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Speaker 1: Wake that answer up in the morning. Breakfast Club Morning.

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Speaker 2: Everybody is d J n V Charlamagne to God. We

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Speaker 2: are the Breakfast Club. We got a special guest in

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Speaker 2: the building.

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Speaker 3: We say special a lot, but this is uh, this

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Speaker 3: is one of those special special special guests.

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Speaker 2: Icon a legend absolutely means a lot to me, ladies

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Speaker 2: and gentlemen.

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Speaker 1: D m C. Yo, what's upthing? It's good to be

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Speaker 1: I'm doing good.

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Speaker 3: He came in here with a lot of product to

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Speaker 3: your children's books, and he got his memoir and he

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Speaker 3: got the cookie cook d m C.

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Speaker 1: Daryl makes cookies. Well, that inspired by Dame Dash when

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Speaker 1: he was on I've always I've always was thinking about

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Speaker 1: doing cookies in about five years ago at to the event,

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Speaker 1: and this lady from Harlem had her cupcakes and cookies

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Speaker 1: and stuff like that and they were really good, and

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Speaker 1: I was like, I love cookies. This isn't it And

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Speaker 1: I've just blurted out loud, you know what, I'm gonna

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Speaker 1: start a cookie company. I'm gonna call it Daryl makes Cookies.

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Speaker 1: And everybody in the room was like, will bought it

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Speaker 1: because they thought it was so cool to play on

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Speaker 1: the letters that don't make d MC down cookies. And

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Speaker 1: also I'm always doing stuff at schools. I'm always around families,

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Speaker 1: I'm always around forced the kids, and I like to

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Speaker 1: do stuff to make people smile. Absolutely, So for all

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Speaker 1: of you out there, we will have the vegan, we

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Speaker 1: will have the gluten free, but we will have a

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Speaker 1: protein cookie for people in the gyms. And we started

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Speaker 1: with chocolate chip, but we're gonna have chocolate chip, double chocolate,

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Speaker 1: sugar cookie, oatmeal, oatmeal, raisin and the whole. Now do

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Speaker 1: you remember your first cookie in life? That my first Yeah,

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Speaker 1: my first cookie was a butter cookie. There was this

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Speaker 1: place in Queens and Long Island called Gows where everybody

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Speaker 1: used to get their milk from, remember Goals, And they

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Speaker 1: used to have the cows, then the cows. They used

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Speaker 1: to milk the cows and calendar real cows. The cows

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Speaker 1: was in there. They used to bring the milk bottles

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Speaker 1: by and you would buying the milk. So it's this

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Speaker 1: place called Goals and they sow cookies and candies and

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Speaker 1: stuff like that. But I've always loved cookies.

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Speaker 2: I want to start from the beginning. Of course, I'm

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Speaker 2: from Queens and what run DMC meant to me.

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Speaker 1: Was everything right. Wow.

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Speaker 2: I went to school on Holland Saint Francis, Saint Jokamanin

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Speaker 2: and right on Hollys Crouss Street from PS thirty four

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Speaker 2: and to see brothers from my neighborhood make it out

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Speaker 2: and become international stars was everything. But not only that.

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Speaker 2: This was the day before social media, so running into

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Speaker 2: your favorite celebrity was everything, right. I remember running into

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Speaker 2: to Run and yourself at TSS and.

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Speaker 1: Oh Tom Square story, that's right.

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Speaker 2: And you've given me an autograph on the back of

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Speaker 2: an envelope. You know me because autographs meant the most.

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Speaker 1: I still have it.

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Speaker 2: Now, let's talk how you've got into music and what

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Speaker 2: made DMC start rapping and how did you hook up

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Speaker 2: with Run being from Hollis.

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Speaker 1: So for me, I first started as a DJ because

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Speaker 1: there was this thing going around called flash tapes. Did

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Speaker 1: you hear the flash tapes with flashing equipments? So when

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Speaker 1: I got the Queens, I heard the tape of Flash

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Speaker 1: doing a good time. He wasn't originally from Queens.

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Speaker 2: You were originally from where I was?

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Speaker 1: Well, I lived in Brooklyn for one year, but I

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Speaker 1: didn't find out I was from somewhere else until I

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Speaker 1: was thirty five. That's a whole number. Yeah right, exactly right.

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Speaker 1: But flash tapes came into Queens and it was the

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Speaker 1: block parties and stuff like that. So me and my

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Speaker 1: brother we got DJ Quimy wanted to be DJs. In

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Speaker 1: my basement, I was grand Mass to get High because

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Speaker 1: to get high, Yeah, that was my name, Grandmaster get

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Speaker 1: High because you didn't need old English, so Weed because

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Speaker 1: my music qu was intoxication that it was in my

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Speaker 1: brain prior to that was is a kid that read

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Speaker 1: comic books. Now I'm like you and went to Catholic school.

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Speaker 1: But the first thing for hip hop boy is the

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Speaker 1: DJ thing. So I wanted to be like grand Master Flash.

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Speaker 1: And then all of a sudden you started hearing the

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Speaker 1: tapes of Grandmaster Flash in the first five Treacher Stree

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Speaker 1: Theodore tapes. You know, the whole thing just came in.

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Speaker 1: So first it was a DJ. So my brother, he

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Speaker 1: was only when I was allowed to go to Jamaica

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Speaker 1: Avenue to the record store. I was still a young kid.

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Speaker 1: So he brought home rappers and light you know that

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Speaker 1: hip hop first on the record, and you know, everybody

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Speaker 1: went crazy, Oh wow. You know the wasn't even hip hop.

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Speaker 1: The mcs are now making records or whatever whatever, but

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Speaker 1: I didn't like rappers the Light. Still. The only thing

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Speaker 1: that I liked about about Rappers the Light was the

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Speaker 1: big bang hank rhyme please talked about Superman, so you know,

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Speaker 1: I didn't know what Elle was talking about. I know superheroes,

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Speaker 1: but this is a game changer. A couple of weeks later,

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Speaker 1: my brother comes home. Because if you remember, Rappers the

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Speaker 1: Light was a very elaborate, very attractive cover. It was

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Speaker 1: light blue, very colorful.

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Speaker 2: Yeah, rainbow, yep.

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Speaker 1: Boom, it's very coh next week coming. It was just

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Speaker 1: a white plank cover, red label record. It said Enjoying

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Speaker 1: Records on it, and it said Grandmaster Flash And I'm like, oh,

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Speaker 1: that's the DJ guy and the Furious five. Oh yo,

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Speaker 1: that's the MC thing. So I put the needle on this. Now,

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Speaker 1: when you put the needle on Rappers the Light, it

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Speaker 1: comes a hip hop, thebbit, the hebby. It was a

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Speaker 1: little different from me because at that time there was

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Speaker 1: two type and mod talks about it. There was two

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Speaker 1: types of MCS and rappers. It was the disco DJ

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Speaker 1: rapping man. I'm the man and put your hand party.

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Speaker 1: It was different went those casts, and then you had

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Speaker 1: to yes, hit shawls, but to the beat the street.

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Speaker 1: You know what I'm saying, MC thing so rappers the

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Speaker 1: light did in attract me. Stept for the Big Bank

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Speaker 1: hand cryme, which I found out was dope because it

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Speaker 1: was written by one of the dopest mcs from the street,

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Speaker 1: Grandmaster Cast. But I didn't know that a goldkrez safes

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Speaker 1: game out. But this is the life changing thing that

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Speaker 1: made me start writing. I'm Grandmaster Gat, I'm Grandmaster Get,

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Speaker 1: I'm a basement on the DJ plaining is then I

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Speaker 1: put you and two together. I'm a kid trying to

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Speaker 1: piece all of this together. So Grandmaster Flash has five

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Speaker 1: EMCs that he plays the music for, so I put

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Speaker 1: the needle on this record. It didn't open up hip

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Speaker 1: hop and then it wasn't no R and B distinct set.

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Speaker 1: It was a party nine. Everybody he was breaking into

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Speaker 1: hots one, screaming in the base was shaking in and

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Speaker 1: won't be long till everybody's not on that flashes on

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Speaker 1: the pee bocks going and I'm going, oh my god,

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Speaker 1: what the hell is this? And and shine out identicals

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Speaker 1: Italian Caucasian, Japanese, Spanish, Indian Negro v at the knees,

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Speaker 1: MC disc jockeys, y'all fly kids. I went run and

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Speaker 1: give me a pen, Alfred, give me a pen. So

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Speaker 1: I just started writing rhymes for myself. So I was

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Speaker 1: a grandmaster get high, and I was MC eazy D.

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Speaker 1: Because my name starts for the DN, it's easy for

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Speaker 1: me to write my rhymes. So that's all I'm doing

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Speaker 1: in my basement, writing rhymes. Joseph Simmons, we went to

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Speaker 1: the same Catholic high school, Saint Pascal Bayline. He was

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Speaker 1: always in the other class. We didn't know. We only

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Speaker 1: knew each other, Hey Daryl, Hey Joe, because the only

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Speaker 1: reason we knew each other it was two classes each.

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Speaker 1: It was kindergarten and you together. But then when you

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Speaker 1: go to first grade it's one one and one two.

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Speaker 1: So I was always in the two classes. He was

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Speaker 1: always in the one. So in eighth grade where that happened.

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Speaker 1: This is destiny. We went to Catholic school, so you

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Speaker 1: know this. After school you had to go home and

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Speaker 1: put on your play clothes. That's right, because your Catholic

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Speaker 1: school pants you and want you to make mess and

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Speaker 1: you know, you can't go to the park which your

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Speaker 1: thing on, because you're gonna get your money taken, You're

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Speaker 1: gonna get teased, picked, get bullied, You're gonna get bullied exactly,

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Speaker 1: so you would have to go home. So Sant Pasco,

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Speaker 1: Bengland had one basketball and rim in the school yard

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Speaker 1: in eighth grade. In eighth grade, a new student comes

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Speaker 1: in and thank you, David McEachen, because you helped us

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Speaker 1: change the world. David McEachen comes to the school. You know,

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Speaker 1: it's a big thing when a new student comes to

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Speaker 1: school out of nowhere. Everybody's talking about it. Class. We

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Speaker 1: like to introduce the new student, that whole thing. David McEachen.

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Speaker 1: I'm like six to one now, So in eighth grade,

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Speaker 1: David mcgeachen was about six to one. He comes into school,

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Speaker 1: he's tall like Kareem af dude jabbar. He dunks on

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Speaker 1: the one rim that the Catholic school kids have in

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Speaker 1: the school yard and he breaks it. Damn so up

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Speaker 1: now we can go hold up everybody stop, wait a minute,

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Speaker 1: pipe for them. Bannon McDaniel's. My parents are the best

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Speaker 1: parents in the world. My father put a rim in

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Speaker 1: my backyard yes, Darryl saves the day. So after school,

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Speaker 1: I'm a five minute walk from Paschal, So all the

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Speaker 1: kids would come to my backyard and play basketball after

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Speaker 1: school to be safe. And I don't have to go

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Speaker 1: to one ninety two or JA make a park to

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Speaker 1: give them money and get bullying. It's easy. So one

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Speaker 1: day Joey shows up alone with his basketball and I'm like, yo,

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Speaker 1: we're Doug. Where's Craig. Oh he had to go to

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Speaker 1: the dinners. What's his name? Some punishment. So it's just

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Speaker 1: me and you. Let's play ball. So we play ball.

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Speaker 1: You know what I'm saying. Joe is good. Joe and

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Speaker 1: Jay I wasn't a ball I just had to remember.

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Speaker 1: So we played ball. After we played very good. He

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Speaker 1: was left handed, very good. His favor you could speak

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Speaker 1: to him. He loved doctor j He run was nice.

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Speaker 1: Jay was nice. Look and I'm awkward, but I'm just

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Speaker 1: trying to fit in and I press the guys. Come on,

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Speaker 1: I need a friend, So Dad put her in there,

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Speaker 1: you know what I'm saying. So after we played ball,

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Speaker 1: I usually go and You're gonna love this too. You

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Speaker 1: go in the house, you get the juggle, will force

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Speaker 1: it water that you're put in refrigerator to get it cold,

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Speaker 1: and you get Dixie cups. And I come to the

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Speaker 1: back door and I give all twelve kids a Dixie

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Speaker 1: cup and water. This particular day is run. Now what's

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Speaker 1: the room when no parents is home? Can't have company?

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Speaker 1: It's it's only run, you know what. Come on in

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Speaker 1: and get the water. He comes in, change purpose and destiny.

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Speaker 1: He comes in. He sees me and my brother's turntables

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Speaker 1: and he goes, yo, you do that? And I go no,

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Speaker 1: because that was my thing. I didn't want nobody. And

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Speaker 1: he goes, yo, my brother's Russell Simmons. You ever see

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Speaker 1: the flyers that's up on the telephone pulls and the

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Speaker 1: chreet my my brother's Russell Russ and he managed his

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Speaker 1: Curtis Blow and Jimmy Spicy, and he goes on and on.

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Speaker 1: So now I'm a little oapen. I'm like what And

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Speaker 1: he goes, yeah, I'm DJ run. And in the summertime,

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Speaker 1: no school, I go all around New York City and

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Speaker 1: to try to state that are they called me the

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Speaker 1: son of colters blowing up right? And I said, and

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Speaker 1: I go wold something? Oh, I said, I could do it?

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Speaker 1: A little bit, and he goes show me something. So

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Speaker 1: I go over to the turntables and I do the

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Speaker 1: super sperm quipment soup poop soup. So it's like, yode

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Speaker 1: this good in this? So now the plan was this.

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Speaker 1: Now we got something else in common besides ball after school.

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Speaker 1: My parents would get home at four o'clock. We get

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Speaker 1: out of school two ten, so we go play ball

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Speaker 1: for half an hour. Then we go in the basement

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Speaker 1: in DJ for him forty five minutes. So that became

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Speaker 1: the routine. One particular day, when he would come over,

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Speaker 1: I would hide my rhyme book so he couldn't see that.

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Speaker 1: We could just DJ and he'll he'll tell you. He

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Speaker 1: knew how to DJ, but he didn't know how to

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Speaker 1: do theadore and what Flash was doing. And I knew

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Speaker 1: all that, so I told him all of that. So

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Speaker 1: one particular day we down there. I remember we have

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Speaker 1: peanut butter and jaelly and potato chips and it was

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Speaker 1: my turn to DJ, and I look over at Joe

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Speaker 1: and he's sitting on the couch in the basement and

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Speaker 1: he got my rhyme book. That was like having my diary.

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Speaker 1: You know what I'm saying, I left it on the

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Speaker 1: coffee table. Usual, I would put it under the couch

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Speaker 1: when Joe when I knew Joe was coming, because the

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Speaker 1: rhyme book was my thing talking about me being MC

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Speaker 1: eazy D. So he finds it and I'm run over

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Speaker 1: there trying to get it from him, and he's like no, no, no,

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Speaker 1: wait wait D and he was like, yo, you rode

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Speaker 1: all of this and I was like, yeah, you know,

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Speaker 1: it's like a hobby. And he just looks at me,

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Speaker 1: and I'll never forget the day slow motion when my

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Speaker 1: brother Russell lets me make a record, I'm putting you

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Speaker 1: in my group. And I looked in and went in

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Speaker 1: one air and out the other because I'm like, yo

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Speaker 1: in my f and Yo, I don't do this for real?

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Speaker 1: You do that? You yo the flashes And he said, noded,

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Speaker 1: don't worry about it. So that was in eighth grade.

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Speaker 1: We graduated running Jay went to Andrew Jackson High School,

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Speaker 1: and Jackson the first school. I took three trains and

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Speaker 1: two buses all the way to Rice High School one

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Speaker 1: hundred and twenty fourth Street in Lynux. Now later on

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Speaker 1: I find out it wasn't just to go to school.

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Speaker 1: I told her if it was a good with an

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Speaker 1: all boys Catholic high school. But when I got there,

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Speaker 1: something great happened. I got to Rice High School in

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Speaker 1: ninth grade, right the kids that were in Rice High School,

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Speaker 1: and this was all my purpose and destiny. The kids

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Speaker 1: in Rice High School they live in the Bronx harlem Man.

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Speaker 1: So when I got to Rice's High School, this blew

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Speaker 1: my mind. All the kids there, they have the rap

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Speaker 1: dj MC thing before seventy nine rappers, the Light, they

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Speaker 1: got the T connection, they got the auto bomb ballroom,

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Speaker 1: they got the black, they got hard, and I'm like

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Speaker 1: the Autobahn. That's what Malcolm Mexic got killed. What do

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Speaker 1: you mean you're doing hip hop? But the beautiful thing

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Speaker 1: was it wasn't the rappers, the Light records and the

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Speaker 1: Heartbeat record. It wasn't the records. It was a treacherous

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Speaker 1: street over beach rhyming, not about disco stuff. Yes, yeah,

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Speaker 1: can you finding them see better than me? Mo? D?

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Speaker 1: Can you finding them see better than me? No? Can

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Speaker 1: you find in them see who can say he's better

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Speaker 1: than shoe K? No? Can you find an MC who

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Speaker 1: can rhyme up against La son Sean? No? You can't.

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Speaker 1: You can't you saw? And I'm like, what the hell?

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Speaker 1: So I'm changing my pen game. So ninth grade, tenth grade,

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Speaker 1: eleventh grade, twelfth grade, I'm getting a crash course in

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Speaker 1: beach rhymes. Atchcha. I heard this girl going to all

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Speaker 1: of you. My name is Shah Shah. I'm not a

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Speaker 1: I'm like, what the hell? This is nothing like them

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Speaker 1: super rapping. You know what I'm saying. So my penang change.

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Speaker 1: Here's the beautiful thing. Remember eighth grade, run says when

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Speaker 1: Russell lets me make a record, we went to different school.

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Speaker 1: Ninth grade, tenth grade, eleventh grade, twelfth grade. I graduate

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Speaker 1: from Rice High School, send my resume out to Saint

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Speaker 1: John's University, and a couple of other college come home

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Speaker 1: in the mayl there's a letter to me, mister darn McDaniels.

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Speaker 1: I open it up before my mother. Mister Daryl McDaniels

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Speaker 1: will problem to inform you you're going to Saint John's University.

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Speaker 1: What oh, this is crazy, It's funny. My mother and

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Speaker 1: father come home. I run past them down to the

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Speaker 1: base to write a rhyme. I don't think mine got

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Speaker 1: I ran to the basement to check this out. I

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Speaker 1: right this round DMC in the place to be. I

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Speaker 1: went to the City Universe right run right, that was

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Speaker 1: I was a class of eighty two in June of

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Speaker 1: eighty two. The phone rings, It's Joe Yo d what's up? Man? No,

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Speaker 1: you know we've seen each other, but he calls this

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Speaker 1: particular Remember four years ago, Yeah, when I said, if

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Speaker 1: I make a uh huh, grab your rhyme book, We're

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Speaker 1: going to the studio to make a record. We go

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Speaker 1: to Green Street Recording Studio right here, and we go

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Speaker 1: down there. We make this like that, and that's the

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Speaker 1: way it is. And in the B side suckerm sees

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Speaker 1: Wow here I am today. Wow, That's how I's exactly.

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Speaker 1: I love Superhero Origin stores, you know what I mean.

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Speaker 3: And I'm thinking about when you first heard the rap

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Speaker 3: and you decided that you wanted to pick up your pin.

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Speaker 1: Did you already experiment with rapping before that? Let's see,

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Speaker 1: I was a good students like listen to Okay, I

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Speaker 1: listened to. It was bugging me out because and the

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Speaker 1: switch off thing that run DMC is famous for. You

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Speaker 1: know what I'm saying. People think we invented it. No

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Speaker 1: flashing them because after he said the Italian caucasion in

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Speaker 1: Japanese Venner's Indian Negro MC Dishackiezio Fly Kids for the

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Speaker 1: young ladies. Now, if you remember Rapers of Light Rappers,

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Speaker 1: the light was on long ass record. Yes, the MC

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Speaker 1: three mcs with long ash rhymes stopped long ass rhyme,

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Speaker 1: these dude said, introducing the crew. You got to see

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Speaker 1: the belief five different for imagine Man's yiad fifteen years

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Speaker 1: old with one, two, three, four, five m seeds. One

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Speaker 1: dude says, I'm melly mel and a rocket so well,

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Speaker 1: and then the other dude said, then I'm missing the

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Speaker 1: that's because of rock the best. This dude said rahem,

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Speaker 1: and all the ladies dreaming, and the other dudes with the

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Speaker 1: crazy cow boy and I make could jump for joy.

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Speaker 1: This blew my mind. The fifth through goest creole, the

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Speaker 1: other food other four goes solid goat kid creole with

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Speaker 1: a furious five plus grand mass the flash giving you

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Speaker 1: a blast to show enough class so to prove to

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Speaker 1: you all that was second to none. We're going to

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Speaker 1: make five MC. That was it. There was oh, you

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Speaker 1: can do that, like because I was in the beginning,

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Speaker 1: most of us thought you had to go hip hop dehibbit.

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Speaker 1: Dehibit tell, I'm the distal man and I played my rap.

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Speaker 1: These dudes was talking about how incredible they were. So

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Speaker 1: my pen game was like this. And when Joe took

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Speaker 1: me in the studio when we went to write us

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Speaker 1: like that, You've got to remember people don't understand hip

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Speaker 1: hop does the same thing over and over. Some kid

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Speaker 1: asked me, I speaking of the high school in the Bronx,

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Speaker 1: mister d MC, because I'm fifty nine years old now.

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Speaker 1: Now if I was twenty, then your DMC. He ask me,

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Speaker 1: what do you think about mumbo rap? So I'm old,

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Speaker 1: I'm a man now. He they want they want to

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Speaker 1: see you young whipper snappers, this snap boom. They wanted

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Speaker 1: to see me hey, and I go, I can relate

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Speaker 1: to that. You should have seen it. Clut huh, the

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Speaker 1: old man. My parents didn't. I said, you know why

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Speaker 1: I could relate to it because they said the same

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Speaker 1: thing about me hip hop dehibit dehibbit. The difference between

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Speaker 1: my generation and your genituation is when we got criticized

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Speaker 1: about something, we stopped the music, said, oh, you don't

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Speaker 1: think we can deliver contact. We wrote It's like that,

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Speaker 1: we wrote the message. We wrote Planet Rock, and the

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Speaker 1: list goes on and on. So when we went in

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Speaker 1: to do the studio to do it's like that. Originally

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Speaker 1: it's like that. It's kind of like a Curtis Blow record,

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Speaker 1: because Run was the son of Curtis Blow and Russell

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Speaker 1: and Jimmy Spicer. When you listen to the early hip

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Speaker 1: hop that Russell was doing, they was doing, let's do

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Speaker 1: this style, use R and B to get accepted. I'm

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Speaker 1: sitting in right, so I'm like, there's no acceptance to this.

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Speaker 1: I can talk about going to McDonald's like busy b

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Speaker 1: y'all we wrapped. I'm in the disco, man, I'm gonna

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Speaker 1: talk about see to the Apple, Apple to the call,

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Speaker 1: I am the man with the rhyms the Lord rock

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Speaker 1: a rhym for me and then the rhyme for you.

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Speaker 1: I wanted to do that. So originally it's like that

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Speaker 1: was unemployment had a record high, people come in, people going,

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Speaker 1: people going to die. Don't ask me because I don't

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Speaker 1: know why. It's like that. If we would have made

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Speaker 1: that message a little bit, it was, you know the

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Speaker 1: Rappie rap, you know super Bowl that thing, you know,

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Speaker 1: I said, no, do you know what they was doing

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Speaker 1: before rappers, the Light and Larry Smith let me just say,

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Speaker 1: the greatest hip hop producer ever that nobody knows about.

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Speaker 1: He produced All Aroun DMC's first album, All Around dmc

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Speaker 1: second album before Rick Rubin came and he's the guy

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Speaker 1: that started Rock Box, No Walked This Way, no Rock.

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Speaker 1: But long story short, So the message came out. If

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Speaker 1: you remember, in the beginning, hip hop was all message records.

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Speaker 1: So I guess I was doing an interview and I

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Speaker 1: was doing an interview and I brought up that hip

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Speaker 1: hop always does it the one hit record that is

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Speaker 1: the top. It's crazy in this era the hit person

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Speaker 1: at the top. Everybody under them sounds alike, and that's

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Speaker 1: just a normal thing, right. And when I'm hearing the

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00:18:47,680 --> 00:18:50,360
Speaker 1: Cold Crush, they all rapping, but they got different rhyme routines.

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Speaker 1: They told them about different things. So the message came out.

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Speaker 1: Planet Rock came out. So we're going in and making

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Speaker 1: it's like that record about the world. I'm studying this

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Speaker 1: like Tony. I'm saying, Joe, you know what we gotta

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Speaker 1: do it. This is like that record. We got to

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Speaker 1: put the negative and the positive together. It's like that,

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Speaker 1: and that's the way. That's why if you're listen, it's

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Speaker 1: like that it's a message record. If we talk about unemployment,

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Speaker 1: well we also talk about go to school this and

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Speaker 1: then do so we combine that. So since I was

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Speaker 1: a very smart kid to Joe d just go home

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Speaker 1: and right a bunch of rounds how the world is.

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Speaker 1: So when you're listening, it's like that it's me and

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Speaker 1: Joe together. So Russell's plan and it's see the world

401
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Speaker 1: is crazy. Russell's plan for Run was to be run

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Speaker 1: the MC. So me coming in with the DMC work

403
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Speaker 1: for Russell because if I sucked, he was gonna kick

404
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Speaker 1: me out. The group Run was going to tour and

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Speaker 1: do it's like that by hisself member Martha Wash, the

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Speaker 1: fat lady that sung all the club records in the

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Speaker 1: eighties and nineties, but they put the pretty girl. Yes, yeah,

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Speaker 1: exactly how that Russell wanted to do that to me?

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Speaker 1: But who was the person that he was gonna use?

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Speaker 1: Oh do you want to know? So over in London

411
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Speaker 1: at this time, hip hop was big. They knew about

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Speaker 1: Curtis Blow, they knew about band, they knew about Flashing them.

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Speaker 1: There was a and you could look this up there

414
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Speaker 1: was a pioneering DJ over in England called Lady Blue

415
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Speaker 1: who was doing hip hop everything band was doing and

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Speaker 1: she would come over and learn she was taking him

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Speaker 1: back there and this is like eighty one eighty early eighty,

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Speaker 1: So Lady Blue, this is funny for Joe. Lady Blue

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Speaker 1: is gonna be runs. DJ Run the MC with DJ

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Speaker 1: Lady Blue. She had a pantomime hop blocker. Crazy shit,

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Speaker 1: what is your thing? You're into this entertainment? I mean

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Speaker 1: is it progressive thinking? Yes, sir, so Run is coming

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00:20:42,760 --> 00:20:44,800
Speaker 1: to me. We do it's like that, and Russell was like, DDE,

424
00:20:44,800 --> 00:20:47,760
Speaker 1: get out the way, go sit down. Now, we gotta

425
00:20:47,800 --> 00:20:49,439
Speaker 1: do we gotta do the beat. We gotta do the

426
00:20:49,440 --> 00:20:51,440
Speaker 1: beat tam which was sucking Seats, just put a beat

427
00:20:51,480 --> 00:20:53,680
Speaker 1: on them round. If you listen to Sucking Seas, it's

428
00:20:53,760 --> 00:20:56,520
Speaker 1: three rhymes from Run because that was his solo record.

429
00:20:57,200 --> 00:20:59,280
Speaker 1: So he goes in and he a's the record Run

430
00:20:59,320 --> 00:21:01,119
Speaker 1: comes to me. D you gotta go in there and

431
00:21:01,160 --> 00:21:03,640
Speaker 1: show Russell that you can wrap and that you're incredible,

432
00:21:03,680 --> 00:21:05,119
Speaker 1: that you're like to get the best. And it's just

433
00:21:05,200 --> 00:21:07,359
Speaker 1: Run telling me that you're the best out there. And

434
00:21:07,400 --> 00:21:09,159
Speaker 1: he's telling me because I don't want to be with

435
00:21:09,280 --> 00:21:15,200
Speaker 1: Lady Blue ind And I'm telling him run now, no, man,

436
00:21:15,240 --> 00:21:17,760
Speaker 1: I'm good, I'm gonna I'm gonna like that this and that.

437
00:21:17,920 --> 00:21:20,359
Speaker 1: Russey he said, and you know, run is it the

438
00:21:20,440 --> 00:21:23,320
Speaker 1: crush Groove Run in the movie. That's what run would

439
00:21:23,320 --> 00:21:25,200
Speaker 1: do to Russell. And He's like, Russell, this is it

440
00:21:25,320 --> 00:21:28,320
Speaker 1: just going in. So I go on the booth and run,

441
00:21:28,359 --> 00:21:31,400
Speaker 1: says Deed say a rhyme, and I'm like, yo, run,

442
00:21:31,400 --> 00:21:34,399
Speaker 1: You're trying to get me for whatever. And he just says, motherfucker,

443
00:21:34,680 --> 00:21:37,080
Speaker 1: just say your newest rhyme. What was my newest rhyme?

444
00:21:37,240 --> 00:21:40,760
Speaker 1: I'm DMC. I'm deplaced to be say, I'm a passion

445
00:21:40,800 --> 00:21:43,760
Speaker 1: to mind. Just saying your newest rhyme? I hit that verse.

446
00:21:44,480 --> 00:21:47,840
Speaker 1: Russell walks in the studio. Oh my god, that's it.

447
00:21:48,080 --> 00:21:50,240
Speaker 1: The name of the group is gonna be called Run DMC.

448
00:21:50,400 --> 00:21:52,520
Speaker 1: Your initials are perfect. This and that boom boom boom,

449
00:21:52,520 --> 00:21:54,960
Speaker 1: boom boom. So when we went into the studio, my

450
00:21:55,040 --> 00:21:59,239
Speaker 1: thing was this, let's do what was being done in

451
00:21:59,280 --> 00:22:02,840
Speaker 1: the parks and the box parties in the dark basements

452
00:22:02,880 --> 00:22:06,760
Speaker 1: in New York City and not change our presentation of

453
00:22:06,800 --> 00:22:09,399
Speaker 1: who we are just to get radio players, just to

454
00:22:09,400 --> 00:22:11,840
Speaker 1: get accepted. So we did it. It's like that message

455
00:22:11,880 --> 00:22:14,800
Speaker 1: record with some positivity in it. And then we did

456
00:22:14,840 --> 00:22:17,880
Speaker 1: Sucking Seas. If you understand everybody was musical at the time.

457
00:22:18,240 --> 00:22:20,720
Speaker 1: Good to everybody's sampling R and B and the oh

458
00:22:20,760 --> 00:22:24,919
Speaker 1: who's the hot jam My love Love at the encore,

459
00:22:25,160 --> 00:22:27,320
Speaker 1: or let's make a beat about that by me going

460
00:22:27,320 --> 00:22:30,280
Speaker 1: and Rice to say these motherfuckers. It's using James Brown

461
00:22:30,359 --> 00:22:32,800
Speaker 1: and jazz and this and that. So Sucking Seas boom

462
00:22:32,840 --> 00:22:35,760
Speaker 1: tet tet just to beat people don't realize Sucking Seas

463
00:22:35,960 --> 00:22:40,240
Speaker 1: was the first game changing element, not walked its way

464
00:22:40,320 --> 00:22:42,560
Speaker 1: and all of that and not rocking that game later

465
00:22:42,960 --> 00:22:46,600
Speaker 1: the first thing that happened to put hip hop on that. Yo,

466
00:22:47,000 --> 00:22:48,639
Speaker 1: that's what the.

467
00:22:48,640 --> 00:22:51,240
Speaker 2: Fact I'm light skin, I live in Queens and.

468
00:22:54,560 --> 00:22:56,080
Speaker 3: You don't want to ask you when it comes to

469
00:22:56,240 --> 00:22:59,680
Speaker 3: MCN how do you properly rank hip hop MC's because

470
00:22:59,760 --> 00:23:04,800
Speaker 3: just like in basketball, skills have changed throughout the years, right,

471
00:23:04,920 --> 00:23:07,520
Speaker 3: you know, so how do you rank a rapper from

472
00:23:07,800 --> 00:23:12,479
Speaker 3: the eighties with somebody from the nineties or the two thousands.

473
00:23:11,960 --> 00:23:14,240
Speaker 1: Like, how do you do that? Because I could, Yeah,

474
00:23:14,280 --> 00:23:17,600
Speaker 1: how do you do it? There's no goat, there's it

475
00:23:17,720 --> 00:23:21,359
Speaker 1: can't you can't say that just ago because everybody's so good,

476
00:23:21,640 --> 00:23:24,680
Speaker 1: you know, people always It's funny throughout the years, people

477
00:23:24,680 --> 00:23:27,440
Speaker 1: would ask me who's better eminem A, jay Z Chuck

478
00:23:27,520 --> 00:23:30,800
Speaker 1: d Okay, that didn't say so you know if you

479
00:23:30,880 --> 00:23:32,840
Speaker 1: tell that, you know what I'm saying this dude, Chuck said,

480
00:23:32,880 --> 00:23:36,359
Speaker 1: I'm so versatile say it without rhyme, which is without

481
00:23:36,440 --> 00:23:38,600
Speaker 1: running this book. Me and Rick Rubens shout out to

482
00:23:38,680 --> 00:23:42,360
Speaker 1: Rick robat we tried to do this. Nobody ever did this,

483
00:23:42,520 --> 00:23:47,200
Speaker 1: and now let's talk about skills. I'm so versatile say

484
00:23:47,240 --> 00:23:51,480
Speaker 1: it overbeat boosh boosh, gosh boosh boosh, got boosh boom

485
00:23:51,520 --> 00:23:56,560
Speaker 1: boot I'm so versatile, say it without rhyme, which is

486
00:23:56,600 --> 00:23:59,560
Speaker 1: why they're after me. And they're on my back looking

487
00:23:59,640 --> 00:24:02,840
Speaker 1: over my shoulder to see what I write. They hear

488
00:24:02,960 --> 00:24:05,800
Speaker 1: what I say, and they want to know why why

489
00:24:05,880 --> 00:24:10,040
Speaker 1: they could never compete on this level. Superstar status is

490
00:24:10,200 --> 00:24:14,840
Speaker 1: my domain. Understand my rhythm, my patterns of lectures, and

491
00:24:14,880 --> 00:24:19,600
Speaker 1: then you'll know why I'm on the run. That one

492
00:24:19,840 --> 00:24:23,600
Speaker 1: verse Trump's every generation. So how do you rate the

493
00:24:23,600 --> 00:24:26,800
Speaker 1: season rhime? For the fact that they have when they're

494
00:24:26,800 --> 00:24:30,160
Speaker 1: on the stage and when they're in that crowd. That's

495
00:24:30,160 --> 00:24:34,720
Speaker 1: how you do it. See when Melley mel battled Eminem

496
00:24:34,840 --> 00:24:36,240
Speaker 1: You know what I'm saying that the mal came out

497
00:24:36,280 --> 00:24:39,399
Speaker 1: with that thing. Somebody said it sounds like somebody. Ai

498
00:24:39,880 --> 00:24:43,439
Speaker 1: Mail's response to that. All male had to do was

499
00:24:43,520 --> 00:24:46,800
Speaker 1: do you when I wanted? When? When Pete Rock produced us,

500
00:24:46,840 --> 00:24:50,359
Speaker 1: Pete Rock produced Down with the King, Down, the eighties changed,

501
00:24:50,720 --> 00:24:54,280
Speaker 1: eighty nineties changed hip hop. We was loved in Pioneers,

502
00:24:55,240 --> 00:25:02,359
Speaker 1: but we wasn't in. What I'm trying to say is

503
00:25:03,640 --> 00:25:06,720
Speaker 1: when Pete Rock, what Run the MC did for Aerosmith,

504
00:25:07,240 --> 00:25:10,000
Speaker 1: y'all brought Aerosmith back. Steven Tyland, Joe pay Yes, I

505
00:25:10,119 --> 00:25:12,800
Speaker 1: did the same thing that we did for Aerosmith, Pete

506
00:25:12,840 --> 00:25:14,520
Speaker 1: Rock did for us. When now at the King we was.

507
00:25:14,720 --> 00:25:17,080
Speaker 1: We wasn't participation, We wasn't on the chart, we was

508
00:25:17,119 --> 00:25:19,359
Speaker 1: in the We wasn't on MTV you no more. So

509
00:25:19,400 --> 00:25:21,639
Speaker 1: Pete Rock brings us back. When I remember going in

510
00:25:21,680 --> 00:25:24,159
Speaker 1: that session with Pete Rock and he said, D you

511
00:25:24,160 --> 00:25:26,119
Speaker 1: ain't gotta be M and M. You ain't gotta be

512
00:25:26,200 --> 00:25:28,199
Speaker 1: jay Z, you don't gotta be cool Rock give me

513
00:25:28,280 --> 00:25:30,679
Speaker 1: that DMC shit. So I was like, okay, he asked me,

514
00:25:30,680 --> 00:25:32,600
Speaker 1: what are you doing right now? I'm taking the toys

515
00:25:32,600 --> 00:25:34,680
Speaker 1: and raking the land and keep a hard caught because

516
00:25:34,680 --> 00:25:36,720
Speaker 1: it's dope. Man. She's all the roughest, toughest words. And

517
00:25:36,880 --> 00:25:39,040
Speaker 1: I wrote, damn not meant for a hole like a soul,

518
00:25:39,119 --> 00:25:42,000
Speaker 1: Damn second suck up sez. So all male had to

519
00:25:42,000 --> 00:25:44,880
Speaker 1: do when you talk about Ray and all male had

520
00:25:44,880 --> 00:25:47,200
Speaker 1: to do is what he did on pump. Pumped me

521
00:25:47,320 --> 00:25:50,119
Speaker 1: up to battle that. Don't try to flip it up,

522
00:25:50,359 --> 00:25:52,879
Speaker 1: but I can't even move like, don't try to be

523
00:25:54,160 --> 00:25:57,960
Speaker 1: what what? What? See? When I went to Rice, I

524
00:25:58,080 --> 00:26:02,120
Speaker 1: realized what these kids. The celebration of hip hop wasn't

525
00:26:02,119 --> 00:26:06,240
Speaker 1: a fifty year celebration it was. It was a goddamn lie.

526
00:26:06,640 --> 00:26:09,280
Speaker 1: The celebration that we just had was the forty four

527
00:26:09,359 --> 00:26:13,160
Speaker 1: year celebration of recorded rap because they set his Coolhork

528
00:26:13,680 --> 00:26:16,560
Speaker 1: seventy three and they jumped to seventy nine. All the

529
00:26:16,600 --> 00:26:19,640
Speaker 1: record making motherfuckers. They didn't talk about what I came

530
00:26:19,680 --> 00:26:21,280
Speaker 1: in up, all the this and that and this, and

531
00:26:21,560 --> 00:26:24,240
Speaker 1: you didn't hit you only no mo d from battling

532
00:26:24,480 --> 00:26:27,520
Speaker 1: LLL you didn't him more with the Treacherous Three, who

533
00:26:27,560 --> 00:26:30,000
Speaker 1: is just as dope as Scarface and just as dope

534
00:26:30,040 --> 00:26:31,959
Speaker 1: as a drake. So how do you rate them? You

535
00:26:32,000 --> 00:26:33,800
Speaker 1: can't rate them. You got to go and see what

536
00:26:33,880 --> 00:26:37,080
Speaker 1: they do and put these motherfuckers in the class by themselves.

537
00:26:37,400 --> 00:26:39,080
Speaker 1: Mail all had mel had to do them. M and

538
00:26:39,240 --> 00:26:41,880
Speaker 1: M rappers might be willing, but they ain't able because

539
00:26:41,880 --> 00:26:44,920
Speaker 1: I was dick king straight from my cradle, screamed in hollowod,

540
00:26:44,960 --> 00:26:47,919
Speaker 1: shook my rattle, trimped out of defeating them all in battle.

541
00:26:47,960 --> 00:26:50,080
Speaker 1: There was no food in my silver spoon. But I

542
00:26:50,119 --> 00:26:52,000
Speaker 1: grew up hard, and I grew up soon. I'm a

543
00:26:52,080 --> 00:26:54,399
Speaker 1: righteous king and I'm hungry too, and I eat a

544
00:26:54,520 --> 00:26:57,439
Speaker 1: punkster rap like you. I met kid that's all meld

545
00:26:58,400 --> 00:27:04,000
Speaker 1: to play game the fifty yard old. Now go in

546
00:27:04,040 --> 00:27:06,000
Speaker 1: there and do what you I was sitting on the

547
00:27:06,080 --> 00:27:08,840
Speaker 1: corner just to waste my time. When I realized it

548
00:27:08,920 --> 00:27:11,360
Speaker 1: was the King of the rhyme, I got on the microphone,

549
00:27:11,480 --> 00:27:14,399
Speaker 1: and what do you see? The rest was my legacy.

550
00:27:14,480 --> 00:27:16,400
Speaker 1: I was born to be the king of this hip

551
00:27:16,400 --> 00:27:19,760
Speaker 1: hop's thing. With stallions and medallions and diamond rings on

552
00:27:19,880 --> 00:27:22,280
Speaker 1: a mansion in the yacht cool, million and gold. Because

553
00:27:22,400 --> 00:27:25,680
Speaker 1: rap is the game that I control. I'm like Shakespeare.

554
00:27:25,720 --> 00:27:28,600
Speaker 1: I'm a pioneer, and I made rap something people wanted

555
00:27:28,600 --> 00:27:30,840
Speaker 1: to hear see Before I came, it was the same

556
00:27:30,840 --> 00:27:33,160
Speaker 1: old thing with the baldy they do all that street

557
00:27:33,200 --> 00:27:35,920
Speaker 1: call game. So if you ever let me make this clear,

558
00:27:36,040 --> 00:27:38,360
Speaker 1: if you ever think that, I'm going out ahead. If

559
00:27:38,400 --> 00:27:43,120
Speaker 1: you so, people ain't no mel from the record go

560
00:27:43,200 --> 00:27:46,399
Speaker 1: to see I'm such a fan. I don't care. I

561
00:27:46,400 --> 00:27:49,760
Speaker 1: don't care about you on your record. I'm not in

562
00:27:49,880 --> 00:27:54,080
Speaker 1: hip hop as as look, I'm not scarface, I'm not nice.

563
00:27:54,280 --> 00:27:57,679
Speaker 1: But for Scarface, Bumpy Knuckle and Koujie Rap to tell me, yo,

564
00:27:57,760 --> 00:28:02,000
Speaker 1: d you're the best. You cut the head off the devil,

565
00:28:02,040 --> 00:28:04,240
Speaker 1: and you can't rate it, you know what I'm saying.

566
00:28:04,280 --> 00:28:07,360
Speaker 1: For them to tell me that, so you can't you

567
00:28:07,440 --> 00:28:10,400
Speaker 1: can't rate it. So what run DMC did is this.

568
00:28:10,720 --> 00:28:11,520
Speaker 1: Let me calm down.

569
00:28:12,880 --> 00:28:17,320
Speaker 3: When you see this, doctor turn back to Bruce Bennett.

570
00:28:17,480 --> 00:28:21,800
Speaker 1: I get excited about I gave you what Run DMC.

571
00:28:22,000 --> 00:28:25,280
Speaker 1: We didn't create it. People go, we know hip hoplished

572
00:28:25,320 --> 00:28:28,080
Speaker 1: before you, but you'll created No. Run DMC is the

573
00:28:28,119 --> 00:28:31,920
Speaker 1: pioneers of recorded rap we took if you listen to Adidas,

574
00:28:32,080 --> 00:28:34,520
Speaker 1: we took the beat from the street. As it was,

575
00:28:35,400 --> 00:28:38,440
Speaker 1: everybody else was wearing tracksuits, everybody else was wearing Adidas,

576
00:28:38,520 --> 00:28:41,120
Speaker 1: everybody else was wearing Gazelle's. Everybody else was kangos getting

577
00:28:41,120 --> 00:28:43,560
Speaker 1: across sheepskins and up. We took the beat from the street.

578
00:28:43,600 --> 00:28:46,920
Speaker 1: We took the culture from the street because of mt TV.

579
00:28:47,040 --> 00:28:50,280
Speaker 1: We put it on TV for all a c That

580
00:28:50,520 --> 00:28:54,200
Speaker 1: was our pioneering role. That's what we did. But Mel

581
00:28:55,640 --> 00:28:59,160
Speaker 1: is just as dope as pun. Now, everybody would say,

582
00:28:59,200 --> 00:29:05,040
Speaker 1: eminem Andre three thousand, what about Bunny? Yeah, absolutely, Nobody

583
00:29:05,080 --> 00:29:07,120
Speaker 1: never puts him in the top five. This is gonna

584
00:29:07,120 --> 00:29:13,040
Speaker 1: blow your mind. In the top five from just from

585
00:29:13,640 --> 00:29:17,200
Speaker 1: Andre three thousand and Lauren Hill never had a rap verse.

586
00:29:17,760 --> 00:29:20,200
Speaker 1: And what I mean by that is Emmine fans, jay

587
00:29:20,320 --> 00:29:23,320
Speaker 1: Z fans, Run fans, everybody else can. UT's all right,

588
00:29:23,960 --> 00:29:26,600
Speaker 1: Lauryn Hill and Andre three thousand never got it all right.

589
00:29:27,040 --> 00:29:30,240
Speaker 1: Lauren Hill is in the top five of MC's And

590
00:29:30,280 --> 00:29:32,600
Speaker 1: if you don't believe me, just go listen to what's

591
00:29:32,600 --> 00:29:36,400
Speaker 1: out there available and tell me what dude is better

592
00:29:36,640 --> 00:29:38,400
Speaker 1: than her? Now, no, I can't.

593
00:29:38,440 --> 00:29:40,400
Speaker 3: She's though, I think the only thing they'll say about

594
00:29:40,400 --> 00:29:42,400
Speaker 3: Andrey and Lauren is they didn't I don't agree with

595
00:29:42,400 --> 00:29:44,320
Speaker 3: that with Andrey because he had the whole outcast catalog.

596
00:29:44,320 --> 00:29:46,160
Speaker 3: But with Lauren, say, she didn't give us enough.

597
00:29:46,800 --> 00:29:48,640
Speaker 1: Right, right, right? But no, all I'm saying is just

598
00:29:48,680 --> 00:29:51,360
Speaker 1: listening to what she did. I'm just saying that you

599
00:29:51,480 --> 00:29:55,360
Speaker 1: got tape from Harlem. You got tapes from Harlem World

600
00:29:55,400 --> 00:29:59,000
Speaker 1: with Spoony g coming into the Christmas Wrap convention with

601
00:29:59,080 --> 00:30:01,760
Speaker 1: every MC and New York. And he didn't come spit

602
00:30:01,880 --> 00:30:05,080
Speaker 1: no love rap stuff. He said, tis tis appreciate this

603
00:30:05,520 --> 00:30:07,960
Speaker 1: For some of you MC's are taking a risk trying

604
00:30:08,000 --> 00:30:11,040
Speaker 1: to take him a chair, but these guys had that thing.

605
00:30:11,400 --> 00:30:13,080
Speaker 1: So for me, when I came in, I knew I

606
00:30:13,120 --> 00:30:15,200
Speaker 1: wasn't the best. I know, I wasn't mal I know

607
00:30:15,320 --> 00:30:18,560
Speaker 1: I wasn't even running. But my thing was what was

608
00:30:18,600 --> 00:30:22,040
Speaker 1: Spider Man do? What would the Hope do? What with

609
00:30:22,200 --> 00:30:25,960
Speaker 1: the Thor? So my hope, My whole presence in hip

610
00:30:26,000 --> 00:30:29,640
Speaker 1: hop was Now that I'm doing comic books, people said,

611
00:30:29,800 --> 00:30:33,680
Speaker 1: I know why I like you now. Thor is the

612
00:30:33,720 --> 00:30:38,560
Speaker 1: son of Odin from Asgard, has a brother named Lolai,

613
00:30:39,120 --> 00:30:41,360
Speaker 1: and he has a hammer. I saw that, and I

614
00:30:41,360 --> 00:30:43,960
Speaker 1: saw a hip hop dude, my old man at DMC

615
00:30:44,160 --> 00:30:48,000
Speaker 1: can transform into the devastating my controller. My name is Daryl,

616
00:30:48,880 --> 00:30:52,320
Speaker 1: I'm from Hollis. My father's name is excuse me, Byford,

617
00:30:52,680 --> 00:30:55,320
Speaker 1: and I got a brother named Alfred, so I became

618
00:30:55,680 --> 00:30:59,640
Speaker 1: son of Byford, brother of al Banner's my mother and

619
00:30:59,720 --> 00:31:05,240
Speaker 1: run my palth it's McDaniels, not McDonald's. These rhymes are Darrel's,

620
00:31:05,240 --> 00:31:08,920
Speaker 1: those Burghers are Ronald's. I ran down my family tree,

621
00:31:09,040 --> 00:31:13,320
Speaker 1: so hip hop gave me away to be enthusiastic about

622
00:31:13,360 --> 00:31:16,320
Speaker 1: who I am at whatever points in my life. I

623
00:31:16,360 --> 00:31:16,800
Speaker 1: gotta ask.

624
00:31:16,840 --> 00:31:19,840
Speaker 2: So when run DMC takes off, right in the world

625
00:31:19,960 --> 00:31:21,800
Speaker 2: is looking at Run DMC. They're looking at these two

626
00:31:21,840 --> 00:31:23,720
Speaker 2: black brothers on every TV screen.

627
00:31:24,120 --> 00:31:27,480
Speaker 1: Brothers, brothers, did.

628
00:31:27,440 --> 00:31:30,440
Speaker 2: Y'all understand the impact and how was your mental during

629
00:31:30,440 --> 00:31:33,160
Speaker 2: that time because y'all were kids from Queen's from Hollis

630
00:31:33,480 --> 00:31:36,840
Speaker 2: than now all of a sudden, YO were in every household,

631
00:31:37,120 --> 00:31:37,760
Speaker 2: selling out.

632
00:31:37,680 --> 00:31:41,240
Speaker 1: Sholds and concerts, and it was the scariest thing ever.

633
00:31:42,240 --> 00:31:45,120
Speaker 1: It was the scariest thing ever. But we knew Jay

634
00:31:45,760 --> 00:31:47,760
Speaker 1: Jay was funny. Jay's thing was yo. We gotta watch

635
00:31:47,760 --> 00:31:49,200
Speaker 1: all to day. We gotta watch what we say. We

636
00:31:49,200 --> 00:31:52,080
Speaker 1: gotta watch what we do. Let's say I sniffed more

637
00:31:52,280 --> 00:31:55,160
Speaker 1: coke and the earth could put on the Earth running.

638
00:31:55,240 --> 00:31:58,360
Speaker 1: Jason smoked more weed. I drunk a case of Old

639
00:31:58,400 --> 00:32:02,400
Speaker 1: English today. But Yo, if they wearing glasses like Dan

640
00:32:02,480 --> 00:32:04,920
Speaker 1: wearing had some tractions like us and Adidas like us,

641
00:32:05,040 --> 00:32:06,720
Speaker 1: we can't be talking about you know what I'm saying.

642
00:32:06,760 --> 00:32:09,560
Speaker 1: We knew we had a big influence, so that's why

643
00:32:09,560 --> 00:32:12,040
Speaker 1: we was careful. So we had to figure out how

644
00:32:12,080 --> 00:32:18,160
Speaker 1: could we be the hardest thing ever without being disrespectful,

645
00:32:18,280 --> 00:32:21,400
Speaker 1: profane and still relate to these brothers and sisters in

646
00:32:21,440 --> 00:32:24,080
Speaker 1: the streets. That's why I came up. Most of our

647
00:32:24,120 --> 00:32:28,000
Speaker 1: records were rhyme routines. You know, col Crush had It's us.

648
00:32:28,400 --> 00:32:31,520
Speaker 1: You know, it's us, the Cold Crush. You know the

649
00:32:31,560 --> 00:32:33,680
Speaker 1: force some c's before they were to force some d's.

650
00:32:34,080 --> 00:32:38,680
Speaker 1: We are called. You put to be steal a melody.

651
00:32:38,760 --> 00:32:44,239
Speaker 1: Let's steal Let's steal all Anxion from from the New

652
00:32:44,320 --> 00:32:47,600
Speaker 1: Year's Thing. Oh, let's steal Let's steal Bob Dylan melody.

653
00:32:47,760 --> 00:32:49,800
Speaker 1: We would steal melodies and you would make it over

654
00:32:49,840 --> 00:32:52,160
Speaker 1: the hip hop beast. So when we got to that

655
00:32:52,240 --> 00:32:55,040
Speaker 1: point and everybody was saying, raps are fat, it's going

656
00:32:55,120 --> 00:32:57,720
Speaker 1: to be a commercial. And you know, all the singers

657
00:32:57,720 --> 00:33:01,160
Speaker 1: that hated us, not like the Ramones, not like lou Reed,

658
00:33:01,600 --> 00:33:03,640
Speaker 1: not like Share, they loved this. I remember when we

659
00:33:03,680 --> 00:33:06,560
Speaker 1: met Bond Joe, you guys are incredible. But the critics

660
00:33:06,600 --> 00:33:08,920
Speaker 1: in the journalists and a lot of so caught real

661
00:33:09,000 --> 00:33:11,400
Speaker 1: magicins hey this. So when I wrote It's tricky to

662
00:33:11,520 --> 00:33:13,120
Speaker 1: rock a rhyme, I'm trying to tell you know, it's

663
00:33:13,120 --> 00:33:15,640
Speaker 1: tricky to do. You this ain't easy. But to do

664
00:33:15,720 --> 00:33:19,040
Speaker 1: that and maintain that level in this business that you're

665
00:33:19,080 --> 00:33:21,600
Speaker 1: not accepting it. So for us, it was always a

666
00:33:21,640 --> 00:33:24,240
Speaker 1: thing where okay, let's sit down. The first thing we

667
00:33:24,320 --> 00:33:26,920
Speaker 1: have to do is when everybody's doing we're gonna do

668
00:33:27,040 --> 00:33:31,000
Speaker 1: something different. So when everybody was doing music, we broke

669
00:33:31,000 --> 00:33:33,480
Speaker 1: it down to sucking seas just beat. Everybody jumped to

670
00:33:33,480 --> 00:33:35,760
Speaker 1: the beats. When everybody jumped to the beats, this is

671
00:33:35,800 --> 00:33:37,600
Speaker 1: eighty four. When we put out the run ec hour,

672
00:33:37,760 --> 00:33:40,680
Speaker 1: let's put out rock box, Let's put some guitars on it.

673
00:33:40,680 --> 00:33:43,600
Speaker 1: It wasn't nothing knew why we didn't create rock rap,

674
00:33:43,600 --> 00:33:46,040
Speaker 1: you know, create a rap rock rap? Who heard Grand

675
00:33:46,080 --> 00:33:49,080
Speaker 1: Master Flash, Africa, Ban Botta, Graham, Wizard Theater and Charlie

676
00:33:49,160 --> 00:33:51,880
Speaker 1: Chase Because in the crates of every DJ from seventy

677
00:33:51,920 --> 00:33:56,000
Speaker 1: three to seventy nine was break, jazz, R and B

678
00:33:57,280 --> 00:34:01,480
Speaker 1: funk disco. When disco got thrown away. I remember I

679
00:34:01,480 --> 00:34:03,520
Speaker 1: was a kid. I woke up one day and ever

680
00:34:03,720 --> 00:34:06,240
Speaker 1: the whole world was going Disco sucks and it was

681
00:34:06,280 --> 00:34:08,719
Speaker 1: an overnight there. But hip hop said that shit ain't God.

682
00:34:08,760 --> 00:34:10,799
Speaker 1: It does give it to us. But I realized in

683
00:34:10,840 --> 00:34:14,959
Speaker 1: the crates Rush, Tom Sawyer was always in there. Walk

684
00:34:15,040 --> 00:34:18,440
Speaker 1: this Way was in there. Me and ruders didn't know

685
00:34:18,560 --> 00:34:21,320
Speaker 1: it was called Walk to Sway Aerosmith. We just knew

686
00:34:21,520 --> 00:34:24,239
Speaker 1: get the album out with the toys and play number four,

687
00:34:24,640 --> 00:34:27,400
Speaker 1: so we knew that this is what may run DMC

688
00:34:27,560 --> 00:34:31,960
Speaker 1: so unique. We did what we was doing at twelve, thirteen, fourteen,

689
00:34:31,960 --> 00:34:35,279
Speaker 1: and fifteen on record. Now, let me say this, that's

690
00:34:35,320 --> 00:34:39,439
Speaker 1: because that's what meil. You know, everybody else was doing

691
00:34:39,440 --> 00:34:43,120
Speaker 1: before us when they got into showbis. The greatest hip

692
00:34:43,160 --> 00:34:46,360
Speaker 1: hoppers or so caught rappers in the history of rapping

693
00:34:47,000 --> 00:34:50,319
Speaker 1: is everybody before recorded rap. But for them when they

694
00:34:50,400 --> 00:34:53,920
Speaker 1: started making their records, the first rappers didn't have rappers

695
00:34:53,920 --> 00:34:57,719
Speaker 1: to look up to. Now the flyers were meiling them

696
00:34:57,719 --> 00:35:01,160
Speaker 1: with Sheepskins and Martinecks and God all my hats and Madiana.

697
00:35:01,239 --> 00:35:02,759
Speaker 1: You know what I'm saying. The only one out of

698
00:35:02,760 --> 00:35:05,440
Speaker 1: mely Meal that stayed that, the only one out of

699
00:35:05,440 --> 00:35:07,960
Speaker 1: the first five that was like me running Jay was Cowboy.

700
00:35:08,640 --> 00:35:11,719
Speaker 1: There's a couple of times Cowboy put on some little tassels,

701
00:35:11,719 --> 00:35:13,879
Speaker 1: but he didn't put on that other stuff when they

702
00:35:13,920 --> 00:35:16,400
Speaker 1: got into showbiz. When this hip hop thing that nobody

703
00:35:16,400 --> 00:35:18,839
Speaker 1: believed in gets to show biz, now number one, they're

704
00:35:18,920 --> 00:35:21,839
Speaker 1: changing their delivery, they're changing their presentation, They changed who

705
00:35:21,920 --> 00:35:24,160
Speaker 1: they really are to fit in. So when they get

706
00:35:24,200 --> 00:35:26,680
Speaker 1: into showbiz, they don't not have no rappers to look

707
00:35:26,719 --> 00:35:28,520
Speaker 1: up to because they're the first one. So if you

708
00:35:28,560 --> 00:35:31,600
Speaker 1: look at mal Africa, Bambada, if you look at Africa

709
00:35:31,640 --> 00:35:33,839
Speaker 1: Bamboda and the Zulu nation so solid for us, they

710
00:35:33,840 --> 00:35:37,440
Speaker 1: look like Parliament Funkadelic. If you look at Grandmass of Fashion,

711
00:35:37,480 --> 00:35:39,400
Speaker 1: the first five mode in all them, they look like

712
00:35:39,400 --> 00:35:41,520
Speaker 1: the sex Pistols, they look like the Rolling Stones, and

713
00:35:41,520 --> 00:35:43,839
Speaker 1: they looked like Rick James because they in show. I'm

714
00:35:43,840 --> 00:35:46,360
Speaker 1: talking about the showbiz arena. When me and Rome was

715
00:35:46,400 --> 00:35:49,400
Speaker 1: coming in, we was like, we didn't hip hop, didn't

716
00:35:49,440 --> 00:35:53,000
Speaker 1: let we hip the music business, didn't let hip hop

717
00:35:53,040 --> 00:35:55,360
Speaker 1: come in for me and Run. In Jay's perspective, we

718
00:35:55,480 --> 00:35:58,280
Speaker 1: bringing this hip hop shit to the music business because

719
00:35:58,320 --> 00:36:01,839
Speaker 1: nobody does it. So when we stopped, when Russell let me, oh,

720
00:36:01,920 --> 00:36:04,080
Speaker 1: circum season good, It's like the Russell's whole thing was

721
00:36:04,120 --> 00:36:06,560
Speaker 1: you'll need wardrobe, you'll need wardrobe you So me and

722
00:36:06,640 --> 00:36:08,520
Speaker 1: Ronman said, yeah, you're cool, but we ain't wearing that shit.

723
00:36:09,760 --> 00:36:11,759
Speaker 1: Who y'all want to dress like the drug dealers or no,

724
00:36:11,920 --> 00:36:14,799
Speaker 1: we want to dress like jam Master j and DJ Hurricane. Okay,

725
00:36:14,880 --> 00:36:17,399
Speaker 1: let's talk about Andrew Jackson High School, ninth grade, tenth grade,

726
00:36:17,400 --> 00:36:19,680
Speaker 1: and eleventh grade the way run DMC. Look, that's how

727
00:36:19,760 --> 00:36:22,360
Speaker 1: jam Master Jay and Hurricane was going to school, the

728
00:36:22,400 --> 00:36:26,239
Speaker 1: Black Godfather. Yes, well, what that happened was there's a

729
00:36:26,320 --> 00:36:28,120
Speaker 1: couple of there's this picture of me and Run at

730
00:36:28,120 --> 00:36:31,040
Speaker 1: the Fever. We all over the place, no coordination. Matter

731
00:36:31,080 --> 00:36:33,560
Speaker 1: of fact, in my early first shows, I'm wearing pullmans.

732
00:36:33,920 --> 00:36:35,799
Speaker 1: You're just didn't see my feet run out on the data.

733
00:36:35,840 --> 00:36:38,160
Speaker 1: Is I I got. I had on black blue Pullmans

734
00:36:38,200 --> 00:36:40,520
Speaker 1: with the white strike. But this is what happened. We

735
00:36:40,560 --> 00:36:42,879
Speaker 1: get a gig at the Disco Fever. The first time

736
00:36:42,880 --> 00:36:44,879
Speaker 1: that we were supposed to play the Fever, we pull

737
00:36:44,960 --> 00:36:46,680
Speaker 1: up the Jay House. We didn't know about this thing

738
00:36:46,760 --> 00:36:49,160
Speaker 1: called soundcheck, so we had to be at the Fever

739
00:36:49,320 --> 00:36:52,560
Speaker 1: six thirty for soundcheck. Jay went to Jamake Avenue to

740
00:36:52,560 --> 00:36:55,879
Speaker 1: get fly, so he missed the first show that run DMC,

741
00:36:56,040 --> 00:36:59,719
Speaker 1: head of the Fever, DJ star Child, legendary DJ star

742
00:36:59,800 --> 00:37:02,799
Speaker 1: Child job. He dj' for us. He DJ is like

743
00:37:02,880 --> 00:37:05,040
Speaker 1: the circum Seeds. But the next time that we played

744
00:37:05,040 --> 00:37:07,800
Speaker 1: the Fever, because after the Fever saw us, they know

745
00:37:07,880 --> 00:37:10,200
Speaker 1: who run DMC was, but they didn't know. You know, yeah,

746
00:37:10,280 --> 00:37:12,759
Speaker 1: I'm familiar with this DJ rung guy. So when we

747
00:37:12,800 --> 00:37:17,880
Speaker 1: took to stage the Fever did this. Imagine the Fever's

748
00:37:17,920 --> 00:37:22,120
Speaker 1: this sal Albaatello entry, ladies and gentlemen straight out of Queens.

749
00:37:22,200 --> 00:37:24,800
Speaker 1: Run DMC and it's the Fever. Music is playing and stuff.

750
00:37:24,840 --> 00:37:27,320
Speaker 1: DJ Junebug at the Beano. When we took to stage,

751
00:37:27,360 --> 00:37:30,239
Speaker 1: you can't hear to turn the blen and you heard this,

752
00:37:32,080 --> 00:37:34,520
Speaker 1: But then when that shit said boom tet t t

753
00:37:34,520 --> 00:37:38,000
Speaker 1: t tet oh. That's who they are. So the fevers

754
00:37:38,000 --> 00:37:40,160
Speaker 1: brought us back. This is how we found our look,

755
00:37:40,200 --> 00:37:42,800
Speaker 1: our style and us sound. Because if you listen to

756
00:37:42,840 --> 00:37:45,919
Speaker 1: Sucking Seas, run doesn't say j cut the record down

757
00:37:45,960 --> 00:37:49,359
Speaker 1: to the bone. He says Dave cut legendary DJ dav

758
00:37:49,600 --> 00:37:53,560
Speaker 1: D Curtis blows DJ who had more records than Africa Bambara.

759
00:37:53,640 --> 00:37:56,840
Speaker 1: It's debatable. So we pull up to Jay's house for

760
00:37:56,960 --> 00:37:59,560
Speaker 1: sound checking the fever. James, I A'm missing this one.

761
00:37:59,800 --> 00:38:03,360
Speaker 1: We beat the horn. Jay comes out on his steps.

762
00:38:03,960 --> 00:38:06,680
Speaker 1: He steps out the door. He got the black Adida

763
00:38:06,760 --> 00:38:11,440
Speaker 1: jacket with the white stripes on. He got some black

764
00:38:12,040 --> 00:38:15,080
Speaker 1: Lee's remember the flavor get on black leaves, held on

765
00:38:15,200 --> 00:38:18,520
Speaker 1: brand new white Adidas with the blue stripe no lasers,

766
00:38:18,560 --> 00:38:21,960
Speaker 1: and lasers was around his neck so his his tongues

767
00:38:21,960 --> 00:38:25,080
Speaker 1: were sticking up, sticking up like tombstones. And he got

768
00:38:25,120 --> 00:38:28,840
Speaker 1: the JVC four speaker box on. He got a little

769
00:38:28,880 --> 00:38:31,880
Speaker 1: gold chain on, and he got the Godfather hat. He

770
00:38:32,000 --> 00:38:35,440
Speaker 1: steps out onto his step. Larry Smith our producer's goals.

771
00:38:35,560 --> 00:38:38,839
Speaker 1: He goes to otter yo, that's shit all we finished it,

772
00:38:39,080 --> 00:38:42,399
Speaker 1: finished the form. That's our outfit. So when we put

773
00:38:42,440 --> 00:38:43,880
Speaker 1: Jay in the group, it's me and Run made the

774
00:38:43,920 --> 00:38:46,560
Speaker 1: record first. And when the records started getting hot, Russell Bulls,

775
00:38:46,640 --> 00:38:48,680
Speaker 1: you got a DJ and runs a whole. I didn't

776
00:38:48,719 --> 00:38:51,080
Speaker 1: think about that part. Jay was the best DJ in Hollis.

777
00:38:51,160 --> 00:38:54,879
Speaker 1: So Jay gave us our look. And what was about

778
00:38:54,880 --> 00:38:57,279
Speaker 1: putting Jade on. He's a member of the Hollis crew.

779
00:38:57,640 --> 00:39:00,640
Speaker 1: So now we can go into all other roles. We

780
00:39:00,640 --> 00:39:03,000
Speaker 1: can go into Connecticut, and we could go into Jersey

781
00:39:03,040 --> 00:39:05,360
Speaker 1: and the stick up kids can't mess with us because

782
00:39:05,360 --> 00:39:07,480
Speaker 1: his college crew is our backing.

783
00:39:07,640 --> 00:39:10,359
Speaker 3: Now, listen, DMC is here because there's a new three

784
00:39:10,400 --> 00:39:14,200
Speaker 3: part documentaries on Peacock Kings from Queens, the Run DMC story.

785
00:39:14,800 --> 00:39:16,560
Speaker 3: So even though we get in all of this now,

786
00:39:16,600 --> 00:39:18,400
Speaker 3: I still want you all to go watch it on Peacock.

787
00:39:18,760 --> 00:39:20,160
Speaker 1: But while we're here, just.

788
00:39:20,320 --> 00:39:23,120
Speaker 3: In depth on the Peacocks, very in depth, just for

789
00:39:23,239 --> 00:39:25,240
Speaker 3: radio purposes, I want to ask you has Run DMC

790
00:39:25,440 --> 00:39:28,520
Speaker 3: felt like Run DMC since the passing a damn message?

791
00:39:28,840 --> 00:39:33,480
Speaker 1: No, not at all, not at all. People always say, oh,

792
00:39:33,480 --> 00:39:36,319
Speaker 1: it could be an album and the tour and my joke,

793
00:39:36,400 --> 00:39:37,839
Speaker 1: but they get it. This only way you could shut

794
00:39:37,880 --> 00:39:40,560
Speaker 1: people up, Run DMC will tour when the Beatles get

795
00:39:40,560 --> 00:39:50,160
Speaker 1: back together. You know what I'm saying, It can't happen now.

796
00:39:50,400 --> 00:39:54,000
Speaker 1: When we do show up, it's not Run DMC, it's

797
00:39:54,040 --> 00:39:57,120
Speaker 1: Reverend Running King DMC, the two members who used to

798
00:39:57,120 --> 00:40:01,200
Speaker 1: be in that band Jay. It can't Run DMC don't

799
00:40:01,200 --> 00:40:03,560
Speaker 1: exist without Jay. You know what I'm saying. If you

800
00:40:03,600 --> 00:40:05,759
Speaker 1: want to know who Run DMC is, go back and

801
00:40:05,760 --> 00:40:07,799
Speaker 1: look at all the videos. Listen to the red that's

802
00:40:07,880 --> 00:40:10,520
Speaker 1: Run DMC, me and Run of the two surviving members

803
00:40:10,600 --> 00:40:12,799
Speaker 1: of that band.

804
00:40:12,200 --> 00:40:15,880
Speaker 3: And it's the same in this generation with the Migos,

805
00:40:15,880 --> 00:40:18,479
Speaker 3: God Bless take off like you can't.

806
00:40:19,760 --> 00:40:21,960
Speaker 1: Yeah, even if you make the record is something weird.

807
00:40:22,000 --> 00:40:23,839
Speaker 1: And the only way that Run MC could co exist

808
00:40:23,880 --> 00:40:26,759
Speaker 1: as a group is a brilliant thing. And you know

809
00:40:26,760 --> 00:40:28,799
Speaker 1: it's fifty years of hip hop. Where can we go now?

810
00:40:29,040 --> 00:40:31,919
Speaker 1: So for Run DMC to exist, for me and Run

811
00:40:32,000 --> 00:40:35,960
Speaker 1: to exist or artistically and creatively, we would have to

812
00:40:36,120 --> 00:40:39,080
Speaker 1: reform a new band. If you look at David Grow,

813
00:40:39,280 --> 00:40:42,160
Speaker 1: look look what the rockds do. Paul McCartney left the Beatles.

814
00:40:42,160 --> 00:40:45,200
Speaker 1: He didn't try to keep the The Beatles legacy is untouchable,

815
00:40:45,239 --> 00:40:47,560
Speaker 1: like Run DMC. But when Paul went sol, he start

816
00:40:47,600 --> 00:40:50,680
Speaker 1: Paul McCartney and ring like I got a band. Now

817
00:40:50,880 --> 00:40:53,600
Speaker 1: I do all my catalog live live drumming guitars. It's

818
00:40:53,640 --> 00:40:56,320
Speaker 1: called DMC and the Hell Racers to give homage to

819
00:40:56,400 --> 00:40:59,760
Speaker 1: Raising Hell. So if you look at Soundbard and Audio,

820
00:41:00,320 --> 00:41:02,400
Speaker 1: they all Marph. You know what I'm saying. So hopefully

821
00:41:02,480 --> 00:41:04,319
Speaker 1: hip hop will get to that. Will can we go? Now?

822
00:41:04,600 --> 00:41:07,040
Speaker 1: Now we have to figure out how once you get

823
00:41:07,080 --> 00:41:09,480
Speaker 1: into the stadiums, you got to figure out how do

824
00:41:09,520 --> 00:41:12,640
Speaker 1: you keep the legacy going if you're still a cohesive man,

825
00:41:12,920 --> 00:41:14,680
Speaker 1: or how do you continue on When you look at

826
00:41:15,040 --> 00:41:18,080
Speaker 1: people that used to play for Crusby still young and Nash,

827
00:41:18,120 --> 00:41:21,120
Speaker 1: when you look at when you look at Pink Floyd,

828
00:41:21,520 --> 00:41:23,680
Speaker 1: the two dudes from the band, they do their own things.

829
00:41:23,719 --> 00:41:25,440
Speaker 1: Maybe once in a while they'll show up. So if

830
00:41:25,480 --> 00:41:28,120
Speaker 1: you see me and run you singing, oh shoot, Paul

831
00:41:28,160 --> 00:41:31,239
Speaker 1: McCartney played with Ringo last night, so they answer your question.

832
00:41:31,320 --> 00:41:33,600
Speaker 1: Charlotte may know, it's no run DMC without jam. That's

833
00:41:33,600 --> 00:41:37,840
Speaker 1: a jay because every record is run DMC and jam.

834
00:41:37,840 --> 00:41:40,880
Speaker 1: That's the jam. That's a j And And the funny

835
00:41:40,920 --> 00:41:43,399
Speaker 1: joke is when we first started out. People thought we

836
00:41:43,400 --> 00:41:46,080
Speaker 1: was an R and B group, and now check this out.

837
00:41:46,120 --> 00:41:48,120
Speaker 1: When we first came out, we was playing a fever.

838
00:41:48,200 --> 00:41:49,920
Speaker 1: We was playing all the roller skating rings, and he

839
00:41:50,000 --> 00:41:52,040
Speaker 1: was playing all the clubs. But on the on the

840
00:41:52,200 --> 00:41:56,200
Speaker 1: on the national scene, we was opening up for Lou Reed.

841
00:41:56,800 --> 00:41:59,319
Speaker 1: We's opening up for Z's Top, We's opening up for

842
00:41:59,400 --> 00:42:02,239
Speaker 1: Marvin Gate. We was opening up for Parliam and Funkindelik

843
00:42:02,560 --> 00:42:04,400
Speaker 1: and I remember this era, we was opening up for

844
00:42:04,440 --> 00:42:08,560
Speaker 1: the Gap Band comfunction in the Barcades. Here's a funny story.

845
00:42:08,960 --> 00:42:10,520
Speaker 1: I don't know if I told this in the duct,

846
00:42:10,520 --> 00:42:12,719
Speaker 1: but the funny story was we was opening that for

847
00:42:12,840 --> 00:42:15,879
Speaker 1: the Gap Band, you know, Charlie and all of them,

848
00:42:15,920 --> 00:42:18,040
Speaker 1: right right, So he's opening that. We had twenty minutes,

849
00:42:18,680 --> 00:42:21,360
Speaker 1: so we would go out there for twenty minutes and

850
00:42:21,440 --> 00:42:25,080
Speaker 1: bus ass like crazy. We would leave. They would be dog,

851
00:42:25,120 --> 00:42:26,600
Speaker 1: don't leave, then come back for it. In the Gap Band,

852
00:42:26,640 --> 00:42:28,560
Speaker 1: we'll go out to play. So we own a tour.

853
00:42:28,640 --> 00:42:31,760
Speaker 1: In the beginning of the tour, the whole Gap band,

854
00:42:31,880 --> 00:42:35,359
Speaker 1: the whole staff, the whole management, everybody that was part

855
00:42:35,360 --> 00:42:38,880
Speaker 1: of the whole tour. Hey we we love you rap guys.

856
00:42:39,040 --> 00:42:41,120
Speaker 1: And there was It was kind of like this, Oh

857
00:42:41,160 --> 00:42:43,440
Speaker 1: we loved you, run DNJ, because you're not gonna be

858
00:42:43,520 --> 00:42:46,160
Speaker 1: here in two years. This rap shit is gonna die whatever.

859
00:42:46,280 --> 00:42:48,840
Speaker 1: So you have open access. Here's the hot food. You

860
00:42:48,920 --> 00:42:50,960
Speaker 1: don't have to just eat the craft table. You could

861
00:42:51,000 --> 00:42:53,000
Speaker 1: come in the green room, this and that. The bus

862
00:42:53,080 --> 00:42:55,480
Speaker 1: is over here, here's the real good showers and stuff

863
00:42:55,520 --> 00:42:58,319
Speaker 1: like that. All of a sudden, halfway through the tour

864
00:42:58,480 --> 00:43:00,560
Speaker 1: were starting. Now you can't go over in the this

865
00:43:00,719 --> 00:43:03,080
Speaker 1: is true. No y'all can't go over there. No, no, no,

866
00:43:03,120 --> 00:43:05,080
Speaker 1: y'all over here. They put us in the broom closet.

867
00:43:05,280 --> 00:43:07,200
Speaker 1: So one day and we're in the broom closet sitting

868
00:43:07,200 --> 00:43:09,279
Speaker 1: and me running Jay say, this is me running Jay,

869
00:43:09,800 --> 00:43:15,239
Speaker 1: the promoter and Charlie Wilson's manager, Charlie Wilson and the

870
00:43:15,280 --> 00:43:17,439
Speaker 1: other guy from the Gap band. It coming out dressing room.

871
00:43:17,520 --> 00:43:20,719
Speaker 1: So you're run. That's the MC. This is Jay, So

872
00:43:20,760 --> 00:43:23,799
Speaker 1: it's the promoter. Knock on the broom closet to a

873
00:43:23,800 --> 00:43:27,760
Speaker 1: boom boom. Can we speak to your guys? Okay, cool, promoter, manager,

874
00:43:28,120 --> 00:43:30,319
Speaker 1: Charlie Wilson, the other guy from the Gap band. We'd

875
00:43:30,360 --> 00:43:33,280
Speaker 1: like to talk to you about something Charlie Wilson run

876
00:43:33,480 --> 00:43:39,120
Speaker 1: DMCJ is standing like this to us. Wow, Charlie, it's

877
00:43:39,120 --> 00:43:42,480
Speaker 1: a fatal We loving every minute of it. Mad as

878
00:43:42,480 --> 00:43:46,000
Speaker 1: a fuck. Excuse me, guys for the rest of the tour.

879
00:43:46,360 --> 00:43:50,040
Speaker 1: We would like y'all to close the show you headline

880
00:43:50,040 --> 00:43:52,120
Speaker 1: of money or you like y'all to close the show?

881
00:43:52,360 --> 00:43:55,919
Speaker 1: Ain't that right? Yard, It's the funniest shit ever. He's like, yeah,

882
00:43:55,960 --> 00:43:59,680
Speaker 1: that's right. We was bought because we ain't had no instruments.

883
00:44:00,400 --> 00:44:03,120
Speaker 1: We had it, but nobody could flock with Jay come

884
00:44:03,120 --> 00:44:05,879
Speaker 1: out by itself of some turnative ladies. Gentlemen, I'm jam

885
00:44:05,920 --> 00:44:08,440
Speaker 1: as Jay run about now boom, don't you here call me,

886
00:44:08,560 --> 00:44:11,319
Speaker 1: I'll come out check the micro No, they couldn't mess

887
00:44:11,320 --> 00:44:14,399
Speaker 1: with us. So to ask me, did I see hip

888
00:44:14,440 --> 00:44:17,680
Speaker 1: hop doing this? No? Why? Because I was doing it

889
00:44:17,760 --> 00:44:21,719
Speaker 1: there and now you got the rest the capitalism herd

890
00:44:21,719 --> 00:44:29,040
Speaker 1: of help hip hop it helped it. It's people's attitudes

891
00:44:29,239 --> 00:44:32,040
Speaker 1: because what has happened when I hip hop Chean Lamagne,

892
00:44:32,680 --> 00:44:39,000
Speaker 1: we have forsaken our responsibility. When you walk to that microphone, Derrick,

893
00:44:39,120 --> 00:44:42,240
Speaker 1: I was doing this all day yesterday, this this, this,

894
00:44:42,239 --> 00:44:45,560
Speaker 1: this documentary is gonna let you know, nine to nine

895
00:44:45,600 --> 00:44:47,879
Speaker 1: point nine of the people say they hip hop ain't

896
00:44:47,920 --> 00:44:51,000
Speaker 1: hip hop. Now, don't get me wrong, capitalism did this.

897
00:44:51,840 --> 00:44:56,319
Speaker 1: I never thought that my culture that we brought to

898
00:44:56,400 --> 00:45:01,480
Speaker 1: the entertainment industry could get dilute, they polluted, and destroyed.

899
00:45:01,520 --> 00:45:05,560
Speaker 1: But now I realize, from reading and studying how things

900
00:45:06,000 --> 00:45:09,160
Speaker 1: go over the generations, and even from my own situation,

901
00:45:09,680 --> 00:45:13,200
Speaker 1: anything that's sacred and holy to a culture or a

902
00:45:13,200 --> 00:45:16,160
Speaker 1: group of people would get diluted, polluted, and destroyed once

903
00:45:16,160 --> 00:45:19,640
Speaker 1: it's commercialized. Now that's a good thing. But what has

904
00:45:20,040 --> 00:45:23,560
Speaker 1: happened now is I never thought. Now, don't get me wrong,

905
00:45:23,600 --> 00:45:27,160
Speaker 1: goat understand what I'm saying. Aim When you look at music,

906
00:45:27,880 --> 00:45:32,360
Speaker 1: Let's say Sheryl Crow, for instance, who's huge, sells a stadium,

907
00:45:32,400 --> 00:45:36,239
Speaker 1: sells records in that or she she don't even need electronics.

908
00:45:36,280 --> 00:45:38,920
Speaker 1: All she need is an acoustic guitar and she could

909
00:45:38,960 --> 00:45:41,120
Speaker 1: perform in front of ten people of ten thousand people.

910
00:45:41,719 --> 00:45:45,520
Speaker 1: Britney Spears, on the other hand, love her, love great artists,

911
00:45:45,520 --> 00:45:47,160
Speaker 1: but she needs a writing, she needs a quiry and

912
00:45:47,320 --> 00:45:49,600
Speaker 1: this and that that. I never thought hip hop would

913
00:45:49,600 --> 00:45:52,840
Speaker 1: have that. So what capitalism has done is the money

914
00:45:52,840 --> 00:45:56,960
Speaker 1: has come in and you can tell me this is

915
00:45:57,000 --> 00:45:59,239
Speaker 1: what's going on. There are artists who are in the

916
00:45:59,320 --> 00:46:04,120
Speaker 1: recording business that hip hop is now in recording raps

917
00:46:04,239 --> 00:46:08,200
Speaker 1: over music for the purpose of success in the music industry.

918
00:46:08,840 --> 00:46:15,560
Speaker 1: That's not hip hop. As Tretch in KG, hip hop

919
00:46:15,719 --> 00:46:19,080
Speaker 1: is you gotta have a DJ turntables mix it. The

920
00:46:19,200 --> 00:46:23,279
Speaker 1: DJ's part of the whole Creazio MC's you making that

921
00:46:23,400 --> 00:46:27,280
Speaker 1: on records. So now you got people rapping over music,

922
00:46:27,640 --> 00:46:31,080
Speaker 1: selling records. That's not hip hop. For whatever your opinion

923
00:46:31,520 --> 00:46:33,480
Speaker 1: about it. I relate to mumble rap because they said

924
00:46:33,480 --> 00:46:35,200
Speaker 1: I was mumblem but I just showed them I don't

925
00:46:35,320 --> 00:46:39,920
Speaker 1: mumble only nobody's doing that right now. But whatever your

926
00:46:40,000 --> 00:46:44,120
Speaker 1: opinion of this is, people are doing what they're gonna

927
00:46:44,160 --> 00:46:47,680
Speaker 1: do to survive in the music business. That's cool. But

928
00:46:47,880 --> 00:46:51,680
Speaker 1: Eric Sermon has been saying this for the last twenty years.

929
00:46:52,040 --> 00:46:55,400
Speaker 1: No disrespect to all of these great artists, but don't

930
00:46:55,440 --> 00:46:59,239
Speaker 1: call that shit hip hop. What the music business has

931
00:46:59,360 --> 00:47:09,600
Speaker 1: done to sell ignorance, disrespect, degrading, low grading, asinine, comp concepts, images,

932
00:47:10,120 --> 00:47:14,520
Speaker 1: and content is they'll take a piece of shit, label

933
00:47:14,560 --> 00:47:16,880
Speaker 1: it hip hop just to sell it. That's what's happening.

934
00:47:17,160 --> 00:47:19,640
Speaker 1: Eric Sherman, he said this. They should have called it

935
00:47:19,680 --> 00:47:22,680
Speaker 1: something else. It should have been a different name, because

936
00:47:22,840 --> 00:47:25,520
Speaker 1: these artists ain't doing what mal Or rock Him's doing.

937
00:47:25,600 --> 00:47:27,600
Speaker 1: I'm taking me out of depicsion. I'm talking about people

938
00:47:27,600 --> 00:47:29,319
Speaker 1: that I looked, that came after me, that I look

939
00:47:29,360 --> 00:47:35,560
Speaker 1: up to. So the capitalism didn't hurt anything. It's the

940
00:47:35,640 --> 00:47:39,000
Speaker 1: attitude of the people because of the success. Now, don't

941
00:47:39,000 --> 00:47:41,320
Speaker 1: get me wrong. The proof is in the pudding. You

942
00:47:41,400 --> 00:47:42,960
Speaker 1: got artists that will in your face and say, I

943
00:47:43,000 --> 00:47:44,680
Speaker 1: don't do this for the coach. You're doing for the money.

944
00:47:44,800 --> 00:47:48,200
Speaker 1: That's cool. It's no different matter. Yeah, yeah, and that's cool.

945
00:47:48,280 --> 00:47:50,880
Speaker 1: That's cool. So my thing is this fifty years of

946
00:47:50,960 --> 00:47:53,120
Speaker 1: hip hop. What we have to do as a community

947
00:47:53,160 --> 00:47:57,960
Speaker 1: of people globally is put shit in perspective and take

948
00:47:58,000 --> 00:48:00,480
Speaker 1: back our hip hop and place it where it's supposed

949
00:48:00,520 --> 00:48:04,200
Speaker 1: to go represented as the way it's supported. There's nothing

950
00:48:04,239 --> 00:48:07,520
Speaker 1: wrong with you talking about your gun. This has nothing

951
00:48:07,520 --> 00:48:10,560
Speaker 1: to do with censorship and freedom of speech. You can

952
00:48:10,600 --> 00:48:13,680
Speaker 1: talk about whatever you want. But for me coming to

953
00:48:13,719 --> 00:48:16,760
Speaker 1: see what was going on before me, seeing run DMC

954
00:48:16,960 --> 00:48:19,680
Speaker 1: did and seeing what we inspired after that, here's the

955
00:48:19,760 --> 00:48:24,520
Speaker 1: mind blowing thing. When you look at this documentary, everybody

956
00:48:24,520 --> 00:48:28,719
Speaker 1: from ice Cube to Chuck the Public Enemy and everybody

957
00:48:28,760 --> 00:48:33,040
Speaker 1: in between. What's interviewed talking about Jermaine Duprix, Eminem very

958
00:48:33,040 --> 00:48:37,239
Speaker 1: diverse and stuff like that. Everybody who is interviewed for

959
00:48:37,280 --> 00:48:41,280
Speaker 1: this documentary about Run DMC. Who's talking about Run DMC.

960
00:48:42,520 --> 00:48:49,000
Speaker 1: Everybody sounds and looks different. All of them are top

961
00:48:49,480 --> 00:48:54,800
Speaker 1: tier artists, but not one artist sounds the same, raps

962
00:48:54,800 --> 00:48:58,839
Speaker 1: the same, or even uses the same music. So when

963
00:48:58,920 --> 00:49:02,080
Speaker 1: I look at that, I'm like, wow. So people are saying,

964
00:49:02,120 --> 00:49:04,640
Speaker 1: look at what your girl gave birth to. No, no, no, no,

965
00:49:05,280 --> 00:49:08,480
Speaker 1: I'm over here with them. We're looking at what everybody

966
00:49:08,520 --> 00:49:13,040
Speaker 1: before nineteen seventy nine, when when raps started selling records

967
00:49:13,040 --> 00:49:16,160
Speaker 1: gave birth to. So when I'm looking at this documentary,

968
00:49:16,520 --> 00:49:20,000
Speaker 1: I'm not looking at my accomplishments. I eard my accomplishments

969
00:49:20,040 --> 00:49:22,560
Speaker 1: from day one. Yo. That's sucking sea shit. Nobody talked

970
00:49:22,560 --> 00:49:24,839
Speaker 1: to ours about sem seas asking what's the greatest thing

971
00:49:24,840 --> 00:49:27,359
Speaker 1: that happened in the p oh that thing? But when

972
00:49:27,360 --> 00:49:29,680
Speaker 1: I'm looking at this, Run would always say this to

973
00:49:29,719 --> 00:49:31,640
Speaker 1: me and Jay before j passed away. Yo. You know

974
00:49:31,680 --> 00:49:35,280
Speaker 1: what's crazy, man. Everybody got the experience to run DMC

975
00:49:35,400 --> 00:49:39,840
Speaker 1: phenomena except us, because we don't more the ones doing it. Now,

976
00:49:39,920 --> 00:49:43,560
Speaker 1: I can look and know that I'm not better than

977
00:49:43,600 --> 00:49:46,279
Speaker 1: Ice Que, I'm not better than chucking this, and that

978
00:49:46,640 --> 00:49:48,680
Speaker 1: I am them, and what I mean by that. I

979
00:49:48,680 --> 00:49:51,280
Speaker 1: was telling people that that saw the doc already yesterday.

980
00:49:51,480 --> 00:49:54,279
Speaker 1: I said, take money MC out there crazing up this documentary,

981
00:49:56,400 --> 00:49:59,640
Speaker 1: Ice cue Eminem and all of them, take our names

982
00:49:59,680 --> 00:50:04,120
Speaker 1: and word it's out our recognition out their mouths. Every

983
00:50:04,239 --> 00:50:07,120
Speaker 1: artist sitting it was actually sitting there talking about themselves.

984
00:50:07,600 --> 00:50:10,520
Speaker 1: Everything run DMC did was never for run DMC, was

985
00:50:10,520 --> 00:50:11,200
Speaker 1: for our coach.

986
00:50:12,200 --> 00:50:14,799
Speaker 2: They got to go, They got another interview, but you

987
00:50:14,840 --> 00:50:16,759
Speaker 2: know you gotta come back because we gotta have a

988
00:50:16,800 --> 00:50:17,480
Speaker 2: long conversation.

989
00:50:17,560 --> 00:50:18,960
Speaker 1: I know you have to go. I'll come back with

990
00:50:19,040 --> 00:50:22,200
Speaker 1: more cookies, with more cookies. I just got to ask

991
00:50:22,239 --> 00:50:23,759
Speaker 1: you one more question. I know you said it drink

992
00:50:23,840 --> 00:50:24,640
Speaker 1: on Drink Champs.

993
00:50:24,920 --> 00:50:27,080
Speaker 2: Yes, was run DMC supposed to be in the call

994
00:50:27,120 --> 00:50:28,680
Speaker 2: with Tupac the ninety Yeah, well.

995
00:50:28,640 --> 00:50:33,360
Speaker 1: Yeah, so many people, so many people was like, yo, dude,

996
00:50:34,000 --> 00:50:36,879
Speaker 1: here's what happened. We get a call from Sugar Night

997
00:50:37,440 --> 00:50:40,080
Speaker 1: they wanted us run DMC to perform at the app

998
00:50:40,160 --> 00:50:43,480
Speaker 1: What was the name of the club in Vegas, the

999
00:50:43,560 --> 00:50:50,000
Speaker 1: six club that they own, the Sugar, Yes in Vegas

1000
00:50:50,080 --> 00:50:52,280
Speaker 1: or we get a call. This is when the LECSA

1001
00:50:52,560 --> 00:50:55,680
Speaker 1: first opened, when it was fly was what Sug's putting up.

1002
00:50:55,760 --> 00:51:00,080
Speaker 1: So we come into Vegas and Sugar add So he

1003
00:51:00,160 --> 00:51:03,440
Speaker 1: goes on. Shug comes in with one hundred people into

1004
00:51:03,480 --> 00:51:05,000
Speaker 1: the lobby to lets her to make sure that we

1005
00:51:05,040 --> 00:51:07,440
Speaker 1: are So we get in our room, say that evening.

1006
00:51:07,680 --> 00:51:11,160
Speaker 1: Shug calls, Damn Eric, he's been with me for the

1007
00:51:11,160 --> 00:51:14,840
Speaker 1: thirty year. Shug says, Yo, me and Pak are coming

1008
00:51:14,880 --> 00:51:18,160
Speaker 1: to get the guys. Pop wants y'all to ride with

1009
00:51:18,360 --> 00:51:21,600
Speaker 1: him to the show and to the after party. Now cool, Now,

1010
00:51:21,680 --> 00:51:23,640
Speaker 1: I've seen a lot of comics on it. That's what

1011
00:51:23,719 --> 00:51:25,839
Speaker 1: somebody else said. Now, maybe we'd have got the thing

1012
00:51:25,960 --> 00:51:28,359
Speaker 1: and we would have said no, we'll meet you other whatever,

1013
00:51:28,600 --> 00:51:32,160
Speaker 1: But that was the order because they were treating us

1014
00:51:32,200 --> 00:51:35,440
Speaker 1: like so much. When we got to La Poc, Shug

1015
00:51:35,520 --> 00:51:37,960
Speaker 1: and all of the Death Row they were looking at

1016
00:51:38,040 --> 00:51:40,399
Speaker 1: us like we were fucking gods and they wanted to

1017
00:51:40,440 --> 00:51:47,160
Speaker 1: impress us. So what happened was Eric calls, No, Shug

1018
00:51:47,239 --> 00:51:49,680
Speaker 1: calls to come pick us up. This is true story

1019
00:51:49,719 --> 00:51:53,279
Speaker 1: and this it's a beautiful jam mass to Jay's story. Sure,

1020
00:51:53,400 --> 00:51:56,239
Speaker 1: goes Eric, I'm coming to get the guys now. He

1021
00:51:56,440 --> 00:51:59,040
Speaker 1: caught early and said Pap wants you to cool. So

1022
00:51:59,360 --> 00:52:01,879
Speaker 1: he calls An says Eric, I'm coming to get the guys. Right.

1023
00:52:02,239 --> 00:52:05,520
Speaker 1: Eric gos Nah, Sug, Y'll go by yourselves. We'll meet

1024
00:52:05,560 --> 00:52:07,160
Speaker 1: y'all there later. We'll meet you all at the after

1025
00:52:07,200 --> 00:52:10,800
Speaker 1: party later. And Sug goes, why in the true story

1026
00:52:10,880 --> 00:52:14,080
Speaker 1: this you're gonna laugh? Eric goes, because jam Master Jay

1027
00:52:14,160 --> 00:52:17,600
Speaker 1: is getting dressed now. People want to hear this, and

1028
00:52:17,680 --> 00:52:20,680
Speaker 1: everybody that was close to Jay's police Yo, because Jay

1029
00:52:20,719 --> 00:52:24,600
Speaker 1: would do this, all of the flies flows in the world.

1030
00:52:25,200 --> 00:52:28,000
Speaker 1: Charlamagne with you. This was your job for the next

1031
00:52:28,080 --> 00:52:34,839
Speaker 1: three hours. What about That's what was going on. So

1032
00:52:34,880 --> 00:52:37,080
Speaker 1: that's why we didn't ride. At least we might have

1033
00:52:37,160 --> 00:52:39,359
Speaker 1: been in the car with the gunshots because pop pop.

1034
00:52:39,440 --> 00:52:41,799
Speaker 1: There was no way Jay and Park ain't ride into

1035
00:52:41,840 --> 00:52:44,560
Speaker 1: the after Jane was that dude, So maybe I mean

1036
00:52:44,680 --> 00:52:48,400
Speaker 1: run we something else. But Jay might have been in

1037
00:52:48,440 --> 00:52:50,040
Speaker 1: the car. Let me rephrase that what I said on

1038
00:52:50,160 --> 00:52:52,880
Speaker 1: dress j would have done. But the reason why and

1039
00:52:52,960 --> 00:52:56,600
Speaker 1: you can talk talk to Kane asking you. He told

1040
00:52:56,640 --> 00:52:59,080
Speaker 1: me the stories that Kane will say. Jay will keep

1041
00:52:59,120 --> 00:53:02,080
Speaker 1: you there for he will try on Gucci leather, this

1042
00:53:02,239 --> 00:53:05,279
Speaker 1: and that, sneakers shoe. Yo, that's why we didn't even

1043
00:53:05,320 --> 00:53:07,839
Speaker 1: get a car with Wow. So love I love you Jay.

1044
00:53:08,440 --> 00:53:09,960
Speaker 3: I know you gotta go, But do you feel like

1045
00:53:10,160 --> 00:53:11,880
Speaker 3: I feel like there's a whole era of hip hop,

1046
00:53:12,320 --> 00:53:14,920
Speaker 3: in particular the eighties era that isn't getting this just due,

1047
00:53:14,960 --> 00:53:17,960
Speaker 3: but it's actually earlier than that. So it feels like

1048
00:53:18,000 --> 00:53:22,000
Speaker 3: the origin story of hip hop isn't being told.

1049
00:53:22,040 --> 00:53:25,360
Speaker 1: I've never heard our problem right now, fifty years of

1050
00:53:25,440 --> 00:53:28,200
Speaker 1: hip hop, we just getting started. Yes, we prove we

1051
00:53:28,200 --> 00:53:32,759
Speaker 1: could sell records. There are so many stories that we

1052
00:53:32,880 --> 00:53:36,840
Speaker 1: need to be telling now that can change our communities,

1053
00:53:37,120 --> 00:53:40,399
Speaker 1: our representation in all of these places of business. Check

1054
00:53:40,440 --> 00:53:44,600
Speaker 1: it out in four years. There are so many stories.

1055
00:53:45,000 --> 00:53:48,160
Speaker 1: What if y'all want to know something forget run the

1056
00:53:48,280 --> 00:53:52,040
Speaker 1: MC's documentary. I don't care about that. Go get La

1057
00:53:52,239 --> 00:53:57,880
Speaker 1: Sunshine's book. Go get La Sunshine's book. From the Trench, Charlemagne,

1058
00:53:57,920 --> 00:54:00,239
Speaker 1: you hit it right on the head. Now we need

1059
00:54:00,280 --> 00:54:02,800
Speaker 1: to have more stories in Hollywood to tell and here's

1060
00:54:02,800 --> 00:54:06,000
Speaker 1: the fun thing that run DMC documentary's gonna show. We

1061
00:54:06,080 --> 00:54:10,280
Speaker 1: still ain't touched the pinnacle musically. We still ain't touched

1062
00:54:10,280 --> 00:54:13,400
Speaker 1: the Pinnacle music. All of these artists now, excuse me,

1063
00:54:13,719 --> 00:54:16,520
Speaker 1: all of these artists now young and old. Now's the

1064
00:54:16,560 --> 00:54:19,960
Speaker 1: time to start having the Wall and Sergeant Pepper and

1065
00:54:20,080 --> 00:54:21,960
Speaker 1: Dark Side of the Moon I'm talking about. That's where

1066
00:54:21,960 --> 00:54:24,399
Speaker 1: we're at right now. Right now, I am the Four

1067
00:54:24,480 --> 00:54:26,759
Speaker 1: Tops of my generation, like the Four Tops and the

1068
00:54:26,840 --> 00:54:29,400
Speaker 1: temptations with my mother and father, didn't race it. And

1069
00:54:29,440 --> 00:54:31,719
Speaker 1: another thing, just to let your young people out there know,

1070
00:54:32,200 --> 00:54:35,960
Speaker 1: do not get it twisted as well about me Chuck

1071
00:54:36,040 --> 00:54:38,800
Speaker 1: d Big Daddy Kane and a couple of others. I

1072
00:54:39,320 --> 00:54:41,560
Speaker 1: speak at high schools and elementary schools all the day

1073
00:54:41,640 --> 00:54:44,280
Speaker 1: and I tell kids this, don't you get it twisted.

1074
00:54:45,040 --> 00:54:52,240
Speaker 1: The more you do something, the more you tell kids

1075
00:54:52,320 --> 00:54:54,239
Speaker 1: when you get that video game that first day you

1076
00:54:54,280 --> 00:54:58,000
Speaker 1: hated my son threw his controller and broke the hundred

1077
00:54:58,040 --> 00:55:01,200
Speaker 1: thousand dollars TV set, you know, I mean, what's your problem?

1078
00:55:01,239 --> 00:55:03,560
Speaker 1: Give it some time. I tell the kids. By the

1079
00:55:03,640 --> 00:55:06,560
Speaker 1: end of the week, you getting high scores, you might

1080
00:55:06,600 --> 00:55:08,399
Speaker 1: not hear me on the radio them all. You might

1081
00:55:08,400 --> 00:55:10,480
Speaker 1: not see me on MTV. No, moll, you might not

1082
00:55:10,480 --> 00:55:12,600
Speaker 1: see me in social media too much. But I tore

1083
00:55:12,719 --> 00:55:15,840
Speaker 1: three hundred and sixty five days of all over the world.

1084
00:55:16,000 --> 00:55:17,719
Speaker 1: I was at high school me because I was a

1085
00:55:17,840 --> 00:55:21,040
Speaker 1: high school. This young dude trying to dish you'll run DMC, You,

1086
00:55:21,160 --> 00:55:24,640
Speaker 1: mister DMC, that old school stuff is over. You guys

1087
00:55:24,680 --> 00:55:29,359
Speaker 1: are over, and I said, thank you. Huh. The whole

1088
00:55:29,360 --> 00:55:31,640
Speaker 1: auditorium was like, what do you mean. I said, thank you.

1089
00:55:31,600 --> 00:55:33,719
Speaker 1: You're just speaking some more truth in than me. I'm

1090
00:55:33,719 --> 00:55:35,759
Speaker 1: gonna be so great. And he was like, he's trying

1091
00:55:35,760 --> 00:55:38,320
Speaker 1: to dis I said, yes, I just came over from

1092
00:55:38,400 --> 00:55:40,600
Speaker 1: England last week and I'm getting ready to go over

1093
00:55:40,680 --> 00:55:42,920
Speaker 1: to Singapore. You should have seen the high school thing.

1094
00:55:43,320 --> 00:55:45,320
Speaker 1: So what I'm trying to say is old I'm in

1095
00:55:45,400 --> 00:55:49,160
Speaker 1: with this old school. It's not a time period you

1096
00:55:49,239 --> 00:55:53,400
Speaker 1: just said it. It's not a time period, It's a consciousness.

1097
00:55:53,680 --> 00:55:56,280
Speaker 1: You want to know what old school is. Old school

1098
00:55:56,360 --> 00:55:59,560
Speaker 1: is an attitude. Old school is an attitude meaning you know,

1099
00:55:59,600 --> 00:56:01,640
Speaker 1: were gonna getting new. We got you as a DJ.

1100
00:56:02,520 --> 00:56:04,319
Speaker 1: The only thing the hard drive does is you don't

1101
00:56:04,360 --> 00:56:06,319
Speaker 1: have to carry that thousand records you want to play,

1102
00:56:06,320 --> 00:56:08,759
Speaker 1: that's right, But you still get to play the thousand records, right,

1103
00:56:08,800 --> 00:56:11,560
Speaker 1: you know what I'm saying. So we the old school

1104
00:56:11,560 --> 00:56:14,520
Speaker 1: guys have to embrace the change of everything, but you

1105
00:56:14,520 --> 00:56:16,120
Speaker 1: don't have to change who you are to fit in.

1106
00:56:16,320 --> 00:56:17,920
Speaker 1: You need to just show up and do what you

1107
00:56:17,960 --> 00:56:24,080
Speaker 1: gotta do. Some of the top selling tours is that's right,

1108
00:56:24,120 --> 00:56:27,640
Speaker 1: old jeezy rolling Stones, AC, DC, this and that, and

1109
00:56:27,719 --> 00:56:30,400
Speaker 1: they just out there doing that thing. And what happens

1110
00:56:30,440 --> 00:56:33,480
Speaker 1: with this new generation. I was in Cleveland performing at

1111
00:56:33,520 --> 00:56:35,800
Speaker 1: this event with all the older rappers and the DJ's

1112
00:56:35,800 --> 00:56:38,279
Speaker 1: playing all the new music. So I'm performing and I

1113
00:56:38,320 --> 00:56:41,919
Speaker 1: got thirty minutes, right, thirty minutes to prove I'm worthy. Right.

1114
00:56:42,200 --> 00:56:44,400
Speaker 1: So the whole time, the young crowd, you know, they

1115
00:56:44,520 --> 00:56:47,560
Speaker 1: eighteen to twenty two, they doing this my whole show,

1116
00:56:49,600 --> 00:56:51,480
Speaker 1: not moving once, So I don't care. I'm going to

1117
00:56:51,680 --> 00:56:54,840
Speaker 1: They doing this the whole show, about seventeen of the

1118
00:56:54,920 --> 00:56:59,280
Speaker 1: whole no movement at all. Finish cool, get on stage,

1119
00:56:59,360 --> 00:57:01,879
Speaker 1: come out with a dress to Who's waiting for me? Yo?

1120
00:57:02,040 --> 00:57:04,160
Speaker 1: My dad told me, man, but I never seen it.

1121
00:57:04,840 --> 00:57:06,880
Speaker 1: I never experienced it. And they tell me this, Yo,

1122
00:57:07,000 --> 00:57:10,200
Speaker 1: d I said, thank you. They said, yo, oh hey,

1123
00:57:10,560 --> 00:57:13,200
Speaker 1: you put it down harder than the youngins because they

1124
00:57:13,280 --> 00:57:16,200
Speaker 1: saying DMC at fifty five years old. But I'm acting

1125
00:57:16,280 --> 00:57:18,360
Speaker 1: like the twelve year old kid that was in his

1126
00:57:18,600 --> 00:57:21,520
Speaker 1: room writing around, trying to be like Flash in the

1127
00:57:21,520 --> 00:57:24,920
Speaker 1: first five That thing never changed. So to answer your question,

1128
00:57:25,800 --> 00:57:28,880
Speaker 1: capitalism didn't destroy nothing. We got a lot of people

1129
00:57:28,920 --> 00:57:31,440
Speaker 1: that we need to move from those places of position

1130
00:57:31,680 --> 00:57:33,919
Speaker 1: because I'm not get your money, but we don't need

1131
00:57:33,960 --> 00:57:35,640
Speaker 1: you on the front. You know what I'm saying. It's

1132
00:57:35,640 --> 00:57:38,680
Speaker 1: about an attitude. I remember keros One said one day, yeah,

1133
00:57:38,800 --> 00:57:41,040
Speaker 1: I want to check. Yes, you you're crazy. But then

1134
00:57:41,040 --> 00:57:43,520
Speaker 1: he said this. I said, wow, the teacher said this.

1135
00:57:43,760 --> 00:57:47,160
Speaker 1: He said, my first responsibility is that audience. So when

1136
00:57:47,200 --> 00:57:50,520
Speaker 1: you see this run DMC documentary, you're gonna see Durmain,

1137
00:57:50,680 --> 00:57:53,400
Speaker 1: You're gonna see m see Light, You're gonna see Eminem,

1138
00:57:53,840 --> 00:57:56,120
Speaker 1: You're gonna see Ice Cubes say this. Ice Cubes said,

1139
00:57:56,160 --> 00:57:58,000
Speaker 1: and I ain't gonna give it away now. February first,

1140
00:57:58,000 --> 00:58:01,160
Speaker 1: I DC story the docum series.

1141
00:58:01,440 --> 00:58:03,760
Speaker 2: Check it out Thursday, February first, on Peacock.

1142
00:58:04,160 --> 00:58:06,600
Speaker 1: And we appreciate you. We appreciate you, Thank you for

1143
00:58:06,640 --> 00:58:09,560
Speaker 1: having me here. I saw you'll have Grandmaster Flashes in

1144
00:58:09,560 --> 00:58:13,320
Speaker 1: the building. See y'all are hip hop. Y'all a hip hop.

1145
00:58:13,320 --> 00:58:15,720
Speaker 1: The other people is just radio stations. Y'all a hip hop.

1146
00:58:16,040 --> 00:58:21,120
Speaker 1: Your being appreciate while you're doing everything else. Appreciate that up, man.

1147
00:58:21,160 --> 00:58:24,600
Speaker 1: It's the Breakfast Club. It's DMC. Wake that ass up

1148
00:58:25,160 --> 00:58:26,880
Speaker 1: in the morning. The Breakfast Club.