Page 2
April 11, 2001
Focus
A
S U P P L E M E N T
O F
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(©bserüer
E ditor in Chief,
P ub lisher
Charles H. Washington
Editor
LarryJ. Jackson, Sr.
Business Manager
Gary Ann Taylor
Asst. Publisher
Michael Leighton
Cofiy Editor
J o y R am os
Creative Director
Robert Parker
RUN DMC
Master Innovators of Rap
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Lounge
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I»W TW Psntud Observer
finally acknowledged as the force it’s
always been in music, sports, fash­
ion, marketing and pop culture over­
all. Their “Christmas in Hollis’ ’ banged
through the W hite House in the 1999
“A Very Special Christmas’ ’ live event
and in the Sony ad campaign o f holi­
day 2000. The Gap, W orld
the advice or support o f anyone in
the m ainstream media or industry.
Along the way, life went on: Run was
ordained a minister, DMC transformed
his lifestyle and wrote a book about
it, and Jay launched a successful
record label. All becam e husbands
and fathers. But they never lost their
following.
Now, having altered the landscape
o f music irreversibly, RU N DMC is
m ore visible than ever, as hip-hop is
Basketball Association all tapped into
RUN DM C as defining figures to
people in every w alk o f life. Their
appearance on M TV ’s 1999 Video
Music Awards with Aerosmith and
Kid Rock was one o f the events o f the
year.
In the twentieth year o f an as­
tounding career, RUN DMC turns in
“Crow n Royal” to show how it all
began, how it’s going to be, and how
it’s done best.
O ld " and Lim p B izk it’s Fred D urst,
• Innovators. O riginators. RU N
D M C 's influence on the music of jo in in g on the straight-up hip-hop
the new m illennium goes every bit “T hem Girls.”
F ew artists ever provided as com ­
as deep as that o f Elvis Presley or
plete
a musical and stylistic blueprint
the Beatles. W ith the release o f
for
their
musical successors as RUN
“Crow n R oyal” on A rista, the sem i­
DM
C
(Joseph
“DJ Run” Simmons,
nal rap trio is returning to a stage
Darryl
“D
M
C”
M cDaniels, Jason
they set not o nly for them selves,
“Jam
M
aster
Jay”
Mizell). M anaged
but for an industry - and a genera­
by
R
u
n
’s
older
brother,
the future
tion.
entrepreneur
Russell
Simmons,
they
“Crow n R oyal” lists m ulti-plati­
roared
out
o
f
Hollis,
Queens,
with
num guest artists - proving their
1983's“It'sLikeThat” “SuckerMCs,”
lasting and universal force exerted
transforming
R&B party funk with a
on the front line ofhip-hop, rockand
R&B. The street/urban single, “ It’s new com bination o f sparse beats,
O ver,” co-stars hitm aking producer/ hard production textures and an ob­
perform er Jerm aine D upri. The si­ vious disdain for pretension o f any
sort. W itliin a year, they took another
m u lta n e o u sly re le a se d M o d ern
giant step by combining monster rock
R ock sin g le an d v id e o , “ R ock
guitar with hip-hop in the single and
Show ,” team s the band w ith T hird
video “ Rock B ox.” The huge popu­
Eye B lind’s Stephan Jenkins, w ho
larity o f RUN DM C produced rap’s
co-produced the track w ith Jason
first gold album ("RUN-DMC,” 1983)
C anner. A nd. inevitably, the b ig ­
and its first platinum album (“King o f
gest fans and beneficiaries o f RU N
Rock,” 1985). Every oneoftheir early
D M C ’s historic fusion o f rock and
singles are the prim ary source m ate­
rap com e to the party: K id R ock,
rem iniscing about “T he School o f rial ofhip-hop, “H ard Times,” “Jam
4747 NE Martin Luther
King, Jr., Blvd.
Portland, OR 97211
s u b m itte d m a te ria l:
Master Jay ,” “TogetherForever” and
“Here W e G o” notable am ong them.
The success o f RUN DM C re­
sounded through rock, rock, R&B
and, eventually, international pop o f
every kind. They changed an indus­
try and they did it by speaking di­
rectly to youth, with-
Featuring
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