DMC represents devastating mic control

King of Rock

It was 1985, just six years after the incident known as Disco Demolition Night in Chicago, where a frenzied crowd of thousands gathered in Comiskey Park with hatred in their eyes and hearts. The loathsome mob came together for the sole purpose of sealing the fate of the long-standing disco movement by setting their albums and music cassettes on fire en masse. It was a revolt in the truest sense, unlike any negative display of a particular style of music before. It was not a simple slide in the charts; it was an execution.

Disco was dead.

The era of heavy metal had really begun. The Bee Gees, now the former official kings of the radio waves, would no longer be Stayin ‘Alive. His bass lines and high-pitched vocal styles were on fire on a fiery Inferno record that a slew of long-haired rockers poured gas into.

It was not Kung Fu Fighting. No. The war between disco and rock that raged from the mid-1970s to the mid-1980s is finally over. Rock prevailed and claimed the mountaintop throne, his only rival defeated.

Who else dares to challenge the king?

Jazz? “Please …”

Blues? “Come again?”

Country? “Are you serious?”

How about rap? “Rap? What is rap?”

Rap was still a new and relatively unknown product, largely ignored by the mainstream audience, critics, and radio stations. Most of the growing form of music sales could not even be accurately traced, as most artists were selling their material from the trunks of their cars, unable to secure a record deal.

The distributors rolled their eyes at the rappers as they listened to the demos. The so-called professionals did not have the vision to see and understand the music that would eventually launch a revolution. Leaning against a corner, the only way forward was obvious.

Some brave entrepreneurs started their own rap labels. One was known as Sugarhill Records. It received a modest distribution and was the label that launched what many have called “The First Real Rap Song.” Sugarhill Gang’s Rappers Delight was the best-received rap single up to that point.

Looking back, some define the moment as the official beginning of rap music, as the classic single was broadcast, reached number thirty-eight on the music charts, and was available in many stores.

The Sugarhill Gang was knocking on the door to legitimately enter the world of music, but a twenty-something rapper known simply as DMC wasn’t content with knocking on the door with his knuckles. His hand was wrapped around the doorknob and he was twisting it open.

Darryl Mcdaniels would not turn heads, who, along with fellow rapper Joseph “Run” Simmons and DJ Jam Master Jay, released the self-titled album Run DMC in the spring of 1984 on Profile Records.

It seemed that no one knew what to do with it. Run DMC was nothing like anything or anyone before them. The group of three black men from Hollis Queens defied all classification. They weren’t rock, although they did have an electric guitar in some of their songs. They weren’t disco.

What are they? What style of music is Run DMC?

“They are rap.”

“Oh rap. I think I heard about that.”

The trio was slowly gaining audiences, catching up on their catchy combination of back-and-forth rhymes between Run and DMC over deft record scratching and Jay’s 808 drum machine beats. Throw in a few samples and an occasional guitar riff and you’ve got a fresh new sound that cried out to be heard.

Run DMC wouldn’t deny it, and neither would that historic first release that has sold over three million units. Things didn’t explode yet for Run DMC, but that was only a matter of time.

The door was ajar, but the rap music was still a foot inside. Rock music kept looking towards the mountain, carefree, rap music and laughter. The reigning king felt no threat. There couldn’t be a challenge to the throne unless someone from the rap world was ready to step up.

Enter the DMC stage on the left.


Slavery may have been abolished in 1862 and there was a supposed equality between the races that was talked about, but a quick glance at the music charts was all that was needed to show the glaring divide still present. White artists dominated the radio waves. The number of black rock groups was minimal and the number of them that made the charts was almost non-existent.

Run DMC ultimately changed the face of the music world and helped bridge the racism gap by promoting racial equality, not favoritism in either direction, and becoming celebrities in an era that embraced the exact opposite of who they embodied.

Forget rock. Forget about rap.

Run DMC transcended musical style and ranking, and in doing so changed the face of the music world in a watershed moment when Darryl Mcdaniels gathered enough testicular strength for the entire rap community and performed an act that carried with it the ramifications of painting. a porthole on his back. He easily risked being a dead man.

It looked like a suicide.

During a year in which rock music sales to a predominantly Caucasian audience were in the millions, Run DMC released their second album. The title track features a confident DMC churning out five words, without the accompaniment of music, changing the music scene forever.

The young man who went on to inspire so many to follow him made an undeniably inspiring statement when he struck five simple a cappella words on a microphone all those years ago.

In the world of politics and government, it was Martin Luther King with the famous words “I have a dream.”

The world of music has its equivalent and the quote belongs to Darryl Mcdaniels. His five words, as powerful as King’s four, continue to inspire as they reach a whole new audience. No one can forget the first time they heard DMC utter the last words no one expected to hear from a black man’s mouth.

“I am the king of rock!”

Darryl Mcdaniels was a legend.

The statement was so powerful; was used to name the album and was largely responsible for the eventual platinum status.

DMC kept the theme going with his next lyric, “There is nothing higher,” in case anyone missed the fact that he was the king of rock and the brilliant electric guitar that pulsed throughout the track and album. , which can only be described as an innovative masterpiece, was not enough to persuade them.

Rock music was on the ropes; he needed to make a rope if he wanted to survive. He got his help from a highly unlikely source.

Rather than looking for a fight, Run DMC continued its fusion of rock and rap by extending the olive branch to a group of disgraced rockers whose best days were buried far back in the seventies. Aerosmith produced some mediocre records since then and hadn’t been a hit in almost a decade.

Mcdaniels and his cohorts joined forces with struggling rockers and recorded a classic remake of one of Aerosmith’s old hits. Walk This Way was an even bigger seller the second time around and helped catapult Run DMC’s third release, Raising Hell, to multi-platinum international sales.

Run DMC didn’t seem to be fighting rock for musical supremacy, but if someone was keeping score; it was clear to see who the king really was.

It has been a roller coaster ride for the youngsters who made Adidas a phenomenon. Since the release of Raising Hell more than twenty years ago, the superstars have released four more albums, all of which have reached platinum status.

Unfortunately, the trio was reduced to two on October 30. 2002 when the legendary Jam Master Jay was called to its creator.

Joseph “Run” Simmons is now known as Reverend Run. The new fabric man, when not filming his hit reality TV show, still finds time to swing the mic with his often-imitated but never duplicated presenter skills. His solo release, Distortion, served to satisfy many fans’ desire for a new Run DMC recording.

DMC, years after his days at St. John’s College, is ready to match his partner in crime and will even feature the Reverend on some tracks from King Of Rock’s solo debut, Checks, Thugs, & Rock -N. – Roll.

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