1 00:00:00,320 --> 00:00:03,920 Speaker 1: Taking a walk there has to be with or without knowing. 2 00:00:04,080 --> 00:00:08,400 Speaker 1: There are so many similarities that will that is the 3 00:00:08,520 --> 00:00:13,480 Speaker 1: reason why the collaboration is happening in the first place. 4 00:00:13,960 --> 00:00:18,280 Speaker 1: It was meant to be. It was predestined so that 5 00:00:18,480 --> 00:00:24,320 Speaker 1: I think that is the special, unique, characteristic catalyst of 6 00:00:24,440 --> 00:00:31,440 Speaker 1: making a collaboration something that will be authentic and effective. 7 00:00:31,560 --> 00:00:35,880 Speaker 2: Welcome to another exciting episode of Taking a Walk Music 8 00:00:36,000 --> 00:00:39,520 Speaker 2: History on foot. Today, we're thrilled to have a true 9 00:00:39,560 --> 00:00:43,960 Speaker 2: hip hop legend joining us, Darryl dmc McDaniels of the 10 00:00:44,000 --> 00:00:48,440 Speaker 2: groundbreaking group Run DMC. Daryl McDaniels is not just a 11 00:00:48,479 --> 00:00:50,960 Speaker 2: founding member of one of the most influential hip hop 12 00:00:51,000 --> 00:00:54,840 Speaker 2: groups of all time, he's also a multifaceted artist whose 13 00:00:54,880 --> 00:00:58,760 Speaker 2: impact extends far beyond music. From his humble beginnings in 14 00:00:58,840 --> 00:01:02,440 Speaker 2: Hollis Queen's to becoming a pioneer who helped bring hip 15 00:01:02,480 --> 00:01:07,240 Speaker 2: hop to the mainstream, DMC's journey is an inspiring and 16 00:01:07,440 --> 00:01:11,080 Speaker 2: fascinating one. In this episode Buzz, we'll talk with Darryl 17 00:01:11,120 --> 00:01:15,080 Speaker 2: about his remarkable career, including Run DMC's rise to fame, 18 00:01:15,560 --> 00:01:19,440 Speaker 2: their groundbreaking collaborations, and their induction into the rock and 19 00:01:19,560 --> 00:01:23,640 Speaker 2: roll hall of Fame. Here's buzz Night with dmc on 20 00:01:23,920 --> 00:01:24,720 Speaker 2: taking a walk. 21 00:01:26,560 --> 00:01:30,279 Speaker 3: D thanks for taking a walk here. I love taking 22 00:01:30,319 --> 00:01:30,960 Speaker 3: a walk home. 23 00:01:31,040 --> 00:01:33,039 Speaker 1: I'm very good at walking this way. 24 00:01:34,040 --> 00:01:37,600 Speaker 3: I love that. So, if you were to take a 25 00:01:37,640 --> 00:01:42,800 Speaker 3: walk with someone living or dead in the world of music, 26 00:01:43,760 --> 00:01:46,479 Speaker 3: who would that be with and where would you take 27 00:01:46,520 --> 00:01:48,440 Speaker 3: that walk? Man? 28 00:01:48,560 --> 00:01:52,120 Speaker 1: If I was to take a walk with someone in music, 29 00:01:52,360 --> 00:01:56,680 Speaker 1: living or dead, who would it have to be? Probably 30 00:01:56,800 --> 00:02:01,360 Speaker 1: John Lennon off the Beatles, because one thing I liked 31 00:02:01,400 --> 00:02:05,560 Speaker 1: about John Lennon is outside of all the media and 32 00:02:05,600 --> 00:02:08,840 Speaker 1: the Beatles breaking up and stuff like that, he was 33 00:02:09,040 --> 00:02:14,720 Speaker 1: very He was very courageous. And the guy that sleeps 34 00:02:14,880 --> 00:02:18,000 Speaker 1: naked in the bed with his wife to protest the war, 35 00:02:19,120 --> 00:02:22,640 Speaker 1: that's somebody that I would like to get some advice from, 36 00:02:24,120 --> 00:02:27,200 Speaker 1: you know, Oh for sure. No, it's a huge statement. 37 00:02:27,240 --> 00:02:29,760 Speaker 1: It's a huge and it goes along with all the 38 00:02:29,919 --> 00:02:34,720 Speaker 1: artists you know that are these celebrities, but not from 39 00:02:34,800 --> 00:02:40,280 Speaker 1: a political or divisive or aggressive attacking standpoint to just 40 00:02:40,400 --> 00:02:43,520 Speaker 1: make songs about the issues from the dillingge, from the 41 00:02:43,560 --> 00:02:44,840 Speaker 1: fogarties and stuff like that. 42 00:02:45,080 --> 00:02:45,880 Speaker 3: But it would have to. 43 00:02:45,840 --> 00:02:50,160 Speaker 1: Be John Lennon, and it from the point of I 44 00:02:50,280 --> 00:02:53,280 Speaker 1: love what he did after he left the Beatles. 45 00:02:54,440 --> 00:02:57,400 Speaker 3: Where do you think maybe you guys would take your walk? 46 00:02:58,560 --> 00:03:01,440 Speaker 1: Me and John Lennon, we would probably walked through the 47 00:03:01,480 --> 00:03:05,920 Speaker 1: streets in New York City for sure. And you know, 48 00:03:06,480 --> 00:03:08,520 Speaker 1: and if we was to do that, it's crazy. If 49 00:03:08,560 --> 00:03:13,840 Speaker 1: he was still alive, imagine DMC and John Lennon just 50 00:03:14,000 --> 00:03:18,400 Speaker 1: walk down Houston or just walk down to do We 51 00:03:18,440 --> 00:03:20,120 Speaker 1: saw DMC and John Lennon. 52 00:03:19,919 --> 00:03:22,280 Speaker 3: In the village just walking and talking. 53 00:03:23,160 --> 00:03:23,320 Speaker 1: Now. 54 00:03:23,360 --> 00:03:27,239 Speaker 3: I have chills just kind of envisioning that. And I 55 00:03:27,320 --> 00:03:30,800 Speaker 3: think if that were to have happened, there would be 56 00:03:30,840 --> 00:03:34,120 Speaker 3: some collaboration that would occur with youtuo gents, do you 57 00:03:34,280 --> 00:03:35,840 Speaker 3: one hundred percent? For sure? 58 00:03:38,080 --> 00:03:42,800 Speaker 1: I would have definitely collaborated with John Lennon for sure. 59 00:03:43,320 --> 00:03:47,520 Speaker 3: Because you guys speak from the heart in a similar way, 60 00:03:47,920 --> 00:03:51,200 Speaker 3: and we both wear glasses. I still wear glasses. I 61 00:03:51,200 --> 00:03:54,440 Speaker 3: got contacts in. That would be crazy, me and John 62 00:03:54,520 --> 00:03:56,960 Speaker 3: Lynn and said, we're about to drop a record right now. 63 00:03:57,920 --> 00:03:59,920 Speaker 3: That's crazy, you know, it's so. 64 00:04:01,560 --> 00:04:05,920 Speaker 1: In another timeline, another dimension that's happening. Yeah, for sure. 65 00:04:07,080 --> 00:04:12,840 Speaker 3: So what for you is the most magical creative day possible? 66 00:04:13,160 --> 00:04:15,840 Speaker 3: As you sort of look at what you know it's 67 00:04:15,920 --> 00:04:17,080 Speaker 3: beautiful about life. 68 00:04:17,839 --> 00:04:23,919 Speaker 1: My most magical creative day is probably going to a 69 00:04:24,160 --> 00:04:30,000 Speaker 1: school and speaking of kids and telling them my story 70 00:04:30,640 --> 00:04:35,479 Speaker 1: and having them go, wow, my mind is totally blown. 71 00:04:35,600 --> 00:04:41,280 Speaker 1: Because it's not about selling records and making videos. That's 72 00:04:41,320 --> 00:04:46,200 Speaker 1: my most magical creating creative day because that's always new 73 00:04:46,279 --> 00:04:51,400 Speaker 1: to me. It's me connecting with the younger generation who 74 00:04:51,480 --> 00:04:54,880 Speaker 1: only knows me through their mothers and fathers. And I've 75 00:04:54,920 --> 00:04:57,880 Speaker 1: been around so long that grandmothers and grandfathers know me. 76 00:04:58,440 --> 00:05:01,120 Speaker 1: But it's amazing for me to go connect with them 77 00:05:01,360 --> 00:05:04,520 Speaker 1: because a lot of them don't know run DMC. But 78 00:05:04,760 --> 00:05:07,679 Speaker 1: even from elementary and middle school kids, I'll. 79 00:05:07,480 --> 00:05:09,599 Speaker 3: Go, how many of y'all know who I am? 80 00:05:10,160 --> 00:05:12,960 Speaker 1: And it's about seven hands will go up and out 81 00:05:12,960 --> 00:05:16,440 Speaker 1: of thirty, and then I'll tell them, y'all know more 82 00:05:16,480 --> 00:05:19,039 Speaker 1: than you'll thank you, and knowing I'm about to prove 83 00:05:19,120 --> 00:05:21,719 Speaker 1: that right now you know who I am. Matter of fact, 84 00:05:21,720 --> 00:05:22,400 Speaker 1: we connected? 85 00:05:22,440 --> 00:05:23,200 Speaker 3: What do we know? 86 00:05:23,320 --> 00:05:23,360 Speaker 1: No? 87 00:05:23,800 --> 00:05:24,880 Speaker 3: All I got to do is talk. 88 00:05:24,920 --> 00:05:28,680 Speaker 1: Going This speech is my recital I think is very 89 00:05:28,800 --> 00:05:32,599 Speaker 1: vital to Rocker and the whole class. The teachers and 90 00:05:32,640 --> 00:05:34,960 Speaker 1: the principal will be like, oh my god, that's unbelieva 91 00:05:35,200 --> 00:05:38,920 Speaker 1: join writing and talking stake you to rocker arohund So 92 00:05:38,960 --> 00:05:42,760 Speaker 1: they know the music in the song, but the reason 93 00:05:42,839 --> 00:05:44,719 Speaker 1: why it's magical to me they get to know me. 94 00:05:44,800 --> 00:05:47,640 Speaker 1: I tell them I'm a kid. I'm sixty, but I'm 95 00:05:47,680 --> 00:05:50,720 Speaker 1: the same kid I was in the third grade, just 96 00:05:50,839 --> 00:05:53,720 Speaker 1: like you, and they really resonate. But that because now 97 00:05:53,760 --> 00:05:55,960 Speaker 1: they can see you mean, who I am right now 98 00:05:56,120 --> 00:05:58,440 Speaker 1: is going to be valuable to who I am when 99 00:05:58,520 --> 00:06:01,800 Speaker 1: whatever career I am and I get it it, I'll 100 00:06:01,839 --> 00:06:02,520 Speaker 1: prove it to them. 101 00:06:03,279 --> 00:06:06,520 Speaker 3: You know, I watched you in real time on our 102 00:06:06,640 --> 00:06:11,080 Speaker 3: Music Save Me podcasts with you and Lynn Hoffman and 103 00:06:11,120 --> 00:06:16,400 Speaker 3: the artist Dlan Cartilage from Glass Note how we connected 104 00:06:16,440 --> 00:06:19,400 Speaker 3: you to So those of you listening to this, make 105 00:06:19,400 --> 00:06:22,600 Speaker 3: sure you listen to that Music Saved Me episode because 106 00:06:22,600 --> 00:06:27,960 Speaker 3: it's pretty incredible. And as I observed that, I started thinking, 107 00:06:28,839 --> 00:06:34,000 Speaker 3: you and your ability to collaborate is also something really magical. 108 00:06:35,400 --> 00:06:38,960 Speaker 3: What is the magic for you and the secret to collaboration? 109 00:06:40,240 --> 00:06:47,200 Speaker 1: Oh well, well, collaboration only is effective when one side 110 00:06:47,560 --> 00:06:52,800 Speaker 1: or both of the collaborating parties has to have been 111 00:06:53,000 --> 00:06:58,080 Speaker 1: inspired or touched some way by the artist. It doesn't 112 00:06:58,120 --> 00:07:02,799 Speaker 1: even necessarily have to be artistically, there has to be 113 00:07:03,240 --> 00:07:07,839 Speaker 1: with or without knowing there are so many similarities that 114 00:07:07,960 --> 00:07:12,960 Speaker 1: will that is the reason why the collaboration is happening 115 00:07:13,240 --> 00:07:16,320 Speaker 1: in the first place. It was meant to be. It 116 00:07:16,400 --> 00:07:22,480 Speaker 1: was predestined, so that I think that is the special, unique, 117 00:07:22,600 --> 00:07:29,960 Speaker 1: characteristic catalyst of making a collaboration something that will be 118 00:07:30,040 --> 00:07:34,119 Speaker 1: authentic and effective. And what I mean by that, there's 119 00:07:34,200 --> 00:07:41,160 Speaker 1: so many collaborations throughout the history of collaborations that don't 120 00:07:41,360 --> 00:07:45,600 Speaker 1: work because it wasn't authentic. And that happens with music. 121 00:07:45,600 --> 00:07:48,280 Speaker 1: Oh let's put this artist with this artist, and nothing happens. 122 00:07:48,520 --> 00:07:54,600 Speaker 1: And it's almost like when these artists passed away and 123 00:07:54,640 --> 00:08:00,360 Speaker 1: they'll take the artists lyrics that's left over and they'll go, Oh, 124 00:08:00,400 --> 00:08:02,560 Speaker 1: we're gonna get Tailor Swift on this one. We're gonna 125 00:08:02,600 --> 00:08:06,120 Speaker 1: get Pharrell on this one. We're gonna get on this one. Oh, 126 00:08:06,360 --> 00:08:11,200 Speaker 1: they never work because it wasn't meant to be. They 127 00:08:11,200 --> 00:08:12,960 Speaker 1: did that with a bi I don't want to say 128 00:08:12,960 --> 00:08:17,200 Speaker 1: no names. They did that with a bunch of incredible artists. 129 00:08:17,000 --> 00:08:20,840 Speaker 1: It happens a lot in hbot. They did it, and 130 00:08:20,880 --> 00:08:23,000 Speaker 1: it has because it wasn't meant to be. No lead 131 00:08:23,040 --> 00:08:25,800 Speaker 1: that alone. You would have been better to just put 132 00:08:26,360 --> 00:08:29,440 Speaker 1: the lyrics of the deceased artists out by themselves and 133 00:08:29,480 --> 00:08:36,960 Speaker 1: loop them as opposed to try collaboration, because collaboration starts 134 00:08:37,400 --> 00:08:43,040 Speaker 1: because of inspiration, which I just said, So collaboration leads 135 00:08:43,440 --> 00:08:48,000 Speaker 1: to an elevation of something that it has nothing to 136 00:08:48,040 --> 00:08:51,800 Speaker 1: do with a record sale or radio play, and that collaborate. 137 00:08:51,880 --> 00:08:58,440 Speaker 1: The purpose of collaboration is for elevation and transformation of 138 00:08:58,559 --> 00:09:02,559 Speaker 1: the people that receive the work. Now, like I said 139 00:09:02,600 --> 00:09:06,080 Speaker 1: throughout this collaborations that like, that's the worst thing you 140 00:09:06,160 --> 00:09:08,880 Speaker 1: say as soon as you hear it. Cousin wasn't authentic. 141 00:09:09,800 --> 00:09:13,599 Speaker 1: The Run DMC collaboration was very authentic and we to 142 00:09:13,679 --> 00:09:16,120 Speaker 1: Me and Running even though it was that deep. Now, 143 00:09:16,480 --> 00:09:19,040 Speaker 1: if Me and Run would have did walked this way 144 00:09:19,160 --> 00:09:24,199 Speaker 1: record over because we were inspired not by Aerosmith. We 145 00:09:24,200 --> 00:09:28,880 Speaker 1: were just inspired by the album with the toys on it, 146 00:09:29,840 --> 00:09:32,640 Speaker 1: number four, and the reason why I was number four 147 00:09:32,800 --> 00:09:36,960 Speaker 1: was the rival DJ. The DJs would scratched the title 148 00:09:37,240 --> 00:09:40,320 Speaker 1: of the record off the label, so the rival DJ 149 00:09:40,480 --> 00:09:43,160 Speaker 1: went and see what Beachy was playing. So all Me 150 00:09:43,559 --> 00:09:49,520 Speaker 1: and Run knew was the record that went with those guitars. 151 00:09:49,520 --> 00:09:52,319 Speaker 1: We want to make that over. It was Rick Rubin 152 00:09:52,520 --> 00:09:55,760 Speaker 1: who says, make the record over the way the band 153 00:09:55,800 --> 00:09:58,439 Speaker 1: originally did that, So me and Run could have did 154 00:09:58,480 --> 00:10:02,120 Speaker 1: it that record over a bird for word the way, 155 00:10:02,520 --> 00:10:09,920 Speaker 1: but the beauty of the power or the transformative evelation 156 00:10:11,480 --> 00:10:14,480 Speaker 1: power of it was Rick went and got them to 157 00:10:14,520 --> 00:10:17,480 Speaker 1: do it with us. So when you saw them in 158 00:10:17,520 --> 00:10:21,400 Speaker 1: the video with us, that was the game change which 159 00:10:21,520 --> 00:10:26,400 Speaker 1: led to what the evolution and the transformation and creation 160 00:10:27,400 --> 00:10:34,400 Speaker 1: collaboration is all about. Creation Run DMCNL Aerosmith collaborating gave 161 00:10:34,480 --> 00:10:40,120 Speaker 1: birth to Rage against the Machine, Limp Biscuit Corn Blunk 162 00:10:41,320 --> 00:10:47,839 Speaker 1: some forty one. So when it's not authentic, it's dead 163 00:10:48,160 --> 00:10:49,120 Speaker 1: or it's powerless. 164 00:10:49,200 --> 00:10:53,880 Speaker 3: Let me say that you recently had a collaboration with 165 00:10:54,040 --> 00:10:57,160 Speaker 3: the one and only Carlos Santana. 166 00:10:57,200 --> 00:11:00,320 Speaker 1: Yes, which came out of nowhere, and it was crazy. 167 00:11:00,440 --> 00:11:03,560 Speaker 3: Talk about that collaboration with what it was like and 168 00:11:03,600 --> 00:11:04,880 Speaker 3: how that felt. 169 00:11:05,880 --> 00:11:10,280 Speaker 1: Well, Santana is a real spiritual dude. That that was 170 00:11:10,360 --> 00:11:14,199 Speaker 1: like making that was like making a record with with 171 00:11:14,200 --> 00:11:17,480 Speaker 1: with with with the wise man who lives up on 172 00:11:17,559 --> 00:11:21,520 Speaker 1: the mountain. But that came to that came about through 173 00:11:21,559 --> 00:11:27,480 Speaker 1: my friend the drummer Narata, who has drummed for everybody 174 00:11:27,520 --> 00:11:30,560 Speaker 1: from Whitney, Houston, Michael Jackson, whatever. 175 00:11:31,360 --> 00:11:33,560 Speaker 3: He saw what I was doing. It's funny. 176 00:11:33,600 --> 00:11:36,600 Speaker 1: He saw what I was doing with the kids and 177 00:11:36,640 --> 00:11:39,439 Speaker 1: with my organization stuff like that, and he throws this 178 00:11:39,520 --> 00:11:43,199 Speaker 1: big Christmas party every year to raise funds for charity. 179 00:11:43,400 --> 00:11:46,679 Speaker 1: So he brought me on. We performed some of my 180 00:11:46,800 --> 00:11:50,160 Speaker 1: records or whatever like that. We even performed the record 181 00:11:50,280 --> 00:11:52,800 Speaker 1: that I did with Sarah McLaughlin, which I talked to 182 00:11:52,880 --> 00:11:54,920 Speaker 1: Lynn about that, just like me saw and what we 183 00:11:54,960 --> 00:11:59,520 Speaker 1: did to Harry Chapin remix over and and see. It's 184 00:11:59,520 --> 00:12:02,719 Speaker 1: all about connection and similarities. Just from being around him. 185 00:12:02,720 --> 00:12:06,640 Speaker 1: He was like, I gotta do something with you, And 186 00:12:06,800 --> 00:12:08,280 Speaker 1: you know, I thought it was just gonna be me 187 00:12:08,320 --> 00:12:11,240 Speaker 1: and him. He comes back and says. 188 00:12:11,080 --> 00:12:15,439 Speaker 3: Yo, I got him, or Callo Santana. Santana was what 189 00:12:15,600 --> 00:12:17,880 Speaker 3: damn saying, Oh, I love that guy. I love what 190 00:12:17,920 --> 00:12:18,920 Speaker 3: those guys are about. 191 00:12:19,760 --> 00:12:23,160 Speaker 1: And then at first it was gonna be a record, 192 00:12:23,240 --> 00:12:27,040 Speaker 1: It was gonna be a tribute to Santana's wife. He 193 00:12:27,080 --> 00:12:32,600 Speaker 1: was doing it, but the emotion, the collaboration grew into 194 00:12:32,640 --> 00:12:35,360 Speaker 1: a bigger purpose. He had to make it more universal. 195 00:12:35,760 --> 00:12:38,400 Speaker 1: So what he was trying to express for his wife. 196 00:12:38,760 --> 00:12:42,920 Speaker 1: Santana's was the no, we gotta make sure everybody feels this. 197 00:12:43,440 --> 00:12:50,440 Speaker 1: So collaboration is about participation. It's something that is not 198 00:12:50,720 --> 00:12:53,800 Speaker 1: just for you or the two entities alone. 199 00:12:54,360 --> 00:12:56,640 Speaker 3: It's for the universe. 200 00:12:57,400 --> 00:13:00,640 Speaker 1: And that's how I came about was on it. I 201 00:13:00,679 --> 00:13:02,920 Speaker 1: was like crazy, and then it was intimidated because I 202 00:13:02,960 --> 00:13:05,160 Speaker 1: was like, I got to make sure my rhyme is tight. 203 00:13:06,160 --> 00:13:09,280 Speaker 1: And the other thing that's important about collaboration is don't 204 00:13:09,320 --> 00:13:14,400 Speaker 1: get to intimidated. Collaboration works purpose when you just do 205 00:13:14,480 --> 00:13:17,520 Speaker 1: what you do. Don't don't let me try to do 206 00:13:17,600 --> 00:13:21,600 Speaker 1: what Santana does. Santana gotta do what d does. When 207 00:13:21,600 --> 00:13:24,840 Speaker 1: we just do what we do, even though it's familiar 208 00:13:24,840 --> 00:13:28,199 Speaker 1: to both of us, it creates something new for everybody 209 00:13:28,240 --> 00:13:33,280 Speaker 1: to experience. So collaborations are about new experiences for all 210 00:13:33,360 --> 00:13:37,280 Speaker 1: parties involved, the creators and the receiver of the collaboration. 211 00:13:38,360 --> 00:13:42,040 Speaker 3: Well, you, as a creator, had a recently new experience, 212 00:13:42,240 --> 00:13:44,800 Speaker 3: and I want you to talk about your children's book. 213 00:13:44,640 --> 00:13:48,840 Speaker 4: What that oh Yeah was like, and how the spirit 214 00:13:48,920 --> 00:13:52,800 Speaker 4: of that Obviously at its core is your special love 215 00:13:52,920 --> 00:13:55,160 Speaker 4: for children and connecting with them. 216 00:13:55,559 --> 00:13:58,959 Speaker 3: But talk about this project and what it means to. 217 00:13:58,920 --> 00:14:01,840 Speaker 1: You because we all we are all those kids that 218 00:14:01,920 --> 00:14:04,680 Speaker 1: we are always we are always the kids that we 219 00:14:04,960 --> 00:14:08,559 Speaker 1: always are. I don't say work, we are always the 220 00:14:08,640 --> 00:14:12,240 Speaker 1: kids are soul. That came about because at first I 221 00:14:12,360 --> 00:14:16,319 Speaker 1: was doing the paid college lecture set, you know what 222 00:14:16,360 --> 00:14:19,520 Speaker 1: I'm saying, And I would go into the universities and 223 00:14:19,800 --> 00:14:23,000 Speaker 1: it was a story of the Rundium c hip hop 224 00:14:23,640 --> 00:14:27,080 Speaker 1: culture comic book. There was everything me and most of 225 00:14:27,120 --> 00:14:29,080 Speaker 1: the kids is thinking, I'm just coming here to talk 226 00:14:29,120 --> 00:14:32,040 Speaker 1: about my rundum S career. But then I go into 227 00:14:32,120 --> 00:14:35,120 Speaker 1: being Catholic school and being teased and bullied on and 228 00:14:35,120 --> 00:14:37,800 Speaker 1: what it was like growing up in New York seventies 229 00:14:37,800 --> 00:14:40,360 Speaker 1: and eighties to walk this way, my Adidas and all 230 00:14:40,400 --> 00:14:40,640 Speaker 1: of that. 231 00:14:41,040 --> 00:14:42,480 Speaker 3: So this was on a page. 232 00:14:42,200 --> 00:14:45,880 Speaker 1: College lecture set. When I went finished, all of the 233 00:14:45,920 --> 00:14:49,000 Speaker 1: people that hired me was like, the educators, you got 234 00:14:49,000 --> 00:14:51,360 Speaker 1: to take this to the high schools. So you know 235 00:14:51,520 --> 00:14:54,000 Speaker 1: me and Lynn knows me. Okay, So I go to 236 00:14:54,040 --> 00:14:55,840 Speaker 1: the high school's not for the page because I don't 237 00:14:55,840 --> 00:14:57,760 Speaker 1: want to take money out of the school. So I 238 00:14:57,800 --> 00:15:00,200 Speaker 1: got the very same thing that I just did at 239 00:15:00,240 --> 00:15:04,400 Speaker 1: the colleges that I got paid for all of the issues, 240 00:15:04,480 --> 00:15:09,880 Speaker 1: all the circumstances. I do it to high schools, teachers, parents, 241 00:15:09,880 --> 00:15:12,280 Speaker 1: Oh my god, what did he say to them? My kids' attitude, 242 00:15:12,360 --> 00:15:15,720 Speaker 1: janus and that. So now the high school principals and that, Ja, 243 00:15:16,360 --> 00:15:18,800 Speaker 1: you gotta take this to the middle schools. So the 244 00:15:18,960 --> 00:15:21,520 Speaker 1: very thing that I took to the high schools and 245 00:15:21,600 --> 00:15:24,800 Speaker 1: the colleges and the high schools, take to the middle schools. 246 00:15:24,880 --> 00:15:26,360 Speaker 3: Yo, what's up? You know, I'm Doarren mcdaniers. 247 00:15:26,360 --> 00:15:27,480 Speaker 1: I grew up in Queens, New York. 248 00:15:27,880 --> 00:15:28,320 Speaker 3: Run DMC. 249 00:15:28,400 --> 00:15:31,880 Speaker 1: Bo bo bo bo bo those you gotta take this 250 00:15:32,000 --> 00:15:35,080 Speaker 1: to the elementary schools. So when I was going into 251 00:15:35,120 --> 00:15:37,120 Speaker 1: the elementary schools, I don't go in there and go 252 00:15:37,880 --> 00:15:41,240 Speaker 1: high kids. I'm the first rapper. No, I'm going in 253 00:15:41,200 --> 00:15:44,000 Speaker 1: and I'm Darren mcdonnis. But I knew I needed something 254 00:15:44,120 --> 00:15:47,560 Speaker 1: that the kids. Because the middle schools, high schools and 255 00:15:47,600 --> 00:15:51,040 Speaker 1: the colleges and everybody else, they got my albums, they 256 00:15:51,080 --> 00:15:55,960 Speaker 1: got the videos. They know it's tricky. Even if the 257 00:15:56,360 --> 00:16:02,400 Speaker 1: middle school kids don't know run DMC themselves, their mothers 258 00:16:02,400 --> 00:16:05,400 Speaker 1: and fathers and grandmothers and grandfathers gave them a four 259 00:16:05,440 --> 00:16:09,120 Speaker 1: and oh lesson of note all run DMC is so 260 00:16:09,200 --> 00:16:12,440 Speaker 1: the kids are familiar with me. The younger elementary school 261 00:16:12,520 --> 00:16:16,000 Speaker 1: kids don't know you know what I'm saying because they're 262 00:16:16,240 --> 00:16:17,520 Speaker 1: kindergarten the fifth grade. 263 00:16:17,960 --> 00:16:19,280 Speaker 3: But here's what they do know. 264 00:16:20,520 --> 00:16:26,440 Speaker 1: Because of TikTok, because of Sonic, the Hedgehog movies, or 265 00:16:26,520 --> 00:16:30,880 Speaker 1: any animated features that always put tricky in there, they 266 00:16:30,960 --> 00:16:34,280 Speaker 1: know me. So the kids, this generation of kids, I'm 267 00:16:34,280 --> 00:16:39,360 Speaker 1: not run DMC, DMC. I'm DMC that it's tricky, TikTok, Sonic, 268 00:16:39,480 --> 00:16:42,840 Speaker 1: the movie Man. So once they do, here's the guy 269 00:16:42,920 --> 00:16:45,800 Speaker 1: that did. So now I got them. So now I 270 00:16:45,840 --> 00:16:50,320 Speaker 1: can go talk to them like they're my I can 271 00:16:50,400 --> 00:16:51,120 Speaker 1: talk to them. 272 00:16:51,000 --> 00:16:52,480 Speaker 3: Like people I'm talking about. 273 00:16:52,480 --> 00:16:54,960 Speaker 1: I sit there with first grader secredarated, third graders, the 274 00:16:54,960 --> 00:16:56,800 Speaker 1: fourth graders and fifth graders, Yo. 275 00:16:56,720 --> 00:16:57,040 Speaker 3: What's up? 276 00:16:57,120 --> 00:16:59,040 Speaker 1: You know my name is Darryl and always do Q 277 00:16:59,200 --> 00:17:01,800 Speaker 1: and A with them. So when I do Q and A, 278 00:17:02,440 --> 00:17:05,760 Speaker 1: the questions isn't do you know Taylor Swift? Do you 279 00:17:05,800 --> 00:17:08,600 Speaker 1: know Justin bieb or whatever? The question so, how did 280 00:17:08,600 --> 00:17:10,720 Speaker 1: you feel when you got teased, bullied and picked on? 281 00:17:10,960 --> 00:17:13,240 Speaker 1: How did you feel when your mother told you you 282 00:17:13,400 --> 00:17:15,200 Speaker 1: have to go to bed. You can't stay up the wait, 283 00:17:16,160 --> 00:17:18,480 Speaker 1: can't stay up late to watch the movie. So I'm 284 00:17:18,520 --> 00:17:21,960 Speaker 1: talking to them. I'm sixty, but talking to them about 285 00:17:21,960 --> 00:17:25,400 Speaker 1: the life that they're living presently. So the book came 286 00:17:25,480 --> 00:17:28,320 Speaker 1: about because I would go to these elementary schools and 287 00:17:28,359 --> 00:17:33,159 Speaker 1: speak and the two teachers who are now principals in 288 00:17:33,240 --> 00:17:35,560 Speaker 1: their districts, Shawnee and John A. 289 00:17:35,720 --> 00:17:36,320 Speaker 3: Warfield. 290 00:17:36,680 --> 00:17:38,520 Speaker 1: I went and spoke at this school. They brought me 291 00:17:38,600 --> 00:17:41,240 Speaker 1: back and the second time I went back, they was like, 292 00:17:41,320 --> 00:17:43,160 Speaker 1: de this is crazy. You got to do the book. 293 00:17:43,200 --> 00:17:46,080 Speaker 1: And I was like, no, I don't want to commercialize 294 00:17:46,119 --> 00:17:48,520 Speaker 1: any the good I'm doing. It was like okay. Brought 295 00:17:48,560 --> 00:17:50,159 Speaker 1: me back at third time and it was like, do 296 00:17:50,240 --> 00:17:51,760 Speaker 1: you have to do a book? And I said, okay, 297 00:17:51,800 --> 00:17:54,680 Speaker 1: here's the deal. I'll do the book, but I need 298 00:17:54,720 --> 00:17:56,800 Speaker 1: you all to do it with me. Why Because the 299 00:17:56,920 --> 00:17:59,760 Speaker 1: teachers are with the kids on the front line. They 300 00:17:59,840 --> 00:18:03,120 Speaker 1: know day to day how these cans. I got the story, 301 00:18:03,400 --> 00:18:06,320 Speaker 1: but how do I communicate it to them? So we 302 00:18:06,400 --> 00:18:08,560 Speaker 1: came up with the idea to do a book about 303 00:18:08,600 --> 00:18:11,280 Speaker 1: me in the third grade getting teased Willie and picked on. 304 00:18:11,880 --> 00:18:16,359 Speaker 1: So the same way my generation had my albums and videos. 305 00:18:16,920 --> 00:18:19,680 Speaker 1: The kids have the album, it's visual, it's a three 306 00:18:19,760 --> 00:18:22,399 Speaker 1: D experience. They can hear me speak to, hear me 307 00:18:22,520 --> 00:18:24,919 Speaker 1: read it. They get hold it in their hands and 308 00:18:24,960 --> 00:18:27,399 Speaker 1: then they could open up. So they get in a 309 00:18:27,480 --> 00:18:32,760 Speaker 1: three D experience that my story isn't a story about 310 00:18:32,880 --> 00:18:36,439 Speaker 1: somebody or something that's out of their reach. I'm in 311 00:18:36,520 --> 00:18:39,720 Speaker 1: the classroom right with them. I'm in the lunch room 312 00:18:39,760 --> 00:18:42,880 Speaker 1: with them, I'm after school. So when they see my story, 313 00:18:42,960 --> 00:18:46,560 Speaker 1: even as though it's DMC that it's tricky TikTok Man 314 00:18:46,920 --> 00:18:50,760 Speaker 1: from the movie, they see me on their level that 315 00:18:51,000 --> 00:18:53,720 Speaker 1: I'm not above them or better than them. I'm one 316 00:18:53,760 --> 00:18:56,040 Speaker 1: of them and then one of me. So the book 317 00:18:56,200 --> 00:18:59,560 Speaker 1: was a way to have something that the kids could hold, 318 00:18:59,800 --> 00:19:03,800 Speaker 1: feel and see and live with. And the first book 319 00:19:03,840 --> 00:19:06,840 Speaker 1: that's out now is called Daryl's Dream. It's available at 320 00:19:06,880 --> 00:19:10,280 Speaker 1: every bookstore on Amazon. The next book we're putting out, 321 00:19:10,280 --> 00:19:13,840 Speaker 1: we got two books coming. The next book is Young 322 00:19:13,920 --> 00:19:18,320 Speaker 1: DMC's Christmas in Hollis a Christmas book for next year. 323 00:19:18,800 --> 00:19:21,399 Speaker 1: And then the next book about with the lesson is 324 00:19:22,200 --> 00:19:25,960 Speaker 1: Daryl's Decision, where Daryl's in a situation in school we 325 00:19:26,080 --> 00:19:28,760 Speaker 1: have to make a decision between right and wrong. So 326 00:19:28,920 --> 00:19:32,280 Speaker 1: out of that, I'm doing a whole series of books 327 00:19:32,560 --> 00:19:35,160 Speaker 1: dealing with the issues that the kids all go through. 328 00:19:35,359 --> 00:19:38,520 Speaker 1: And what's good about my book is a lot of 329 00:19:38,520 --> 00:19:42,240 Speaker 1: the things that the kids are experiencing with my story 330 00:19:42,920 --> 00:19:48,520 Speaker 1: will give them coping mechanisms when they get teenagers and adolescens. 331 00:19:48,800 --> 00:19:53,200 Speaker 1: You know, whether it's self esteem, adversity, how to communicate 332 00:19:53,240 --> 00:19:56,560 Speaker 1: and deal with each other. If you start developing now, 333 00:19:57,040 --> 00:20:01,720 Speaker 1: they will be able to dive in into those coping 334 00:20:01,800 --> 00:20:06,479 Speaker 1: mechanisms when they get into middle school, high school, and 335 00:20:06,560 --> 00:20:08,360 Speaker 1: even when they become adults. 336 00:20:09,000 --> 00:20:13,320 Speaker 3: Well, D in closing, this is a perfect close. What 337 00:20:13,480 --> 00:20:19,880 Speaker 3: would the wise D of today advice wise tell the 338 00:20:19,920 --> 00:20:23,560 Speaker 3: young D of many years ago if you could kind 339 00:20:23,560 --> 00:20:25,120 Speaker 3: of relive and give that advice. 340 00:20:25,560 --> 00:20:32,800 Speaker 1: Oh wow, Well, the first, you know, I told just 341 00:20:32,960 --> 00:20:36,120 Speaker 1: to a bunch of people on the radio what we're 342 00:20:36,160 --> 00:20:39,160 Speaker 1: doing it. The first thing I would say is that 343 00:20:39,400 --> 00:20:42,160 Speaker 1: you don't have to do. 344 00:20:42,880 --> 00:20:45,600 Speaker 3: Drugs to be cool. 345 00:20:46,240 --> 00:20:48,840 Speaker 1: And what I mean, my dat was my journey started 346 00:20:48,880 --> 00:20:51,760 Speaker 1: with that addition and stuff was like I smoked my 347 00:20:51,840 --> 00:20:55,280 Speaker 1: first joint because we me and Nathan, I was twelve, 348 00:20:55,400 --> 00:20:59,119 Speaker 1: Nathan was eight deaths there was fifteen, so when he 349 00:20:59,240 --> 00:21:02,600 Speaker 1: introduced to joints to us, to joint to us, we 350 00:21:02,720 --> 00:21:05,199 Speaker 1: thought we had to do it to be cool and 351 00:21:05,320 --> 00:21:09,639 Speaker 1: accept it. When I realized it's powerful. When I hear 352 00:21:09,800 --> 00:21:13,280 Speaker 1: Chuck d a public enemy go, I never got high 353 00:21:13,359 --> 00:21:17,000 Speaker 1: a day in my life. When I hear Henry Rollins 354 00:21:17,040 --> 00:21:20,720 Speaker 1: of Black Flags say I never got high, and I'm like, 355 00:21:20,760 --> 00:21:24,719 Speaker 1: how can y'all be so powerful and credible, I'm realizing 356 00:21:24,800 --> 00:21:28,400 Speaker 1: that's why they are so I would tell that Daryl, 357 00:21:28,440 --> 00:21:30,760 Speaker 1: you don't have to do things that you don't want 358 00:21:30,800 --> 00:21:34,600 Speaker 1: to do to be cool and impress people or fit in, 359 00:21:35,080 --> 00:21:37,879 Speaker 1: because that's where a lot of my issue started. I 360 00:21:37,920 --> 00:21:39,639 Speaker 1: wanted to be accepted and I want to be a 361 00:21:39,680 --> 00:21:41,600 Speaker 1: troublemaker like I spoke. 362 00:21:41,760 --> 00:21:43,040 Speaker 3: Lynn said it perfectly. 363 00:21:43,119 --> 00:21:44,719 Speaker 1: Yeah, when I was with the therapist, Oh you had 364 00:21:44,720 --> 00:21:47,600 Speaker 1: to do it, Say no, that's the best advice. 365 00:21:47,640 --> 00:21:49,719 Speaker 3: You don't have to do anything. 366 00:21:49,240 --> 00:21:52,040 Speaker 1: That you don't feel good about doing. 367 00:21:53,280 --> 00:21:56,400 Speaker 3: D Thank you for ball you continue to give us 368 00:21:56,440 --> 00:21:59,760 Speaker 3: and inspire us and your generosity, and thanks for being 369 00:21:59,760 --> 00:22:00,880 Speaker 3: on Taking a Walk. 370 00:22:01,040 --> 00:22:02,520 Speaker 1: Thank you, thank you for having me. 371 00:22:04,359 --> 00:22:06,840 Speaker 2: Thanks for listening to this episode of the Taking a 372 00:22:06,880 --> 00:22:10,760 Speaker 2: Walk Podcast. Share this and other episodes with your friends. 373 00:22:10,840 --> 00:22:14,320 Speaker 2: And follow us so you never miss an episode. Taking 374 00:22:14,359 --> 00:22:18,280 Speaker 2: a Walk is available on the iHeartRadio app, Apple Podcasts, 375 00:22:18,480 --> 00:22:20,760 Speaker 2: and wherever you get your podcasts.