Beastie Boys Way Back in History (feat. DefDave)

<v Speaker 1>This is a podcast from Minute Media.
<v Speaker 2>Let's go doctor friend.
<v Speaker 1>Okay, I've I have prepared a special introduction just for
<v Speaker 1>this episode.
<v Speaker 2>Here goes well.
<v Speaker 3>He is a little story I like to tell about
<v Speaker 3>three both brothers. You know so well. It started today
<v Speaker 3>in history with Jay Coach. Start him off in the labs.
<v Speaker 1>Welcome everybody that surely you can't be serious podcast. We
<v Speaker 1>are diving deep into the world of hip hop eighties
<v Speaker 1>and we have with us a very special guest today,
<v Speaker 1>mister David Wright. How you doing, David?
<v Speaker 4>Very good? How are you doing?
<v Speaker 1>I'm doing great. David is a published author a award
<v Speaker 1>winning advertising video producer. He has got his third book
<v Speaker 1>coming out next year in March. You can get to
<v Speaker 1>the first two on his website.
<v Speaker 4>Tell us what that is, Dave galaheads doom dot com.
<v Speaker 5>My series is an epic medieval fantasy story along the
<v Speaker 5>lines of Lord of the Rings. A strong spiritual or
<v Speaker 5>a Christian theme to it.
<v Speaker 1>Awesome. That is awesome. So on that note Christian theme,
<v Speaker 1>I know that you had some concerns about what we're
<v Speaker 1>going to talk about today, because you are now deep
<v Speaker 1>into the church world and you're a little concerned about
<v Speaker 1>some of the topics and in going over this stuff,
<v Speaker 1>you know, Beastie boys have they've come around a bit.
<v Speaker 1>They were like, you know, hey, some of the stuff
<v Speaker 1>that we did when we were young was pretty stupid
<v Speaker 1>and pretty inappropriate and really just not okay. And they've
<v Speaker 1>owned it and they've said, but hey, you know, we
<v Speaker 1>grew up, right, and we all grew up. We all
<v Speaker 1>did stupid stuff when we were kids, and we kind
<v Speaker 1>of relished in that stupid stuff. That doesn't mean that
<v Speaker 1>we promote it. We wouldn't necessarily want our kids to
<v Speaker 1>do it, but it is kind of fun to go
<v Speaker 1>back and revisit that stuff a little bit.
<v Speaker 4>Exactly.
<v Speaker 2>That's right.
<v Speaker 6>I wouldn't not want any of my personal notes published.
<v Speaker 6>When I was in nineteen eighty six, right, yep.
<v Speaker 1>So we're covering today hip hop, which I got to
<v Speaker 1>say I'm familiar with. I was a big breakdancer circa SAD,
<v Speaker 1>so we're talking like eighty three, Yeah, I was. I
<v Speaker 1>was breakdancing to Thriller, so it had been eighty three
<v Speaker 1>eighty four. I caught breaking and breaking to Electric Boogoloo
<v Speaker 1>both the day that they came out. I had Grand
<v Speaker 1>Master Flash albums. I had the Sugar Hill Gang albums.
<v Speaker 1>I was I was, I had Houdini, I had run DMC.
<v Speaker 1>I had this stuff growing up.
<v Speaker 2>Tell us your name my break.
<v Speaker 1>Dancing name, dance. My breakdancing name was Doctor Fresh. Yeah,
<v Speaker 1>you can make this stuff up. I still use it.
<v Speaker 1>I still use it. Like if I go and do
<v Speaker 1>like trivia night at some restaurant or something, I put
<v Speaker 1>Doc Fresh in there as my trivia name.
<v Speaker 2>All right, Dave, you gotta tell us how you got deaf? Dave,
<v Speaker 2>what does that?
<v Speaker 4>Well?
<v Speaker 5>I can tell you that rap music in the eighties
<v Speaker 5>pretty much defined my persona in high school. I was
<v Speaker 5>a top forty kid, you know, in the first half
<v Speaker 5>of the eighties. So I was born in seventy one.
<v Speaker 5>I was about ten years old in eighty one. I
<v Speaker 5>started really discovering pop music. The earliest pop songs I
<v Speaker 5>remember is like Man Eater by Haul of Oates, It
<v Speaker 5>cuts like a knife and those kind of songs.
<v Speaker 4>I I am the thriller generation. I was in sixth grade.
<v Speaker 5>I was watching when the Motown twenty five special air
<v Speaker 5>the first time saw the Moonwalks on the head by
<v Speaker 5>the Moonwalk with the rest of America. My first concert
<v Speaker 5>ever I won a radio contest for free tickets to
<v Speaker 5>the Victory World Tour.
<v Speaker 4>To see that.
<v Speaker 2>Awesome.
<v Speaker 4>So I was a pop music kid.
<v Speaker 5>And then in the summer of nineteen eighty five, a
<v Speaker 5>friend of mine, one of my best friends in high school,
<v Speaker 5>lipped me the cassette to run DMC's King of Rock
<v Speaker 5>album in the summer of nineteen eighty five, and it
<v Speaker 5>did something to my brain, and I was the rap
<v Speaker 5>guy for the rest.
<v Speaker 4>Of the decade.
<v Speaker 5>I absolutely just became kind of nuts over run DMC
<v Speaker 5>and the BC Boys and Ello, Cool J and everybody
<v Speaker 5>that came out of the rest of the decades. So
<v Speaker 5>you had Eric B and Rock Him and Cool Mo
<v Speaker 5>D and publicanem Me. I was just absorbed all that stuff.
<v Speaker 5>I quit listening to the radio. It was all about rap.
<v Speaker 5>My name my name to this day, deaf Dave. That's
<v Speaker 5>my Twitter handle, deaf Dave. It comes straight from deaf jam.
<v Speaker 4>I mean it.
<v Speaker 5>All the autographs in my high school yearbook half of
<v Speaker 5>them say deaf Day.
<v Speaker 4>They don't evena have my real name on it.
<v Speaker 5>So according to legend, okay, according to legend, the way
<v Speaker 5>I got the.
<v Speaker 4>Name deaf Dave was that the the Holly Hills.
<v Speaker 5>Crew was sitting around a circle freestyling before home room,
<v Speaker 5>and I would jump up in and bust some rhymes,
<v Speaker 5>and I was so good that DJ Zeus declared me
<v Speaker 5>an official b boy and gave me the name Deaf Dave.
<v Speaker 4>According to a legend who.
<v Speaker 1>So Zeus handed him his name from Mount Olympus.
<v Speaker 5>So that's the story I went with. In reality, in
<v Speaker 5>the summer of eighty seven, I was going bowling with
<v Speaker 5>a couple of white friends and we needed to come
<v Speaker 5>up with the names for the scoring computer, and so
<v Speaker 5>we all came up with funny names, and I gave
<v Speaker 5>myself the name Deaf Dave in the scoring computer there
<v Speaker 5>the bowling alley.
<v Speaker 4>But the friends that I was with liked it. They
<v Speaker 4>repeated it.
<v Speaker 5>It stuck, it caught on, and I was already had
<v Speaker 5>the reputation as the rap guy, so that became my legacy.
<v Speaker 5>That's how people in high school still call me that,
<v Speaker 5>and I just embraced it.
<v Speaker 4>It's kind of my online name too.
<v Speaker 6>So you weren't handed a flaming pair of Adidas from
<v Speaker 6>Mount Olympus.
<v Speaker 4>Or anything, No afraid not.
<v Speaker 1>I'm still just kind of reveling in the fact that
<v Speaker 1>somewhere out there, somebody's got a yearbook that says death
<v Speaker 1>Dave signed your crack right in the crap. So we
<v Speaker 1>are here today to talk about two major albums that
<v Speaker 1>changed the face of music in the mid eighties.
<v Speaker 6>One Wait, Wait, wait, wait, change the face of music.
<v Speaker 1>Changed the face of music. Yes, sir, I think you're right.
<v Speaker 2>I think you're right.
<v Speaker 1>Keep going. So we are going to be talking about
<v Speaker 1>Run DMC raising hell, and we're going to be talking
<v Speaker 1>about Beastie Boys.
<v Speaker 2>Still there you go.
<v Speaker 1>So are you guys ready to jump in?
<v Speaker 6>Hey, I'm just along for the ride. I mean you,
<v Speaker 6>you guys are the experts. I took a rite turn
<v Speaker 6>into hair metals.
<v Speaker 4>So I'm sitting here.
<v Speaker 5>I'm in my fresh flight threads with my big Folkswagon
<v Speaker 5>medallion around my neck. Yes, meeting Colonel Sanders, drinking heinekebrew.
<v Speaker 4>I'm ready. I'm ready to dig into me like Ada.
<v Speaker 1>All right, I'll toast you with my brass monkey and
<v Speaker 1>we'll jump in. Okay. So the story that we're about
<v Speaker 1>to tell started way back in history in the late
<v Speaker 1>seventies Earlydies with three guys named Adam Horwitz, Mike Diamond,
<v Speaker 1>and Adam yack, Dave, give us what you got, man.
<v Speaker 4>Well, first of all, I'm gonna throw you for a loop.
<v Speaker 5>I'm gonna take this story all the way back to
<v Speaker 5>eighteen ninety because, as everybody knows, eighteen ninety was the
<v Speaker 5>year that Margaret Numberg was born. Margaret Numberg was a psychologist,
<v Speaker 5>an educator, an artist, and had learned some theories about
<v Speaker 5>child education over in Italy brought it back to America
<v Speaker 5>in nineteen fourteen, she opened the Walden School in Manhattan.
<v Speaker 4>Okay, so this is.
<v Speaker 5>The very first the progressive education model schools in America,
<v Speaker 5>which is basically, let the kids decide what they want
<v Speaker 5>to do, don't give them homework, don't give them rules,
<v Speaker 5>let them decide what they're interested in.
<v Speaker 4>Kids discovering their own way.
<v Speaker 5>But it appealed to the upper class and the well
<v Speaker 5>to do in Manhattan society. Forward that to the nineteen seventies.
<v Speaker 5>There's a kid going to school there named Jeremy Chattan.
<v Speaker 5>Now he had an older brother, and that older brother
<v Speaker 5>had a friend, and that friend had a younger brother.
<v Speaker 4>His name was Michael Diamond.
<v Speaker 5>And so Jeremy Chautan and Michael Diamond just kind of
<v Speaker 5>by default kind of became friends because they were around
<v Speaker 5>each other because.
<v Speaker 4>Their brothers were buddies.
<v Speaker 1>Yep. Yeah.
<v Speaker 5>Michael Diamond was somebody whose father was an art dealer
<v Speaker 5>and they put him in the Walden School and they
<v Speaker 5>were going to school together. Kind of separate from that,
<v Speaker 5>Jeremy was also friends with another Walden School classmate named
<v Speaker 5>John Barry. Now John Barry played guitar and Michael Diamond
<v Speaker 5>was starting to learn how to play drums.
<v Speaker 4>They were junior high. They were like seventh and eighth grade.
<v Speaker 1>Yeah, yeah, yeah.
<v Speaker 4>He said, I need to.
<v Speaker 5>Introduce my two buddies to each other. They don't know
<v Speaker 5>each other yet. One plays guitar, one plays drums. So
<v Speaker 5>it's like John, this is Mike, Mike this is John,
<v Speaker 5>and they started playing a little bit. So the earliest
<v Speaker 5>formation of the Beastie Boys began around nineteen seventy eight
<v Speaker 5>with John Barry and Michael Diamond playing together, and Jeremy
<v Speaker 5>Chataian was the one. Chatan was the one who got
<v Speaker 5>them together.
<v Speaker 2>I heard that they were introduced at a Joe Jackson concert.
<v Speaker 1>Yes, because that's the influence for the Beasti Boys is
<v Speaker 1>Joe Jackson.
<v Speaker 2>Joe Jackson, right, stepping out right.
<v Speaker 6>So Mike D and John Berry are at a Joe
<v Speaker 6>Jackson concert. This is the first time they've met, and
<v Speaker 6>John Barry is acting like a wild man, like he's
<v Speaker 6>going crazy, barely keeping his seat, and Mike D is like,
<v Speaker 6>who is this guy?
<v Speaker 2>This guy's crazy? This guy. I don't like this guy
<v Speaker 2>at all, Like this guy is not for me. But
<v Speaker 2>then they found out that they both liked punk music.
<v Speaker 1>Yeah, they both liked the clash.
<v Speaker 2>And so they kind of bonded over that.
<v Speaker 5>So one thing that was true about the late seventies
<v Speaker 5>in the early eighties New York club scene was there
<v Speaker 5>was a diversity in the music. Like if you went
<v Speaker 5>to a hardcore punk club, you were likely to hear
<v Speaker 5>soul or funk or even hip hop. And you go
<v Speaker 5>to any other dance club, they're gonna include punk in
<v Speaker 5>their playlist too. So they were exposed to a lot
<v Speaker 5>of different kinds of music. So it's not weird for
<v Speaker 5>me to hear that these two punk rockers met at
<v Speaker 5>a Joe Jackson concert. In nineteen seventy nine, there was
<v Speaker 5>a man by the name of Dave Parsons who lived
<v Speaker 5>in Boca Raton, Florida, and he started a fanzine for
<v Speaker 5>punk music.
<v Speaker 4>Called The Mouth of the Rat.
<v Speaker 5>During this time, he received a fan letter from a
<v Speaker 5>musician in New York in the punk scene name was
<v Speaker 5>Kate Shellenbach. Well, he moved to New York City in
<v Speaker 5>nineteen seventy nine, opened up his own record store, the
<v Speaker 5>Rat Cage or Rat Cage Records, and within three days
<v Speaker 5>of living in New York he met both Kate Shellenbach
<v Speaker 5>and John Barry at a club, and Kate Shellenback was
<v Speaker 5>someone who was bouncing around different bands playing drums.
<v Speaker 4>Mike and John.
<v Speaker 5>Are in a band called Band b E N and
<v Speaker 5>Kate Shellenback is in a band called bag Ladies.
<v Speaker 4>And it was at they were.
<v Speaker 5>All in one venue at the same spot one night,
<v Speaker 5>and they all kind of met each other, and the
<v Speaker 5>three of them decided they wanted to start a band.
<v Speaker 1>I think that they had known each other like at
<v Speaker 1>a younger age, but recognized each other and kind of
<v Speaker 1>renewed their friendship at that point.
<v Speaker 5>So they had a drummer, Mike already, but then Kate
<v Speaker 5>comes along as a drummer, so she becomes the percussionist
<v Speaker 5>and Mike remains a drummer.
<v Speaker 4>John is a guitarist.
<v Speaker 5>So Jeremy Chattan, the common friend who got them all
<v Speaker 5>together in the first place, decides he'll play bass. And
<v Speaker 5>so in the early months of nineteen eighty one, the
<v Speaker 5>very beginning of eighty one, they form a band and
<v Speaker 5>call themselves the Young Aborigines.
<v Speaker 1>There we go, yep.
<v Speaker 5>But eventually Mike Diamond took over as the lead singer
<v Speaker 5>and Kate became the drummer, and they played a grand
<v Speaker 5>total of two gigs in their entire existence, and both
<v Speaker 5>of them were on the same day in June of
<v Speaker 5>nineteenth eighty one.
<v Speaker 6>And the world famous song that the Young Aborigines came
<v Speaker 6>up with, right, This song was recorded on.
<v Speaker 2>June nineteenth, nineteen eighty one. The song is called Fosshole.
<v Speaker 6>You know that was on a regular rotation on my
<v Speaker 6>pop forty.
<v Speaker 5>Head as I understand that the entire the entirety of
<v Speaker 5>the lyrics of that song was Mike Diamond repeating the
<v Speaker 5>title over and over again at the top.
<v Speaker 1>Of his lungs.
<v Speaker 6>Sounds about right, yeah, yeah, some deep lyrics. Yeah, I mean,
<v Speaker 6>but we're talking.
<v Speaker 2>They're teenagers at this point.
<v Speaker 4>Oh yeah, they're early high school.
<v Speaker 5>Yes, yes, And it was during these months in eighty
<v Speaker 5>one leading up to that Fateful night June nineteenth, of
<v Speaker 5>the apex of the Young Aborigines career. That I do
<v Speaker 5>know that Michael Diamond did meet Adam Yawk at a
<v Speaker 5>Bad Brains performance, and they had kind of noticed each other,
<v Speaker 5>but they weren't saying anything to each other because the
<v Speaker 5>tough guys don't do that, right, and they decided that
<v Speaker 5>they were They were just gonna not like each other
<v Speaker 5>for a while, but eventually they found out that they
<v Speaker 5>were into the same stuff, of course. And after the
<v Speaker 5>Young Aborigines performed their two gigs on the same night,
<v Speaker 5>Jeremy Chattan had to leave for the summer, and when
<v Speaker 5>he left, Adam stepped in. Adam Yawk stepped in and
<v Speaker 5>became the new bassist. And at that point John Barry
<v Speaker 5>suggested they changed their name to the Beastie Boys.
<v Speaker 1>Boys Entering Anarchistic States towards Inner Excellence Boys.
<v Speaker 5>Well, and that's according to their legend. I think that
<v Speaker 5>came a few years later.
<v Speaker 2>I think you're right, Yeah, that was afterwards.
<v Speaker 1>That's a reverse antegram with thing.
<v Speaker 4>That was John Barry's idea.
<v Speaker 5>He came up with the name Beastie Boys, and their
<v Speaker 5>very first gig was on August fifth of eighty one
<v Speaker 5>at Adam Yawk's seventeenth birthday party at John Barry's Lost
<v Speaker 5>They just had a few friends over. It was not
<v Speaker 5>a paying gig, but they all got up on stage
<v Speaker 5>and the Beastie Boys performed for the first time.
<v Speaker 6>So that was Adam Yak's seventeenth birthday party. And I
<v Speaker 6>think he was a couple of years older than the
<v Speaker 6>other guys, the other people in the band, and so
<v Speaker 6>Mike Diamonds said that that was the first time he
<v Speaker 6>had ever been drunk, exactly right. Yeah, we've got some
<v Speaker 6>common interests and we've got a lot of lack of
<v Speaker 6>parental control.
<v Speaker 1>Here.
<v Speaker 5>One quick thing about Adam Yack is when he was
<v Speaker 5>in high school, he took an aptitude test. They did
<v Speaker 5>a career aptitude test for all the kids. He took
<v Speaker 5>his and the only the thing that his aptitude tests
<v Speaker 5>concluded was that he should never go into anything related
<v Speaker 5>to music.
<v Speaker 2>That's crazy.
<v Speaker 1>That's perfect.
<v Speaker 5>So after this night at first his birthday party at
<v Speaker 5>John Barry's Loft, they do get a paying gig opening
<v Speaker 5>for another band in November of eighty one, and then
<v Speaker 5>by December eleventh, they're opening for Bad Brains, which is
<v Speaker 5>a band that they There's a big name in the
<v Speaker 5>punk scene and they were big fans of it, so
<v Speaker 5>they were excited to play for Bad Brains. I don't
<v Speaker 5>know what happened that night, but whatever it was, they
<v Speaker 5>decided they were quitting. They decided it wasn't fun anymore.
<v Speaker 5>And the BC Boys broke up in December of nineteen
<v Speaker 5>eighty one.
<v Speaker 4>Wow after yes, absolutely, they were they were done.
<v Speaker 5>You know this is no one's got dreams of being
<v Speaker 5>rich and famous. It's just casual band. You're in and
<v Speaker 5>out of bands all the time. This one was over.
<v Speaker 5>But then Dave Parsons, the owner of rat Caage Records,
<v Speaker 5>had been at the party. He had told them at
<v Speaker 5>the time that he was thinking about launching his own
<v Speaker 5>recordly and so in December he came up to them
<v Speaker 5>and said, I'm ready to record with you guys. Why
<v Speaker 5>don't we put some of your material and record it.
<v Speaker 5>So the band had already broken up and they decided
<v Speaker 5>to reunite just to record at Dave Parson's new studio. Well,
<v Speaker 5>the studio was owed a lot of back rent and
<v Speaker 5>the landlord was threatening to take all their equipment in
<v Speaker 5>return for back pay and kick them out. And so
<v Speaker 5>they had to hurry up. They had two days to
<v Speaker 5>record only at night. They had to sneak in. They
<v Speaker 5>had two days to do an entire EP. They recorded
<v Speaker 5>an EP called pollywog Stu. Now, the way punk music
<v Speaker 5>was at the time is everything is very, very brief.
<v Speaker 5>These songs are less than two minutes long, I think,
<v Speaker 5>most of them. But they got in. They recorded with
<v Speaker 5>John Berry in the lineup. They did a hardcore punk
<v Speaker 5>EP called polywog Stu. But then they lost the equipment,
<v Speaker 5>they lost the studio. There was a guy there working
<v Speaker 5>as an engineering Scott Jarvis, who snuck away with a
<v Speaker 5>tape machine and he was able to mix what they
<v Speaker 5>had cut at home in his bedroom.
<v Speaker 4>And is only because.
<v Speaker 5>Of that guy that they were able to get this
<v Speaker 5>EP finished and released and get it out there.
<v Speaker 1>So what were the songs that were on pollywog Stiff?
<v Speaker 4>BC Revolution was one that was on there, uh huh.
<v Speaker 5>And also they're probably their most famous one because they
<v Speaker 5>kept it in their set for a long time was
<v Speaker 5>egg Raid on Mojo.
<v Speaker 1>Right, So egg Grade on Mojo was about a bouncer
<v Speaker 1>at one of the clubs.
<v Speaker 4>I can't understand a thing they say.
<v Speaker 1>So there was there was a bouncer at one of
<v Speaker 1>the clubs named Mojo, and he would never let them
<v Speaker 1>come into the club because they were kids and they
<v Speaker 1>were able to sneak into other places, but not the
<v Speaker 1>place they wanted to go. And so I don't think
<v Speaker 1>it ever happened. I think it was just a song
<v Speaker 1>about their dreams of getting a bunch of eggs and
<v Speaker 1>pelting Mojo with the eggs, and so that's that's what
<v Speaker 1>the egg raid on Mojo is all about.
<v Speaker 5>So after they recorded this and before it was released,
<v Speaker 5>they broke up again because they were already done. So
<v Speaker 5>they got together to do this recording and they were done.
<v Speaker 5>But what happened was there was somebody in the club
<v Speaker 5>scene that made the trip to LA and took a
<v Speaker 5>selection of songs from the New York scene and had
<v Speaker 5>them played on the radio in Los Angeles, and one
<v Speaker 5>of the songs from Polly wog Stew was performed in California,
<v Speaker 5>and so interest in the Beas Boys began to spark
<v Speaker 5>and began to grow, even though they were technically no
<v Speaker 5>longer together. Apparently from what I've read. Because they started
<v Speaker 5>to get interest, John Barry decided to quit the group.
<v Speaker 5>He didn't want it to get too serious. I guess,
<v Speaker 5>I don't know. He didn't maybe it was coming too professional.
<v Speaker 4>I don't know.
<v Speaker 1>He had some I think he had some substance abuse
<v Speaker 1>issues that he was dealing with as well. You know,
<v Speaker 1>a little bit of a drinker. I think there was
<v Speaker 1>probably some attitude issue as well.
<v Speaker 6>But yeah, alcohol plus punk rocker Eagles bad attitude tough
<v Speaker 6>to deal with.
<v Speaker 1>So they need a guitarist.
<v Speaker 5>Now, what do you know about another hardcore punk band
<v Speaker 5>called The Young and the Useless.
<v Speaker 1>That band had a guy in it named Adam Horowitz. Yep.
<v Speaker 5>When John Barry quit the Beastie Boys, it was only
<v Speaker 5>natural for Adam Horowitz to kind of step over and
<v Speaker 5>take over as the guitarist for the Beastie Boys.
<v Speaker 6>Dave I was telling thee before we started this, you know,
<v Speaker 6>I was like, I don't really think I'm a hip
<v Speaker 6>hop guy very much. But what I found out was
<v Speaker 6>I'm really not a hardcore punk guy.
<v Speaker 2>Yes, that is not my style.
<v Speaker 4>Very loud.
<v Speaker 5>The Young and the Useless did record their own EP,
<v Speaker 5>also on rat Cage Records. It was called real men
<v Speaker 5>don't floss, and it is just as much of a
<v Speaker 5>sonic assault as polywogs do. But anyway, by the time
<v Speaker 5>that was released, Adam Horowitz was with the Beastie Boys.
<v Speaker 5>I did find out a couple of interesting things about
<v Speaker 5>The Young and the Useless bandmates, their other lead singer,
<v Speaker 5>Dave Skilken.
<v Speaker 4>He died of a drug overdose in the early nine
<v Speaker 4>He was.
<v Speaker 1>A really close friend. When they first met him, they
<v Speaker 1>noticed him and they're like, here's this kid. You know,
<v Speaker 1>it's the middle of the school day and he's obviously
<v Speaker 1>skipping class and walking around with a synthesizer in his
<v Speaker 1>hand as like a mohawk carecut, and they're like, this
<v Speaker 1>kid looks cool. And they meet him. He's in sixth grade,
<v Speaker 1>eleven years old. They're like fifteen and he's eleven, and
<v Speaker 1>they're like, this dude's cool. We need to hang out
<v Speaker 1>with him. So yeah, Dave Skilkin was an interesting guy.
<v Speaker 1>I believe he's in the Fight for You rite video
<v Speaker 1>if I remember right.
<v Speaker 5>The other two guys in The Young and the Useless
<v Speaker 5>Arthur Africano. He would go on to be a cameraman
<v Speaker 5>working in Hollywood. He's worked camera for shows like Picket
<v Speaker 5>Fences and The Practice. So he went on and had
<v Speaker 5>a pretty solid career in television. He also shot a
<v Speaker 5>few of the beast Boys videos, such as Intergalactic in
<v Speaker 5>the nineties, and there was yet another Adam, Adam trez
<v Speaker 5>or Trezi, and he would go on to be an
<v Speaker 5>actor and he performed in thirty Rock and Law and
<v Speaker 5>Order and Sopranos and things like that. So the Young
<v Speaker 5>and the Useless they ended up being kind of significant,
<v Speaker 5>and Dave Parsons says they were better than the Beastie Boys,
<v Speaker 5>and in the world of hardcore punk, they were they
<v Speaker 5>had the potential to be huge, but it was a
<v Speaker 5>it was a case a bad time because by the
<v Speaker 5>time their EP came out and there was interest in them,
<v Speaker 5>they were kind of already losing their direction because Adam
<v Speaker 5>Horowitz was hanging out with the Beastie Boys.
<v Speaker 6>Okay, so about this time they recorded a song called
<v Speaker 6>Cookie Puss.
<v Speaker 1>So where does that come from?
<v Speaker 2>It comes from a ice cream commercial.
<v Speaker 1>Like they make an ice cream that's called the cookie Puss.
<v Speaker 2>Yeah, So like it's like a it's like an ice
<v Speaker 2>cream cake. So I watched this.
<v Speaker 6>Have you seen the commercials for this So Carnell ice
<v Speaker 6>Cream had a like an ice cream cake is really
<v Speaker 6>weird looking, so like the nose was like a laid
<v Speaker 6>down ice cream cone and it had a high pitched voice.
<v Speaker 2>It was like high, I'm cookie Buss and uhait, how
<v Speaker 2>did it go? Cookie Puss?
<v Speaker 6>And on on Saint Patrick's Day they would have oh,
<v Speaker 6>Cookie Puss or Cookie Opus COOKI.
<v Speaker 2>Opus out.
<v Speaker 4>Body get out.
<v Speaker 6>Adam Horovitz thought it would be hilarious to call the
<v Speaker 6>Carnival ice Cream and asked to speak with Cookie place
<v Speaker 6>and they recorded this prank call and then they just
<v Speaker 6>put it down on.
<v Speaker 2>A beat and it was just kind of this goofy
<v Speaker 2>song man.
<v Speaker 1>Cookie Puss there, Cookie Puss, I want to speak to
<v Speaker 1>Cookie quiss Man nobody here.
<v Speaker 6>But but it became popular.
<v Speaker 1>Yeah, they started playing it at clubs and then they
<v Speaker 1>go to they go to see a friend who's working
<v Speaker 1>at a studio and they find out that there's a
<v Speaker 1>talk show going on upstairs. It was a lesson on
<v Speaker 1>how to properly scratch like it had Yes, it had
<v Speaker 1>Africa Bambada and DJ Jazzy Jay I think was the
<v Speaker 1>other guy on there, and they were teaching these little
<v Speaker 1>you know white suburbanites how to properly scratch their records.
<v Speaker 1>And then all of a sudden, like there's a question
<v Speaker 1>from the audience and the host he goes back there
<v Speaker 1>and then Adam who it stands up and he's like, hey, yeah,
<v Speaker 1>have you heard this song called cookie Puss? And and
<v Speaker 1>Africa Bombarda was like, yeah, yeah, I've heard it.
<v Speaker 2>Yeah, I heard song, got a funk, I like it.
<v Speaker 7>Yeah, I was just wondering.
<v Speaker 4>There's a song I really like called cookie Puss by
<v Speaker 4>the Beastie Boys. I don't you ever heard of it?
<v Speaker 6>Yes, a Cookie Puss.
<v Speaker 7>I've gotten the record through the rock pool. It's tough.
<v Speaker 4>Yeah you like that?
<v Speaker 1>Why do you like that one?
<v Speaker 4>It's just a really funny song I heard on the
<v Speaker 4>radio scratching and work on it like that.
<v Speaker 7>It has a little bit scratching on it and is funky.
<v Speaker 1>And so now they're on like national television and the
<v Speaker 1>talk show and they've announced their album and it was
<v Speaker 1>all just them being goofy dumb kids.
<v Speaker 2>Brilliant marketing right there.
<v Speaker 5>Yeah, Well, what was interesting is that they were still
<v Speaker 5>a punk band. But Cookie Puss is not a punk
<v Speaker 5>track in right, It's got hip hop beats, and it's
<v Speaker 5>got hip hop effects, you know, scratching and things like
<v Speaker 5>that on it. You can't say they're really rapping on it,
<v Speaker 5>but it's definitely a hip hop arrangement. And it was
<v Speaker 5>the first time they had introduced anything like that to
<v Speaker 5>what they were doing, and it did take off, and
<v Speaker 5>it did gain attention, and it gained attention among the
<v Speaker 5>hip hop community, and there are a lot.
<v Speaker 1>Of it's important it's important to note that at this time,
<v Speaker 1>like this is when sucka MCS comes out, right, this
<v Speaker 1>is when run DMC becomes you know whatever boombox is
<v Speaker 1>playing in New York City, and so at that point
<v Speaker 1>they become rap devotes. Like they were emulating and trying
<v Speaker 1>to imitate everything that run DMC was doing, and they
<v Speaker 1>ended up getting a they were going to be in
<v Speaker 1>the Battle of the Bands. They were they were in
<v Speaker 1>a Battle of the Bands at Studio fifty four. The
<v Speaker 1>Studio fifty four. Yeah, so they've got this, they've got there.
<v Speaker 1>They're like, Okay, we've got the Battle of the Bands.
<v Speaker 1>Cookie Pusses are song, but we just recorded it. I've
<v Speaker 1>never done it live. We've got to have a DJ
<v Speaker 1>to do a live show. And somebody's like, you know
<v Speaker 1>who you should talk to. You should talk to my buddy, Rick,
<v Speaker 1>who's an NYU student, Rick Rubin, Rick freaking Rue, Rick
<v Speaker 1>freaking Rubin, who at this point was just a kid
<v Speaker 1>in a kid in college. Yeah, a weird kid in college,
<v Speaker 1>but go ahead. Yeah.
<v Speaker 5>So Rick Rubin at the time that I met him,
<v Speaker 5>was the social director for the student union at NYU,
<v Speaker 5>which probably means he was just a professional partier.
<v Speaker 4>Is going to be my guest.
<v Speaker 6>Excuse me, I'm out of toilet paper. Can you help
<v Speaker 6>me on with that?
<v Speaker 1>So it's interesting because Rick Rubin he was going to
<v Speaker 1>NYU with the intention of going to law school. And
<v Speaker 1>I've got more on that later, but he was going
<v Speaker 1>with the intention to go to law school. But he said,
<v Speaker 1>I never scheduled a class before three pm because I
<v Speaker 1>knew I wouldn't be awake before then. Because he was
<v Speaker 1>spending every night going out to the clubs where like
<v Speaker 1>all of the rap music was playing, and he had noticed,
<v Speaker 1>you know, he'd get excited about these albums and then
<v Speaker 1>you'd get the album and he'd be like, this doesn't
<v Speaker 1>sound like the live show, this doesn't sound the way
<v Speaker 1>that the club sounds. I want that sound, and that
<v Speaker 1>was kind of the impetus for him to decide, Hey,
<v Speaker 1>I want to do some DJing and ultimately want to
<v Speaker 1>do some producing.
<v Speaker 5>Here's the thing about Rick Rubin. He started out in punk.
<v Speaker 5>He was a punk rocker.
<v Speaker 4>Yeah.
<v Speaker 1>He backed a couple of bands, right, yeah, when he.
<v Speaker 4>Was in high school. His first band was called The Pricks.
<v Speaker 4>The Pricks now The Pricks never.
<v Speaker 5>Actually did The Pricks never really made it out of
<v Speaker 5>Long Island, except they had a gig one night at
<v Speaker 5>CBGB's Have you heard about this? So at their performance,
<v Speaker 5>a fight breaks out in the audience and the cops
<v Speaker 5>are coming in and shutting the place down during the fight,
<v Speaker 5>So the cops come right in and shut it down.
<v Speaker 5>As it turns out, even though the fight was real,
<v Speaker 5>they had friends of theirs as plants in the crowd
<v Speaker 5>to kind of get things started.
<v Speaker 4>They were the provocateurs. They made the fight happened.
<v Speaker 5>And get this, the cop that busted in to shut
<v Speaker 5>them all down, he happened to be right on the scene.
<v Speaker 5>He bust in the door and shuts the whole performance down.
<v Speaker 5>That was Rick Rubens's dad in a in a costume.
<v Speaker 2>Wow, that's brilliant.
<v Speaker 1>So it's all just a marketing set up.
<v Speaker 5>Yes, it's a way to get some notoriety and some
<v Speaker 5>some publicity. When he goes on to NYU, he forms
<v Speaker 5>a band called Hose. Hose was a hardcore punk band.
<v Speaker 5>But then by eighty three, what Rick was personally finding
<v Speaker 5>was that the punk scene seemed to kind of be
<v Speaker 5>dying off. And what he had discovered was the hip
<v Speaker 5>hop scene and the rap scene. And his mind was blown.
<v Speaker 5>And he was going to all these clubs and hearing
<v Speaker 5>all this pure hip hop, you know, in its earliest stages.
<v Speaker 5>He was hearing the innovators. He was He's there at
<v Speaker 5>ground zero for the birth of this whole scene. But
<v Speaker 5>what he realized was that there was a lot of
<v Speaker 5>similarity between rap from this era and punk because they
<v Speaker 5>both shared.
<v Speaker 4>The same outlaw kind of attitude.
<v Speaker 5>They both shared a like a low fi, do it
<v Speaker 5>yourself type of ethic to it. And I mean, honestly,
<v Speaker 5>you didn't need a lot of technical musical talent with that.
<v Speaker 5>Musical talent was not a barrier of entry into either
<v Speaker 5>one of these als.
<v Speaker 1>To this day, Rick Rubin will say he's not a musician,
<v Speaker 1>and he's also not particularly good with mix a mixing board.
<v Speaker 1>It's it's just not what he does. His expertise is
<v Speaker 1>figuring out what's going to be good music, like what
<v Speaker 1>people are going to.
<v Speaker 6>Like, Dave, what you said that that really blew my
<v Speaker 6>mind because to me, hardcore punk and rap have nothing
<v Speaker 6>in common.
<v Speaker 2>But then when I.
<v Speaker 6>Started watching these videos and doing research for this podcast,
<v Speaker 6>they do have some commonalities, you know, for them to
<v Speaker 6>pivot from that to this and it not being that
<v Speaker 6>is kind of interesting to me.
<v Speaker 4>Yeah.
<v Speaker 5>So there was also what I said before about there
<v Speaker 5>was this diversity of selection of music being played in
<v Speaker 5>these clubs, so kids were getting exposed to all kinds
<v Speaker 5>of stuff. It wasn't strictly what you might think in
<v Speaker 5>terms of genre and category. And Africa Bambada has said
<v Speaker 5>that the punk rockers were the very first white audience
<v Speaker 5>to accept what he was doing except that rap sound.
<v Speaker 5>So there was already before the Beac Boys came along,
<v Speaker 5>there was already kind of an organic connection happening in
<v Speaker 5>the clubs between punk rockers and wrap.
<v Speaker 1>Okay, guys, before we go any further, let's take a
<v Speaker 1>quick break and we are going to do the Shirley Showcase.
<v Speaker 1>We have a special guest this time.
<v Speaker 6>Yeah, we've got my buddy, Cameron Eckert. He was my
<v Speaker 6>college roommate, one of my best friends in the entire world.
<v Speaker 6>He decided to weigh in on our usual Illusion one
<v Speaker 6>and two versus Metallica's Black album kind of that run
<v Speaker 6>of ninety one albums that we did this summer.
<v Speaker 2>And here's what Cameron had to say.
<v Speaker 7>Hello, surely you can't be serious podcast. Hey, this is
<v Speaker 7>Cameron from Vancouver, Canada. Such a fan of you guys
<v Speaker 7>and your show from day one. And yes, that maybe
<v Speaker 7>because I knew it was coming, being a very good
<v Speaker 7>friend of Jason Colbyn, one of my college roommates. But
<v Speaker 7>you know what, I've loved it from day one. You
<v Speaker 7>guys are great together. You can tell that you are
<v Speaker 7>friends first and podcast co host second. I'm very honored
<v Speaker 7>that Jason asked me to send in a comment, and
<v Speaker 7>as a music fan and a hard rock music fan
<v Speaker 7>at that, I definitely had to choose Metallica Black versus
<v Speaker 7>Guns N' Roses use your Illusion.
<v Speaker 1>One and two.
<v Speaker 7>I am a bigger fan of hard rock than most
<v Speaker 7>of her genres. I steer clear from, However, some of
<v Speaker 7>the softer groups like Poison and Warrant, and yes, Jason
<v Speaker 7>bon Jovi huge fan of both Metallica and Guns N' Roses,
<v Speaker 7>though tend to like Guns N' Roses a little bit better. However,
<v Speaker 7>in the case of Black versus User Illusion one and two,
<v Speaker 7>I have to agree with d on this one. All
<v Speaker 7>in all, I like the Black album just that bit
<v Speaker 7>better than either Use Your Illusion one or two. I would, however,
<v Speaker 7>agree with you guys that Use Your Illusion two is
<v Speaker 7>the better of those two albums. I'll tell you though.
<v Speaker 7>For me, it's a very close race between all three
<v Speaker 7>of them one, A, B and C really, but if
<v Speaker 7>I'm walking out the door, I'm definitely going to skew
<v Speaker 7>towards Metallica Black. I became a huge Metallica fan probably
<v Speaker 7>off this album, which I know maybe sacrilege to the
<v Speaker 7>harder core Metallica fans is that tend to like their
<v Speaker 7>earlier harder core work. But I just found this album
<v Speaker 7>to be great and it made me actually go back
<v Speaker 7>and become a fan of Metallica's earlier work. So I've
<v Speaker 7>really appreciated that about the Black album. I did find
<v Speaker 7>that this release from thirty year anniversary of it, with
<v Speaker 7>all the different artists doing their takes on It was
<v Speaker 7>very cool to listen to. Obviously some good stuff in
<v Speaker 7>there and some not so good, but it was just
<v Speaker 7>interesting to see what kind of influence that album had
<v Speaker 7>on this generation, you know. And I think Guns probably
<v Speaker 7>had a big influence too, but their work seemed to
<v Speaker 7>spread over Appetite through Use Your Illusion one in two
<v Speaker 7>a little bit more. I liked Appetite a bit better
<v Speaker 7>than these albums, no matter what Axel thinks of them,
<v Speaker 7>and I don't know, I just I think I would
<v Speaker 7>take Appetite over Black, but against Use Your Illusion one
<v Speaker 7>and two, I'm still gonna stick with with the Black album.
<v Speaker 7>I do find it amusing that in this case, and
<v Speaker 7>in most of you guys's final judgments, no matter the topic,
<v Speaker 7>I tend to agree more with d than with Jason.
<v Speaker 7>It's funny because on the same age as Jason, and
<v Speaker 7>we kind of, you know, went through the formative.
<v Speaker 1>College years together.
<v Speaker 7>But I think I've evolved my tastes maybe a little
<v Speaker 7>bit more than Jason over the years. He's stayed with
<v Speaker 7>the pop culture of the eighties and nineties, and I've
<v Speaker 7>kept going forward, which may be why it's a little
<v Speaker 7>bit different, so maybe makes some sense. Anyway, guys, I
<v Speaker 7>just wanted to weigh in on that and wanted to
<v Speaker 7>tell you to keep up the great work. I look
<v Speaker 7>forward to seeing what of their music, movies, and other
<v Speaker 7>topics you guys cover in the future.
<v Speaker 1>Take care. Well, what can I say? I mean, I
<v Speaker 1>don't know about you know, evolution in the musical taste area.
<v Speaker 1>But right is right and Black Album is just the
<v Speaker 1>better album. That's just the way it is.
<v Speaker 2>It's a facks you know facts, right right? Cam?
<v Speaker 6>Thank you very much. These head is now humongous. I
<v Speaker 6>can't even fit in the room. Thank you for taking
<v Speaker 6>the time to weigh in. We do love all three
<v Speaker 6>of these albums, and I think all three of us
<v Speaker 6>agree that your Allusion too is the better.
<v Speaker 2>Guns N' Roses album.
<v Speaker 6>However, I can't really fault you for loving Metallica and
<v Speaker 6>the Black Album. So Cameron, thank you so much, Bro.
<v Speaker 6>We appreciate you.
<v Speaker 1>Thanks Cameron.
<v Speaker 5>By the time eighty three rolls around, Rick is just
<v Speaker 5>like all In. He's forgotten about punk. He's still a
<v Speaker 5>classic rock guy. He loves AC DC, led Zeppelin, Aerosmith.
<v Speaker 5>He's a big fan of those guys. But he is
<v Speaker 5>obsessed with what's happening, the innovation and creativity. He's hearing
<v Speaker 5>in the hip hop clubs and he's learning how to
<v Speaker 5>be a DJ and scratching and programming drum machine and
<v Speaker 5>all that kind of stuff, and he's all about it. Well,
<v Speaker 5>he finds a kindred spirit in Adam Horovitz. So what
<v Speaker 5>happens is you were saying, we pick up the story.
<v Speaker 5>The BC Boys are.
<v Speaker 4>A punk band.
<v Speaker 5>They're playing punk sets, but now they are expected to
<v Speaker 5>play cookie Puss and to truly be able to do
<v Speaker 5>that justice on stage, they got to have a DJ.
<v Speaker 5>So they found Rick Rubin. They were introduced to him.
<v Speaker 5>He went by the name DJ Double R. He would
<v Speaker 5>come on at the end of their set to DJ
<v Speaker 5>for them so they can start incorporating a little hip
<v Speaker 5>hop into their shows.
<v Speaker 1>Yeah, the show would start with punk music and end
<v Speaker 1>with hip hop music basically, right, that's right.
<v Speaker 6>Rick Rubin got the job kind of like the way
<v Speaker 6>David Lee Ro got the lead singer in Van Halen.
<v Speaker 1>Except instead of having a PA, he had a bubble machine.
<v Speaker 1>He had the mix, he had the bubble machine.
<v Speaker 2>The bubbles, the bubble.
<v Speaker 1>Machine is what led them. And there he's like he's
<v Speaker 1>got this awesome setup and he's got a bubble machine
<v Speaker 1>and they're like, wait, a bubble machine. Yeah, we got
<v Speaker 1>to get the guy with the bubble machine. When they
<v Speaker 1>met him, when they walk into his dorm room, like
<v Speaker 1>this can't be the hip hop DJ guy because he's
<v Speaker 1>got the beard and his hair's all scraggly, and he's
<v Speaker 1>got like these leather long gloves, like black leather gloves,
<v Speaker 1>and like this dude's weird. But he ends up being
<v Speaker 1>like a big brother to him, and his music knowledge
<v Speaker 1>and his determination to succeed is infectious.
<v Speaker 6>David Lee roth Rick Rubin both get the job because
<v Speaker 6>they happen to have a piece of equipment that's needed
<v Speaker 6>to get the job done.
<v Speaker 1>So just just to touch on it, since I mentioned
<v Speaker 1>the battle of the band Studio fifty four, they lost.
<v Speaker 5>Well, what happened was Rick continued to hang out with them,
<v Speaker 5>He befriended them, probably closer to Adam Horvitz than the others,
<v Speaker 5>but they were all spending a lot of time at
<v Speaker 5>his dorm room, so they His dormy has been described
<v Speaker 5>as like a bomb site. It's as slovenly as you
<v Speaker 5>can imagine, and just pro wrestling posters on the wall,
<v Speaker 5>pizza boxes stacked up in the corner, and just crates
<v Speaker 5>and crates of music from all different types of categories.
<v Speaker 5>To the course of nineteen eighty three, he's talking to
<v Speaker 5>the BC boys about how they need to corporate, they
<v Speaker 5>need to do more hip hop.
<v Speaker 6>It makes sense for them to kind of go down
<v Speaker 6>that hip hop route because cookie busses having success. Yeah,
<v Speaker 6>I mean, you'd want to chase that type of success.
<v Speaker 1>It's not like the hardcore punk was their dream. They
<v Speaker 1>were doing this for fun. I mean they were trying
<v Speaker 1>to have a good time and make each other laugh
<v Speaker 1>and be silly. And so for him to go, hey,
<v Speaker 1>you guys should focus more on hip hop unless's on
<v Speaker 1>punk rock, I don't see. It's not surprising to me.
<v Speaker 1>They're like, okay, whatever that works.
<v Speaker 2>Sure that worked. Mean, let's keep trying to do that.
<v Speaker 1>Yeah, yeah, yeah.
<v Speaker 5>So the guys were I don't know where Kate was.
<v Speaker 5>She was still in the band. They were still doing
<v Speaker 5>punk shows. The guys were hanging out in Rick's dorm
<v Speaker 5>room a lot every day, just going through his craze,
<v Speaker 5>just hanging out having fun. But they're still gigging as
<v Speaker 5>the Beastie Boys, and Rick is further exploring the rap
<v Speaker 5>scene and he eventually befriends a club DJ named Jazzy J.
<v Speaker 5>Jazzy J was on the air in New York and
<v Speaker 5>he was a member of Africa Bambada's Zulu Nation, which
<v Speaker 5>is just a big organization of rappers and hip hoppers
<v Speaker 5>that are all about world peace really and really trying
<v Speaker 5>to use music in a positive way to detert to
<v Speaker 5>steer people away from violence and things like that, and
<v Speaker 5>using music to kind of build culture and cultural bridges.
<v Speaker 4>And he got to know Jazzy J. And Jazzy Jay.
<v Speaker 5>And Rick Rubin got together and they produced a trap
<v Speaker 5>and they decided they wanted to try to release this
<v Speaker 5>as a song. So they went about trying to find
<v Speaker 5>someone to rap over this track, and they couldn't find
<v Speaker 5>a rapper. It took them like two years from the
<v Speaker 5>time they decided to get together to put the song out.
<v Speaker 2>I'm sitting right next to a rapper. Why did it
<v Speaker 2>take them so long there to come?
<v Speaker 4>Man? Come, I'm just saying they only knew about Doctor
<v Speaker 4>Fresh back then.
<v Speaker 1>I was like seven years old.
<v Speaker 5>Yeah, Doctor very Fresh. But anyway, the first choice they
<v Speaker 5>had for a rapper they wanted. Tool mo d Now
<v Speaker 5>was somebody that I recognize as a solo artist from
<v Speaker 5>them from the second half of the eighties, but at
<v Speaker 5>this time he was a member of a very significant
<v Speaker 5>group called the Treacherous Three. And they couldn't get Deep
<v Speaker 5>and they couldn't get uh Special K, which was another
<v Speaker 5>member of the Treacher's Three. Their record label wouldn't let
<v Speaker 5>them do it, so they turned to Special K's older brother.
<v Speaker 1>Te La Rock.
<v Speaker 5>Teela Rock became their artist and he came in and
<v Speaker 5>recorded the rap over the track that Rick Rubin and
<v Speaker 5>Jesse j had produced. And at the end of the song,
<v Speaker 5>they need some background vocals just doing nonsense stuff in
<v Speaker 5>the background. Those background vocals belong to Adam Horowitz, Adam
<v Speaker 5>Yak and Michael Dinald.
<v Speaker 2>Nice freaking awesome nice.
<v Speaker 1>So the song that they came up with is called
<v Speaker 1>It's Yours and it's really good. I mean, Rick had
<v Speaker 1>hit upon that formula that he was looking for trying
<v Speaker 1>to get the club sound onto a record. And one
<v Speaker 1>of the people who heard this track It's Yours, was
<v Speaker 1>a manager named Russell Simmons, and he was managing for
<v Speaker 1>his brother's group. Among others. His brother's name is Joe Simmons,
<v Speaker 1>but we know him by a different name.
<v Speaker 4>I'm the King. Oh Ron j Run.
<v Speaker 2>Was also going to get into the picture here.
<v Speaker 1>I've got a good story on that one, okay.
<v Speaker 5>But at this time, Russell Simmons is one of the
<v Speaker 5>biggest names in the business as a as an artist manager.
<v Speaker 5>He not only managed run DMC, which was the biggest act,
<v Speaker 5>he also manages a lot of other acts including Kudini
<v Speaker 5>and Doctor Jekyl and Mister Hyde, Curtis Blow and a
<v Speaker 5>few others.
<v Speaker 1>At the time, Yeah, when he finds out that it's
<v Speaker 1>some white NYU kid who's produced, it's yours, and that
<v Speaker 1>white NYU kid is like, hey, I want to meet
<v Speaker 1>you and I want to talk to you. They get
<v Speaker 1>together for lunch and Adam and Mike and Adam are
<v Speaker 1>all there, like at a different table, just kind of
<v Speaker 1>watching eagerly about what's going on, and basically he talks
<v Speaker 1>Russell Simmons into starting a record label, and Russell Simmons
<v Speaker 1>is like, man, I'm busier than I can be with
<v Speaker 1>managing these groups. I don't want to have to start
<v Speaker 1>something new. And Rick Rubin says, you don't have to
<v Speaker 1>do anything but be my partner. He goes without you.
<v Speaker 1>I'm just an NYU college student. With you, I've got
<v Speaker 1>a name. I will do all the work. You just
<v Speaker 1>be my partner name. And so Russell Simmons agrees to it,
<v Speaker 1>and that's how we come to the formation of deaf
<v Speaker 1>Jam Records.
<v Speaker 2>Wow.
<v Speaker 5>Yes, So when It's Yours was released, it was released
<v Speaker 5>with the name deaf Jam on it, but deaf Jam
<v Speaker 5>didn't actually exist as a company at that point.
<v Speaker 4>It was just a name and a logo that Rick
<v Speaker 4>Ruben had come up with.
<v Speaker 5>It had been it was actually released through a small
<v Speaker 5>local independent label, but it was a name that he
<v Speaker 5>already had and it already used unofficially. And then in
<v Speaker 5>the summer of nineteen eighty four, you got it exactly right.
<v Speaker 5>So he and Russell Simmons sat down and Russell went
<v Speaker 5>to his dorm room, well stepped through the mess and
<v Speaker 5>listened to the beats he had programmed, and he's he
<v Speaker 5>was blown away and said these were all hits in
<v Speaker 5>the making, And so they formed the record label and
<v Speaker 5>they officially became deaf Jam Records in the summer of
<v Speaker 5>nineteen eighty four.
<v Speaker 1>So, as you mentioned, they were spending a whole lot
<v Speaker 1>of time with Rick, and as that happened, they were
<v Speaker 1>in a whole lot less time with Kate Schellenbach, who
<v Speaker 1>was their drummer, and kind of that influence is what
<v Speaker 1>led to her being asked to leave the band. And
<v Speaker 1>I think they still even today feel bad about this.
<v Speaker 1>Now it ends up being kind of okay because she
<v Speaker 1>ends up being a drummer for a group called Luscious
<v Speaker 1>Jackson who ends up doing shows with them. But at
<v Speaker 1>the time they were just like, hey, we're a you know,
<v Speaker 1>we're a guy's band and we are a hip hop
<v Speaker 1>now band, and so we don't really want to have
<v Speaker 1>a girl drummer, and so they they kick Kate out.
<v Speaker 1>Now before that happens. Before that happens, they get to
<v Speaker 1>go to Russell Simmons office and they're thinking, because he's
<v Speaker 1>the because he's the manager of these group, huge groups,
<v Speaker 1>they think it's going to be this big, showy office
<v Speaker 1>and it's like two rooms, you know, it's like two
<v Speaker 1>small rooms even together. But when they go in, there
<v Speaker 1>is Curtis blow In talking to Russell, and he's not
<v Speaker 1>just talking to Russell Simmons, he is trying to learn
<v Speaker 1>how to break dance. So's there's another group called Full
<v Speaker 1>Force that's there with them, and they're like all around
<v Speaker 1>him as he's trying to do like headspins and stuff.
<v Speaker 1>And the Beastie Boys are like, you know, they've they've
<v Speaker 1>met some of their idols. Now, Curtis Blow is sitting
<v Speaker 1>here and I told I told, I told Jason. On
<v Speaker 1>the way over here. I was like, man, Curtis Blow
<v Speaker 1>is one of those albums that I've played all the time.
<v Speaker 1>He's like, I don't, I'm not familiar with that. I'm like, dude,
<v Speaker 1>it's basketball is my favorite sport. I like they wave
<v Speaker 1>the dribble up and down the court, just like I'm
<v Speaker 1>the King of the microphone. With Doctor j and Moses Malone,
<v Speaker 1>I like slam dunks. They take me to the My
<v Speaker 1>favorite play is.
<v Speaker 4>The l e oup.
<v Speaker 1>I like to figure go. I like to give in
<v Speaker 1>and go. It's basketball with mister Curtis Blue.
<v Speaker 3>They used to play it all the time when my
<v Speaker 3>brother would come out and it's basketball games.
<v Speaker 1>In high school, it was I was deep into it.
<v Speaker 1>I remember those lyrics from hearing them when I was
<v Speaker 1>seven eight years old. Doctor Jy and Moses Malone wow, Yep, yep,
<v Speaker 1>And they were at the end of the song there's
<v Speaker 1>like talk going on and they're like talking about, you know,
<v Speaker 1>the new Young Upstarts. The new Young Upstarts is Michael
<v Speaker 1>Jordan's new.
<v Speaker 2>Young Upstarts, Michael Jordan. That is awesome.
<v Speaker 1>Yeah.
<v Speaker 5>I got to tell you about a guy named Todd
<v Speaker 5>who was living in Queens during nineteen eighty four. He
<v Speaker 5>was down in his mother's basement with a drum machine
<v Speaker 5>and a turntable, cutting demos and sending them out to
<v Speaker 5>anybody he could find, Okay, and he sent to everybody,
<v Speaker 5>including when he got a hold of a copy of
<v Speaker 5>Tila Rocks It's Yours. Rick Rubin had put the address
<v Speaker 5>the business address, which was.
<v Speaker 4>Just his dorm room record, right.
<v Speaker 5>And so Todd sent a demo, took that address and
<v Speaker 5>sent a demo to that record company.
<v Speaker 4>Right. It was just Rick's dorm room, It's all it was.
<v Speaker 5>And that demo tape got thrown in a box which
<v Speaker 5>was probably buried under a bunch of other boxes, and
<v Speaker 5>it just all stacked up. All this stuff was coming in.
<v Speaker 5>Demo tapes were coming in. After Tela Rock's record was
<v Speaker 5>out and Rick Rubin wasn't bothering with any of it.
<v Speaker 5>But the BAC boys were hanging out in his dorm room,
<v Speaker 5>just killing time every day they anything else to do.
<v Speaker 5>And Adam Horoviz is just kind of thumbing through these
<v Speaker 5>demos and he listened to a little bit and if
<v Speaker 5>you found something.
<v Speaker 4>He liked, he'd tell Rick about it.
<v Speaker 5>Well, he put this one on called I Need a
<v Speaker 5>Beat from a guy named Ladies Love Cool James, and
<v Speaker 5>it was James Todd Smith who had fit this in
<v Speaker 5>and he's like, Rick, you might want to listen to this,
<v Speaker 5>and they were blown away by it. They bring in
<v Speaker 5>Todd Smith. He goes by the name ellll cool j
<v Speaker 5>And they're like, you've got to meet Russ. We want
<v Speaker 5>to produce a record. They had just formed deaf Jam Records.
<v Speaker 5>They hadn't put out a record yet. They were looking
<v Speaker 5>for the artists. They were looking for the song to
<v Speaker 5>launch their label. He says, you got to meet Russ.
<v Speaker 5>You got to meet Russ. They go in, they meet Russ.
<v Speaker 5>The Llo cool Jay's meeting Russ Simmons for the first
<v Speaker 5>time and Rick Ruben plays the tape and Russell Simmons.
<v Speaker 4>Is like, I hate it. I don't like.
<v Speaker 5>Wow, so young Todd, he's all disappointed and he's walking
<v Speaker 5>out kind of sad, and Rick Ruben comes up to
<v Speaker 5>him and says, don't listen to a word. He says,
<v Speaker 5>we're gonna recut this and he's gonna love it. So
<v Speaker 5>they get back in the studio with Adam Horovitz programming
<v Speaker 5>the drum beats. They recut I Need a Beat beat
<v Speaker 5>with Jesse Jay on the remix.
<v Speaker 4>They play it for Russ. They play that one for
<v Speaker 4>Russell Simmons. He's blown away.
<v Speaker 5>He loves it, and that launches Loo Cool Jay's career,
<v Speaker 5>and it launches Deaf Jam as a label, and I
<v Speaker 5>Need to Beat becomes their very first single.
<v Speaker 4>It came out in nineteen eighty four.
<v Speaker 1>Fantastic Wow.
<v Speaker 2>That's a good story man.
<v Speaker 1>Yeah.
<v Speaker 5>And then from pollywog Stew they had a British Airways
<v Speaker 5>commercial had lifted one of their songs, BC Revolution and
<v Speaker 5>placed it in their commercial that went global and went international.
<v Speaker 5>They did it without permission, and the BC boys decided
<v Speaker 5>they didn't like somebody sampling their music without perm and
<v Speaker 5>so early on this is the this is the John
<v Speaker 5>Barry lineup, the punk lineup with polywog Stew. They sue
<v Speaker 5>and they collect forty thousand dollars. It was the first
<v Speaker 5>money the BC boys ever made was off of this situation,
<v Speaker 5>and it was enough to get them out of their
<v Speaker 5>parents' house and they all got a place together.
<v Speaker 6>Yeah, forty dollars adjusted for inflation today is about one
<v Speaker 6>hundred grand.
<v Speaker 1>It's not a bad it's not a bad. Take.
<v Speaker 4>Well, they'll fast forward to three years.
<v Speaker 5>In nineteen eighty four, they put out rock Hard, which
<v Speaker 5>really sounds like a Rick Ruben record, and it sounds
<v Speaker 5>like the Beastie Boys.
<v Speaker 4>The DP.
<v Speaker 5>Count of this.
<v Speaker 4>This is the sound we will come to note. It's
<v Speaker 4>the three male Beastie.
<v Speaker 5>Boys rapping over a hip hop drum beat but with
<v Speaker 5>heavy rock and roll samples, and it's all built around
<v Speaker 5>back in Black by ac DC, and I think significantly
<v Speaker 5>they refer to themselves as King AD, Rock, Might D
<v Speaker 5>and MCA in the song, which is probably the first
<v Speaker 5>time they do that, and they're truly kind of embracing.
<v Speaker 4>Hip hop at this point.
<v Speaker 5>Small problem they sampled somebody else's music without their permission.
<v Speaker 5>Ac DC is like, who are these guys?
<v Speaker 4>No? Stop it right now.
<v Speaker 5>So even though it was technically deaf Jam's second release.
<v Speaker 5>They immediately had to recall it and it was no
<v Speaker 5>longer available, and it was a collector's item in a
<v Speaker 5>bootleg for a long time. It's still not available on Spotify,
<v Speaker 5>I've noticed, but I do know that at least in
<v Speaker 5>Europe it was cleared for release legally. In two thousand
<v Speaker 5>and seven. Ac DC gave them permission and you can
<v Speaker 5>find the song on YouTube. And I just heard it
<v Speaker 5>recently for the first time, and it's actually really good.
<v Speaker 1>They found their voice. They don't sound like some other band.
<v Speaker 1>They know they weren't. They're not imitating somebody else. They
<v Speaker 1>have their own unique sound.
<v Speaker 6>And that's hey little thing though. Here's a little thing
<v Speaker 6>I just put together on that. So they steal back
<v Speaker 6>in Black from ACDC, they wrap over it whatever, they
<v Speaker 6>sample it without permission. It turns out okay because in
<v Speaker 6>nineteen eighty six, guess who's in the Fight for Your
<v Speaker 6>Right video? But Langa, well Langa, I forgot about that.
<v Speaker 1>That's right.
<v Speaker 2>He was in there, the producer of acdc's Back in Black.
<v Speaker 1>I think Flee was in there too, if I remember right.
<v Speaker 1>Fleell cool Ja and with the sword and the girl
<v Speaker 1>who was like later on MTV News was in there
<v Speaker 1>as the young blonde you're.
<v Speaker 2>Blowing my stuff for fight for your right.
<v Speaker 1>Sorry, well, we will come back to that when we
<v Speaker 1>do our track to track.
<v Speaker 2>Okay, when when's Madonna?
<v Speaker 1>Get in here?
<v Speaker 2>M Madonna.
<v Speaker 1>I got a good story on Madonna. Can I tell
<v Speaker 1>my Madonna's story now?
<v Speaker 4>Yeah? Just real quick.
<v Speaker 5>When eighty four ended, that's when Kate Sellenbach was out
<v Speaker 5>and they truly just became straight up hip hop group
<v Speaker 5>with Rick Rubin still is their DJ. And we get
<v Speaker 5>into eighty five and that's Madonna.
<v Speaker 2>So what you got so Madonna is what what you would?
<v Speaker 1>Go ahead?
<v Speaker 2>No, please please finish that.
<v Speaker 1>So what Madonna wanted?
<v Speaker 4>What?
<v Speaker 1>What what Madonna wanted was an opening act for her
<v Speaker 1>first tour, her first tour, and so her manager, Freddy
<v Speaker 1>Demand calls up Russell Simmons and says, hey, we want
<v Speaker 1>to get run DMC as the opening act for Madonna
<v Speaker 1>on her first turn. Now this is Madonna at her Madonna.
<v Speaker 1>She's blown up at this point, right, And so Russell
<v Speaker 1>Simmons is like, no problem. Run DMC plays for twenty
<v Speaker 1>thousand dollars per show, and Freddie Demand's like, no, have
<v Speaker 1>a nice day. Click and they're done. And then he's
<v Speaker 1>a few minutes later, Russell Simmons gets a call again.
<v Speaker 1>It's Freddy Deman again. He's like, okay, hey, wait, what
<v Speaker 1>about the Fat Boys? Could you get the Fat Boy?
<v Speaker 1>And Russell Simmons is like, ah, man, the Fat Boys
<v Speaker 1>are busy. Russell Simmons didn't actually manage the Fat Boys
<v Speaker 1>ever at all. Wow, And he goes, but I tell
<v Speaker 1>you what I can get you the Beastie Boys for
<v Speaker 1>five hundred dollars per show. And so Freddie Deman was like,
<v Speaker 1>sounds great, let's do that. And so that is how
<v Speaker 1>the Beastie Boys became the opening act for Madonna on
<v Speaker 1>her very first tour.
<v Speaker 6>That is also how Adam Horovitz got to make out
<v Speaker 6>with Madonna backstage in the bathroom.
<v Speaker 1>It's nuts.
<v Speaker 2>I was talking to you guys. I'm like, you know,
<v Speaker 2>that's not.
<v Speaker 6>Exactly an exclusive club, probably, but that's a club that
<v Speaker 6>I still wanted to join in nineteen eighty six.
<v Speaker 1>Oh sure, yeah, and she's I mean, she's a little
<v Speaker 1>bit older than him. I guess, well, and that would
<v Speaker 1>have been some fun times bringing the heat back then. Yeah,
<v Speaker 1>she was y, not that he wasn't an attractive guy,
<v Speaker 1>but row I am.
<v Speaker 5>This was her first tour, so it was promoting both
<v Speaker 5>her debut Madonna album as well as her Like a
<v Speaker 5>Virgin album, so she was at the top of the game.
<v Speaker 5>So one of the biggest names in pop music and
<v Speaker 5>the beast Boys are coming out to open and nobody's
<v Speaker 5>heard of these people. And they embraced And this was
<v Speaker 5>quite intentional. Rick Rubin gave them this instruction. He was
<v Speaker 5>a pro wrestling fan. He said, nobody there knows you.
<v Speaker 5>They're gonna hate your stuff. Just embrace it, own that
<v Speaker 5>and be the heel like in pro wrestling terms. You
<v Speaker 5>just go out there and be the be like a
<v Speaker 5>bad guy wrestler and just make them hate you.
<v Speaker 1>They were, and so they decided to be memorable by
<v Speaker 1>being rude wrestling style, and so they would literally go
<v Speaker 1>out when the show was over. They they were just like,
<v Speaker 1>you all can just burn this place down now because
<v Speaker 1>there's never going to be a better show than us,
<v Speaker 1>and fu you mother efforts. Which if you're thinking about,
<v Speaker 1>you know, attendees at a Beastie Boys concert, okay, but
<v Speaker 1>think about who was listening to Madonna back in nineteen
<v Speaker 1>eighty four eighty five. These are little like priesteen girls. Yeah,
<v Speaker 1>these are these are like the girls who are our
<v Speaker 1>wife now, back when they were you know, ten and eleven.
<v Speaker 1>So they're cussing out little girls.
<v Speaker 4>Yeah.
<v Speaker 5>They purposely set out to get people to hate them,
<v Speaker 5>and they did, and they said that every night, ninety
<v Speaker 5>five percent of the crowd absolutely hated them, but with
<v Speaker 5>the other five percent, they built a fan base, and
<v Speaker 5>Madonna thought it was great. I mean, they absolutely did
<v Speaker 5>not take themselves seriously. The record would be playing, they're
<v Speaker 5>supposed to be lip syncing, they would completely ignore that
<v Speaker 5>and just like basically slam dance on stage and just
<v Speaker 5>laugh at it all.
<v Speaker 4>And they just didn't take it seriously.
<v Speaker 5>And they're kind of on stage persona of being these rude,
<v Speaker 5>crude frat boys that just party hard and didn't care
<v Speaker 5>about anything. That really came together on this like a
<v Speaker 5>virgin tour, and.
<v Speaker 6>That rude, crude frat boy attitude is basically full force
<v Speaker 6>on Licensed Hill. That's what you get for twelve songs
<v Speaker 6>or whatever. And people did embrace that.
<v Speaker 2>They liked it, yeah, literally.
<v Speaker 5>But it absolutely took rap out of the New York
<v Speaker 5>club scene and it was putting it in front of
<v Speaker 5>the nation.
<v Speaker 4>This is people's first exposure.
<v Speaker 5>Maybe it was not the best foot forward for rap,
<v Speaker 5>but it was significant in terms of getting some national exposure.
<v Speaker 5>But then just a couple months later, in October of
<v Speaker 5>nineteen eighty five, there was a movie that came out. Now,
<v Speaker 5>this movie was shot in April of eighty five. It
<v Speaker 5>was produced and starred Rick Rubin. It was produced and
<v Speaker 5>featured a cameo from Russell Simmons.
<v Speaker 4>It was called Crush Group.
<v Speaker 5>Now, this is coming after nineteen eighty four where there
<v Speaker 5>had been several breakdance movies, and so there were some
<v Speaker 5>low budget film studios that were looking to continue to
<v Speaker 5>capitalize on the hip hop market for these low rent movies,
<v Speaker 5>and they decided instead of breakdance, they needed to do rap.
<v Speaker 5>There was no bigger name in rap in nineteen eighty four,
<v Speaker 5>and they were looking to do this than Russell Simmons,
<v Speaker 5>and they basically approached him about doing take a fictionalized
<v Speaker 5>version of his story, his biography, and putting it in
<v Speaker 5>a movie, and so that's what you get. Crush Groove
<v Speaker 5>is kind of a synonym for def Jam and it
<v Speaker 5>was the name of the record label inside this movie.
<v Speaker 4>And this movie is great. I love it. It's cheesy,
<v Speaker 4>it's terrible acting, and it's low budget.
<v Speaker 1>But Underwood, you got Blair Underwood as the Russell Simmons
<v Speaker 1>character was like Russell Walker or something. Isn't that right?
<v Speaker 4>Yeah?
<v Speaker 1>Much. Blair Underwood is a much handsomer man than Russell
<v Speaker 1>Simmons is I would have Russell. I would have Blair
<v Speaker 1>Underwood play me, even though it looks they like but
<v Speaker 1>Russell Simmons look at this. I mean, he wanted to
<v Speaker 1>make a movie, but what his objective was was make
<v Speaker 1>it a show piece for all of the bands that
<v Speaker 1>he managed. And so you've got just a slew of
<v Speaker 1>these mid eighties rap hip hop bands that are appearing
<v Speaker 1>throughout the movie.
<v Speaker 5>Run dmc, Curtis Blow and Sheila e Or kind of
<v Speaker 5>kind of drive the story. The Fat Boys were added
<v Speaker 5>without Russell's knowledge, was shot separately and cut into the
<v Speaker 5>movie separately, and if you'll notice, their scenes never advanced
<v Speaker 5>the plot. So he was really upset to find out
<v Speaker 5>the Fat Boys were in his movie.
<v Speaker 4>But they were a big name and it drove the
<v Speaker 4>box office.
<v Speaker 5>The Ello Coool j mex A cameo appearance the Beastie
<v Speaker 5>Boys make a cameo appearance, and they performed a new
<v Speaker 5>song that they recorded in nineteen eighty five called She's
<v Speaker 5>On It conclude what was interesting at this point, def
<v Speaker 5>Jam only had a couple of singles out that they
<v Speaker 5>had two successful singles, They had I Need to Beat
<v Speaker 5>and Rock Hard, which had to be pulled for legal reasons.
<v Speaker 5>They had put out several other smaller records that hadn't
<v Speaker 5>done anything. They had yet to put out an album.
<v Speaker 5>Deaf Jam had not even put out an album as
<v Speaker 5>a company yet, and there was already a movie in
<v Speaker 5>theaters that was giving their story.
<v Speaker 1>That's crazy, that's impressive.
<v Speaker 4>So what happens here right at this time?
<v Speaker 5>This is critical right here, after the success of I
<v Speaker 5>Need to Beat and Rock Hard, it's enough success to
<v Speaker 5>garner interest from major record like and they end up
<v Speaker 5>signing a deal with Columbia for a distribution deal.
<v Speaker 4>So Deaf Jam has Columbia Records distributing for.
<v Speaker 5>Them, So this is give them a huge infusion of cash.
<v Speaker 1>This is the story that I was alluding to earlier.
<v Speaker 1>So Rick Rubin was supposed to be going to law
<v Speaker 1>school after NYU, right, that's what his parents are expecting.
<v Speaker 1>And so the way that he broke the news to
<v Speaker 1>his parents that he wasn't going to go to law
<v Speaker 1>school was that he sent them a picture of the
<v Speaker 1>check that he got from Capitol Records. It was for
<v Speaker 1>six hundred thousand dollars.
<v Speaker 6>Well, I'm giving you six hundred thousand reasons why I'm
<v Speaker 6>not going to law school.
<v Speaker 5>Well, that money was enough to move deaf Jam out
<v Speaker 5>of his dorm room and move him too a three
<v Speaker 5>story building which Russell Simmons had Rush Management, which was
<v Speaker 5>his artist management business, on the first floor. Deaf Jam
<v Speaker 5>Records was on the second floor, and Rick Rubin moved
<v Speaker 5>into the third floor. So that Columbia money allowed them
<v Speaker 5>to do that. But what it did was it set
<v Speaker 5>the stage for nineteen eighty six, and nineteen eighty six
<v Speaker 5>is the year where it really all started coming together.
<v Speaker 6>Hit it four and three.
<v Speaker 2>And two and one.
<v Speaker 1>Okay, So obviously you know they lost Kate Schallenbach. They've
<v Speaker 1>got DJ double R Rick Rubin as their DJ. But
<v Speaker 1>at some point that changes because I know that Doctor
<v Speaker 1>Dre No, not that Doctor Dre, the other one from
<v Speaker 1>MTV raps, that Doctor Dre. He was their DJ for
<v Speaker 1>a while and he was their DJ for the first
<v Speaker 1>part of the Raisin Hell to him right, But then
<v Speaker 1>how did it move from Rick Rubin to Doctor Dre Well, I.
<v Speaker 4>Would say fate intervened.
<v Speaker 5>It was during the madonnatur in the summer of eighty five,
<v Speaker 5>where Reuben was still on the road with them, and
<v Speaker 5>it was a part of the act. History was about
<v Speaker 5>to go a different way. This was going to be
<v Speaker 5>a four piece act with the DJ Double R as
<v Speaker 5>a part of the Beastie Boys.
<v Speaker 4>But after a couple of shows.
<v Speaker 5>He came down with an ear infection and the doctor
<v Speaker 5>told him that he couldn't fly while he's recovering from
<v Speaker 5>this ear issue, and so he went back to New York.
<v Speaker 5>The rest of the band didn't really know what had
<v Speaker 5>happened to him, They didn't know why that he had
<v Speaker 5>bounced out, but they did get Doctor Dre to step
<v Speaker 5>in and fill in as the DJ. So Doctor Dre
<v Speaker 5>serves as the DJ for the rest of their takes
<v Speaker 5>over as their DJ for their gigs that point forward
<v Speaker 5>in the middle of the madonnataur H. But the reason
<v Speaker 5>this is fate intervening is that this now freed Rick
<v Speaker 5>Rubin up to stay at the studio and to work
<v Speaker 5>on production, and to work on beats and sounds, and
<v Speaker 5>to develop them, help them develop the musical material that
<v Speaker 5>would be used on.
<v Speaker 4>License to Deal.
<v Speaker 5>And I can tell you this, the run DMC Raising
<v Speaker 5>Hell Tour had already started without the Beastie.
<v Speaker 4>Boys on it.
<v Speaker 5>The reason I know is that I attended a show
<v Speaker 5>in May of nineteen eighty six. They came to my
<v Speaker 5>hometown of Columbus, Georgia, and I saw Houdini and Ello
<v Speaker 5>Cooljay open for Run DMC, and they were playing material
<v Speaker 5>from their brand new Raising Hell album that I had
<v Speaker 5>not heard yet, and it was blowing me away. And
<v Speaker 5>the BC Boys were not a part of that show.
<v Speaker 5>What's happening was they were still in the studio working
<v Speaker 5>on the album. They were still putting their material together
<v Speaker 5>and having conducting their sessions. And it would be a
<v Speaker 5>little bit later in the year, not too much later.
<v Speaker 5>I didn't miss them by much apparently, but they would
<v Speaker 5>join the Raising Hell Tour during nineteen eighty six as
<v Speaker 5>an opening act, but their set consisted of only three songs.
<v Speaker 5>They sang Slow and Low, She's on It, and hold
<v Speaker 5>It Now, Hit It, and that's all they had every
<v Speaker 5>night they went out and did those three songs, and
<v Speaker 5>they were done.
<v Speaker 4>A couple of stories about.
<v Speaker 5>The Raising Hell tour. You know, these guys are brash,
<v Speaker 5>they're rude. They offend on purpose. They think it's funny
<v Speaker 5>when they can get a reaction out of people. And
<v Speaker 5>they're real tight with Russell Simmons and run DMC and
<v Speaker 5>the whole rap crowd. And they're accepted by the hip
<v Speaker 5>hop community, right.
<v Speaker 4>They're a part of it.
<v Speaker 5>That's important to know when you think about their acceptance
<v Speaker 5>and the reaction to their album.
<v Speaker 4>It's easy when it comes out, it's easy to think
<v Speaker 4>of them as a joke or parody. But the truth
<v Speaker 4>is they had credibility.
<v Speaker 5>They had pred they were legit, they were from the scene,
<v Speaker 5>they knew all this right people, They had the credibility.
<v Speaker 5>But this is nineteen eighty six and they were among friends.
<v Speaker 5>They wanted to offend people. They were using the N
<v Speaker 5>word on stage as a part of their routine, which
<v Speaker 5>sounds crazy in twenty twenty one, but back then, with
<v Speaker 5>the environment they were in, it was a part of
<v Speaker 5>what they did. Here's the problem. The Raising Hell to
<v Speaker 5>Her stopped at the Apollo Theater in the Harlem. They
<v Speaker 5>were doing a show and Russell Simmons is freaking out.
<v Speaker 5>He goes up to Doctor Dre, which is for the
<v Speaker 5>show starts and says, whatever you do, do not let
<v Speaker 5>them say that word. And Doctor Dre's like, what can
<v Speaker 5>I do? I'm just back here spinning records. I can't
<v Speaker 5>help what comes out of their mouths.
<v Speaker 4>Sure enough, they're in the middle of their show. They're gone.
<v Speaker 5>Ad Rock's up front with his hands in the air,
<v Speaker 5>getting the crowd going. The crowd's with them. He blurts
<v Speaker 5>it out. He throws it out there. Immediately you could
<v Speaker 5>hear a pin drop. Everybody's just staring at him. Oh
<v Speaker 5>my goodness. Ad Rock's got his hands in the air,
<v Speaker 5>so he realized he's lost the crowd and he's like,
<v Speaker 5>what am I gonna do? Mike d turns around at
<v Speaker 5>Doctor Dre. He's got fear in his eyes. He's looking
<v Speaker 5>at him on stage.
<v Speaker 4>Like what do we do? What do we do? And
<v Speaker 4>Doctor Dre's like, I don't know. Adam York and Mike
<v Speaker 4>d take off.
<v Speaker 5>They run off the stage and Horovitz looks around realizes
<v Speaker 5>he's by himself.
<v Speaker 2>Boom.
<v Speaker 4>He runs off the stage.
<v Speaker 5>The crowd is left staring at Doctor Dre like, well,
<v Speaker 5>who are you hanging out with these clowns?
<v Speaker 4>Right?
<v Speaker 6>And he.
<v Speaker 5>Goes backstage himself. The BC boys are gone. They're nowhere
<v Speaker 5>around the tour buses there, they're not there. They ran
<v Speaker 5>out the back door and got in a cabin. They
<v Speaker 5>were gone before Drey was even off the stage.
<v Speaker 2>That's awesome.
<v Speaker 5>I can also tell you that at another stop on
<v Speaker 5>the tour, they were in Miami and Doctor.
<v Speaker 4>Dre overslept and they left without him.
<v Speaker 2>He's still mad about that. I saw an interview. He's
<v Speaker 2>still mad about that.
<v Speaker 1>He fell asleep and like it was like the couch
<v Speaker 1>and the lobby of the hotel or something right, and
<v Speaker 1>he's like, just wake me up, leave me. Don't leave me, literally,
<v Speaker 1>don't leave me. And they left him anyway. And that
<v Speaker 1>is how DJ Hurricane became because he had been with
<v Speaker 1>run DMC before and Doctor Dre was like, screw you guys,
<v Speaker 1>I'm gonna go do your MTV wraps. I'm joking. Of
<v Speaker 1>course that wasn't until much later, but but yeah, that's
<v Speaker 1>how DJ Hurricane comes on. Now what else also happens
<v Speaker 1>in Miami? We talked about this when we did our
<v Speaker 1>Aerosmith episode. This is where Joe Perry and Steven Tyler
<v Speaker 1>come in and they do the performance of Walk This
<v Speaker 1>Way with Run DMC. Right. They're there to do just
<v Speaker 1>this one song, and so I think I think it
<v Speaker 1>was Run. I think it was No, Maybe it was No,
<v Speaker 1>it was jem Master Jay. Jem Master Jay goes, hey, Yuck,
<v Speaker 1>it'll be funny if you go out there and play
<v Speaker 1>bass with them, and so Yuck, who's mostly drunk at
<v Speaker 1>this time, goes out while Joe Perry and Steven Tyler
<v Speaker 1>are on stage performing Walk This Way with his bass,
<v Speaker 1>and they're like, who is this drunk kid out here?
<v Speaker 1>You know what is this? And he keeps trying to
<v Speaker 1>do the back to back with Joe Perry, and Joe
<v Speaker 1>Perry keeps like walking away from him, and so he
<v Speaker 1>ends up chasing him around the stage, walking backwards, trying
<v Speaker 1>to be cool with Aerosmith.
<v Speaker 5>The Raising Hell album did come out in May of
<v Speaker 5>eighty six. Walk This Way came out as a single
<v Speaker 5>in July of eighty six. So here we are winding
<v Speaker 5>down the year and this song has taken over, Right,
<v Speaker 5>we'll talk about it in the next episode, But Walk
<v Speaker 5>This Way was absolutely man in breaking Wrap through to
<v Speaker 5>a crossover audience and kind of setting the table for frankly,
<v Speaker 5>a white audience to embrace.
<v Speaker 4>This new music form.
<v Speaker 5>And so by the end of eighty six, the Beast
<v Speaker 5>Boys actually put out another single, Paul Revere is a
<v Speaker 5>single that comes out ahead of the release of the album.
<v Speaker 5>But on November fifteenth, License to Ill is released. So
<v Speaker 5>we're celebrating the thirty fifth anniversary of that album this week.
<v Speaker 4>As we speak.
<v Speaker 2>Today is Wednesday, November the seventeenth. Today that we're recording.
<v Speaker 2>Two days ago was the thirty fifth anniversary. It's incredible. Well,
<v Speaker 2>are we ready to dive in tack by track?
<v Speaker 4>Ready?
<v Speaker 1>All right, We're gonna jump in track by track. Now,
<v Speaker 1>keep in mind, these guys are real musicians. But they
<v Speaker 1>and I don't mean that hip hop isn't real music.
<v Speaker 1>But like they when they did their punk stuff, they
<v Speaker 1>played the drums, they played the guitar, they played the bass.
<v Speaker 1>They they were able to play those instruments. It's just
<v Speaker 1>not what they were doing. It wasn't there. But our
<v Speaker 1>friend Adam Yaq was a guy who was like he
<v Speaker 1>was special, like he you talked about how his profile
<v Speaker 1>said you should do anything except music. Don't do music.
<v Speaker 1>I think that must have been inspiration for him because
<v Speaker 1>he studied it. And so back before YouTube, back before Google,
<v Speaker 1>back before Wikipedia, he knew that Jimmy Hendrix and sly
<v Speaker 1>Stone were doing stuff with this idea of looping a track, right,
<v Speaker 1>and so what you know, people not nowaday today know
<v Speaker 1>what looping is, but back then, nobody really knew. So
<v Speaker 1>one day Mike d and Adam Horwitz come in and
<v Speaker 1>at this point, at this point, Yak is a superintendent
<v Speaker 1>of an apartment complex, like he's he's got a free
<v Speaker 1>place to say because he's going to be the superintendent,
<v Speaker 1>which means there were people who had like their toilet
<v Speaker 1>go bad, and Adam Yak was the one that came
<v Speaker 1>and fixed the toilet. And so they come in and
<v Speaker 1>he's got this reel to reel and he's got the
<v Speaker 1>tape going around one mic stand, going around another mic stand,
<v Speaker 1>going through a rocking chair and back in and the
<v Speaker 1>beat that's playing is from led Zeppelins when the levee
<v Speaker 1>breaks and it sounds like this.
<v Speaker 6>All right, So when we finally ready to go track
<v Speaker 6>by track through license till yes, yes, next week, next week,
<v Speaker 6>not today.
<v Speaker 2>Sorry, all right, Dave.
<v Speaker 6>We'll catch you next time and we'll do track by
<v Speaker 6>track through license till Hey.
<v Speaker 1>If you've been with us this long, be sure to
<v Speaker 1>hit that subscribe button, that follow button so that you
<v Speaker 1>catch our next episode next week, where we will go
<v Speaker 1>track by track through license to ill eat.
<v Speaker 4>Me Well, looking at Magucci, it's about that time.
<v Speaker 2>All right, Thanks a lot, Dave. We'll see you next time,
<v Speaker 2>all right.
<v Speaker 4>Thanks. Look my god that I'm more.
<v Speaker 2>Skilled, man.
<v Speaker 6>I love that.
<v Speaker 7>Steward h