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>> product placement in music, you guys would have taken the award for that. my adidas was one of the first artists. >> that said it all. >> yeah. but how has that changed? >> when we made that record for adidas, we didn't do it to get an endorsement deal or for the money, we was just rhyming about so many thing goods that we said what can we do next. oh, let's make a record about the sneakers that we love. and i think what happened is that that was the first time people saw the relationship of a music entity could be huge as -- as sports. it was the first time that a non-athletic entity was able to

get a sneaker endorsement. the problem now is this, we did it. it was good. it was sincere. nowadays, people will search for the deal first and not be responsible with the music that they put out. the reason why it worked for run dmc is it was positive, it was good. we didn't make a record saying i got more sneakers than you, or i got more cars than you. our sneakers -- that song about our sneakers wasn't about the material it was about where those sneakers been. stepped on stage, all the people gave and the poor got paid. right away we had global appeal. our sneakers walked down the hallways of st. john's university. the reason we did the record first is because there was a

stereo type of yo those kids with the gold chains, and the adee does suits and hats those are the bad people of our society, and -- which was true. the first thing you did when you got money if you sold drugs, was to go get some fresh scare. so at that time in the '80s who was fresh was stereo typed, he is just a drug dealer. so we made that record to say oh, no, i went to st. john's university. i have a high school diploma. the problem now is we're endorsing artists who is negative, who doesn't project anything positive to the product. >> but if they are a good artist and making money, and making money for the record companies, do they have the responsibility to do the right thing?

they are still going to sell their music, don't they? >> yeah. but it's about that responsibility. our generation made records about being a drug dealer. we told our story, but at the end of that record, we said, but y'all, you younger guys, you know, the younger people, y'all don't have to do this. nowadays in america, the guy tells his story about being a drug dealer like it's good. >> right. >> and then america celebrates it just because he is make money. we created hip hop so we didn't have to have more drug dealers and gang bangers. we created hip hop so that the younger generation that would listen to an mc or rapper, wouldn't think it's cool to name his self after scar face the movie or to name himself after the gangsteres. when we created this positive music, we told the stories but

also gave positive alternatives. i was on a radio one time, and a guy calls in, and said yo, d man, just for you saying what you say on your records, will cool go to school, i go to st. diop's university, after 12th grade i went straight to college. he called in and said yo, d when you said that you gave me a good problem. i had the adidas i had the gold chain. i had the money. my bag of weed, my bourbon and my vodka and stuff like that, but here goes my idol dmc saying school is cool. he said i had everything material, but i didn't have an education or a high school diploma. i was gang banging and selling drugs, and when you said that

rhyme, i stopped gang banging and selling drugs. i got my ged, i got my adee does suit and my car over here and now i got my ged, and then he said with this ged i was able to take college courses at the community college. he said when i walked in the doors of the community college, i saw a whole world that i didn't know exists. i'm sitting here in houston, texas in a $3 million house with five whips outside and i'm lawyer. that's powerful. that's the type of corporate excitement that we want to generate. our association with these record companies and these big corporations, what is it going to do for our communities? what is it going to do for our nations? that's what we saw as young people, and people always say, yo, dmc, what you are saying at 40 years old, you are just

saying because you where wiser and more mature, and i say that's true, but everything i have been saying now, i have old. >> d i want to get some community here. all right. speaking about relevance, rod stars you are a member of the hip hop trio, rebel diaz, i know it. >> what up, d? >> what is up. >> this is crazy cool [ inaudible ] just showed up in my crib. >> oh, my god. he started it all. >> i'm in the house. peace out. >> what is up, cool hurt. >> i'm the illusive one.

>> we got a question, though. >> yeah. >> i was never a good math student but i got some numbers lately. in 1973 there was 400,000 people in jail in this country. in 2013, 40 years later, which is the pretty much the life span of hip hop, we have approximately 3 million people in jail. >> that's crazy. >> if you include the number of people on parole, on house arrest, and immigrant detention centers or probation, that number is about 12 million. >> right. >> so what is your -- you on -- on -- this process of mass incarceration through this private prison complex, what is your view on that especially being there in the beginning of

hip hop and how we have seen a whole generation -- hip hop generation get put behind bars. >> it's interesting that you say that. because just like we were saying at the beginning of this discussion, you had all of these young people that were responsible,knew, i can tell this story about a drug dealer or being a gang, but we didn't celebrate those negative things. and i think one of the biggest problems that we have with this is if these young people turn on the radio, and they turn on mtv they see profanity, negativity, and violence celebrated in hip hop like it's cool without realizing it was young people who created hip hop so we didn't have to do these things. cool hurt knows this. africa bimbada knows this. when we started doing this hip

hop thing we started putting an end to all of the violence. if i'm making money but my whole neighborhood is falling apart, that's wrong. and the mcs and d.j.s in the beginning of hip hop we knew we had an obligation. when you look at hollywood and the movies, you never see a positive hip hop movie about a guy who doesn't want to be in gangs, but he wants to be a rapper. and you have america celebrating this fact. you have radio stations that play the same eight records every 20 minutes and every one of those records is, i'm selling drugs, and i'm shooting, and i'm killing, and i'm disrespecting women, and it's good.

no, the records are supposed to be saying here is what this is, and this is not a good thing, and here is what we're going to do. these little kids used to look at a rapper and say something positive and say i don't have to do this. now if they look at these rappers and mcs and producers and d.j.s, and say that's what they do to get famous, well, that's what i'm going to do. the music doesn't cause the problem, but the music at one time was a solution to the problem. and our music, our images, our concepts, the words that is coming off of these rap songs is communities. >> speaking of that, d you talk to a lot of young people who seek your advise, when we come back, i want to talk about how you discovered your true self and passions long after you

stuck gold in the music business. and as we go to break here is a couple of stories that we are following.

♪ >> we're back with darryl mcdaniels of run dmc, better known as d. d you have a lot of young people ask you for advice, what was your advise to them in 1988 and how is it now? >> it's really no different. i speak from experience, what i have seen. one of the things i say to the young people is the reason why hip hop is so successful, is [ laughter ] >> we listen to our elders. we listen to what the eld

- elders would tell us. we applied it to the world we're living in now, and put that total experience of their knowledge and wisdom on a record. so if i'm 18 years old, speaking at 18 what the elders gave me, and then 17 to the age of 2 hears me on the rap song speaking all of this knowledge of wisdom, that kid who is it a years old, hearing meat 18, by the time he gets 18, he is highly evolved. we don't have that anymore. when i was 16 years old, and i went into a room with 18 year olds, i left with something valuable. when i was 18 and sat in the room around 22 and 25 year old people, i left with something valuable. the problem now is i can sit there and talk to the younger generation, because i'm not talking to them at 49 years old. i'm talking to them at hip hop,

so they can relate. >> mani, i'm going to have you guys ask questions. mani you go first. >> hi, i just wanted to say i have loved you since i was 10 years old. >> thank you. >> but i'm really impressed at how you have managed to raise social consciousness with the work you do at camp felix. i was wondering how fining out you were adopted so late in life has formed our activism with these kids. >> and marcus go ahead. >> you were talk about giving kids the wisdom about the game, but the internet that allows kids to just be able to create music and put music out there without necessarily having the access to the wisdom from artists like yourself, or just

generation. >> we have about two questions. >> i found out i was adopted at the age 35 after i did all of the hip hop and run dmc stuff. and i got the answer when i asked that question -- i got the answer. yes, you are adopted. then i found out i was a foster kid. i was given hip hop for a greater purpose than just the guy that was the first to go gold and platinum. for me i was given hip hop for a mission so i could continue to what so many did to me when i was 12 years old with a record. the question about the internet. the internet created a bad problem for hip hop, because first of all everybody wants to be a rapper, first of all everybody wants to be a rapper,

and it can be the crappiest rap with no wisdom or vision and it's the worst thing ever, and there's so much bad stuff out there, that everybody thinks it's good. that's the problem with the hip hop. >> all right. darryl on that note we are unfortunately out of time, but thank you so much for joining us tonight. and thanks to everyone in our google hangout, and thank to our amazing online social community for all of the tweets. until our next program, we will see you online. ♪

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