123 - Run-D.M.C. - Raising Hell - Erik Griffin

Summary

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The 500 with Josh Adam Meyers — Ep. 123

Album: Run-D.M.C. – Raising Hell (#123 on Rolling Stone’s 500 Greatest)
Guest: Erik Griffin
Release Date: January 28, 2026

Episode Overview

In this episode, comedian and actor Erik Griffin joins host Josh Adam Meyers to discuss Raising Hell, the third studio album by Run-D.M.C., which is widely considered a landmark not just in hip hop, but in pop culture history. They explore how this 1986 album “kicked down the doors” for rap music in the mainstream, dissect the cultural context of its release, and reflect on its musical innovations and commercial legacy. The conversation is vibrant, nostalgic, and peppered with personal anecdotes.

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Key Discussion Points & Insights

1. Why Raising Hell Matters (06:29–17:12)

• Erik Griffin describes discovering Raising Hell as a 14/15-year-old in LA—listening to “K Day” on AM radio was the only way to hear rap at the time.
• Both hosts agree that Raising Hell did not just "open the door," but “kicked down the doors” for hip hop’s mainstream credibility.
  • "I think this is the first real... this put rap on the map really." — Erik (07:54)
  • "They're setting up what the business model is going to be for hip hop." — Josh (14:59)
• The importance of crossing over: The album’s collaborations with rock (especially “Walk This Way” with Aerosmith) not only changed music but demonstrated the genre’s wide appeal.
  • "‘Walk This Way’ is a really important song for hip hop because it made people recognize how the music has a lot of similarities..." — Erik (15:28)

2. Musical & Cultural Context (17:12–26:44)

• The hosts reflect on Rick Rubin’s genius for seeing hip hop’s cross-cultural potential:
  • "Rick Rubin saw the world in a different lens... he saw this music, and he was like, man, no, this is powerful. This is deep." — Erik (17:47)
• Raising Hell as the first hip hop album to break into MTV and mainstream radio—a cultural milestone parallel to Michael Jackson’s mainstreaming of black pop.
  • "They were the first rap group to be nominated for a Grammy. You know, they were the first rap group to be on Rolling Stone, the cover of Rolling Stone, you know, and then they were the first rap group to have an arena tour..." — Erik (22:37)
• Reflection on the mid-80s ("greed is good" era) — the contrast of hip hop’s confident, rebellious energy against Reagan-era social realities.

3. The Impact of “Walk This Way” and Commercial Breakthrough (26:44–37:33)

• How Aerosmith’s involvement revitalized their own career and catapulted Run-D.M.C. into rock radio and MTV rotation.
  • "Aerosmith are in their mid-30s. They're in the... ancient years. Right? And then you have a hip hop group come up to you and say, hey, we want to cover your song and we want you to be in it." — Josh (37:33)
• The album’s fashion influence—Run-D.M.C. made Adidas and gold chains iconic, leading to lucrative endorsement deals and cultural shifts.
  • "This is like the fashion was a character on its own." — Erik (20:24)
  • "Once you do that, you got it." — Erik (21:17)
• Raising Hell connected youth across America, making rap—and its style—unavoidable.

4. Rap’s Mainstream and Underground Tensions (33:20–40:40)

• Not all in the hip hop community welcomed Run-D.M.C.’s crossover—some saw them as sellouts for their pop collaborations and white audience success.
  • "Not everyone in hip hop appreciated what Run DMC was doing. I mean, they were considered like, sellouts." — Erik (35:17)
• The difference between commercial and underground rap at the time; the importance of KRS-One, Eric B. & Rakim, and others who changed rapping’s style and content.

5. Album Analysis & Standout Tracks (50:12–54:13)

• Both hosts revisit the strong tracklist of Raising Hell:
  “Peter Piper,” “It’s Tricky,” “My Adidas,” and “Walk This Way” are specifically highlighted as timeless.
  • "If you got two or three hits off an album, that was a great album... to have five or six jams now—this don't happen." — Erik (30:56)
• The importance of sequencing and front-loading albums with hits in the era of cassettes and vinyl.

6. Run-D.M.C.'s Enduring Legacy (56:02–63:08)

• Commercial stats: Raising Hell reached triple platinum by April 1987 and peaked at #6 on the Billboard 200.
• The Adidas partnership: Tens of millions in value for the brand, and the creation of new paradigms in artist endorsements.
  • "They may not have made money, but they, they... made cultural immortality." — Josh (56:28)
• “You Be Illin’” and street slang—how Run-D.M.C. made slang from the streets into household words.

7. Musical Evolution & Societal Conversations (47:31–51:59)

• The hosts discuss the evolution from party rhymes to more serious, politicized rap (Public Enemy, KRS-One), comparing Run-D.M.C.’s energetic, crowd-pleasing style with later lyrical developments.
  • "Not everybody has to be R.E.M.... some people just like, hey, can we make some fun music and have people, you know, be escapism too?" — Erik (49:12)

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Notable Quotes & Moments

• On Run-D.M.C’s Commercial Influence:
  • "This is the album that, you know, I don't think people would. They would know these songs. They would think those other songs are on this album, you know what I'm saying?" — Erik (14:28)
• On Cultural Bridges:
  • “They’re setting up what the business model is going to be for hip hop moving forward.” — Josh (14:59)
• On Rick Rubin’s Vision:
  • “He saw this music, and he was like, man, no, this is powerful. This is deep... It moves people. It's not a black thing. You know, it’s a cultural thing.” — Erik (17:47)
• On Crossovers:
  • “’Walk This Way’ is a really important song for hip hop because it made people recognize how the music has a lot of similarities...” — Erik (15:28)
  • “Nobody, it's a German-owned soccer, you know, clothing line. But it's those three stripes... and it’s because of this group here, dude.” — Josh (21:27)
• On Notoriety and Sell-Out Claims:
  • “Not everyone in hip hop appreciated what Run DMC was doing. I mean, they were considered, like, sellouts.” — Erik (35:17)
• On Legacy:
  • “I don't think you can tell the story of the music business without this album. I don't think the story can be told. There'd be a gaping hole.” — Erik (73:06)

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Album Standouts & Personal Picks (67:34–69:03)

• Favorite Song:
  • Erik: “You Be Illin’” — "That was just the one that stuck with me—you said with your friends, 'Man, you be illin'..." (67:45)
  • Josh shouts out the immediate energy of “Peter Piper” and “It’s Tricky.”
• Is this a “no-skip” album?
  • Erik: “No, it’s a skip record. I mean, what are you supposed to do? Especially if you’re listening to it now. It’s front-loaded.” (69:12)

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Lighthearted Banter & Riffs

• Ongoing friendly feud: “The Beatles were the first boy band” debate (63:24–67:24).
• Reflections on fashion trends (“I was never that guy,” says Erik on Adidas and Starter jackets).
• Interludes about personal life, careers, and comedy, keeping the tone loose and candid.

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Final Takeaways

Why Raising Hell Still Matters

• For Erik, the album’s significance is ultimate: "You got to listen to the album that opened the door for hip hop to be commercial." (72:41)
• For Josh, it's essential for anyone curious about how a genre breaks out of its niche: "This is obviously a big Mount Rushmore moment for hip hop." (72:50)

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Timestamps for Key Segments

• [06:29] — Memories of discovering the album / Why it was pivotal
• [14:07] — Black/White crossover and mainstreaming of rap
• [17:47] — Rick Rubin and Def Jam’s importance
• [22:37] — Cultural shifts: MTV, Grammys, mainstream acceptance
• [30:28] — Analyzing the tracklist, number of hits, and musical impact
• [35:17] — “Sellout” claims and tensions within the hip hop community
• [50:12] — Favorite tracks & album sequencing
• [56:02] — Album sales, commercial impact, and Adidas deal
• [63:10] — The Beatles as a “boy band” debate

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Closing & Plugs

• Erik plugs his podcasts Riffin’ with Griffin and The Golden Hour, his film “Behemoth,” and current stand-up tour dates.
• The hosts celebrate podcasting consistency and reflect on the journey reviewing the top 500 albums.

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For New Listeners:

If you want to understand how the sound, confidence, and style of modern hip hop took off—and how Run-D.M.C.’s Raising Hell wasn’t just music, but a movement that broke racial, genre, and business boundaries—this episode is an essential listen. The chemistry between Josh Adam Meyers and Erik Griffin keeps it both informative and fun, blending sharp music insight with real warmth and a bit of comic rivalry.

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Transcript

[Eric Griffin]

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[Josh Adam Meyers]

This show is brought to you by Distro Kid. Bring your music to the masses. The 500 the 500 JM been walking us down through that 2012 edition so it ain't nothing too new. Hundreds more to go and in need of a friend. The king of peace for angelo Talking the 500 until the end Talking the 500 until the end with my man JL on the 500 Talking the 500 until the end Here goes a 1.

[Guest Rapper/Performer]

2, 3 and tastes like king minus.

[Eric Griffin]

As I was told everything that he touched turned to gold he's the greatest of the great I get it straight he's great playing fame cause his name.

[Guest Rapper/Performer]

Is known as every state his name is Jacob God damn that DJ made my day.

[Josh Adam Meyers]

That is Peter Piper. It's the opening track from raising hell from 1986 by Run DMC. It's also number 123 out of 500 of the 500 with me, Josh Adamize. What's up party peeps? The fleece army people. Come on Rocket. Everybody give up. Let's go. Daily button Doodle Bow welcome to the only podcast where comedians go on the rolling show magazines list of the 500 greatest albums from 500 all the way down to one. I am in LA right now because I was stuck in Calgary. I couldn't get to New York because of the rain. Rain, snow, same thing. Colder Frozen frozen rain. Fluffy, fluffy frozen rain. So I was out here for a few days. So yeah, if this sounds a little off it's because I'm at a makeshift a studio in the Andaz the rock and roll I suppose a rock and roll Ralph's. No, this is a riot Hyatt. This hotel is like super famous. This is where Chumbawamba rope tub thumping. This is where Oasis drove by once. This is where Judy Garland had diarrhea. And. And I stay here. Let's get to the meat. I want to get this quick. Patreon.com backslash the 500 podcast. Subscribe if you don't already be. We got so much great on there. We have nine new all me, Morty Wayne Fetterman talking, gawking, living. Patreon.com backslash the 500 podcast. YouTube subscribe and I got dates. I just left Calgary, which was great. God bless Matt. Oh God. Rich. Rich, Rich, my buddy. He is a general of Calgary. I think he's an Edmonton guy. But yeah, I love you, Rich. And how about that shout out? He said I missed the last shout out. How about that shout out for your Rich? It's. It's. He's the man. We love him. You love him. Let's go, dude. All right, Josh Adenmeyers on all social media. Josh adamyers.com I'll start posting shows when my agent starts booking me on. I don't have much right now, man. It's. It's not good. My life is falling apart and that's just the way it is. I wish it was better. I got the cruise. The the. I got the cruise, the this is important podcast cruise that's gonna rule. And then I've got some stuff in April. March is empty, May is empty, June is empty. The rest of the year is empty. And it'll fill up because that's what my agent does. He waits until the last minute because I can't sell tickets. But you know what? I can sell a great guest in the last second. So we had a guest plan and in the last second they canceled and I scrambled because I'm here in la. It plans. And Wednesday. I'm kind of going hotel to hotel right now. And I reached out to Eric, dude, God bless his soul. I love Eric Griffin, man. He's always been good to me. He's such a cool guy. And God damn, the Beatles are not a boy band. Which we will talk about at Eric Griffin on all social media. You know him from riffing with Griffin. You know him from the Golden Hour. You know him for I'm Dying up Here. You know him from Behemoth that's coming out and he's on tour. Matt Rife. He's on tour himself. Merrick griffin.com for tickets. He is a Run DMC fan. Dig it, squig it and long leg it. Rate, review and most importantly, subscribe to the 500 and listen free on all Platforms. Anyway, you can follow me at Josh Adam Myers and all soch at the 500 podcast. Email the [e-mail] Follow the Facebook group I'm about crazy the oven if he's still alive. And for all things 500, go to the website the500byguys.com. Nothing left to say with nothing.

[Eric Griffin]

Stay with.

[Josh Adam Meyers]

Here we go with 123run dmc raising h e L L Heavenly.

[Eric Griffin]

I even have this for you. Hello. That's that machine I always want to bring to Godd Comedy Jam.

[Josh Adam Meyers]

Well, you're gonna be doing that, you know, when we're on the. On the boat in a few weeks. Oh God, your lighting is so much better than mine. I gotta get closer. I gotta get. Just so everybody knows and we should just say it right off the jump. This is Eric's 15th podcast today.

[Eric Griffin]

Yeah, I can make my background run DMC if you need.

[Josh Adam Meyers]

Do you want to. I mean, it's not gonna. Dude, it's whatever you feel comfortable with. I mean, I love you being out in the ocean like a Viking warrior about to be put to death. Feel free to eat any delicious ciabatta breaded sandwich that you got. You are doing us a favor right now.

[Eric Griffin]

Yeah. Am I. Am I doing too much right now? No.

[Josh Adam Meyers]

God, dude, you saved our ass today. I'm gonna give. I'm gonna pull the curtain back to all of the fleece army out there. Last minute booking. Not.

[Podcast Sponsor/Ad Voice]

Not.

[Josh Adam Meyers]

And honestly should have probably come to you right off the jump. Probably really should have come to you right off the jump. I know how much you love music. I know how much you, you, you know, one love hip hop, whether it's R B or whatever. And then also you're black, so. And you're of the age where this probably would have been in there.

[Eric Griffin]

Yeah, this is. This is the age range of like. Yeah, definitely. When you know some. Someone would know this album because. And just I'm trying to think, what year was this?

[Josh Adam Meyers]

This record came out in 1986. And I'm gonna give you the most.

[Eric Griffin]

Oh, nice.

[Josh Adam Meyers]

The coolest ever. Yeah, Eric, I'm gonna give you the coolest ever. This, this record, Raising Hell Right by Run DMC and Bon Jovi. Sleepy one Wet were the first two albums that my parents bought me and my sister. Ever. This was like the first ones that we were like, we want. They're like, we're gonna buy you some records or whatever you want. What do you want? And jod her, we were like, well, I want this. And she was like, well, I want this. We were like, well, how about we both kind of like what are the other two? Because he's. I didn't like that one. She didn't like that one. She's like, well, I like because between like the Beastie Boys and this. And I was like, oh man. But I love like, you know, I love you be Ellen. I love like it's just. It was just. It was the perfect record for a white. Oh, look at that change up in the background. This was a perfect record for like a six year old kid. Oh, you they use so tricky. I wish I could do that. How do I fix mine? But I think the way my lighting is. No, but this is like. This is like one of those things where it was. Where as this record came up and I was like, all right, I gotta listen to it. The second I put this record on, it took me back completely to being, you know, six, seven years old. However, I, I mean, when did this come out? What. What month did this come out? Let me see if I can find it. I don't have the exact months, but I'm assuming I was. I was about. If it's 86. I was the oldest. I was. I turned, I turned seven in November. So. Yeah. How were you when this came out?

[Eric Griffin]

86. Oh, so I'm 72. So I was like 14, 15. I was just like. I think this was like freshman year in high school for me or this summer. Yeah, yeah, yeah. Wow.

[Josh Adam Meyers]

I didn't realize you're old as dust.

[Eric Griffin]

God, this piece of. Yeah, this.

[Josh Adam Meyers]

But you fit in with all those youngins. I'm saying that as a 46 year old man.

[Eric Griffin]

Exactly. You right on my heels. How dare you.

[Josh Adam Meyers]

I'm nipping.

[Eric Griffin]

I'm nipping. I'm nipping. This was like yes. You know, but okay, you see, so I grew up in la, so this was like, you know, you had to listen to a station called K Day back in the day to hear rap on the radio. So. And it was like at AM station. So you know, it wasn't stereo and that's where you had to listen to stuff. And the reason why to me this album was so instrument, you know, so, you know, instrumental to the whole rap movement is this. It crossed over. You know, I think this is the first real like this made this. This put rap on the map really. And made, you know when you say. I don't know what I could think of before this. It was this and the Beastie Boys all around the same time. And you Know, so. And I think that, I think that honestly, the Beastie Boys being white is like the, the door opening for America to be like, oh, okay. So this, I guess I can listen to this genre of music and then, you know, they, then here it is done in a way that they're like, oh, okay. But still sort of commercial at the time too. The, the tracks that came out and then Aerosmith really co signing the whole thing and then there you go and then the rest is history. Then it's LL Cool J and it's, you know, jj, Thad, and it's like, you know, salt and pepper and it's all those groups that kind of crossed over to get radio airplay. But this is the first time that people were just kind of like, all right, yeah, this, this is my jam, you know.

[Josh Adam Meyers]

Yeah, this is a record that, Let me see if I can how I wrote this. At the beginning of it, I said, this is a record because you said it opened the door. I think this kicked down the doors. I think this is the record because hip hop before this from my understanding was, you know, you know, white lines, you know, you know, so the Grandmaster Flash, Furious 5, Sugar Hill Gang. This was not, if I'm not mistaken. I don't want to. I'm gonna talk on my ass. So, so this is their third. So. So Run DMC drops their first record in 1984, which, which has, it's like that hard time.

[Eric Griffin]

That's the way it is.

[Josh Adam Meyers]

And I think we can all agree that, that, that all of the MCs, all the MCs from back in that day, Eric, are the or they all had that rhyme style of the way that most regular white people that have no, no connection to hip hop whatsoever. It's still rap to this day.

[Eric Griffin]

I was about to say it's the McDonald's commercials of today. You know, Big smack and fries with a chocolate shake. Yeah, that's how we do it in the usa, you know, it's like, yeah, it was a sort of sing songy nursery rhyme style of doing rap that, you know, you know, yeah, it's like Houdini and, you know, the Sugar Hill Gang and, and that was like the thing. And then it's, you know, I think that Run DMC was, was one of the first time that this particular album where it was. Now let's combine, you know, samples and, you know, some musicality to it that's not just a beat. You know what I mean?

[Josh Adam Meyers]

Yeah, no, I, I, I completely see what you're saying. This is I think this as. Because you go from that first record to then King of Rock, which is great. You know, you've got King Rock on it. You talk too much. You know, can you. Can you rock it like this? But this is the record, in my opinion, because I listened to all three of these, where I feel the samples really start getting good. The beats start getting really. And. And like I said before, this is like them not just opening the door, they are kicking down the door. They are basically saying, you know, this is. This is. This is where hip hop is going to be now. We're gonna steal your sneakers and then we're gonna get a corporate endorsement for it, you know?

[Guest Rapper/Performer]

Yeah, but.

[Eric Griffin]

Yeah, I feel like, though. Yes. But I think it was a lot of factors that went into this. I really do think, like I said earlier, I think that, you know, the rap wasn't really a thing. And it was like, at the time considered, like, this is for the black community only, you know, like, people weren't really listening to this in the mainstream.

[Josh Adam Meyers]

Sure.

[Eric Griffin]

And then you have these white kids come out, like I say, and Beastie Boys come out, and it's just kind of. I think that that made it okay. It made it like, oh, this is an interesting style. And then you're seeing people that look like, you know, the mainstream of America at the time. And then these guys just come out and just, you know, they come out of. Basically come out of nowhere to most of America. This is the album that, you know, I don't think people would. They would know these songs. They would think those other songs are on this album. You know what I'm saying?

[Josh Adam Meyers]

Oh, totally, totally. But this is. I mean, this is the epitome of what I would call, like, rat at the time, because there was always, like, the battling and I'm the best mc, but this is one where it's like rap confidence times a million. And. And they're. They're setting up what the business model is going to be for hip hop moving forward. And I think this is, like. It's aggressive occasionally, like, problematic, but. But also, like, wildly successful. Wildly successful.

[Eric Griffin]

Yes. I do think that this open. What did this door, the door that was kicked down to me was the commercial door. I think the door that was kicked down was like, the barrier between, you know, the corporate endorsement and them thinking that, is this gonna sell? That kind of thing. It's like, I don't know if this is gonna sell. And then it sure did. It turns out it sure did. And so. And then again, you have you know, having a collaboration between. I think it was so important that. That Walk this Way is a really important song for hip hop because it made people recognize how the music is. Has a lot of similarities that, you know, that you could be like, oh, when you hear this rap on that song, you go, oh, okay, that actually works. And then. And also the other way, too, that. That. Oh, yeah, you know, you could rap on some rock stuff. I think it made. I think it opened the door for everyone. I think all the music business, all of hip hop. Every person that wanted to be a hip hop artist looked at that and said, oh, this changes the game. Yeah, and we can rap on anything.

[Josh Adam Meyers]

And I. And I think it's also. No one ever would have thought that it would have gone into the direction that it went into, not just with hip hop, but with. With combining them, you know, like. Rage Against a Machine.

[Eric Griffin]

Yeah, yeah.

[Josh Adam Meyers]

Faith no More, you know, Limp Bizkit, for Christ's sake. I mean, and it took iconic, you know, iconic.

[Eric Griffin]

But. But that's. I don't. I don't think that happens without this album.

[Josh Adam Meyers]

No. 100. I think this is. This is the first. Well, they always say that the first instance of, like, I guess it's rap, but I thought it was merely. It's the first instance. Morty's gonna be so pissed at me.

[Eric Griffin]

The.

[Josh Adam Meyers]

The Debbie Harry thing where she does, like, you know, 5 5. Freddie isn't everybo, Which is a great song.

[Eric Griffin]

But this is.

[Josh Adam Meyers]

This is like. This is. This is really, you know, the. The combination of, like, Run DMC and the genius that is Rick Rubin, dude.

[Eric Griffin]

Rick Rubin? Yeah, man. Yeah. I mean, you know. You know, sometimes it takes people like that that have a vision that see the world in a different light. Like, Rick Rubin saw the world in a different lens. You know, he saw this music, and he was like, man, no, this is. This is powerful. This is deep. This has meaning. This has roots. This has. It moves people. It's not a black thing. You know, it's a cultural thing that has to do with, like, you know, when you think of urban. Now, I think that, you know, back then, if you would have said urban, it would have been like, that's just black. But I think now urban means so much more. I think it's like, you know what I mean? You know, So I think that he saw that in a different way, and he was like, no, let's do this. And, you know. You know, he's like the. The guy that. What's. The baseball player, the first black Baseball player Jackie Robinson. Yeah. So he was like, he's like the, the white owner, you know what I mean? That brought Jackie Robinson into the. Weird. Weird.

[Josh Adam Meyers]

There's still a white guy. That has to be a part of the history of hip hop.

[Eric Griffin]

Right at the beginning, he's the white owner. That's like, you know what? Y' all don't know what you're talking about. These guys. This is great. But you know, like some things about this album that is pretty fat that I remember is that. So Michael Jackson was the first black artist on mtv, but I think that Run DMC was the first hip hop artists to be in the mainstream of mtv, thanks to Aerosmith and that album. And then they'd be like, well, I guess we have to play this. This. I think, I think that happened with a lot of radio stations. People were like, we have to. Everybody loves this. We have to play this. Yeah, do about it. I mean, so then it just turned into a thing. They realized when they did play, they were like, oh, people really like this.

[Josh Adam Meyers]

Sure. At a certain point, though, it's that whole saying that they always say in comedy is this like, you know, there's people that are going to work harder, work harder than the funniest guy in the world, but. But who might not be getting the shine, but eventually the funny rises to the top. So, yeah, you know, when you're talented, if you're making music and this is back in the day when it's like now it's like, you could be talented. I mean, there's guys that are far less talented than, than, than this incredible, incredible, prolific hip hop group with all the accoutrements that you need with the Russell Simmons and the Rick Rubins working on it. And there are people that just can make one song and get it online and put it out there. Like, this is like a street team hustling hard like they are.

[Eric Griffin]

This is. The trunk is open. You selling records from the trunk. But not just the music, though, man. I think that it also was. It had an effect on how you sell the music. Fashion, you know, being a presence and, and the, the fashion and the music combined. You know, having the chains in the hats, man, and, and the, in the outfits and making people like, you know, be like, oh, man, this is, you know, this, this, this is a whole thing. This is like the, the fashion was a character on its own. And then having the, you know, the wherewithal to have a song called My Adidas and then Adidas being like, okay, I guess this is like this is like, oh, wow. Then, you know, then you got white kids wanting to rap and wear Adidas and have big chains and. You know what I mean? Once you do that, you got it.

[Josh Adam Meyers]

Well, I think. And you know, from watching that movie Air, where they're trying to, you know, get Michael Jordan to, to come to Nike. Have you seen that? Because it's a great film.

[Eric Griffin]

Oh, I haven't seen it yet, but.

[Josh Adam Meyers]

I do want to watch it, enjoy it. It's, it is a perfect watch. It is the easiest movie you ever watch. And it just makes me love Ben Affleck. I used to always say he was a dildo, and now I'm like, he seems like the really cool guy and he's just, he really does. And it's just like. But that's. Besides, that's a whole nother podcast. The moral of the story is, is Jordan's mom basically says it's between Converse and Adidas. And he's, he's leaning towards Adidas because that's what everybody's wearing. That's the number one thing. And it's because of this group here, dude, because nobody, it's a German, a German owned soccer, you know, clothing line. But it's those three stripes and whatever that clover thing is. And, and to have two of, you know, I mean, not two, them and LL Cool J, they're all wearing this. This is what people in the, in, you know, the coolest, like, dudes in music at the time are wearing. So, yeah, it's like, it's, it's just, it's a no brainer that he wanted to sign with that. And he would even say, like, he, well, he wears Converse during the games. He goes, yeah, but the second he gets out of the game, he takes that off and he puts on Adidas.

[Eric Griffin]

Well, you know, it's hard to also talk about this album and not remember what was going on in the world at the time. And like, you know, it's, it's, you know, it's like people today when they talk about racial relations and it's like, oh, it's just, it's such a, a play, a place of privilege to talk about that in 2025, as if we have the same racial stripes and differences that we had, you know, just 30, 40 years ago. And it's, it's bananas because this album, like, people don't understand. They weren't playing rap on the radio, they weren't being nominated for Grammys, they weren't on the covers of magazines, they weren't touring like, mate, like, arena tours. It wasn't happening until this album and this group, you know what I mean? They were the first rap group to be nominated for a Grammy. You know, they were the first rap group to be on Rolling Stone, the COVID of Rolling Stone, you know, and then they were the first rap group to have an arena tour, like, you know, just to be like. And that just showed the music business changed their tune. I think this is viable. And then it became what it is today.

[Josh Adam Meyers]

Very viable. And, you know, I love that you said what was going on at the time. I mean, think about it. What were they? 1986, right? Reagan is president. That's the whole greed is good era. All money, money, money. That's white people out there. That is like white people at their most greedy. Do you know what I'm saying? Because it's like, it is Wall street booming and the inner cities are struggling. And then you got run DMC's confidence, which felt probably radical to like, you know, to. To the. To the system, how it's bucking that. I love that you mentioned mtv, because MTV is still mostly white, right at.

[Eric Griffin]

The time, for sure.

[Josh Adam Meyers]

And rock is number one. Dude. Rock is like, we're basically a pubic hair away from Guns N Roses. But you're getting. I mean, I don't even know, trying to think of 86. You're coming out of, like, the new wave. Is it like, you know, she blind with science like that?

[Eric Griffin]

I think it was still. But I think it was still at the tail end of the big hair stuff, you know, 86. Because it's like 84, 85, 86. It's like. Yeah, because when is. When is Guns and Roses? When did they.

[Josh Adam Meyers]

86? 87, but I think it's more 87. I think that was really the year. I think the record came out in 86, but I think it really blew up in 87. 88.

[Eric Griffin]

But.

[Josh Adam Meyers]

Yeah, but rap novelty.

[Eric Griffin]

Yes, yes. At the time, it was like. But. But I think that this Run DMC and the Raising Hell album showed the music business what is possible, you know, and then that turned into again what it is right now. I mean, I. I also think that, you know, a side note is. I think it was sad to see MTV go away. What it's turned into in the past few years is a. Is a travesty, you know, I mean, it's an abomination, what it turned into. But at the time, you know, I think one of the most significant things in music history to me was what was that show they had with, you know, the ridiculousness. No, no, no. Talk about the music With. With the.

[Josh Adam Meyers]

No, I'm kidding. I mean, what, like, back then.

[Eric Griffin]

Yeah, but whatever.

[Josh Adam Meyers]

Oh, oh, oh. The Yomtv raps.

[Eric Griffin]

Not. Well, Yomtv raps.

[Josh Adam Meyers]

Eventually. That's later. That's when hip hop.

[Eric Griffin]

But, you know, but. But even later, like, once. Once, you know, the most, you know, the pop charts became really. What the pop charts are supposed to be is like, this is the most popular songs of any genre. Once that became popular on mtv. It's the music landscape that we have today, you know, because then, you know, it became a thing where it was like, there were country songs on a pop chart and rap and rock, and if it was a good song and it. The pop charts, it could be that. But there was a time where there was nothing like that. And so to have us, you know, to have two or three songs hit the pop charts from this album, you know, this is like. You know what I mean?

[Josh Adam Meyers]

Totally.

[Eric Griffin]

But.

[Josh Adam Meyers]

But. But also, like, look, you know, I'm pulling up, like, music that was popular at the time. You have Madonna, you know, at peak. Madonna.

[Eric Griffin]

Yeah, yeah.

[Josh Adam Meyers]

You know, she hasn't. She hasn't vogued yet. But this is like, you know, God, this is the sexy. In my opinion, one of the sexiest, coolest versions of Madonna. I think it's this. Who's that girl Generation where she has the blonde hair. I think this material girl, Madonna. You have Prince, so you have, like, flashy perfection, you know. And like you said with rock, it's the excess, it's the hair, it's the guitar solos, you know, and in hip hop, nobody. There's all this infighting, you know, for. For legitimacy. Like, they're just trying to figure it out. And what's so cool, I think, about this record, is that Raising Hell is like, well, we don't need the polish, we don't need the permission. Let's turn. Let's be the rock stars of hip hop and kick and. You know what I mean? And. And, dude, the. The idea of. Of the merging and. And reinvention of Aerosmith. Because don't forget, dude, Aerosmith is down in the dumps. They're not doing good, dude. They're the. They're the top.

[Eric Griffin]

Is that true? Yeah, yeah.

[Josh Adam Meyers]

I mean, let me see if.

[Eric Griffin]

Well, at the time, you know, Bon Jovi. You had Bon Jovi. Yeah.

[Josh Adam Meyers]

Don't Talk ill about Mr. Jovi, dude. I love.

[Eric Griffin]

No, no, I'm not. I'm just saying at the time, you it lends itself to your point about Aerosmith not being in with this group of people. That people have moved on. You know, Janet Jackson was big. Whitney Houston, like you said Madonna. This is like, you know what I mean?

[Josh Adam Meyers]

Did you wear any of this stuff, by the way? Did you ever do like.

[Eric Griffin]

I was. That was never my thing. It was never my thing. I was always a little. Like, I wasn't. I was like an athlete in high school. It wasn't something. I went to Catholic school, so it wasn't my. My thing, you know, it's so funny as I look at some of this stuff right now that was going on. This is actually a really great time in music, man. You know, the Prince's Parade album had just come out, which is like, he's. Yet. Wow, man. Peter Gabriel, Sledgehammer. Oh, dude, dude, dude, hold on. And I'm doing pet shop boys. This is crazy. This is. All these different styles, man. It's. It's unbelievable. You know, patti labelle and michael McDonald.

[Josh Adam Meyers]

One of my favorite jokes that anybody ever did, and it was, I, I, I'll. He'll never do it again. And I don't think he remembers doing it, but Eric Andre, the first time I saw him was at 12 shiny nickels. And he was just freestyle, like, just. Just spitting, like, whatever the comedy thing is in his head. And he started singing like Michael McDonald. He said, what if I had Tourette's? And that was my Tourette's thing that I. That I just constantly sang like Michael McDonald.

[Eric Griffin]

And he was just like, I can't do.

[Josh Adam Meyers]

Just. I mean, the greatest simple riff throwaway that I swear, it's like, I. I don't remember any of his material from anything he's ever done except for that joke. And I love it. Dude, the 80s ruled. I was, you know, I was talking. I was with not the Name Drop, but I was with Burr yesterday. We were talking about music because I was listening to this record and. And, dude, I mean, like I said before, this immediately took me back. And it was like. And I was like, holy. I know every lyric from this record without even trying. You know, it just.

[Eric Griffin]

Yeah, yeah, it's a. It's. Yeah, I know what you mean. It's like you hear the song, you decide to go, oh, man, this is. That's right.

[Josh Adam Meyers]

Right from Peter Piper. Right from Peter Piper. A Peter Piper Pick peppers at the back, man. I mean, if I can't say the right lyrics, I know how to phonetically do what I do.

[Eric Griffin]

But that was a thing, too. That was Part of the style though, you know, if you look at, just look at the album, you know, Peter Piper, that was a great one. It's trick tricky. I love that song. My Adidas. Walk this Way. And then you have some B sides. Is it lie. Perfection. Hit it. Run. Raising Hell was good. You be Ellen, you know, and then I mean that. Look at that particular time in music. If you got two or three hits off an album, that was a great album, you know.

[Josh Adam Meyers]

Yeah.

[Eric Griffin]

To have like five or six jams now.

[Josh Adam Meyers]

This went.

[Eric Griffin]

This don't happen. That don't happen.

[Josh Adam Meyers]

Yeah, this is. This is. I think this is the first multi platinum hip hop record. And rightfully so. So rightfully so. Because this is. This is, I mean, transcending like we said. I mean there is. Without this, there is no. Because this set up the Beastie Boys to really blow up. Because they just took this style a little bit with Fight for your Right. They did. Exactly. And that's what's so genius, is like, it's like, what is that? Like, oh my God. Like, what's the comic that's like figured out the formula and then it's just constantly keep doing that. Or even like. Yeah, yeah, yeah. Or even just.

[Eric Griffin]

Which isn't always good though.

[Josh Adam Meyers]

No, but, but, but if it works, if it works, it works. And it's like, dude, if you're make. I'm just saying there's so many musicians that have done that. We figure out the formula, we make it work and we go with it. And so, you know, oh, dude, I'll say this. I'll give you a better example of that is David Angelo. I'm working on it. We're working on a TV show together. And one of the funny thing is he's. He's a libertarian, but he writes for the Daily Show. And I go, but you hate liberals. And he goes, but it's the easiest thing to write for. He goes, it's a formula. It's just shit on Trump, you know, and then do this. He like broke it down for me. Like, that's actually perfect. I was like, I can't hate you for that. But it's the formula. And that was the thing. That's how you get. I mean, how do I put this? Where I don't want to come off sounding putting. Putting white or black people down. But. But we mentioned it already. You're going back. Hip hip hop is a novelty to white people. They never think it's going to be big. So how do you get them? How do you get them to come with. Come over here, man. We're cool. We got Aerosmith, we got Dream On. We got the Nine Scars on the microphone. We got Steven Tyler, but, you know.

[Eric Griffin]

Def but def jam that. I. I just. I'm looking at a list now. I'm just like, oh, I. I don't even. I'm. I'm forgetting everything that was going on at the time because, you know, Beastie Boy, I'm sorry. Run DMC made it commercial with their album, and then it allowed people to find and listen to, like, LL Cool J, you know, that's. That was like, I can't live without my radio. You know, I mean, that was like, all that stuff back then, man.

[Josh Adam Meyers]

Did you like him? Did you like.

[Eric Griffin]

Oh, back then, ll? Yeah, man. He was great.

[Josh Adam Meyers]

Who were your was. It was. So would you say Run DMC was your first real, Like. Oh, man. Like. Because, I mean, that kind of has to be because they were the first ones that really felt they weren't just, like, doing a form.

[Eric Griffin]

That's what I'm trying to tell you is when you're from la, you're like, you know. You know, you're listening to a lot of other stuff at the time. You know, like, what I mean, I was like, Eric being Rakim, you're listening to, you know, epmd and you're listening to, like, you know, like, there's, like, a lot of other. There was a lot of other artists that if you were. If you liked rap, you knew about it, but you just didn't. You didn't get to hear it on FM radio. You didn't get to see it on television or anything like that. Run DMC opened the door for people that were more, you know, grimy. You know what I mean?

[Josh Adam Meyers]

Yeah. But, dude, I'm. You know what? I'm so glad. I'm so glad, like, for all the bad things that the Internet has done to the world and it's driving us apart and ruining our country. Besides that, the fact that I could go, when did Eric B Paid in Full come out? Even though I've already done Boom type it in 1987, I can tell you the label, the format, where it went, where it was listed and. Yeah, so this is right before all of that.

[Eric Griffin]

Yeah, man.

[Josh Adam Meyers]

Which is when. Which is when the rhyming started to change.

[Eric Griffin]

Yeah, well, but just. I just. I hear you.

[Josh Adam Meyers]

Okay.

[Eric Griffin]

Like, but, you know, this is like, I. I was a fan of KRS1 before. You know, you couldn't hear KRS1 on your rate. That just wasn't happening. That was only on K Day. You were hearing, you know, you were hearing the South Bronx album, and, you know, then he came out with my philosophy later. But, you know, it's like that's what was going on in. In the underground, man. I'm just saying, like, you know, I. I don't know if every. Here's another thing, too, though. Not everyone in hip hop appreciated what Run DMC was doing. I mean, they were considered like, sellouts, you know.

[Josh Adam Meyers]

Really?

[Eric Griffin]

Yeah, it was like, oh, they. With that white band trying to be all. You know what I mean? But they. You can look back on it now and realize, oh, that was important for the hip hop movement. But at the time, it wasn't always taken a certain way. You know, it's like when Whitney Houston talked about when she was on Arsenio way back in the day, that she went to the Soul Train Awards and she was booed. And, you know, she's on Arsenio and she's crying about it because she's like, they. They tell me that I sing too white. So that was a thing that was going on back then, you know, that was like, you know, internal strife within the black community about what is this? Not realizing the cultural significance of opening this up to everybody means that so many other people can have a hip hop career and have a real career.

[Josh Adam Meyers]

Do you think. But so do you think that's basically the fact that they're like Run DMC is. They're, They're. They still haven't they broken into the black community, you know, And I feel like at this point, they're accepted for sure by the black community, but to really. But to really breach those white people, which is where the people that are buying records and the people. The kids and the kids of them is. It has to be. Which I don't want to say it's not the best song on the record, but we have to talk about Walk this Way, which, you know, and I know I'm going way out of order, but I. I think that this is the reason where. It's the reason this is so deeply on the list, this low, you know, and we did a Run DMC record a while ago. It's because of this. And I think this is all basically because of Rick Rubin, because I think.

[Eric Griffin]

He was like, he tells them he's a visionary, man.

[Josh Adam Meyers]

He tells him to rock. Yeah, he is a visionary. And I mean, even now, it's like he doesn't know how to work aboard, but he just knows the vibe and he just knew, listen, man, if we do this, because, like, there's like. He's like. He brought them the beat to Walk this Way. Running Seat was like, kind of like, I don't, you know, really, this is what you want to do? Yeah. He's like, they don't care about the lyrics. They don't even know the lyrics. But they. They just love that. That Walked this Way has this incredible drum intro. And also Aerosmith are in their mid-30s. They're in the. Which I would call the ancient years. Right? I mean, that's like. That's old and rock and roll. They've already had a bunch of huge hits.

[Eric Griffin]

Yeah. They would have put you down if you were your age right now, back then.

[Josh Adam Meyers]

Oh, my God, dude, I want to start a real band now. And I'm like, I can't. 46. What am I doing, dude? But the moral story is, dude, they were like on the outs and it's like. But, but they. Dude, I mean, it's, it's. How funny is that to be. To be Aerosmith written Dream On, Sweet Emotion, be one of the biggest bands of the 70s playing arenas, and then you have a hip hop group come up to you and say, hey, man, we want to cover your song and we want you to be in it. Which, by the way, I was listening to it. Like, I think it's really funny. There's a. There's a funny, like, Instagram reel or sketch video of just having. The way that. The way that Steven Tyler. All he had to sing in the song is, you know, just. He's just one word. Just dance Chance.

[Eric Griffin]

Yeah, but yes. I don't know. It just worked though, man. I mean, it just worked. I mean, you know what's funny about that era? 1986, you know, 1986 is jazzy Jeff and. Jazzy Jeff and the Fresh Prince, Will smith. That was 1986.

[Josh Adam Meyers]

Hey, everybody. So you guys have probably heard me talk about how I've been in bands my whole life. I love writing songs and performing in front of crowds. Just like with comedy. As a musician, it can be kind of hard to cut through the noise and really stand out as an artist. I feel like half the music projects I've been in have ended just because we couldn't figure out the answer to that eternal question of how do we get people to hear us? But then again, that was before there was Distrokid. Distrokid is a digital music distribution service that brings your sound to the masses. It's a one stop shop for getting your songs on itunes, Spotify, Apple Music, YouTube Music, Amazon, Deezer, Tidal, and many more. What's Deezer? I never even heard of Deezer. How many of them are there? I know all that. That's like the holy grail of streaming services though. And getting paid. They want to. We want to get you paid for your music. That's huge because a lot of bands go broke before they get big. But Distrokid collects earnings and payments and sends 100% of these earnings to artists minus banking fees and applicable taxes. And that's just one of the tons of benefits of using Distrokid. You can send big files to anyone with their Instant Share feature. You can use the Hyper Follow feature to promote your release and get pre saves on your song. You can even create personal landing pages for yourself, your band, your brand, and whatever you like. It has a free Spotify Canvas generator too to generate your own Spotify Canvas for your songs. And the Mixia feature instantly masters your tracks for higher quality audio. So if you're ready to bring your band to the next level, it's time to check out Distrokid. The Distrokid app is now available on iOS and Android. Go to the app or Play Store to download it. Listeners of this show can get 30% off their first year by going to distrokid.com VIP the 500. That's distrokid.com VIP the500 for 30% off your first year. Dig it. This episode is brought to you by FX's the Beauty Official Podcast. Join host Evan Ross Katz on the official podcast for FX's hottest new series, the Beauty, taking you behind the scenes with its amazing stars as they discuss the show's most jaw dropping moments. Featuring Evan Peters, Anthony Ramos, Jeremy Pope, Ashton Kutcher, Rebecca Hall, Bella Hadid, Meghan Trainor, Isabella Rossellini Jessica Alexander and Ari Grayner. Search FX Is the Beauty wherever you listen to podcasts? Casey, question. Not to get off topic, not to get off topic. I'm not gonna get you in trouble. Do you. I don't like Will Smith anymore, man. I don't like he smacked Chris. And it's not even the smack. He could have smacked anybody, not just Chris Rock, but he ruined the Oscars. That's. That's. And that's. The Oscars are as gay as I go. That's. That's like I'm. That's like, that's. You know, I go the Oscar. I don't do the Tonys. Like, like I'm A top. I'm not a bottom. You know what I mean? I'll go. I'll. I'll a man in the ass.

[Eric Griffin]

You're versatile.

[Josh Adam Meyers]

But I'm not taking it. I'm not watching the Tonys. Even though I. And I go to plays before, but every time I leave, I go, that's so gay. Like, Wicked was so gay.

[Eric Griffin]

I'll tell you. Listen, this is my thing. I was so upset by that slap because. For so many reasons. For just one, because it's Chris Rock, which is like one of my idols, and two, because of what it did. What it did for comedy, because at the time, there was an attack on comedy, you know what I mean? So there was like a. There was like, there were people who were like, well, that's why comics gotta watch they mouth vibe out there, you know, Which I didn't like. I didn't like that he was allowed to stay. Okay. Like, I. I thought that was egregious. And then it also ruined one of the most iconic careers ever. Yeah, I mean, I loved. I had all of Jazzy Jeff and the Fresh Prince albums. He, you know, he was clean and he told a story. I loved all those Girls Ain't Nothing but Trouble, Parents Just Don't Understand. Like, all that. All that. That led into him becoming an actor started in this hip hop world. And then Quincy Jones seeing him and being like, there's something here. You got something. Then making Fresh Prince of Bel Air and that turning into.

[Josh Adam Meyers]

He.

[Eric Griffin]

He. He had that thing that Tom Cruise has, man. He had that thing for a second that, like, I don't know what the it factor is. I don't know what the star factor is, but there's something about him that it's like. And then he ruined that. He spit on it with this.

[Josh Adam Meyers]

Spit on it.

[Eric Griffin]

You know what I mean? And I just. It'll never be the same. That image will never go out of my head. And I think that it has tarnished his career. And then that with the combination of the Internet and people knowing too much about people, it's just. It's done, you know? Because I tell you who's not on the Internet like that, I'll tell you who. We don't know. I don't. We don't know much about other than, like, it's just gossip. Is Tom Cruise, Brad Pitt, you know, these, you know, the action stars of that John. We don't know nothing about them. We shouldn't. And we know everything about this dude. We know he. We know his sex life. His wife's sex life is his son's sex life. It's like, God damn. Shut.

[Josh Adam Meyers]

Shut up. I know.

[Eric Griffin]

And we have a little anonymity with your ass.

[Josh Adam Meyers]

He. He. It's the problem with, you know, you watch these. It's a problem with, with he. How do I put this? I'm gonna put this where I'm. Where I'm. Because everything you said is 100 every. I completely agree with everything. And I loved him. And now I'm like, no, I'll never watch another movie. Dude, if a movie sucks, man, if I'm on an airplane and his. It's only his movies on the little delta screen, dude, I'll sit there, I'll just raw dog a flight. Staring at the back of the. The seat like, I am not into it. But I think, man, I think it's. It does suck. But I also think it's because, like, he, he, he just. I don't think he. I think he wanted to be famous more than he wanted to make art. You hear that in those interviews he did with. With all of the. He has these things with actors and he's like, this girl broke up me and I said, I'm gonn biggest movie star in the world. And it's like, instead of just like, I just want to make movies because I love art and doing this.

[Eric Griffin]

And I think, listen, man, I'm okay with that because he's like a professional athlete. I'm totally okay with the, the, you know, a little bit of delusion and a little bit of like, I'm the greatest. Because he was the greatest. He made himself the greatest at the time. You know, he. He became a big, huge box office star. Okay? I think that the issue with him now is he's trying to stay famous, you know? You know, he's like that, that. He's like Aaron Rodgers. You know what I mean? It's like, you don't got it no more, man. It's okay. You had the greatest.

[Guest Rapper/Performer]

You had.

[Eric Griffin]

You. You had your run. And he ruined it with like, you know, some personality traits that we just didn't really want to see. I don't think we needed to see that. You know what I mean? I just didn't think that was handled right. I. I don't know. That's like, you wait till a commercial break and you go up to him and go, hey, you know what I'm saying? And then we just got it later, like. Because if he would have done that have been a totally different thing. If at the commercial break he got up and said, yo, we need to have a conversation. Don't ever do that again. And then we hear, like, rumors of it. Like, oh, Will Smith went up to Chris Wright. Don't talk about my wife. I think people are like, yo, but the fact that he disrespected the Oscars, Chris himself, his wife, what he represents, his career, all of that, his family, I just. I just.

[Josh Adam Meyers]

I'm with you. I'm with you. I'm with you. You know what he needs right now? You know what he needs? Aerosmith I know.

[Eric Griffin]

Yeah, right. But, you know, again, if you go back to get back on topic, it's like, this is a great era. I mean, like I said, so you had DJ Jazzy Jeff and the Fresh Prince, Salt and pepper. I mean, you're looking at this like, you know, this was an amazing time for hip hop. You know what I mean? It's so funny. I look at that. I see a list here, and I'm looking at, like. Like, Too Short came out then back then, too. But Ice T, you know what's funny is kids today, if you're, like, under 30, you don't even know Ice T was a rapper. You just think he's the dude from Law and Order, you know what I mean? And that's some. I even think with LL Cool. I think LL Cool J is still kind of out there, but I can also see people being like, oh, oh, that's the dude from CSI something or other, isn't it?

[Josh Adam Meyers]

Yeah.

[Eric Griffin]

Like, you know what I mean? Like, it's so funny how, like, you know, just thinking of, like, iconic a lot of this was. But I don't know, man. I just think that this was a really important album. They were really important group, and they got their due later, you know, they got their due later, but they had to go through some tough times to get in there because, you know, because. Because as I'm thinking about this, too, it's like, you know, Eric being Rakim. Like, if you were underground, you were like, oh, that's. You wanted that to be the thing that blew up. Okay? Eric B is president. Oh, my God. Like, you know, I ain't no joke. Like, all that. Like, that's like. That is iconic rap to me. Run dmc. What they did and how they did it and what they brought, they. They brought rap into this new world is like, what I thought was special and important, but just artistically and musically, there was always. There was a bunch of way better stuff going on in the rap world than, you know, than what Run DMC was doing.

[Josh Adam Meyers]

I know. And it was all just about to boil over because, like, you just mentioned, like, some of the most important, you know, influential people in hip hop. Eric B is about to change the way that the rappers rap. Then you've got Public Enemy coming out, like, their first records coming out, like, in a year or so, which is basically going to take it into a political. So now you're getting. Now you're getting. It's like, all right, now, not only. And, you know, and look, I'm not saying that, that, that they're not being, you know, they're not talking about what's going on in New York and, you know, for the black culture, but it's like, then you have somebody.

[Eric Griffin]

By the way. You don't have to. By the way. That's not, you know, that's not, you know. You know, there was, you know, it's like, not everybody has to be R.E.M. you know what I'm saying? Like, even in, you know, there are a lot of white groups that think they have to be like, you know, we have to like, change the world. Not everybody has to do that. Some people just like, hey, can we make some fun music and have people, you know, be. Be escapism too? But what I'm saying is there was always people in hip hop doing that. You know, KRS1 was already doing that. He was already talking about the black community and what was needed and racism and all that kind of stuff. It just wasn't commercial. It wasn't, you know, what people wanted to hear. You know. And then. And then Run DMC said, hey, listen, we're gonna open this door so people can see not just us, but also the people behind us too. And they may. They might like it. And I think that they did. And now here we are today.

[Josh Adam Meyers]

Yeah, I. I was listening to this, and I mean, I don't want to say it's the. It's my favorite, but.

[Eric Griffin]

Good God.

[Josh Adam Meyers]

I mentioned already, Peter Piper. Good God. I mean, just. That's your favorite. It's not my favorite, but it's just that beat is so. Is so good when it kicks in, that like, bell sound, that ding, ding, ding, ding, ding, ding, ding, ding. I mean, it's. It's just so that, first of all, it's also like the nursery rhyme, like flexing turned into, like, street mythology is pretty dope. You know, you had all them dudes, right?

[Eric Griffin]

You know, Roxanne, Roxanne, you know, was it utfo? You know what I mean? They were all doing that, yo, can't go. I don't think that you did, but you went about the matter. With no experience, you should know she doesn't need a guy like you. She didn't. A guy like me with a high IQ because she takes to my rap because my rap's the best sophisticated rapper. And see, whenever, you know, that stuff was already going on, you know what I mean? There's a lot of dudes like that, you know, So I get you. But, like, that's not my favorite genre of rap. When I think about it. I actually. What I remember, I remember hearing Walk this Way, and I can just think of myself thinking, like, oh, man, that's. That's great. It's like, oh, I wonder what else you could rap on. That was just my first thought after hearing that. I was like. Because you didn't even think. You would never think of that. You know what I mean? You would never think that you could just do the same thing. And then you start to go, oh, well, of course you can. It's, you know, still an eight beat.

[Josh Adam Meyers]

Yeah, yeah, yeah.

[Eric Griffin]

You know what I mean?

[Josh Adam Meyers]

You could.

[Eric Griffin]

Once you heard that, that. I think it opened the door for everyone. I think that's when musicality came to rap and it was needed, you know, because all that stuff was like, you know. Yeah, it's great and all, and it's in its time, but I think it evolved into something like, way, way better, you know, more artistic, you know, so. And here we are, like I said.

[Josh Adam Meyers]

I know. I completely agree. I completely agree. Tricky is funny because there was a. That. That little, like the. At the beginning, there was a. Like. I don't know. I've seen somebody else did it. Not gonna say after me, but there's one far bigger and got way more viral, but on. In my oven or stove in my old place in. In la, when I would turn it on and was waiting for the glass, the gas to click over. I have a video. I'll post it. It's just like, I got. It's during COVID I'm like, I think it's very vital. I love it. And then some chick did it and that blew up and.

[Eric Griffin]

Yeah, well, no, but it's like. I think that they. You know, it's like when you listen back to it now, you go, oh, man, they were really. They were in it, you know? You know what I mean? Like, it was. They were having fun. What I like about it was, like, it was so fun, you know, and they were saying something. It's not like, you know, influential, like, you know, political stuff. But I'm just saying they had good stories about the things that they were talking about, you know, and the lyrics were very clear. You know, like, it's like I. Sometimes I feel like we need to get back to that. Can I hear what you're saying?

[Josh Adam Meyers]

Yeah.

[Eric Griffin]

Can you speak up?

[Josh Adam Meyers]

I love. I love Tricky. I. I think Tricky is probably the most recognizable intros in. In all of hip hop. I mean, just that you start hearing that noise. If it was like, you know, I can name that song in three notes, I. You just play.

[Eric Griffin]

I'd be like immediate.

[Josh Adam Meyers]

I say it's Tricky. And what's so cool is that it's like. It's almost like it starts like a middle school presentation, but then it turns into full on swagger. And I mean, it is this. This record. What I love about this record. Well, I want to say it's. I'm going say I love. I mean, if you look at this track listing on this record and the way they sequenced it. Peter Piper, it's tricky. Into my Adidas, into Walk this Way. Yeah. Is it live? That's a good song. Perfection's cool. You be illegal.

[Eric Griffin]

My favorite. You'll be healing.

[Josh Adam Meyers]

There's. But then, I mean. And look, I'm not putting down.

[Eric Griffin]

She likes on a Byford too, but, you know.

[Josh Adam Meyers]

Really?

[Eric Griffin]

Yeah, yeah, yeah. I mean, it's just like. I look at this album, it's like, all right. And you know, it's. It's. It's not lost on me that they ended the album with Proud to Be Black. You know, it's like they hope. They're just hoping. Why People listening don't get to that song.

[Josh Adam Meyers]

Then they stopped after they got walked this way. That's why they bought the record. This is the black dudes. They listen to this Adidas. My Adidas. I mean, I wonder how much money. Adam. Okay, Adam. God damn it. Alex. Did we see, like, did they make how much money? Did. Can we find out how much money Adidas made? Maybe. Maybe this thing will tell me, but I gotta imagine that the sales just.

[Eric Griffin]

Well, this is. Now this was a big commercial hit because they went on a big arena tour. I mean, this was. This album was a huge commercial hit. They probably made no money. They probably had a terrible deal. I think, you know, Russell. Russell Simmons probably made more money off this album than they did. No, but.

[Josh Adam Meyers]

I know. But the sales wise, I mean, there had to have been a spike.

[Eric Griffin]

You just go to Billboard, you know, just look at you know, you know, just look it up. Rap album, album sales, you know, hold.

[Josh Adam Meyers]

On, I got it right here. Singing my Adidas, my on clouds.

[Eric Griffin]

The endorsement, 1.6 million. Yeah. So speed to plat. It was certified platinum one man copies. On July 15, 1986, just two months after its release Peak Position, it reached number six on the Billboard 200. Wow. Long term, by April 1987, it reached triple platinum.

[Josh Adam Meyers]

There is, from my understanding, we already mentioned the endorsement deal, which is great. And also the tour that helps Adidas, the long term value. Tens of millions over decades, not officially quantified. But they, but what they did, they may not have made money, but they, they. I'll say this, dude. They made cultural immortality. I think they, they cemented themselves in the, in the, in the beginning, the early stages of hip hop. Because you don't. Like I said, you look at it like European soccer dads. And now it became confidence, rebellion. It became like, it's cool, you know, don't touch my shoes type, like, or I'll you up like Adidas. You know what I mean? Like you. Dude, if you. And that's. And I don't even know. They had fun. They had the hard shells too. It's brainwashing, but in a really fun way. It's a.

[Eric Griffin]

Well, I think they. It's weird because I think they learned the power of music in advertising too. That kind of thing where it was kind of like, oh, I guess it doesn't matter. Make it cool. You make it cool. I mean, this is the first time, I think, you know, you saw how cool hip hop can be. I mean, if you think about it, it's not just because it's not even like that. It's not even like country music was all that huge at this time either, you know, you know what I mean? For like, you know, for crossover success and that kind of stuff. So it's like a lot of, you know, a lot of genres. I think it's opened up, you know, genres. For a lot of genres, you know, just to be like, hey, look, what else can we make mainstream? Was it.

[Josh Adam Meyers]

Was there ever. Was there ever a thing like, you know, what was the fashion trend that you got into that. That, you know, like. I remember, like we would start starter jackets.

[Eric Griffin]

I never was that guy, ever. I've never been that guy. I've never wanted shoes. I've never been like a, oh, I gotta get the new Jordans. I've never been that guy. I've always just kind of been like, just, you know, modest, you Know about the things that I wear. You know, I just never was like, oh, I want. I gotta get that thing and that thing. I don't know why, but it just was never my thing.

[Josh Adam Meyers]

Okay, so in high school, if you were. You asked.

[Eric Griffin]

I went to a. But I went to a private school where you had to wear a little bit of a uniform. You had to have a call. You had to have a polo shirt and some regular pants. So it's not even like. You didn't even have to show off like that at school. And when you're in public school, yeah, you're gonna be like, I can't go to school with these. You got to get me. I'm gonna get clowned if I don't. You know, that was never a thing for me.

[Josh Adam Meyers]

So if you wanted to. If you were going to the sock hop, where two were, the girls school and the boys school. I don't. That's what they're called. That's all right. Or the dance. The high school dance, which is a sock op, which is an older sock up. Yeah, you're going there.

[Eric Griffin]

How you.

[Josh Adam Meyers]

How's Eric Griffin?

[Eric Griffin]

I had some jeans, some regular sneakers on, you know, a hoodie or a jacket or, you know, you know, I mean, it was just simple, simple gear back then, man. I was. I was a simple dude. I was a nerd. But I was on the basketball team, so I had a little bit of cachet being on the basketball team without having to be, you know, a fashionista. You know what I mean? But I don't know, dude, what about you? Did you. Were you all in high school?

[Josh Adam Meyers]

All right, so in. In. In middle school, I was. That was during when I wanted to be black era for a moment. So it was like. I mean, I wish I could find this picture very quickly. You know, I wish I knew the shirt that I was wearing. But I would say like a Ralph Lauren or like a polo sport, kind of like button up, long sleeve. In high school, though, I went grunge. So then I just dressed like Eddie Vedder, and it was flannels and.

[Eric Griffin]

Right.

[Josh Adam Meyers]

And. And then in college, I had, like, a Brit pop era, so I was wearing very well. Of course, in the late 90s. In the late 90s, late 90s, I was dressing like, you know, do. I was a raver, so I was dressing like I was in Limp Bizkit. And then. And then in the early 2000s in college, it was. It was like, you know, dude, I remember, like, you know, like, I wanted to dress like I was in like, you know, Oasis or Radiohead or some like that. And, dude, it wasn't until, you know, until really I moved to New York, where I really started getting back into, like, fashion. Fashion. Because it was just. I was always been T shirt and jeans. Always been T shirt and jeans. And now it's still T shirt and jeans. It's just nicer quality, you know.

[Eric Griffin]

Say now it's 50 t shirt.

[Josh Adam Meyers]

50?

[Eric Griffin]

50, you stupid.

[Josh Adam Meyers]

I know, I know. I got no kids, dude. I got no kids. I got just me and the dog and I got no bills.

[Eric Griffin]

Yeah, I just never. Yeah, I don't know. That's never been my thing. But, you know, it's like, you know, for me, growing up in LA and, you know, you. You just didn't have a lot of options, you know. Like I said, there was K Day. So of course I listened to that rap and that kind of stuff. But then I had to listen to whatever was going on, you know, The Firm. I remember when CDs came out my. Well, I remember, like, the cassette tapes I wore the grooves off of was Purple Rain, Thriller and Huey Lewis in the News, you know, I Want a New Drug, you know. And I had my little cassette tape with my headphones, and I would just listen to those three albums all the time. And then the CDs came out, and my first CD I ever bought was the Faith album. George Michael, because he was like. He was huge at the time, you know. So I. That was my first cd. So. But basically my point, I'm saying is, like, you know, that's what you had to do if you weren't white. If you weren't white, you. You had to. You had to broaden your horizons to hear things, because it wasn't a lot of options, you know. And so, like, I like. But then. But that made me. I feel like, more eclectic, you know, I liked. What's that group like omd. I loved omd.

[Josh Adam Meyers]

Who were they? Was that. Was that How Bazaar?

[Eric Griffin]

No, I was only dreaming. I was only trying to catch your eye. I loved all that.

[Josh Adam Meyers]

Yeah. No, that's great. That is good. Well, you.

[Eric Griffin]

You had, like, George Bike, like, six jams on that. So what I'm saying is, like. So that was my, like, you know, going, you know, getting into that new wave pop. And then it was like Depeche Mode and, you know. You know. You know what I mean? When they came out. And then it was like, you know, you had. It was all that. It was all, you know, leading up into, like, going to high school. And then, like, you know, that's what you had to listen to. And then Run DMC, like, made it like, oh, wow, now we're gonna get other stuff, you know.

[Josh Adam Meyers]

Yeah, but there's people.

[Eric Griffin]

If the genre that you love, you are, you know, if you're a country music person, you've always been a country music person. And you can name, you know, so you can name all the acts and people will be like, who's that? You're like, who's that? That's how I feel. Like people were in the black community about rap. They knew who Rakim was. They knew who these people were. KRS1 and all these groups, you know what I mean? They knew, you know, all the, the, the, the, the. The street. The street guys that people were talking about. It was like, who's that dude? You know, about that guy? You know, so it's just, you know, making it more mainstream and open it for people to have access to it was a wonderful thing. And I think Run DMC was on the forefront of that, thanks to, you know, Rick Rubin and Def Jam and taking a chance and being like, no, this is great music. Music, and everybody needs to hear it.

[Josh Adam Meyers]

Totally. And, you know, I feel like to wrap us up before we do our final questions, When I hit you up and I said, I said. I said, hey, man, Run dmc, you with me? And you said, oh, another boy, babe.

[Eric Griffin]

I said, I know, I was making fun. I was like, it's the second boy band.

[Josh Adam Meyers]

Yeah, yeah, yeah, yeah, yeah, yeah.

[Eric Griffin]

As you. If you guys don't know, our longtime time argument is that the Beatles were the first boy band. And he takes such offense to this, you know, and it's like I. I maintain. And you know what? Most people agree with me, okay?

[Josh Adam Meyers]

Most.

[Eric Griffin]

It's not an insult.

[Josh Adam Meyers]

Wait, he's absolutely right.

[Eric Griffin]

They're the first boy band.

[Josh Adam Meyers]

Shut your front door, dude.

[Eric Griffin]

No, whatever he said, good, because you're. I didn't hear it. But whatever he said. Yeah, he knows what I'm talking about. First Backstreet Boys. They were the first off.

[Josh Adam Meyers]

Listen, I'll give you.

[Eric Griffin]

No, but with music, you know what I mean?

[Josh Adam Meyers]

I will give you. Eric, I will give you that. You said something that was right, that they are a band of boys, but they're not a boy band.

[Eric Griffin]

Time. At the time, they were the first boy band, man. They were the first one. They were the first one to have four guys just, you know, where girls were screaming and the guys wanted to be them and. And, you know, they would. People were Going crazy and, and it was like kind of like popcorny music too at the time too. Some of the songs, you know what I mean? It was like, you know, it was great. You know, they, they, they watered down blues and jazz and, and soul and they made it what they did. But it was very much more than just the music. It was a movement and that's what boy bands do. Let's not re litigate this, okay? You are. You already lost.

[Josh Adam Meyers]

I did not lose this. I did not lose. And I mean, truth be told, we're gonna do a poll on this. I'm gonna see we now have a bigger fan base. The fan base has grown even more. Let's do the 500 episode.

[Eric Griffin]

You guys go back to that episode.

[Josh Adam Meyers]

Yes. Which is a great episode, by the.

[Eric Griffin]

Way, too great episode. This is my second time on the 500. And I'm so glad you're still doing this, man, because it's like, you know, this is like a love letter to the music business. And it's needed for people to remember that the music is more about. It's not just about commercial success. It's not just about, you know, you know, being a household name. It's about making great art. And this is a celebration of that. And you know, you, and when you do the goddamn comedy jam, it's also an example of that too, that people just how music brings people together all walks of life and all types of genres and music. And so kudos to you, man. You don't get enough credit. So I'm giving it to you now.

[Josh Adam Meyers]

I appreciate it. I love it. I love it. And do we. I'll be the first to admit it. We were going to quit where I was going to quit so many times, especially after Spotify, like, you know, after the, in the middle of the pandemic when they, they didn't drop the show but they wanted to renegotiate and it just got all up. And the moral of the story is this is that, you know, we people probably were like, you're gonna do all 500 episodes? And the fact that we're like at the point now that it's like, I mean, dude, we have two and a half more years. I think that's it.

[Eric Griffin]

Wow.

[Josh Adam Meyers]

We're literally almost done. We're done. May 28, 2028, and now we're in the best of best.

[Eric Griffin]

So this is almost, it's almost a 10 year project. If you, if you, if you, if you did once a week, it's a.

[Josh Adam Meyers]

10 year project and we've never missed a week. That was the thing. We've never even been late. That was. That was the whole situation. Is that the. You know. And, dude, I'm so much happier, you know, no disrespect to the guests that we had booked, but I'm so much happy to you because I love you as a person. You're one of the coolest dudes I know, and you love this record. And it's like. And even the booker was like, damn, why didn't I ask Eric right off the jump? And I'm like, yeah, why didn't you? Why do I have. Why did I have to be the. They're just searches. I love you, Emily.

[Eric Griffin]

I love you, Beatles fans.

[Josh Adam Meyers]

We're not bringing you on for any of the Beatles records. I'll tell you that right now. I'm getting somebody that's like, they're not. They're not a boy band at all. They're the most talented musicians that ever lived. That's.

[Eric Griffin]

That's so insulting to. You're gonna make me.

[Josh Adam Meyers]

I'm throwing it out there, dude. I just.

[Eric Griffin]

Hanson played all their instruments.

[Josh Adam Meyers]

Shut the. All right, dude, now, okay. You're not even mentioned Hanson in the. In the Beatles. In the same breath, saying they.

[Eric Griffin]

If that's the qualifications to not be a boy band, than they. Then. They weren't a boy band.

[Josh Adam Meyers]

I don't think. No, but I don't think Hanson is a boy band. I think they're a band because they're just having their brothers. They're brothers.

[Eric Griffin]

I'm done with you.

[Josh Adam Meyers]

All right, let's do the final questions. We'll get you out of here.

[Eric Griffin]

Let's go. All right.

[Josh Adam Meyers]

Favorite song on this record.

[Eric Griffin]

You be Ellen.

[Josh Adam Meyers]

Really? Why. Why you be Ellen over the other ones? I was curious.

[Eric Griffin]

I just. That was just the one that just stuck with me, you know? That was like something you said with your friends back in the time. I'd be. Man, you be healing back.

[Josh Adam Meyers]

Bring it back, Eric. Bring it back.

[Eric Griffin]

I know.

[Josh Adam Meyers]

I'm bringing back. I'm bringing back out of sight. I'm like, oh, that's out of sight.

[Eric Griffin]

That's something. Some. That. It's one of those things. That's what you would say. Oh, man. You like Illen was a thing. You know what I mean? That was like one of those euphemisms. It was one of those, you know, sayings that was out in the streets, you know, man, you killing, man. So it's like, I like that.

[Josh Adam Meyers]

And you know what's funny, Eric? A Lot of ours, the 80s, hip hop and then the 90s and even some of the early 2000s. It's the bomb. Like these. They've still kind of stuck around a little bit. Do you think that fresh. It still works? It still works. Do you think. Do you think that. I mean, I don't know all the terminology for the kids today, and I hate that I just said the kids today, but, you know, the young, younger generation. Gen. Gen Z.

[Eric Griffin]

Is that it? Yeah, yeah.

[Josh Adam Meyers]

Will any of those stick around? Or like. I just don't feel like they have any sticking power. They all. They're all kind of lame, you know.

[Eric Griffin]

Well, you. Now we just sound old. Yeah.

[Josh Adam Meyers]

Okay, I'm done. Oh, you're right, you're right, you're right, you're right.

[Eric Griffin]

This is like this, this the. This the Unk podcast, right now. That's what they're gonna say.

[Josh Adam Meyers]

Listen to Unc. Let me tell you something. Real DMC is the greatest hip hop group.

[Eric Griffin]

Stop being mid.

[Josh Adam Meyers]

I'm sorry. I'm being made. No cap, though.

[Eric Griffin]

Come on. Six, seven, six, seven.

[Josh Adam Meyers]

That's how we would do it with all this. 67. Come on. What's your. Is there anything on this album you skip over or is this a no skip record?

[Eric Griffin]

No, it's a skip record. You know, this is just definitely a skip record. I mean, what are you supposed to do? Especially if you're listening to it now. I'm not that nostalgic, I mean, of it, you know, I mean, like, it's like you kind of go. You know, Because I just remember a time when that's what you did anyway, you know, CDs, you know, when you were listening to a record, you know, you had to. You had to listen to everything. And it's not surprising that this album is front loaded with the. And what ended up being most of their jams. So, you know, you would get to that. Like that. That, you know, you got to frickin. What's the list? You know, you got to freaking. Is it live? And you might have turned. You might have checked out.

[Josh Adam Meyers]

Yeah. Oh, no, dude, I. I don't know if I got to finish this. When I was starting this earlier. This is a front loaded record.

[Eric Griffin]

Yeah, yeah, yeah.

[Josh Adam Meyers]

This is side one.

[Eric Griffin]

That's the sign of the times, though, man. You know?

[Josh Adam Meyers]

Sure.

[Eric Griffin]

You know what I mean?

[Josh Adam Meyers]

Yeah.

[Eric Griffin]

I come from an era where there was no skip. You didn't have a skip, man. You just was like. And that was like the greatest thing ever. When CDs came out, you could Be like, oh, check this out. Out. I could go to track six right now. You couldn't do that. You had to. You were listening to your. Your cassette. Or you had to like press fast forward. You were messing up your. You know what I mean? Totally different time.

[Josh Adam Meyers]

So totally.

[Eric Griffin]

Those were the. You know, Peter Parker, Tricky. My ID just walked this way. You're. Then you're like, you're good. That's the album. That'd be their EP right now. Maybe. Yeah, maybe UB Ellen, you know, Raising Hell. Maybe those two would make it. But, you know, it is what it is.

[Josh Adam Meyers]

It is what it is. I feel like I gotta say this. I gotta say these two things before I. Before I do the sex question. It's tricky. Was the sample was built around the knacks. My Sharona. Isn't that cool? I didn't know that. Corona. Yeah. That they're using that. Then also on the. This is in the National Register recorded. This is in the Library of Congress for cultural, historical and aesthetic significance. And on the 2020 re rank, this album actually dropped to 209. Right now it is 123. So it's interesting that they went down that far. Can you. To this record? No, it's not. But it's not. It's not like. It's not. It's just not.

[Eric Griffin]

You know, Unless it's like something.

[Josh Adam Meyers]

There's nothing sexy about this.

[Eric Griffin]

Some crazy white girl, you know, that she's just, you know, maybe. Maybe, you know, she like Aerosmith. You know what I mean? You can.

[Josh Adam Meyers]

You know. The best part of that. I gotta say this, the best part of that Aerosmith song. When it's like. When it's like the beat drops out and it's like. This. I mean, I was in the car, rocking as I was driving up.

[Eric Griffin]

That's the good part about it. But I. To me, it's just that, like the guitar. The guitar lick. That's one of the most iconic guitar licks.

[Josh Adam Meyers]

Right, bro? What I'm trying to say to you, Eric. I'm driving up vine street, listening dude in my rental car. And I got the dog in the car and I'm rocking and I look to my left out the window, and there's this like, black chick and her husband. And they're just looking right at me like. Like.

[Eric Griffin]

You get it, white boy? I see.

[Josh Adam Meyers]

Who'S singing Walk this way these days. It.

[Eric Griffin]

You just found it.

[Josh Adam Meyers]

I've been in a coma. I don't know what you're telling me. How do you sum this Record up. How would you get someone merely. It's. How do you get somebody to listen to this that's never listened to Run DMC Rays in hell?

[Eric Griffin]

Oh, I would say this is the. The. I would say you got to listen to the album that opened the door for hip hop to be commercial.

[Josh Adam Meyers]

Totally. That's perfect. I think. I think, you know, listen, I. You could sit here and say it's all, you know, because of this, we now have this. And I think this is obviously a big Mount Rushmore moment for hip hop.

[Eric Griffin]

I don't think you could tell. I don't think you can tell the story of the music business without this album. I don't think. I don't think the story can be told. There'd be a gaping hole. Like, it would be. It would be like. It would be like people would start talking about hip hop. And I said, you'd be like. Then someone would ask, wait, wait, wait. When. When did that start? Then you'd have to tell that story. Totally.

[Josh Adam Meyers]

Promote away, buddy. What do you got? What do you got coming up? What are you doing? What do you want?

[Eric Griffin]

Well, I've still got my podcast, riffing with Griffin, my solo pod. I'm still on. I still got another one, the golden hour with my buddies. You can check me out there. I got this movie that I'm in. I just did this. Just wrapped this Tony Gilroy movie with Pedro Pascal. Yeah, it's called Behemoth. So that's gonna be coming out in what, however many just you look for that, you know, in the future. And I'm just on tour. Eric Griffin dot com. I got a bunch of stuff going on. I'm gonna be on the. The cruise with you, you know, so if you got a this important cruise. And then I'm doing some more dates with Matt Rife. I'm still working with him a lot, and I'm doing my dates, and I'm just, like, enjoying life, being a dad.

[Josh Adam Meyers]

Oh, how is it you love it? You don't want to run away yet? Run away from the baby?

[Eric Griffin]

No, it's. It's the. It really is the joy of my life, and I wish I would have done it sooner.

[Josh Adam Meyers]

I love that, and I love you. I'm so happy. Thank you for coming on in such short notice, man.

[Eric Griffin]

I got you. You know, I mean, it was a rough day. This is a lot of talking for today, but, you know, when. When Myers calls, Griffin shows up.

[Josh Adam Meyers]

All right, I'll send you the Venmo.

[Eric Griffin]

Sometimes I wish. Sometimes I wish it Was the. No. But sometimes I wish it was the first call. I'm always. I'm always the brought out. Can you go to the gym tonight?

[Josh Adam Meyers]

And I'm like, okay, D. What? Dude, you're. You're. But here's what's good. Now you're in the Wayne Fetterman territory, because Wayne Fetterman has been my dude. He has been my, my, my God saving grace for this podcast where he's had to learn about an album, an artist, you know, in like, literally an hour and come in. And so this was perfect because, dude, realistically, Eric, it was funny. It was like I was like, all right, who. I think you were one of my first reach outs. And then I went. And then I was like, like, let me go. And I go to Byron and I go to Godfrey because he's in town. And you had already said you had done so much because trying to do it live. And then I just got to the point where I was like, man, I was like, let's just. The studio. Let's just do it here. Hopefully the Internet's good. And dude, this is so much better. I'm so happy. Yeah. Yeah. So fun. It was informative. Everybody loved it. I mean, it comes out tomorrow. Go see Eric on the road. I know you know he's gonna be with Matt Rife, so there probably isn't tickets available when there's that.

[Eric Griffin]

Probably. I'm gonna. I got my own dates, too.

[Josh Adam Meyers]

Eric Griffin, I know that you didn't let me finish the joke here, you loon. No, you're the best. I. Dude. Thank you, brother.

[Eric Griffin]

Yeah, man. See you. Thanks a lot.

[Josh Adam Meyers]

What I tell you? What I tell you. The one and only Eric Grief and follow on Instagram at Eric Grief and website eric grief.com standup tour date ericgreven.com and for all podcasts, reefing with Griffin and Golden Hour, go to his website. Find everything. For new music this week, Distro Kid has brought us oh yeah by Onyx. We just saw that. Me and Big J love it. Dig it on the 500podcast.com or listen to it here next week. Oh, send us your song. Send us your song. We want to play it. I got some good artists out there, man, that are asking how can we launch their careers. And if you want to be launched, it's right here. Next week is 122the harder they come. It's a motion picture soundtrack at 1972 at happened in. Do your homework, everybody. We love you guys. We love you so much. Thank you for tuning in bye bye.

[Guest Rapper/Performer]

Somebody say oh yeah oh yeah oh yeah, oh yeah, oh yeah Time for the break is no time for the haters Be grinding in the streets like a goddamn skater Onyx is the master of the hip hop hardcore Flipping on a competition like we doing parkour we bring in real rap straight from the Kremlin we got the whole Russian rocket Timberlands we run, run run run with the Russians beating on the drums and I ain't talking about percussions attacking the ball head heads coming from Queens, New York we go hard cause rappers like extreme sports we go hard Cause rappers like extreme sports we go hard Cause rappers like extreme sports we go hard Cause rappers like a stranger to get here Some things can't be taught ask Cardo they know that hip hop is a sport and you can find it on VK Watch it on replay if you break dance with DJ this probably in your DNA you want to skateboard king studio be a, be a rough rider act like you DMX show the whole world why you came to struggle pole give him everything give him your heart and song for the win money and a sponsor and four Katie watch you turn into a monster and you the best at what you do Prove it put your Nikes on you better do it Just throw your flags in the air and wave them like you just don't care and if you came to rock with the kings of rap Somebody say oh yeah, oh yeah, oh yeah, oh yeah, oh yeah Just throw your flags in the air and wave them like you just don't care and if you came to rock with the kings of rap Somebody say oh yeah, oh yeah, oh yeah, oh yeah, oh yeah, oh yeah, oh yeah.

[Josh Adam Meyers]

For the Fleece Nation on the 500 the 500.

[Eric Griffin]

Next Chapter podcasts.