocating in this song.

544
00:30:28,520 --> 00:30:30,320
Speaker 3: There is another song that'll come a little later from

545
00:30:30,320 --> 00:30:33,040
Speaker 3: a solo effort from one of the members of NWA,

546
00:30:33,120 --> 00:30:35,800
Speaker 3: but there's no advocation in the song for like let's

547
00:30:35,800 --> 00:30:36,720
Speaker 3: go kill cops.

548
00:30:36,800 --> 00:30:37,760
Speaker 2: That's not what it's about.

549
00:30:37,840 --> 00:30:41,800
Speaker 3: It. It's it's expressing a very real, you know, situation

550
00:30:41,960 --> 00:30:44,400
Speaker 3: that occurs, you know, all the time in these neighborhoods

551
00:30:44,400 --> 00:30:47,880
Speaker 3: that they're living in. But you know, you mentioned where

552
00:30:47,880 --> 00:30:50,080
Speaker 3: we're going with the connection to law enforcement and them

553
00:30:50,160 --> 00:30:52,760
Speaker 3: kind of entering the scene. This is no different than

554
00:30:53,320 --> 00:30:56,400
Speaker 3: j Edgar Hoover targeting John Lennon.

555
00:30:56,440 --> 00:30:57,320
Speaker 2: Or Mick Jagger.

556
00:30:57,640 --> 00:31:01,840
Speaker 3: You know, they were scared of people with control over

557
00:31:02,040 --> 00:31:06,280
Speaker 3: voting blocks, you know, over like the youth movements, and

558
00:31:06,320 --> 00:31:10,240
Speaker 3: to them, this wasn't just entertainment, this was influence. This

559
00:31:10,400 --> 00:31:15,920
Speaker 3: was dangerous, yeah, exactly. And they they saw this as

560
00:31:15,960 --> 00:31:21,360
Speaker 3: a threat to society as they understood it. And that's why,

561
00:31:21,480 --> 00:31:23,840
Speaker 3: out of all the problems they dealt with on a

562
00:31:23,920 --> 00:31:29,080
Speaker 3: daily basis, the drug trade, trafficking, murder, domestic terrorism, the

563
00:31:29,280 --> 00:31:32,920
Speaker 3: Federal Bureau of Investigation said, let's put that stuff on

564
00:31:33,000 --> 00:31:35,560
Speaker 3: hold for a second. We need to take out gangster

565
00:31:35,680 --> 00:31:40,200
Speaker 3: rap and these NWA kids in particular, this was a

566
00:31:40,280 --> 00:31:44,400
Speaker 3: moral panic. And Britannica defines moral panic as I mean,

567
00:31:44,440 --> 00:31:47,920
Speaker 3: you nailed the definition pretty much earlier. It's it's a

568
00:31:48,200 --> 00:31:53,040
Speaker 3: phrase used in sociology to describe an artificially created panic

569
00:31:53,160 --> 00:31:53,640
Speaker 3: or scare.

570
00:31:53,720 --> 00:31:54,560
Speaker 2: They're cyclical.

571
00:31:55,400 --> 00:32:03,560
Speaker 1: Researchers demonstrate that what they call more entrepreneurs demonize dangerous

572
00:32:03,600 --> 00:32:07,960
Speaker 1: groups to serve their own self motivated or self interested ends.

573
00:32:08,400 --> 00:32:11,960
Speaker 1: And although the specifics and moral panics vary throughout history,

574
00:32:12,640 --> 00:32:16,680
Speaker 1: usually they are initiated by the very powerful to manage

575
00:32:16,720 --> 00:32:20,560
Speaker 1: the body and behavior of the poor and the power less.

576
00:32:21,000 --> 00:32:24,000
Speaker 3: And oftentimes the folks who initiate it haven't even done

577
00:32:24,040 --> 00:32:27,680
Speaker 3: their homework, Like like don't even know what they're talking

578
00:32:27,720 --> 00:32:30,080
Speaker 3: about in terms of what the lyrics are referring to.

579
00:32:30,400 --> 00:32:33,360
Speaker 3: They get hung up on a word or a concept

580
00:32:33,520 --> 00:32:35,880
Speaker 3: or something like that, and like like but they haven't

581
00:32:35,880 --> 00:32:38,120
Speaker 3: even really listened to the record or they really can't

582
00:32:38,920 --> 00:32:42,160
Speaker 3: possibly wrap their head around the cultural significance of what

583
00:32:42,240 --> 00:32:46,160
Speaker 3: it represents. They're just saying, no, these these you know,

584
00:32:47,000 --> 00:32:49,719
Speaker 3: gangsters are coming for our children, you know, and then

585
00:32:49,720 --> 00:32:52,680
Speaker 3: they're trying to influence them and make them join gangs, and.

586
00:32:53,080 --> 00:32:54,920
Speaker 2: You know, it's absurd.

587
00:32:55,080 --> 00:32:57,680
Speaker 3: I mean, certainly, maybe there was one kid who like

588
00:32:58,120 --> 00:33:00,600
Speaker 3: got into gun violence because he listened to a record,

589
00:33:00,680 --> 00:33:03,960
Speaker 3: but by and large, I don't think that's how that works,

590
00:33:04,280 --> 00:33:06,520
Speaker 3: you know, Like I just don't same with the Marilyn

591
00:33:06,600 --> 00:33:08,720
Speaker 3: Manson stuff and the what was that the.

592
00:33:10,280 --> 00:33:12,160
Speaker 2: Texas case with the with the.

593
00:33:12,560 --> 00:33:15,440
Speaker 3: Kids who were listening to the Marilyn Manson and death

594
00:33:15,440 --> 00:33:17,760
Speaker 3: metal who got accused of those child murders at robin

595
00:33:17,760 --> 00:33:20,800
Speaker 3: Hood Hills. What is that called the Memphis West Memphis

596
00:33:20,840 --> 00:33:22,480
Speaker 3: three I believe is what that one's called.

597
00:33:22,680 --> 00:33:27,520
Speaker 1: Yeah, we well we also know that they we also

598
00:33:27,600 --> 00:33:32,080
Speaker 1: know that this moral panic was a bipartisan panic. And

599
00:33:32,400 --> 00:33:35,480
Speaker 1: first off, when I say cyclical, let us assure you

600
00:33:35,560 --> 00:33:39,400
Speaker 1: I would not be surprised if centuries ago some new

601
00:33:39,520 --> 00:33:43,280
Speaker 1: form of chanting and canticles came out and there was

602
00:33:43,320 --> 00:33:48,440
Speaker 1: some guys like I only like Gregorian chant. It happens

603
00:33:48,480 --> 00:33:51,320
Speaker 1: whatever the new stuff comes through, right, That's why, like

604
00:33:51,400 --> 00:33:53,600
Speaker 1: people I'm sure were scared of of each boys, they're

605
00:33:53,600 --> 00:33:56,880
Speaker 1: scared of Elvis, even though he appropriated music that have

606
00:33:56,960 --> 00:33:58,520
Speaker 1: been along around for so long.

607
00:33:58,640 --> 00:34:00,320
Speaker 2: Anyways, people were probably scared of Rance.

608
00:34:00,400 --> 00:34:02,520
Speaker 3: Well at the time, you know what I mean, anything

609
00:34:02,560 --> 00:34:05,800
Speaker 3: that now just seems so mickey mouse. There was a

610
00:34:05,840 --> 00:34:09,840
Speaker 3: time where if it wasn't classical music, it was somehow offensive,

611
00:34:09,840 --> 00:34:12,640
Speaker 3: and even classical music at times, like you know, Stravinsky

612
00:34:13,120 --> 00:34:15,760
Speaker 3: was punk rock and would cause these outrages of people,

613
00:34:16,080 --> 00:34:20,000
Speaker 3: you know, getting into these sort of reveries that like

614
00:34:20,040 --> 00:34:22,600
Speaker 3: these concerts where people were like screaming and throwing things

615
00:34:22,640 --> 00:34:24,080
Speaker 3: because it was just so bombastic.

616
00:34:24,880 --> 00:34:28,160
Speaker 1: The saxophone was punk rock. Punk rock is a mentality,

617
00:34:28,200 --> 00:34:32,319
Speaker 1: and NWA is punk rock for sure, which is why

618
00:34:32,360 --> 00:34:37,480
Speaker 1: you see later M season producers from NWA hanging out

619
00:34:37,600 --> 00:34:40,520
Speaker 1: with rock and roll stuff. We don't want to spoke

620
00:34:40,560 --> 00:34:44,319
Speaker 1: too much yet, but okay, so it's bipartisan, right. The

621
00:34:44,360 --> 00:34:48,280
Speaker 1: people who are mad at NWA. There's a group called

622
00:34:48,320 --> 00:34:52,400
Speaker 1: the Parents Music Resource Center, founded in nineteen eighty five

623
00:34:53,480 --> 00:34:58,640
Speaker 1: entirely because some powerful people in Washington are worried about

624
00:34:58,640 --> 00:35:00,680
Speaker 1: what their kids are listening to. The way the story

625
00:35:00,719 --> 00:35:04,680
Speaker 1: goes is Tipper Gore, when you hear of most often,

626
00:35:05,080 --> 00:35:08,960
Speaker 1: she was the wife of Al Gore, who was the

627
00:35:09,680 --> 00:35:12,879
Speaker 1: Senator of Tennessee at the time, and she bought an

628
00:35:12,920 --> 00:35:18,200
Speaker 1: album called Purple Rain by Prince Legendary for her daughter,

629
00:35:18,360 --> 00:35:21,279
Speaker 1: who was eleven at the time. And as Tipper is

630
00:35:22,160 --> 00:35:25,400
Speaker 1: listening to these songs on the album, she finds that

631
00:35:25,600 --> 00:35:30,239
Speaker 1: one of them, darling Nicky, has a reference to masturbation,

632
00:35:30,480 --> 00:35:31,640
Speaker 1: to female masturbation.

633
00:35:31,960 --> 00:35:35,120
Speaker 3: Once again, though you're buying your eleven year old a

634
00:35:35,160 --> 00:35:38,080
Speaker 3: Prince album. Have you've not seen his earlier work, like

635
00:35:38,239 --> 00:35:39,560
Speaker 3: Dirty Minds and stuff?

636
00:35:39,600 --> 00:35:41,479
Speaker 2: I mean, like, wasn't that before Purple Rain?

637
00:35:42,680 --> 00:35:46,759
Speaker 3: I mean, like he's always been this like sexual kind

638
00:35:46,760 --> 00:35:52,480
Speaker 3: of figure. Dynamo Yeah no, yeah, freaking Dirty Mind came

639
00:35:52,480 --> 00:35:56,200
Speaker 3: out in nineteen eighty and the cover is him wearing

640
00:35:56,280 --> 00:35:58,640
Speaker 3: like a like with a happy trail coming out of

641
00:35:58,680 --> 00:36:01,319
Speaker 3: his like g string you know, I mean, is you know,

642
00:36:01,400 --> 00:36:03,719
Speaker 3: there's it's no question what is going on.

643
00:36:03,719 --> 00:36:04,319
Speaker 2: With this guy?

644
00:36:04,920 --> 00:36:07,920
Speaker 3: So you're like, oh, purple Rain, Well that sounds fun.

645
00:36:07,960 --> 00:36:10,440
Speaker 3: I bet my eleven year old like that. Give me

646
00:36:10,480 --> 00:36:12,680
Speaker 3: a break, you know, And then then all of a sudden,

647
00:36:12,719 --> 00:36:15,120
Speaker 3: the pm r C becomes a thing. Ben, do you

648
00:36:15,160 --> 00:36:18,040
Speaker 3: remember the first CD you had that maybe you had

649
00:36:18,040 --> 00:36:20,840
Speaker 3: to smuggle or have a friend sneak to you or whatever,

650
00:36:20,880 --> 00:36:26,680
Speaker 3: that had that fricking parental advisory explicit lyrics sticker on it.

651
00:36:26,960 --> 00:36:30,000
Speaker 1: They invented this, Yeah, that's right. Do you remember Green

652
00:36:30,120 --> 00:36:30,920
Speaker 1: Day Dookie?

653
00:36:31,200 --> 00:36:33,440
Speaker 3: That's crazy and that I would I don't even I

654
00:36:33,440 --> 00:36:35,960
Speaker 3: think there may well have been versions of that that

655
00:36:36,120 --> 00:36:36,799
Speaker 3: didn't have it.

656
00:36:36,960 --> 00:36:40,320
Speaker 1: Oh yeah, because they would they would sell the clean versions,

657
00:36:40,520 --> 00:36:42,920
Speaker 1: but nobody nobody wanted the clean versions.

658
00:36:42,920 --> 00:36:44,360
Speaker 2: Maybe I just can't quite remember.

659
00:36:44,400 --> 00:36:47,359
Speaker 3: I guess there's they used the F word maybe one

660
00:36:47,520 --> 00:36:49,720
Speaker 3: one song on that record. And there's also a hidden

661
00:36:49,719 --> 00:36:52,360
Speaker 3: track that's apparently about masturbation that I didn't believe that

662
00:36:52,400 --> 00:36:53,560
Speaker 3: for years, but then I hear it now.

663
00:36:53,760 --> 00:36:54,800
Speaker 2: Of course. That's what it's about.

664
00:36:55,080 --> 00:36:59,120
Speaker 3: My point though, is there was very hazy criteria even

665
00:36:59,239 --> 00:37:02,719
Speaker 3: for what into like an album deserving one of these stickers,

666
00:37:02,880 --> 00:37:06,240
Speaker 3: you know, And sometimes they would be stickers, actual stickers

667
00:37:06,239 --> 00:37:08,799
Speaker 3: placed on it, and sometimes they would be embedded in

668
00:37:08,840 --> 00:37:11,800
Speaker 3: the art, the actual art of and it's all very hazy,

669
00:37:11,840 --> 00:37:14,200
Speaker 3: sort of like at least with ratings for movies you

670
00:37:14,280 --> 00:37:16,640
Speaker 3: kind of know, like a PG thirteen movie.

671
00:37:16,680 --> 00:37:18,560
Speaker 2: I think can say the F word one time.

672
00:37:18,840 --> 00:37:22,680
Speaker 3: There's very hazy still, but not nearly as hazy as this.

673
00:37:22,880 --> 00:37:26,200
Speaker 3: The first one I ever had was Black Sunday by

674
00:37:26,280 --> 00:37:29,759
Speaker 3: Cypress Hill, and it was kind of slipped to me

675
00:37:29,920 --> 00:37:31,440
Speaker 3: by a friend and youth group.

676
00:37:31,640 --> 00:37:33,640
Speaker 2: And if you all remember the cover of that album,

677
00:37:33,680 --> 00:37:35,560
Speaker 2: it looks like a death metal album cover.

678
00:37:35,880 --> 00:37:40,640
Speaker 3: It's like like just like piles of the graveyard stones

679
00:37:40,680 --> 00:37:43,080
Speaker 3: and skulls and stuff, and there's a lot of black

680
00:37:43,120 --> 00:37:43,480
Speaker 3: on it.

681
00:37:43,680 --> 00:37:47,879
Speaker 2: And my friend very cleverly scribbled over the parental advisory

682
00:37:47,920 --> 00:37:51,040
Speaker 2: part with a black sharpie and you couldn't see it.

683
00:37:51,040 --> 00:37:51,920
Speaker 2: It was genius.

684
00:37:51,960 --> 00:37:53,680
Speaker 3: I wish I still had that such a relic for

685
00:37:53,800 --> 00:37:58,040
Speaker 3: my childhood. But if anything, though, it gave records that

686
00:37:58,239 --> 00:38:01,359
Speaker 3: had that sticker on it a sense of danger and

687
00:38:01,440 --> 00:38:04,080
Speaker 3: like this is what you want, kids, This is the

688
00:38:04,120 --> 00:38:04,840
Speaker 3: good stuff.

689
00:38:05,280 --> 00:38:07,880
Speaker 1: And that comes into play a little later for sure. Yeah,

690
00:38:08,080 --> 00:38:11,560
Speaker 1: like The point is, two years before NWA is even

691
00:38:11,600 --> 00:38:14,640
Speaker 1: a thing, they become active in nineteen eighty seven, two

692
00:38:14,680 --> 00:38:17,520
Speaker 1: years before they become a thing, there's already a powerful

693
00:38:17,560 --> 00:38:21,279
Speaker 1: group formed to clutch their pearls and panic not just

694
00:38:21,320 --> 00:38:25,400
Speaker 1: about NWA, but about all music they find objectionable. In

695
00:38:25,520 --> 00:38:32,080
Speaker 1: nineteen eighty nine, FBI assistant director Mitt Erlich sends out

696
00:38:32,160 --> 00:38:37,520
Speaker 1: a letter to the NWA distributor and says the album,

697
00:38:37,600 --> 00:38:42,160
Speaker 1: straight out of Compton quote, encourages violence against and disrespect

698
00:38:42,200 --> 00:38:45,439
Speaker 1: for the law enforcement officer, and also says you could

699
00:38:45,440 --> 00:38:47,880
Speaker 1: read the whole letter. He also says he speaks for

700
00:38:48,000 --> 00:38:52,520
Speaker 1: all law enforcement to be fair. He says he just

701
00:38:52,600 --> 00:38:54,759
Speaker 1: wants to bring this matter to the attention of the

702
00:38:54,800 --> 00:38:59,920
Speaker 1: record company priority. But that does feel like a threat

703
00:39:00,280 --> 00:39:02,279
Speaker 1: when Shackbi writes to.

704
00:39:02,239 --> 00:39:05,799
Speaker 3: You, right, it's the implication if something happened to your

705
00:39:05,800 --> 00:39:09,239
Speaker 3: little hip hop concerts, you know what I mean. And

706
00:39:09,320 --> 00:39:14,480
Speaker 3: so there are some concerts and tours that get affected.

707
00:39:14,840 --> 00:39:17,719
Speaker 2: In eighty nine, and WA's touring America.

708
00:39:18,920 --> 00:39:24,040
Speaker 3: And they police are urged by this faction, you know,

709
00:39:24,480 --> 00:39:27,000
Speaker 3: to interfere with their concerts.

710
00:39:27,040 --> 00:39:29,080
Speaker 1: The fax each other information about it.

711
00:39:29,200 --> 00:39:34,640
Speaker 3: Yeah, factions be factions, and so in Detroit. Actually the

712
00:39:34,680 --> 00:39:37,840
Speaker 3: band is even arrested, you know. I mean, this is

713
00:39:38,000 --> 00:39:42,680
Speaker 3: very very interesting parallels to not to plug again, but

714
00:39:42,760 --> 00:39:45,960
Speaker 3: to the Stones seventy two tour, where they're arrested. They're

715
00:39:46,000 --> 00:39:49,440
Speaker 3: treated as this counterculture kind of like bell Weather, you know,

716
00:39:49,600 --> 00:39:54,680
Speaker 3: and this is very similar to this band from Compton,

717
00:39:55,000 --> 00:39:57,440
Speaker 3: which to some parts of the country may as well

718
00:39:57,440 --> 00:39:59,200
Speaker 3: have been the Moon, you know what I mean. It

719
00:39:59,320 --> 00:40:02,320
Speaker 3: was just like so alien and weird that it happened

720
00:40:02,360 --> 00:40:04,600
Speaker 3: in Detroit, because that's if I think of that as

721
00:40:04,680 --> 00:40:06,480
Speaker 3: much more of like a kind of you know, hip

722
00:40:06,480 --> 00:40:10,400
Speaker 3: hop centric and like kind of culturally progressive city.

723
00:40:10,640 --> 00:40:12,040
Speaker 2: But I guess that doesn't have anything to do with

724
00:40:12,080 --> 00:40:12,960
Speaker 2: the police, you know.

725
00:40:13,520 --> 00:40:17,520
Speaker 1: No. Yeah, the idea too that the FBI was monitoring

726
00:40:17,560 --> 00:40:21,560
Speaker 1: the individual's inn wa ice Cube, who we pulled a

727
00:40:21,560 --> 00:40:24,000
Speaker 1: lot of interviews from. He had an interview with Billboard

728
00:40:24,400 --> 00:40:26,640
Speaker 1: much much later when he said, look, we were just

729
00:40:26,800 --> 00:40:31,680
Speaker 1: locals in Los Angeles. We went from being these kids

730
00:40:31,760 --> 00:40:35,520
Speaker 1: to tangling with the biggest power entities out there. There

731
00:40:35,520 --> 00:40:38,400
Speaker 1: were all kinds of forces against us, but it didn't

732
00:40:38,520 --> 00:40:40,759
Speaker 1: make us bite our tongue. It made us stand up

733
00:40:41,080 --> 00:40:43,600
Speaker 1: even more. We should also know this is the very

734
00:40:43,640 --> 00:40:46,560
Speaker 1: first time in FBI history that they had ever done

735
00:40:46,600 --> 00:40:49,880
Speaker 1: anything like this for a musical album of any sort.

736
00:40:50,760 --> 00:40:55,440
Speaker 1: Excerpts from the letter are Excerpts from the letter give

737
00:40:55,520 --> 00:40:59,200
Speaker 1: a lot of statistics. They say things like, violent crime

738
00:40:59,560 --> 00:41:03,000
Speaker 1: is a problem, is reached it unprecedented high in nineteen

739
00:41:03,080 --> 00:41:08,000
Speaker 1: eighty eight. They talk about the seventy eight law enforcement

740
00:41:08,040 --> 00:41:11,319
Speaker 1: officers that were murdered in eighty eight and four more

741
00:41:11,360 --> 00:41:15,400
Speaker 1: in eighty seven. But they don't give the other sides

742
00:41:15,440 --> 00:41:17,640
Speaker 1: of the facts. They don't or you know, they don't

743
00:41:17,680 --> 00:41:21,640
Speaker 1: give other contextual clues, like the number of black men

744
00:41:21,719 --> 00:41:24,600
Speaker 1: who had died in police custody during those same years.

745
00:41:25,719 --> 00:41:26,280
Speaker 2: They say.

746
00:41:27,680 --> 00:41:31,360
Speaker 1: They conclude by saying music plays a significant role in society.

747
00:41:31,800 --> 00:41:35,160
Speaker 1: And the director said, and the assistant director says, I

748
00:41:35,239 --> 00:41:38,080
Speaker 1: wanted you to be aware of the FBI's position relative

749
00:41:38,120 --> 00:41:40,840
Speaker 1: to this song and its message. I believe my views

750
00:41:40,840 --> 00:41:44,160
Speaker 1: reflect the opinion of the entire law enforcement community. And

751
00:41:44,200 --> 00:41:48,560
Speaker 1: what did NWA do. They played the song everywhere they went,

752
00:41:49,000 --> 00:41:52,359
Speaker 1: every show, every appearance, no matter the protest, no matter

753
00:41:52,440 --> 00:41:53,400
Speaker 1: the police presence.

754
00:41:53,960 --> 00:41:56,440
Speaker 2: It's amazing. It's so punk rock. I mean, it reminds

755
00:41:56,480 --> 00:41:58,319
Speaker 2: me of like there's a lot of you.

756
00:41:58,280 --> 00:42:00,400
Speaker 3: Can find clips of like all of the artists that

757
00:42:00,440 --> 00:42:02,800
Speaker 3: were banned from ever performing on Saturday Night Live again,

758
00:42:03,000 --> 00:42:06,319
Speaker 3: and it's usually because they did something politically divisive, you know,

759
00:42:06,480 --> 00:42:09,239
Speaker 3: like rest in Peace Shinead O'Connor by the way, who

760
00:42:09,239 --> 00:42:12,120
Speaker 3: who passed away recently. But famous clip of her ripping

761
00:42:12,239 --> 00:42:14,880
Speaker 3: up a picture of the Pope on SNL. You know,

762
00:42:15,120 --> 00:42:17,640
Speaker 3: she really was pilloried for that, but then later it

763
00:42:17,680 --> 00:42:20,399
Speaker 3: turned out, yeah, the Catholic Church was doing some really

764
00:42:20,400 --> 00:42:21,880
Speaker 3: awful stuff that she was protesting.

765
00:42:21,920 --> 00:42:24,240
Speaker 2: But Elvis Costello got banned.

766
00:42:24,360 --> 00:42:26,640
Speaker 3: I think it may have been rescinded because he was

767
00:42:26,719 --> 00:42:29,960
Speaker 3: asked not to play his song Radio Radio, which is

768
00:42:30,080 --> 00:42:33,840
Speaker 3: about the record industry and how like twisted and corrupt

769
00:42:33,880 --> 00:42:36,560
Speaker 3: the record industry is. And so that was like literally,

770
00:42:36,600 --> 00:42:40,680
Speaker 3: you know, representatives from the media saying, hey, don't put

771
00:42:40,680 --> 00:42:42,680
Speaker 3: poke your finger in the eye of our buddies, the

772
00:42:42,680 --> 00:42:45,680
Speaker 3: record industry, you know, and he said, okay, okay, and

773
00:42:45,680 --> 00:42:47,200
Speaker 3: then he did it anyway, and then it got it

774
00:42:47,360 --> 00:42:48,080
Speaker 3: got him in trouble.

775
00:42:48,280 --> 00:42:51,880
Speaker 1: The rage against the machine for another Saturday Live example.

776
00:42:51,520 --> 00:42:53,719
Speaker 3: That's right with the flag maybe had something to doing

777
00:42:53,840 --> 00:42:56,160
Speaker 3: upside down flag, the American flag.

778
00:42:56,239 --> 00:42:58,600
Speaker 2: That's I'm reading the article right now. No, that's cool, man.

779
00:42:59,160 --> 00:43:02,560
Speaker 3: This stuff is inherently punk rock, you know, speaking truth

780
00:43:02,600 --> 00:43:04,719
Speaker 3: to power. We haven't talked about Public Enemy much yet,

781
00:43:04,719 --> 00:43:07,600
Speaker 3: but their song fight the Power in nineteen eighty nine

782
00:43:07,760 --> 00:43:11,160
Speaker 3: another excellent just kind of you know, anthem for this

783
00:43:11,239 --> 00:43:14,000
Speaker 3: kind of anti establishment stuff. And it really is a

784
00:43:14,040 --> 00:43:17,200
Speaker 3: carryover from like attitudes of like rock and roll bands,

785
00:43:17,200 --> 00:43:20,400
Speaker 3: you know, from the sixties and seventies, the late sixties

786
00:43:20,440 --> 00:43:21,800
Speaker 3: and early seventies.

787
00:43:21,800 --> 00:43:23,920
Speaker 2: It's really interesting and so this.

788
00:43:24,040 --> 00:43:28,000
Speaker 1: Is a scary time, but these guys have the grit

789
00:43:28,640 --> 00:43:32,120
Speaker 1: to not bow, to not bend, and not break. And

790
00:43:32,520 --> 00:43:37,160
Speaker 1: the FBI letter is probably one of the best things

791
00:43:37,200 --> 00:43:41,040
Speaker 1: that ever happened to n WA's career because the wrong Yeah,

792
00:43:41,080 --> 00:43:44,560
Speaker 1: the marketing geniuses at the record label, they say, you

793
00:43:44,600 --> 00:43:47,279
Speaker 1: know what, we're going public. They send this letter to

794
00:43:47,320 --> 00:43:49,719
Speaker 1: the press, it's part of their press kit. There's this

795
00:43:49,760 --> 00:43:53,239
Speaker 1: whole new interest in Compton in general. It also was

796
00:43:53,280 --> 00:43:58,000
Speaker 1: a tremendous help that Tipper Gores group Parrot Music Resource

797
00:43:58,040 --> 00:44:03,680
Speaker 1: Center did call in the world's most Dangerous group and

798
00:44:04,360 --> 00:44:06,880
Speaker 1: they let This all led to the creation of that

799
00:44:07,000 --> 00:44:12,880
Speaker 1: explicit printal advisory label. Basically, we're looking at the Streisand

800
00:44:12,920 --> 00:44:16,600
Speaker 1: effect because the power structure tried to tell everybody not

801
00:44:16,719 --> 00:44:21,200
Speaker 1: to listen to in Wa, everybody listened to NWA.

802
00:44:21,520 --> 00:44:23,279
Speaker 3: Yeah, it's like the old joke about like if the

803
00:44:23,280 --> 00:44:26,960
Speaker 3: bottle of pills says, don't operate heavy machinery while taking it,

804
00:44:27,040 --> 00:44:29,160
Speaker 3: then those are the ones that are the fun pills.

805
00:44:30,760 --> 00:44:33,799
Speaker 3: I've heard from comedians that that's the case. But yeah,

806
00:44:33,840 --> 00:44:37,080
Speaker 3: I love your use of the Streisand effect. Barbara Streisand

807
00:44:37,120 --> 00:44:40,279
Speaker 3: famously tried to get images of herself that were unflattering

808
00:44:40,360 --> 00:44:43,120
Speaker 3: shricken from the Internet, and just the very fact that

809
00:44:43,160 --> 00:44:47,320
Speaker 3: she wanted this to happen made the Internet just spread them.

810
00:44:47,280 --> 00:44:49,520
Speaker 2: Further and wider than ever would have been the case

811
00:44:49,520 --> 00:44:51,239
Speaker 2: if she had just shut up about it. Yeah.

812
00:44:51,320 --> 00:44:54,120
Speaker 1: I think it was pictures of her house. She asked

813
00:44:54,120 --> 00:44:55,960
Speaker 1: people not to put pictures of her house off, and

814
00:44:56,000 --> 00:44:59,480
Speaker 1: then Beyonce encountered the Streisand effect by asking people to

815
00:44:59,520 --> 00:45:03,239
Speaker 1: take of lattering pictures. The thing is if something if

816
00:45:03,280 --> 00:45:06,759
Speaker 1: something like that happens. Yeah, like you said so beautifully, man,

817
00:45:06,840 --> 00:45:11,719
Speaker 1: people people aren't gonna comply when you tell them that

818
00:45:11,800 --> 00:45:15,000
Speaker 1: kind of stuff, especially if you're talking about you're the

819
00:45:15,040 --> 00:45:17,960
Speaker 1: person in the crowd saying, Okay, I know we've all

820
00:45:17,960 --> 00:45:20,319
Speaker 1: had fun, but let's calm down because it's almost seven

821
00:45:20,320 --> 00:45:24,120
Speaker 1: point thirty and fellow hip hop fans of the audience,

822
00:45:24,160 --> 00:45:26,760
Speaker 1: you know, there is so much more that we didn't

823
00:45:26,840 --> 00:45:31,120
Speaker 1: get to today, but we wanted to end here with

824
00:45:31,320 --> 00:45:34,520
Speaker 1: our big, big thanks to all the legends of this

825
00:45:34,760 --> 00:45:37,880
Speaker 1: genre of hip hop and rap. We found one note

826
00:45:37,880 --> 00:45:39,720
Speaker 1: that we thought would just be the perfect.

827
00:45:39,360 --> 00:45:40,040
Speaker 2: One to end on.

828
00:45:40,520 --> 00:45:42,960
Speaker 1: What happened to that letter from the FBI, you may

829
00:45:43,040 --> 00:45:46,000
Speaker 1: ask today. It is in the rock and Roll Hall

830
00:45:46,080 --> 00:45:47,799
Speaker 1: of Fame, of which NWA is.

831
00:45:47,800 --> 00:45:50,399
Speaker 3: A member, and in a lot of hay has been

832
00:45:50,440 --> 00:45:55,480
Speaker 3: made by certain types. I guess that's not rock and roll.

833
00:45:55,840 --> 00:45:58,120
Speaker 3: Screw that, it totally is.

834
00:45:58,320 --> 00:45:58,680
Speaker 2: Whatever.

835
00:45:59,239 --> 00:46:01,359
Speaker 3: Rock and roll is an a MorphOS concept, like you said,

836
00:46:01,400 --> 00:46:03,879
Speaker 3: just like punk rock. It doesn't refer to a sound,

837
00:46:03,960 --> 00:46:06,960
Speaker 3: It refers to like an attitude and a mentality. And like,

838
00:46:07,080 --> 00:46:09,680
Speaker 3: this is so important, you know the fact that they

839
00:46:09,719 --> 00:46:12,960
Speaker 3: took this strongly worded letter from the FBI and made

840
00:46:12,960 --> 00:46:14,960
Speaker 3: it spun it into marketing.

841
00:46:14,600 --> 00:46:17,000
Speaker 2: Gold because it just shows how.

842
00:46:16,920 --> 00:46:19,960
Speaker 3: Square the FBI was, And again, like we said at

843
00:46:19,960 --> 00:46:22,560
Speaker 3: the top of the show, how quaint it feels now

844
00:46:23,280 --> 00:46:26,080
Speaker 3: the thought of the FBI expending any amount.

845
00:46:25,719 --> 00:46:29,560
Speaker 2: Of resource on this kind of witch hunt, you know, And.

846
00:46:29,880 --> 00:46:31,680
Speaker 3: I don't know, Ben, do you think Tipper Gore and

847
00:46:31,760 --> 00:46:35,439
Speaker 3: her ilk meant well or do you think they were

848
00:46:35,880 --> 00:46:37,680
Speaker 3: just trying to shut down poor people?

849
00:46:38,920 --> 00:46:42,239
Speaker 1: I think I think it was probably a half and

850
00:46:42,280 --> 00:46:47,080
Speaker 1: half thing. Those are not mutually exclusive motives. People usually,

851
00:46:47,480 --> 00:46:50,880
Speaker 1: even people we consider villains, usually see themselves as heroes

852
00:46:50,920 --> 00:46:52,880
Speaker 1: and think they're doing the right thing. And that's not

853
00:46:52,920 --> 00:46:56,279
Speaker 1: say they're bad people, but they could have. There was

854
00:46:56,280 --> 00:47:00,000
Speaker 1: a political calculation, doubtlessly, because you want to cause you

855
00:47:00,080 --> 00:47:02,719
Speaker 1: and rally or base around, and in this case, their

856
00:47:02,800 --> 00:47:05,960
Speaker 1: cause was misdirected. It did not work out, It did

857
00:47:06,000 --> 00:47:10,319
Speaker 1: not address the problems from which this music arose. And

858
00:47:10,600 --> 00:47:13,359
Speaker 1: with that, I say we we first, we give our

859
00:47:13,520 --> 00:47:17,280
Speaker 1: we give our thanks of course to doctor dre Ice Cube,

860
00:47:17,440 --> 00:47:21,440
Speaker 1: DJ Yella mc redden and Easy of n W A

861
00:47:22,160 --> 00:47:24,720
Speaker 1: thank you for making this episode possible.

862
00:47:24,520 --> 00:47:26,719
Speaker 3: And thanks to all the incredible artists that have come

863
00:47:26,800 --> 00:47:29,680
Speaker 3: out of hip hop, all of the contributions that you've

864
00:47:29,719 --> 00:47:34,840
Speaker 3: made to pop culture, to social justice, you know, to

865
00:47:35,000 --> 00:47:38,359
Speaker 3: so many aspects that are very very positive, you know,

866
00:47:38,520 --> 00:47:41,680
Speaker 3: in American society and global society. I mean, you know,

867
00:47:41,760 --> 00:47:44,440
Speaker 3: because hip hop isn't just We're sitting here in Atlanta,

868
00:47:44,680 --> 00:47:46,560
Speaker 3: which is like kind of a hotbed of hip hop,

869
00:47:46,560 --> 00:47:49,880
Speaker 3: you know, with outcasts and so many incredible artists that

870
00:47:50,040 --> 00:47:53,680
Speaker 3: have come yeah exactly that have come out of this city.

871
00:47:53,960 --> 00:47:56,279
Speaker 3: But hip hop is a global phenomenon at this point.

872
00:47:56,400 --> 00:47:59,239
Speaker 3: You know, it's it's not just American. Everybody loves it,

873
00:47:59,719 --> 00:48:02,799
Speaker 3: and it's something that just about anybody, even if that's

874
00:48:02,840 --> 00:48:05,200
Speaker 3: not your background, Like in terms of the perspective that's

875
00:48:05,200 --> 00:48:07,560
Speaker 3: being described, there's something that you can still take from it.

876
00:48:07,560 --> 00:48:11,960
Speaker 3: There's wisdom, you know, the word play, just the just

877
00:48:12,120 --> 00:48:14,919
Speaker 3: I don't know, it's wisdom. There really is so much

878
00:48:15,080 --> 00:48:18,439
Speaker 3: of that in the lyrics of of truly great hip hop.

879
00:48:18,920 --> 00:48:23,200
Speaker 1: And of course thank you to our our own DJ,

880
00:48:23,360 --> 00:48:27,480
Speaker 1: our own doctor Dre, mister Max Williams, thanks to Jonathan

881
00:48:27,600 --> 00:48:31,000
Speaker 1: Strickland who is kind of our fbi aka the quizt

882
00:48:31,080 --> 00:48:36,520
Speaker 1: Orgar Hoover. Yeah, and thanks to who else Alex Williams

883
00:48:36,560 --> 00:48:41,040
Speaker 1: composing this banging tracks, Jeff cot who uh who's on

884
00:48:41,040 --> 00:48:44,759
Speaker 1: in person at the office the other way. Yeah, Yeah,

885
00:48:44,840 --> 00:48:46,879
Speaker 1: Eve's always a pleasure. Maybe we can get her back

886
00:48:46,920 --> 00:48:50,160
Speaker 1: on the show soon and big big thanks to of

887
00:48:50,160 --> 00:48:51,600
Speaker 1: course christ Fossio.

888
00:48:51,320 --> 00:48:52,360
Speaker 2: Just here in spirit.

889
00:48:53,880 --> 00:48:57,080
Speaker 1: I guess Tipper Gore, who also made this episode.

890
00:48:57,400 --> 00:49:00,680
Speaker 2: Would she ended up going on to do working on

891
00:49:00,719 --> 00:49:02,360
Speaker 2: a new show with us?

892
00:49:02,360 --> 00:49:06,799
Speaker 1: Oh cool, we're doing a new show with Eve's Jeff Cookee,

893
00:49:06,960 --> 00:49:08,600
Speaker 1: not with Tipper Gore to mine.

894
00:49:08,440 --> 00:49:11,279
Speaker 2: Got it? Okay, thank god, We'll see you next time.

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00:49:11,320 --> 00:49:21,439
Speaker 3: Box. For more podcasts from iHeartRadio, visit the iHeartRadio app,

896
00:49:21,480 --> 00:49:24,600
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.