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Run-DMC (also formatted Run-D.M.C., RUN DMC, or some combination thereof) was an American hip-hop group formed in Hollis, Queens, New York City in 1983 by Joseph Simmons, Darryl McDaniels, and Jason Mizell. Run-DMC is regarded as one of the most influential acts in the history of hip-hop culture and especially one of the most famous hip-hop acts of the 1980s. Along with Beastie Boys, LL Cool J, DJ Jazzy Jeff & the Fresh Prince, and Public Enemy, the group pioneered new-school hip-hop music and helped usher in the golden age hip-hop. The group was among the first to highlight the importance of the MC and DJ relationship.[4]

Key Information

With the release of Run-D.M.C. (1984), Run-DMC became the first hip-hop group to achieve a Gold record. Run-D.M.C. was followed with the certified Platinum record King of Rock (1985), making Run-DMC the first hip-hop group to go platinum. Raising Hell (1986) became the first multi-platinum hip-hop record. Run-DMC's cover of "Walk This Way", featuring the group Aerosmith, charted higher on the Billboard Hot 100 than Aerosmith's original version, peaking at number four.[5] It became one of the best-known songs in both hip-hop and rock.[6] Run-DMC was the first hip-hop act to have their music videos broadcast on MTV, appear on American Bandstand, be on the cover of Rolling Stone,[7] perform at Live Aid, and be nominated for a Grammy Award.[8]

In 2004, Rolling Stone ranked Run-DMC at number 48 in its list of the 100 Greatest Artists of All Time.[4] In 2007, they were named The Greatest Hip-Hop Group of All Time by MTV[9] and Greatest Hip-Hop Artist of All Time by VH1.[10] In 2009, Run-DMC became the second hip-hop group (after Grandmaster Flash & the Furious Five, 2007) to be inducted into the Rock and Roll Hall of Fame.[11] In 2016, the group received a Grammy Lifetime Achievement Award.[12] In 2018, Raising Hell was inducted into the National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[13]

History

[edit]

Early career

[edit]
A poster for a Southern California concert starring the group in 1984

The three members of Run-DMC grew up in Hollis, Queens.[4] As a teenager, Joseph Simmons was recruited into hip-hop by his older brother, Russell, who was then an up-and-coming hip-hop promoter. Simmons appeared onstage as a DJ for solo rapper Kurtis Blow, who was managed by Russell. Known as "DJ Run, Son of Kurtis Blow", Simmons soon began performing with Blow.[14] Previously, McDaniels had been more focused on athletics than music, but soon began to DJ after purchasing a set of turntables. Simmons convinced McDaniels to start rapping, and though McDaniels would not perform in public, he soon began writing rhymes and was known as "Easy D".

Simmons and McDaniels started hanging around Two-Fifths Park in Hollis in the late 1970s, hoping to rap for the local DJs who performed and competed there; the most popular one known to frequent the park was Jason Mizell, then known as "Jazzy Jase". Mizell was known for his flashy wardrobe and b-boy attitude, which led to minor legal troubles as a teen. Thereafter, he decided to pursue music fame and began entertaining in the park soon after. Eventually, Simmons and McDaniels rapped in front of Mizell at the park, and the three became friends. Following Russell's success managing Kurtis Blow, he helped Run record his first single, a song called "Street Kid". The song went unnoticed, but despite the single's failure, Run's enthusiasm for hip-hop was growing. Simmons soon wanted to record again—-this time with McDaniels, but Russell refused, citing a dislike for D's rhyming style.[14] After they graduated from high school and started college in 1982, Simmons and McDaniels finally convinced Russell to let them record as a duo, and they recruited Mizell (who was now known as Jam Master Jay) to be their official DJ. The following year, in 1983, Russell agreed to help them record a new single and land a record deal, and marketed the group as "Run-D.M.C.", a name that the group hated at first. DMC said later, "We wanted to be the Dynamic Two, the Treacherous Two — when we heard that shit we was like, 'We're gonna be ruined!'"[15]

The group's name used Joseph Simmons's DJ name, DJ Run. It was combined with several letters from Darryl McDaniel's name. (DMC can also stand for "Devastating Mic Controller" and in one instance, Darryl rapped in King of Rock "People always ask, 'DMC, what does it mean?' D's for never dirty, MC for mostly clean.")[16]

A ticket for a 1984 concert in Oakland, California

After signing with Profile Records, Run-DMC released their debut single "It's Like That/Sucker MCs" in late 1983.[17] The single was well received, peaking at No. 15 on the R&B charts.[18] The trio performed the single on the New York Hot Tracks video show in 1983. Emboldened by their success, Run-DMC released their eponymous debut album Run-D.M.C. in 1984.[17] Hit singles such as "Jam-Master Jay" and "Hard Times" proved that the group were more than a one-hit wonder, and the landmark single "Rock Box" was a groundbreaking fusion of raw hip-hop and hard rock that would become a cornerstone of the group's sound and paved the way for the rap rock-subgenre movement of the 1990s.

Run-DMC's swift ascension to the forefront of rap with a new sound and style meant that old-school hip-hop artists were becoming outdated. Along with pushing rap into a new direction musically, Run-DMC changed the entire aesthetic of hip-hop music and culture. Old school rappers like Afrika Bambaataa and Melle Mel of Grandmaster Flash and the Furious Five tended to dress in the flashy attire that was commonly attributed to glam rock and disco acts of the era: tight leather, chest-baring shirts, gloves and hats with rhinestones and spikes, leather boots, etc. Run-DMC discarded the more glam aspects of early hip-hop fashion (which were later readopted in 1990 by more "pop" rappers like MC Hammer and Vanilla Ice) and incorporated a more "street" sense of style such as Kangol hats, Cazal glasses, leather jackets, and unlaced Adidas shoes.[8] The group's look had been heavily influenced by Mizell's own personal style. When Russell Simmons saw Jay's flashy, yet street b-boy style; he insisted the entire group follow suit.[19] Run said later:

There were guys that wore hats like those and sneakers with no shoestrings. It was a very street thing to wear, extremely rough. They couldn't wear shoelaces in jail and we took it as a fashion statement. The reason they couldn't have shoelaces in jail was that they might hang themselves. That's why DMC says "My Adidas only bring good news and they are not used as felon shoes".[20]

That embrace of the look and style of the street would define the next 25 years of hip-hop fashion.

Despite not receiving as much recognition as McDaniels and Simmons, Jason "Jam Master Jay" Mizell had greater behind-the-scenes influence with Run-DMC than widely assumed, and gave the group their street credential image.[21] Mizell, who discovered 50 Cent, has also been credited with taking the hip hop genre to a wider worldwide audience.[21] Mizell in fact developed the sound on most Run-DMC songs, with The Guardian describing him in 2012 as being the Run-DMC member who "created almost every sound that Run and DMC would rap over."[22]

King of Rock, Raising Hell and mainstream success

[edit]

After the success of their first album, Run-DMC looked to branch out on their follow-up. The release of King of Rock in 1985 saw the group furthering their rap rock fusion on songs like "Can You Rock It Like This" and the title track; while "Roots, Rap, Reggae" was one of the first rap/dancehall hybrids. The music video for the single "Rock Box" was the first ever hip-hop music video to be broadcast on MTV and received heavy rotation from the channel. The song was the group's most popular hit at that point and the album was certified platinum. Run-DMC performed at the legendary Live Aid benefit shortly after Rock Box was released.

In late-1985, Run-DMC were featured in the hip-hop film Krush Groove, a fictionalized retelling of Russell Simmons' rise as a hip-hop entrepreneur and his struggles to get his own label, Def Jam Recordings, off the ground.[17] The film featured a young Blair Underwood as Russell, along with appearances by old-school legend Kurtis Blow, the Fat Boys, teen pop act New Edition, LL Cool J, Prince protegee Sheila E., and hip-hop's first successful White rap group, the Beastie Boys, who were signed to Simmons' Def Jam label. The film was a hit in cinemas and was further proof of hip-hop's continued mainstream visibility.

Returning to the studio in 1986, the group teamed with producer Rick Rubin for their third album. Rubin had just produced LL Cool J's debut album Radio. They later released their third album, titled Raising Hell, which became the group's most successful album and one of the best-selling rap albums of all time.[17] The album was certified double-platinum and peaked at number three on the charts.

12" single cover for the group's single "My Adidas"

They were almost done with the album, but Rubin thought that it needed an element that would appeal to rock fans as well. This spurred the lead single "Walk This Way", a collaboration with the group Aerosmith, who years earlier had done their original version of the classic hard rock song on their album Toys in the Attic. The original intention was to just rap over a sample of the song, but Rubin and Jay insisted on doing a complete cover version. Members of the group Aerosmith (including Steven Tyler and Joe Perry) were called to join Run-DMC in the studio to add their vocals and guitars.[23] The song and video became one of the biggest hits of the 1980s, reaching No. 4 on the Hot 100, and cemented Run-DMC's crossover status. It also resurrected Aerosmith's career.[24] The single "My Adidas" led to the group signing a $1,600,000 endorsement deal with athletic apparel brand Adidas. Adidas formed a long-term relationship with Run-DMC and hip-hop.[25] This has been described as the "beginning of what we have come to know as hip-hop fashion".[26]

The success of Raising Hell is often credited with kick-starting hip-hop's golden age, when rap music's visibility, variety, and commercial viability exploded onto the national stage and became a global phenomenon.[17] Their success paved the way for acts like LL Cool J and the Beastie Boys. The group toured in the wake of the album's success, but the Raising Hell Tour was marred by violence, particularly fights between rival street gangs in places like Los Angeles. Though Run-DMC's lyrics had been angry, confrontational and aggressive, they typically denounced crime and ignorance, but the media began to blame the group for the incidents. In the wake of the violence, Run-DMC would call for a day of peace between the gangs in Los Angeles. In 1987, following on from the Raising Hell Tour, Run-DMC embarked on the Together Forever Tour with the Beastie Boys.

Tougher Than Leather, changing times

[edit]

After spending 1987 on tour supporting Raising Hell, Run-DMC released Tougher Than Leather in 1988. The album saw the group discarding much of their rap rock leanings for a grittier, more sample-heavy sound. Despite not selling as well as its predecessor, the album boasted several strong singles, including: "Run's House", "Beats to the Rhyme", and "Mary Mary". Though at the time considered a disappointing follow-up to the blockbuster Raising Hell, the album has grown in stature. In the 2000 liner notes for the album's re-release, Chuck D of Public Enemy would call the album "...a spectacular performance against all odds and expectations".[27]

Later in 1988, the group made their second film appearance in Tougher Than Leather, a would-be crime caper that was directed by Rick Rubin and featured special guest performances by the Beastie Boys and Slick Rick. The film bombed at the box office, but strengthened the indirect relationship between Run-DMC and the Def Jam label which led to the common misconception that the group was signed to the label. They were, however, managed by Russell Simmons, produced by Rick Rubin (who founded Def Jam, along with Simmons), and often shared concert tour spotlight with acts on the label's roster.

A test pressing release for the single "Faces" from the album Back from Hell

Amidst the changing times and sliding sales, Run-DMC released Back from Hell in 1990. The album was the worst-reviewed of their career, as the group tried to re-create itself musically with ill-advised forays into new jack swing (a then-popular style of production that sonically merged hip-hop and contemporary R&B) and sometimes-preachy lyrical content. The two singles released, the anti-drug, anti-crime song "Pause" and street narrative "The Ave", had little success, and the group began to look outdated. Reeling from their first taste of failure, personal problems began to surface for the trio. McDaniels, who had been a heavy drinker in recent years, was losing control to alcoholism. Jay was involved in a life-threatening car accident and survived two gunshot wounds after an incident in 1990. In 1991, Simmons was charged with raping a college student in Ohio, though the charges were later dropped.[28]

With so much personal chaos and professional uncertainty, the members turned to faith to try to steady their lives. Both Simmons and McDaniels joined the church, with Run becoming especially devoted following his legal troubles and the toll it took on his finances.[29]

After a three-year hiatus that seemingly saw rap music move on without them, the rejuvenated Run-DMC returned in 1993 with Down with the King. Building on the gritty sound of Tougher Than Leather, and adding some subtle religious references, the album featured guest appearances and production by several hip-hop notables (including Pete Rock & CL Smooth and Q-Tip of A Tribe Called Quest). Buoyed by the title track and first single, the album entered the charts at No. 1 and No. 7 on the pop charts.[24]

Even though the album went platinum, the song proved to be their last hit. Jam Master Jay also found success on his own; he had founded his own label JMJ Records, and discovered and produced the group Onyx, which had tremendous success in 1993 following the release of their hit single, "Slam". Later that same year, Run became an ordained minister, and in 1995 the iconic group appeared in The Show, a Def Jam-produced documentary that featured several of hip-hop's biggest acts discussing the lifestyle and sacrifices of the industry.

Later years, Mizell's murder and breakup

[edit]

Over the next few years, the group did very little recording. Mizell produced and mentored up and coming artists, including Onyx and 50 Cent, whom he eventually signed to the JMJ label. Simmons got divorced, remarried, and began to focus on his spiritual and philanthropic endeavors by becoming a reverend. He also wrote a book alongside his brother Russell.[8] McDaniels, also married, made an appearance on the Notorious B.I.G.'s 1997 double-album Life After Death, and focused on raising his family.

Though the group continued to tour around the world, over a decade of living a rap superstar lifestyle was beginning to take a toll on McDaniels. He was beginning to tire of Run-DMC, and there was increased friction between him and Simmons, who was eager to return to recording (Simmons had at this time adopted the moniker Rev Run in light of his religious conversion). While on tour in Europe in 1997, McDaniels' ongoing battle with substance abuse led to a bout of severe depression, which spurred an addiction to prescription drugs. McDaniels' depression continued for years, so much so that he contemplated suicide.[30]

In 1997, producer and remixer Jason Nevins remixed "It's Tricky" and "It's Like That". Nevins' remix of "It's Like That" hit number 1 in the United Kingdom, Germany, and many other European countries. A video was made for "It's Like That", although no new footage of Run-DMC appeared in it. In 1999, Run-DMC recorded the theme song for WWF wrestling stable D-Generation X entitled "The Kings", which appeared on the WWF Aggression album. They also made an appearance in a rare version of the music video "Bodyrock" by Moby.

Soon after, the group finally returned to the studio, but in an increasingly tense environment, as Simmons and McDaniels' differences had begun to show. In the wake of the exploding popularity of rap-rock artists like Korn, Limp Bizkit, and Kid Rock, Simmons wanted to return to the aggressive, hard rock-tinged sound that made the group famous. McDaniels – who had become a fan of thoughtful singer-songwriters like John Lennon, Harry Chapin, and Sarah McLachlan – wanted to go in a more introspective direction. Appearing on VH1's documentary series Behind the Music in early 2000, McDaniels confirmed that he was creatively frustrated and highlighted some songs that he was recording on his own. The continued friction led to McDaniels sitting out most of the group's recording sessions in protest.[citation needed]

A single from Run-DMC's final album Crown Royal

Simmons, in defiance, recorded material anyway, inviting several guest stars such as Kid Rock, Jermaine Dupri, Adrian Burley, Tony Fredianelli and Stephan Jenkins of Third Eye Blind, Method Man, and fellow Queens MCs Nas and Prodigy of Mobb Deep to contribute to the project. The resulting album, Crown Royal, was delayed due to the personal problems, and when it was finally released in 2001, it featured only three appearances by DMC. Despite no major singles, the album initially sold well. However, many critics[who?] blasted the lack of DMC's involvement. Some positive reviews were published: Entertainment Weekly noted that "on this hip hop roast, new schoolers Nas and Fat Joe pay their respects with sparkling grooves...Run's rhymes are still limber."[31]

After Crown Royal, the group embarked on a worldwide tour with their "Walk This Way" compatriots, Aerosmith. The tour was a rousing success, celebrating the collaboration between the two acts and acknowledging the innumerable rap and rock acts that had been influenced by their seminal hit 15 years prior.[citation needed] Even though he had little to do with the album, McDaniels was relishing the stage; he had been suffering from an inoperable vocal disorder that had rendered his once-booming voice a strained mumble. Performing allowed McDaniels to come out of his depression and he appeared revitalized on the tour. There was even talk of Run-DMC finally signing with Def Jam, which by then was no longer held by its original founders.[citation needed] Simmons, however, had been growing increasingly tired of hip-hop. His family was growing, and he was assisting with his brother Russell's Phat Farm clothing imprint,(cap) making Run-DMC less of a priority. Despite the success of the tour and Aerosmith consequently discussing adding additional dates, Simmons abruptly announced that he was quitting.[32]

Murder

[edit]

On October 30, 2002, Mizell was shot and killed at his recording studio in Queens.[33] Fans and friends set up a memorial outside the studio with Adidas sneakers, albums, and flowers. In the aftermath, Simmons and McDaniels announced the official disbanding of the group.[34] Mizell's murder remained unsolved until August 2020, with the arrest of Ronald Washington and Karl Jordan Jr.[35] Washington and Jordan Jr. would later be convicted for the murder in February 2024.[36] A third suspect, Jay Bryant, was charged in May 2023, but later arranged to have a trial which would be separate from Washington and Jordan Jr. The accusation of Bryant being the murderer is consistent with the testimony of a neutral witness Yarrah Concepcion. Concepcion testified about a fight before the shot and a hat with the DNA of Bryant was found next to Mizells body.[37][38][39]

Post-breakup

[edit]

In 2004, Run-DMC was one of the first acts honored on the first annual VH1 Hip Hop Honors, alongside legends like 2Pac and the Sugarhill Gang. The Beastie Boys paid tribute. Simmons did not attend the show; he was recording his first solo album, Distortion. McDaniels also released a solo album, Checks Thugs and Rock n Roll. He had recently discovered that he was adopted, which led him to be the center of the VH1 program My Adoption Journey, a documentary chronicling his re-connection with his biological family. McDaniels was also featured in the 2008 video game, Guitar Hero: Aerosmith, making appearances in the songs "Walk this Way" and "King of Rock". He frequently contributed to VH1 programs such as the I Love The... series, and he released the song "Rock Show" featuring singer Stephan Jenkins. Simmons also turned to television, starring in Run's House, a reality show that followed his life as a father and husband.

In June 2007, McDaniels appeared with Aerosmith performing "Walk This Way" for their encore at the Hard Rock Calling festival in London. Simmons joined Kid Rock's 2008 Rock N Roll Revival Tour, performing "It's Like That", "It's Tricky", "You Be Illin'", "Run's House", "Here We Go", "King of Rock" and "Walk This Way" with Kid Rock. They also covered "For What It's Worth" at the end of the show. In 2007, Mizell's wife, Terry, Simmons, and McDaniels also launched the J.A.M. Awards in Jay's memory. Jay's vision for social Justice, Arts and Music was promoted by many recording artists, including Snoop Dogg, LL Cool J, Raekwon, Jim Jones, M.O.P., Papoose, Everlast, DJ Muggs, Kid Capri, De La Soul, Mobb Deep, EPMD, Dead Prez, Biz Markie and Marley Marl. In October 2008, Mizell's one-time protege 50 Cent announced plans to produce a documentary about his fallen mentor.[40] In 2008 Run-DMC was nominated for 2009 induction into the Rock and Roll Hall of Fame.

On January 14, 2009, it was confirmed that Run-DMC would be one of the five inductees to the Rock and Roll Hall of Fame.[41] On April 3, 2009, Run-DMC became the second rap act to be awarded the honor (after Grandmaster Flash and the Furious Five, who were inducted in 2007).[42] The group reunited at Jay-Z's Made in America Festival in September 2012. Simmons and McDaniels then reunited again for Fun Fun Fun Fest in Austin, Texas in November 2012, and again in June 2013 and August 2014 for summer concerts in Atlanta, Georgia.[43] Despite McDaniels and Simmons making sporadic appearances together, Run-DMC did not record any new music in the time following Jam Master Jay's death.[44]

Following the success of Notorious, it was announced in 2009 that a Run-DMC biographical film was in the works, with the screenplay by Notorious writer Cheo Hodari Coker. The film was rumored to depict the life and story of the group beginning from their inception in Hollis, Queens, and leading up to the 2002 murder of Jam Master Jay.[45] However, the project never went into production.

In September 2021, McDaniels was signed to Nickelodeon to perform the music for the NOGGIN SVOD series What's The Word? a 15-episodes series which featured an animated version replica of McDaniels teaching children reading and vocabulary skills. The soundtrack for the short-form program was released on January 13, 2022. At the same time, Nickelodeon collaborated with McDaniels for a consumer products line deal. On January 4, 2022, McDaniels published his first children's book called Daryl's Dream and since then, all of McDaniels' preschool content portfolio was compiled into an Amazon.com page titled "Young DMC" which is a wordplay on the name of the former hip-hop trio.

On August 11, 2023, Rev. Joseph "Run" Simmons and Darryl "DMC" McDaniels gave what they stated would to be their final performance as Run-DMC at a "Hip Hip 50" celebration concert held at Yankee Stadium in New York City.[44][46]

Legacy

[edit]

Stephen Thomas Erlewine, editor of AllMusic, has written: "More than any other hip hop group, Run-D.M.C. are responsible for the sound and style of [hip-hop] music."[47] Musically, they moved hip-hop and rap music away from the funk and disco-oriented sound of its beginnings, into an altogether new and unique sonic imprint. Their sound is directly responsible for intentionally transforming rap music from dance-and club-oriented funk grooves like "Rapper's Delight" and "The Breaks" to an aggressive, less-danceable approach. Characterized by sparse, hard-hitting beats—as typified on hits like "It's Like That" and "Peter Piper"—this would form the foundation of hardcore hip-hop. As such, Run-DMC is considered the originators of the style, and hardcore hip-hop would dominate the next two decades of rap music, from the bombastic, noisy sound of Public Enemy and stripped minimalism of Boogie Down Productions to the thump of early Wu-Tang Clan and Nas. Their influence was not limited to the East Coast, however. Los Angeles' N.W.A, on their landmark 1989 album Straight Outta Compton, showed heavy influences from Tougher Than Leather-era Run-DMC, and Chicano rap act Cypress Hill were definitely influenced by Run-DMC's fusion of rap and rock.

Rap rock fusion proved to be influential among rock artists, with 1980s bands like Faith No More, and Red Hot Chili Peppers adding elements of rap to alternative rock and heavy metal. Most notably, the rap rock genre became popular in the late 1990s, with bands like Rage Against the Machine, KoRn, Kid Rock, Limp Bizkit, and Linkin Park. Aesthetically, they changed the way rappers presented themselves. Onstage, old school rappers had previously performed in flashy attire and colorful costumes, typically had a live band and, in the case of acts like Whodini, had background dancers. Run-DMC performed with only Run and DMC out front, and Jam-Master Jay on the turntables behind them, in what is now considered the classic hip-hop stage setup: two turntables and microphones. They embraced the look and style of the street by wearing jeans, lace-less Adidas sneakers, and their trademark black fedoras. The group shunned both the over-the-top wardrobe of previous rap stars like the Furious Five and Afrika Bambaataa, and the silk-shirted, jheri curled, ladies' man look of rappers like Kurtis Blow and Spoonie Gee. Followers of their style included LL Cool J and the Beastie Boys; seemingly overnight, rappers were wearing jeans and sneakers instead of rhinestones and leather outfits. From Adidas tracksuits and rope chains to baggy jeans and Timberland footwear, hip-hop's look remained married to the styles of the street. According to the Rolling Stone Encyclopedia of Rock & Roll:

Run-D.M.C. took hardcore hip-hop from an underground street sensation to a pop-culture phenomenon. Although earlier artists, such as Grandmaster Flash and The Sugarhill Gang, made rap's initial strides on the airwaves, it was Run-D.M.C. that introduced hats, gold chains, and untied sneakers to youth culture's most stubborn demographic group: young white male suburban rock fans. In the process, the trio helped change the course of popular music, paving the way for rap's second generation.[18]

In 2004, Rolling Stone ranked them number 48 in their list of the "100 Greatest Artists of All Time".[4] In 2007, Run-DMC was named "The Greatest Hip-Hop Group of All Time" by MTV.com and "Greatest Hip-Hop Artist of All Time" by VH1.[10][9] In 2009, Run-DMC became the second hip-hop group to be inducted into the Rock and Roll Hall of Fame.[11] In 2016, Run-DMC received the Grammy Lifetime Achievement Award.[12]

Historically, the group achieved a number of notable firsts in hip-hop music and are credited with being the act most responsible for pushing hip-hop into mainstream popular music, initiating its musical and artistic evolution and enabling its growth as a global phenomenon. Run-DMC is the first rap act to have reached a number of major accomplishments:[48]

Adidas sneakers with the Run-DMC logo
  • A No. 1 R&B charting hip-hop album
  • The second hip-hop act to appear on American Bandstand (the Sugar Hill Gang appeared first on the program in 1981)
  • The first hip-hop act to chart in the Top 40 of the Billboard Hot 100 more than once
  • The first hip-hop artist with a Top 10 pop charting rap album
  • One of the first hip-hop artists with Gold, Platinum, and multi-Platinum albums
  • The first hip-hop act to appear on the cover of Rolling Stone magazine
  • One of the first hip-hop acts to receive a Grammy Award nomination
  • The first hip-hop act to make a video appearance on MTV
  • The first hip-hop act to perform at a major arena
  • Signed to a major product endorsement deal (Adidas)
  • The second hip-hop act to be inducted into the Rock and Roll Hall of Fame (the first being Grandmaster Flash and the Furious Five)

However, the's group legacy of being staunchly anti-drug, which included participating in an anti-drug public service announcement, holding anti-drug shows, and even including an anti-drug message in their song "It's Tricky", would be called into question during the lead up to the trial of Jam Master Jay's suspected killers Karl Jordan Jr. and Ronald Washington, with prosecutors revealing that Jam Master Jay himself would secretly become a high-kilo cocaine dealer in 1996.[49] It was also revealed that his murder was connected to these dealings.[49] However, his family still maintained that he didn't use drugs and the business was used to pay his expenses.[49]

The band's song "My Adidas" was also featured in the soundtrack of the film Air.

Discography

[edit]
Main article: Run-DMC discography

Studio albums

Filmography

[edit]

Music videos

  • Rock Box (1984)
  • King of Rock (1985)
  • You Talk Too Much (1985)
  • It's Tricky (1986)
  • My Adidas (1986)
  • Proud to Be Black (1986)
  • Walk This Way (feat. Aerosmith) (1986)
  • Mary, Mary (1988)
  • Beats to the Rhyme (live) (1988)
  • Christmas in Hollis (1988)
  • Run's House (1988)
  • Pause (1989)
  • Ghostbusters (1989)
  • The Ave. (1990)
  • What's It All About (1990)
  • Faces (1991)
  • Christmas Is (1992)
  • Down with the King (feat. Pete Rock & CL Smooth) (1993)
  • Ooh, What'cha Gonna Do (1993)
  • Praise My DJ's (feat. Justine Simmons) (1999)
  • The Kings [D-Generation X] (2000)
  • Let's Stay Together (Together Forever) (feat. Jagged Edge) (2001)
  • Rock Show (featuring Stephan Jenkins) (2001)

References

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General and cited references

[edit]

Further reading

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Run-DMC

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Run-DMC was an American hip hop trio formed in Hollis, Queens, New York, in the early 1980s, consisting of rappers Joseph "Run" Simmons and Darryl "D.M.C." McDaniels alongside DJ Jason "Jam Master Jay" Mizell. Pioneers of the new school of hip hop, they blended raw street lyrics with rock influences, minimalist production, and streetwear fashion, helping to elevate the genre from underground roots to mainstream prominence. The group released their self-titled debut album in March 1984 on Profile Records, which became the first rap album to achieve gold certification just nine months after its release, driven by singles like "It's Like That" and "Sucker M.C.'s." Their 1985 follow-up, King of Rock, further solidified their status, while Raising Hell (1986) marked a commercial breakthrough, going multi-platinum and featuring the genre-defining collaboration "Walk This Way" with Aerosmith—the first rap-rock crossover hit that propelled hip hop onto MTV and boosted the group's visibility to rock audiences. "Rock Box," from their debut, was the first rap video to receive regular rotation on MTV, breaking racial barriers in music television. Run-DMC's influence extended beyond music; their signature Adidas tracksuits in tracks like "My Adidas" (1986) sparked a cultural phenomenon, leading to one of the first major endorsement deals between a hip hop act and a corporate . Albums such as (1988) and Down with the King (1993) continued their legacy, with the latter marking a strong comeback amid evolving hip hop trends. The group elevated the role of the DJ in hip hop through Mizell's innovative scratching techniques and was inducted into the Rock & Roll Hall of Fame in as only the second rap act to receive the honor. Tragedy struck in 2002 when Jam Master Jay was murdered in a Queens recording studio, an event that deeply affected the group and the hip hop community; the case remained unsolved until convictions in 2024. Despite this loss, Run and DMC have continued to honor their legacy through solo projects, documentaries like the 2024 Peacock series Kings from Queens: The Run DMC Story, and advocacy for mental health awareness, particularly McDaniels' openness about his struggles with depression. Run-DMC's raw authenticity, commercial innovations, and cultural impact remain foundational to hip hop's global evolution.

Formation and Early Career

Origins in Hollis, Queens

Run-DMC's roots trace back to , a suburban neighborhood in that emerged as a stable, middle-class enclave for and Latino families during the late 1970s. Unlike the more impoverished and urban , where hip-hop first took shape amid gritty block parties and economic hardship, Hollis offered tree-lined streets, fenced homes, and a pride, with a family of around $18,000 in 1980—higher than the citywide average. By the mid-1980s, the area was approximately 80% and , reflecting a peaceful racial transition that began in the late 1960s as professionals moved into the formerly white, working-class district. In this environment, , , and Jason Mizell—childhood friends who met in the late 1970s—gained early exposure to hip-hop through local block parties, DJing sessions, and rap battles in parks and schools. Hollis Park became a key spot for impromptu performances, where teens like Simmons and McDaniels honed their skills as part of groups such as the Magnificent Super Seven, rapping in coordinated outfits and competing in freestyle battles. DJing was central, with Mizell starting at age 15 by spinning records at neighborhood gatherings using affordable turntables and mixers, often featuring extended breaks from tracks to keep crowds engaged. These activities, supported by over 600 active block associations fostering community events, allowed the future members to experiment with rhythm and in a relatively sheltered suburban setting. Their style drew from pioneering hip-hop acts like and the Furious Five, whose innovative DJ techniques and socially conscious lyrics from influenced the Queens scene, as well as and rock elements from artists such as and Led Zeppelin. The Jackson 5's energetic soul harmonies and family-oriented appeal resonated in Hollis's middle-class households, while Led Zeppelin's hard-rock riffs introduced a raw edge that later shaped Run-DMC's sound. This blend of local and broader musical tastes set the foundation for their stripped-down, aggressive approach. A pivotal influence came through , who began DJing under the name DJ Run in the early 1980s, inspired by his older brother Russell Simmons's burgeoning role in hip-hop promotion. Russell, who managed early acts like and co-founded in 1984, encouraged Joseph to perform as a DJ opening for Blow, providing crucial access to the New York scene and shaping his transition from spinning records to . This familial connection embedded Run-DMC in the professional hip-hop world from its inception.

Formation and Self-Titled Debut

Run () and DMC (), who grew up together in the middle-class community of Hollis and attended the same high school, began collaborating informally during local park jams in the late 1970s, with McDaniels adopting the stage name DMC for "Darryl Mac" or "Devastating Mic Controller." By 1981, they formalized their partnership as an MC duo, performing at neighborhood events and seeking a dedicated DJ to round out their sound. In 1982, they recruited Jason Mizell, known as , a skilled turntablist from Hollis whom they knew from local parties at Two-Fifth Park; Mizell had been spinning records under the name Jazzy Jase and brought technical precision to their performances with his innovative techniques. Managed by Simmons' older brother through his Rush Productions company, the trio secured a deal with independent label Profile Records in 1983 after impressing founder Cory Robbins with a demo tape. The signing came with a modest $3,000 advance, reflecting the nascent state of hip-hop recording at the time. The group's self-titled debut album, Run-D.M.C., was released on March 27, 1984, by Profile Records, produced by Russell Simmons and Larry Smith. Featuring sparse, raw production centered on drum machine beats—the Oberheim DMX in particular—and minimal instrumentation to highlight the duo's aggressive, synchronized rhymes, the album marked a shift from the party-oriented rap of the era toward street-realist lyricism addressing social issues like poverty and unemployment. Key tracks included the debut single "It's Like That," a stark commentary on economic hardship that peaked at No. 15 on Billboard's Hot R&B/Hip-Hop Songs chart, and its B-side "Sucker M.C.'s," alongside "Hard Times," a cover of Kurtis Blow's earlier song reinterpreted with harder-edged delivery. The album's innovative sound, drawing from park jam aesthetics rather than polished studio rap, earned critical acclaim, including a four-star review from Rolling Stone praising its "booming, minimalist noise" and an A- grade from critic Robert Christgau for its cohesive energy. It sold over 500,000 copies, achieving gold certification in just nine months and becoming the first rap album to do so, far exceeding initial projections of 30,000–40,000 units. Run-D.M.C. solidified their presence through early live performances that emphasized a no-frills, authentic aesthetic, eschewing flashy costumes and synchronized dancing in favor of like fedoras, leather jackets, gold chains, and sneakers—reflecting Hollis' working-class roots rather than the "fly guy" styles of contemporaries. Their shows, often high-energy and interactive like the block parties from which hip-hop emerged, built a following; a pivotal early outing was the Fresh Fest tour, the first national hip-hop organized by , featuring Run-D.M.C. alongside acts like , Whodini, and , which played arenas across the U.S. and drew massive crowds, establishing the group as live staples with their commanding stage presence and Jam Master Jay's dynamic turntable work. These performances helped translate their album's raw edge to audiences, fostering a sense of community and setting the template for future rap tours.

Rise to Mainstream Success

King of Rock and Breakthrough Moments

Run-DMC's second studio album, , released on January 21, 1985, by Profile Records, marked a significant evolution in their sound by integrating rock elements into hip-hop, featuring heavy guitar riffs provided by Eddie Martinez on tracks such as the title song "King of Rock" and "Can You Rock It Like This." The album's production, led by Larry Smith and , emphasized a harder, more aggressive edge compared to their self-titled debut, with songs like "You Talk Too Much" and "Slow Down" showcasing the group's lyrical prowess over rock-infused beats that bridged hip-hop and heavy metal. This fusion positioned Run-DMC as pioneers in crossover appeal, demonstrating rap's compatibility with rock's primal energy and helping to elevate the genre's visibility beyond urban audiences. The music video for "King of Rock," directed by Joe Butt, received substantial rotation on , continuing the group's trailblazing presence on the network following their debut single "," which had been the first rap video aired there in 1984. As the first rap group to achieve consistent exposure, Run-DMC's visuals, often featuring the trio in dynamic, streetwise performances amid rock , challenged the channel's rock-dominated playlist and introduced hip-hop to a broader demographic. The album's commercial success culminated in a certification from the RIAA on June 3, 1985, followed by Platinum status on February 18, 1987. In 1985, Run-DMC embarked on their first major arena tour as part of the Fresh Fest package, headlining multi-act bills that included , , , and , performing in venues like the and Pittsburgh Civic Arena. This tour represented a breakthrough in scale for hip-hop live performances, drawing thousands to large-scale events and solidifying the genre's viability in mainstream concert circuits previously reserved for rock and pop acts. While propelled Run-DMC toward mainstream breakthrough, it also sparked cultural pushback from some hip-hop purists who accused the group of "selling out" by incorporating rock influences, viewing the shift as a dilution of rap's authentic roots. The trio defended their approach in interviews, arguing that blending genres expanded hip-hop's reach and challenged racial and musical barriers, ultimately proving instrumental in broadening the art form's cultural footprint.

Raising Hell and "Walk This Way" Collaboration

Raising Hell, the third studio album by Run-DMC, was released in May 1986 by Profile Records and marked a pivotal evolution in their sound and commercial trajectory. Produced primarily by and , with contributions from the group members themselves, the album blended hard-hitting beats, minimalistic rhymes, and rock influences to create a more polished yet street-rooted hip-hop aesthetic. Key tracks included "My Adidas," a to the group's favored that celebrated urban style; "," a playful showcase of their rhythmic ; and "," an X-rated rewrite of the that showcased Run and DMC's trading lines. The album's raw energy and crossover appeal propelled it to sell over three million copies in the United States, earning triple-platinum certification from the RIAA and making it the first rap album to achieve multi-platinum status. At the heart of Raising Hell's success was the groundbreaking remake of Aerosmith's 1975 hit "Walk This Way," which built on the rock-rap fusions introduced in Run-DMC's prior album, . Re-recorded with guest vocals from and guitar riffs by Joe Perry, the track transformed the original hard-rock staple into a hip-hop powerhouse, with Run-DMC rapping over the familiar riff while preserving its infectious energy. Released as a single in July 1986, it peaked at No. 4 on the , becoming Run-DMC's highest-charting song and one of the first rap tracks to cross over significantly to pop radio. The collaboration not only revived Aerosmith's fading career but also symbolized a bridge between hip-hop and rock audiences. The music video for "Walk This Way," directed by Jon Small, amplified its cultural resonance by depicting Run-DMC and rehearsing in adjacent studios before literally breaking down the wall between them—a metaphor for genre fusion that received heavy rotation on and helped introduce hip-hop to broader viewership. This exposure contributed to Raising Hell reaching No. 1 on Billboard's chart, the first time a rap album had done so. The track's success also tied into Run-DMC's endorsement deal with , sparked by "My Adidas," which boosted sneaker sales to nearly half a million pairs in 1986 and marked the brand's first partnership with non-athletes, influencing hip-hop fashion trends. Mainstream milestones followed, including a performance of "" on on October 18, 1986, hosted by , which showcased the group's rising prominence on national television. Despite its triumphs, the album's commercialization sparked initial skepticism within the hip-hop community, with Run-DMC themselves fearing the collaboration would alienate purist fans and "ruin" their credibility as street-oriented rappers. However, Raising Hell's innovations ultimately expanded hip-hop's reach, proving its viability beyond underground circuits and setting the stage for future genre crossovers.

Mid-to-Late Career Challenges

Tougher Than Leather and Film Venture

In 1988, Run-D.M.C. released their fourth studio album, , on May 17 through Profile Records, serving as the soundtrack to their concurrent film project of the same name. The album featured standout tracks such as "," which showcased the group's signature hard-hitting beats and family-oriented lyrics, and "," a cover of ' hit reimagined with rap verses and scratching by . Despite critical acclaim for its production by and the group's energetic delivery, peaked at No. 9 on the and No. 2 on the Top R&B/Hip-Hop Albums chart, marking a commercial step down from the triple-platinum success of their previous album Raising Hell. It was certified platinum by the RIAA on July 19, 1988, for sales of one million copies, though initial sales fell short of expectations amid shifting market dynamics. The album was closely tied to the promotional film , a fictional directed by that followed the group as aspiring musicians navigating the cutthroat , including themes of betrayal and revenge. The movie starred Run, DMC, and in lead roles, with notable cameos from providing musical performances and the appearing in a collaborative scene featuring their unreleased track "Desperado." Released on September 16, 1988, by , the film grossed approximately $3.58 million at the U.S. box office, qualifying as a commercial disappointment despite its energetic concert sequences and cult appeal among hip-hop fans for capturing the era's raw energy. Amid these ventures, Run-D.M.C. formalized business expansions, including their ongoing partnership with , which had begun with a groundbreaking $1.6 million endorsement deal in 1986 and evolved by 1988 to include custom shoe releases like the Eldorado and a branded world tour. However, the group faced mounting tensions with Profile Records, culminating in a $6.8 million filed by their company, Rush Productions, over contract and royalty disputes, to which Profile countersued for $2 million alleging failure to deliver material. These internal conflicts were compounded by external pressures from the crack epidemic ravaging urban communities in the late , which tainted hip-hop's public image with associations to violence and drugs, indirectly straining sales for acts like Run-D.M.C. that promoted a cleaner, more aspirational aesthetic.

Back from Hell, Down with the King, and Declining Popularity

Following the promotional challenges tied to their 1988 film , Run-D.M.C. faced significant hurdles in releasing their next album, Back from Hell, which arrived on October 16, 1990, via Profile Records after delays stemming from legal disputes with Profile Records and their management. These internal label conflicts exacerbated the group's personal and creative tensions, as DMC grappled with emerging , depression, and suicidal thoughts, while Run dealt with , and formed a called The Afros amid fears the trio might implode. The album, produced primarily by the group with contributions from Dwayne Simon and others, attempted a grittier, street-oriented sound but received mixed-to-negative critical reception, with reviewers noting its lack of cohesion and failure to recapture earlier energy. It peaked at No. 81 on the and No. 16 on the Top R&B/Hip-Hop Albums chart. Commercially, Back from Hell underperformed, selling over 300,000 copies in the United States, a sharp decline from the multi-platinum success of prior releases like Raising Hell. Notable tracks included "Faces," featuring guest appearances by of and , which addressed social issues like police brutality and was released as a single in , though it failed to chart significantly. Another single, "What's It All About," sampled ' "Fool's Gold" in an effort to blend hip-hop with emerging alternative influences, but it similarly struggled for amid the group's waning momentum. By the early 1990s, the rise of gangsta rap—exemplified by N.W.A.'s raw depictions of street life on Straight Outta Compton (1988) and Tupac Shakur's introspective yet confrontational solo work—overshadowed Run-D.M.C.'s cleaner, message-driven style, making it difficult for the group to maintain relevance in a genre shifting toward narratives of violence, hustling, and authenticity. Their attempts at crossover, such as incorporating rock samples and film tie-ins, felt increasingly out of step with the dominant West Coast sound, contributing to a broader perception that the pioneers were struggling to evolve. Run-D.M.C. attempted a resurgence with Down with the King, released on May 4, 1993, again through Profile Records, which featured production and collaborations with contemporary artists like and C.L. Smooth on the title track, as well as input from Naughty by Nature's and , whose influence was evident in the lyrical style. The album debuted at No. 1 on the Top R&B/Hip-Hop Albums chart and No. 7 on the , with the lead single "Down with the King" peaking at No. 21 on the Hot 100, marking their highest-charting track since "" in 1986. Despite this brief spark, it achieved only gold certification from the RIAA for sales exceeding 500,000 units, falling short of status and signaling limited long-term recovery. Personal strains continued to mount during this period, as DMC's depression deepened, leading to daily alcohol consumption—"a case of 40s every day"—and cocaine use to self-medicate feelings of emptiness and disconnection from the group's success. He later reflected that these issues made him feel "used, pimped and dirty," straining relations with Run and contributing to the album's uneven execution, though tracks like "Can I Get a Witness" with Tom Morello of Rage Against the Machine showed flashes of innovative fusion. Ultimately, Down with the King provided a momentary boost but underscored Run-D.M.C.'s declining popularity as hip-hop's landscape prioritized newer, edgier voices.

Dissolution and Post-Group Activities

Jam Master Jay's Murder

On October 30, 2002, Jason Mizell, professionally known as Jam Master Jay, was fatally shot at his JMJ Records studio located at 1605 Utica Avenue in Jamaica, Queens, New York. The 37-year-old DJ was in the studio's lounge area with three associates during a late-night recording session when two armed men entered through an unlocked side door around 7:00 p.m. One of the intruders, identified as Karl Jordan Jr., fired two shots from a .40-caliber handgun, one striking Mizell in the head and killing him instantly, the other wounding associate Uriel Rincon in the leg; Mizell was pronounced dead at a nearby hospital shortly after. The attack was not a robbery, as cash, drugs, and recording equipment were left untouched in the studio. Prosecutors later established the motive as a dispute over a $30,000 cocaine deal in Baltimore, from which Mizell intended to exclude his longtime friend Ronald Washington and Jordan, his godson, prompting a revenge killing driven by greed. The New York Police Department and federal authorities launched an immediate investigation, but the case quickly went cold due to limited witness cooperation in the hip-hop community and lack of forensic evidence tying suspects directly to the scene. Ronald Washington, a childhood friend of Mizell who had been at the studio earlier that evening, emerged as a within days and was publicly named a by the NYPD in 2007 after he admitted in a 2003 interview to being outside during the shooting. The probe was reopened multiple times—in 2005, 2007, 2012, and 2016—amid pressure from Mizell's family and renewed tips, but no arrests occurred until August 2020, when federal prosecutors in the Eastern of New York charged Washington, then 52, and Jordan, then 35, with murder while engaged in narcotics trafficking, , and firearm offenses. A superseding in May 2023 added Jay Bryant, 49, as a co-conspirator who allegedly served as lookout and blocked the door during the shooting. The trial for Washington and Jordan began in January 2024 in federal court, featuring from Rincon, who identified Jordan as the shooter, and other including ballistic matches and Washington's prison confession to an . On February 27, 2024, an anonymous jury convicted both men on all counts after less than a full day of deliberations, facing mandatory minimum sentences of 20 years to life; as of November 2025, sentencing remains pending following an unrelated incident involving Jordan at the Metropolitan Detention Center in February 2025. Bryant's trial, delayed multiple times, is now set for January 2026. Mizell's murder devastated Run-DMC, occurring just as the group prepared for an upcoming tour to capitalize on renewed interest in their legacy. Joseph Simmons (Rev Run) described the loss as "a sad day for hip-hop," emphasizing Mizell's positive influence, while Darryl McDaniels (DMC) later reflected on the profound personal grief that shattered their brotherhood. The group immediately canceled all scheduled performances and tours, effectively disbanding as a performing unit and marking the end of Run-DMC's active era.

Group Breakup and Individual Pursuits

Following the murder of Jam Master Jay in October 2002, which had a profound emotional impact on the group, surviving members Joseph "Rev. Run" Simmons and Darryl "DMC" McDaniels announced the official retirement of Run-DMC on November 6, 2002, stating there would be no new music under the group's name. Simmons, ordained as a Pentecostal minister in 1995, shifted focus to family and spiritual pursuits, starring in the MTV reality series Run's House from 2005 to 2009, which chronicled his life with wife Justine and their six children. He also served as the head of footwear for the Phat Farm clothing line, founded by his brother Russell Simmons in 1992, promoting urban fashion through events and collaborations. Simmons continued his ministry work, authoring books on family and faith, such as Take Back Your Family (2008) with Justine, emphasizing spiritual guidance in daily life. McDaniels grappled with severe depression and suicidal thoughts after discovering at age 35 that he had been adopted, a revelation that exacerbated his struggles with and identity. He achieved in 2004 after rehab and channeled his experiences into his debut solo album, Checks Thugs and Rock n Roll, released in March 2006 on Romen Mpire Records, featuring collaborations with artists like and to explore themes of personal turmoil. McDaniels has since become a prominent advocate, partnering with organizations like Uwill to reduce stigma through speaking engagements and his 2016 Ten Ways Not to Commit Suicide, drawing from his adoption story and recovery journey. In recent years, the duo has reunited for tributes honoring Run-DMC's legacy, including performances at the and the 50th anniversary of hip-hop segment at the , alongside artists like and . The Peacock docuseries Kings from Queens: The Run DMC Story chronicles their journey, featuring interviews and archival footage, while McDaniels announced in early that two biopics about the group are in development, reviving earlier discussions from 2023.

Members and Personal Lives

Joseph Simmons (Run)

Joseph Ward Simmons was born on November 14, 1964, in , New York. He is the son of Russell Simmons Sr., a public school administrator, poet, and black history instructor at , and Evelyn Simmons, a park administrator for the Parks Department. Growing up in a middle-class, two-story home on 205th Street near Hollis Avenue, Simmons enjoyed a stable upbringing with two older brothers, including , who later became a prominent . As a youth, he developed a strong passion for basketball, playing daily in local s and idolizing star (Dr. J), initially aspiring to a professional career in the sport before discovering hip-hop. In Run-DMC, Simmons performed under the stage name Run, serving as the group's lead rapper, energetic , and de facto leader, often driving their performances with boisterous calls like "Whose house? !" alongside ' deeper, more measured verses. He played a key role as a songwriter, co-authoring foundational tracks such as "It's Like That" (1983) with McDaniels and producer Larry Smith, which critiqued social issues like and while pioneering a minimalist, hard-hitting sound that propelled hip-hop toward mainstream appeal. Simmons became an ordained Pentecostal minister in August 1995 under Bishop of Zoe Ministries International. Following the murder of in 2002 and the winding down of Run-DMC's activities, he continued to embrace his spiritual path. In 2008, he released Words of Wisdom: Daily Affirmations of Faith from to Yours, a book compiling his inspirational daily texts on faith, family, and positivity, drawn from his personal "prayer closet" routine. Married to Justine Simmons since 1994, he has six children across two marriages: Vanessa, Angela, and Joseph "JoJo" Simmons Jr. from his first marriage to Valerie Vaughn, and Daniel "Diggy," Russell "Russy" Simmons II, and Miley Justine from his current marriage (their newborn daughter Victoria passed away in 2006). Beyond his brother Russell's Phat Farm apparel brand—where Simmons contributed to the sneaker division—he co-founded the activewear clothing line Run Athletics in 2003, focusing on urban sportswear.

Darryl McDaniels (DMC)

Darryl Matthews McDaniels, known professionally as DMC, was born on May 31, 1964, in , New York. Shortly after his birth, he entered as a ward of the New York Foundling and was placed with the McDaniels family at one month old, where he was formally adopted by Byford and Banna McDaniels when he was three months old. Raised in the Hollis neighborhood of , McDaniels attended Catholic schools, including Rice High School in , from which he graduated in 1982, and developed an early interest in hip-hop through block parties and local music scenes. In 1999, at the age of 35, McDaniels learned from his adoptive parents that he had been adopted, a revelation that prompted a profound and led him to seek his biological origins. This search culminated in 2006 when, through a documentary titled DMC: My Adoption Journey, he located and met his birth mother, Zema McKinon, in , discovering that she had named him at birth and had been unable to keep him due to personal circumstances. The reunion provided emotional closure and inspired McDaniels to advocate for adoptees' access to birth records, including supporting New York State's 2020 law that unsealed such documents. As a founding member of Run-D.M.C. alongside and Jason Mizell in the early 1980s, McDaniels emerged as the group's primary lyricist, crafting introspective and socially conscious rhymes delivered in a distinctive deep, monotone style that contrasted with more energetic rap deliveries of the . His vocal approach, often described as resonant and rhythmic, helped define the trio's raw, minimalist sound and contributed to seminal tracks like "My " from their 1986 album Raising Hell, which he co-wrote and which celebrated street culture while becoming a crossover hit. McDaniels' contributions emphasized themes of empowerment and urban life, solidifying Run-D.M.C.'s role in mainstreaming hip-hop. During the 1990s, amid the group's commercial peak and personal pressures, McDaniels grappled with severe depression exacerbated by vocal spasms that affected his performance ability, leading to heavy alcohol consumption—up to a case of Olde English daily—and culminating in a in 2002. These struggles, detailed in his 2016 memoir Ten Ways Not to Commit , were intensified by the 2002 murder of fellow member Jason Mizell and feelings of isolation despite fame. In recovery, McDaniels entered and programs, crediting a pivotal moment listening to Sarah McLachlan's "Angel" for halting his . Motivated by his own story, he co-founded The Felix Organization in 2006 with casting director Sheila Jaffe to support children in through enrichment programs like Camp Felix, an annual sleepaway camp aimed at building and providing positive experiences for over 1,200 youth annually. Through this initiative and ongoing advocacy with groups like the Dave Thomas Foundation for , McDaniels has raised awareness about challenges and promoted as a path to stability. In January 2024, McDaniels launched the cookie brand DMC Cookies. In 2025, he released the children's book and held signing events, including one on November 21 in Newark.

Jason Mizell (Jam Master Jay)

Jason Mizell, known professionally as , was born on January 21, 1965, in , New York. He relocated to the Hollis neighborhood of at around age 10, where he grew up in a middle-class environment that shaped his early interests in music and local culture. By his early teens, Mizell had shifted from typical neighborhood activities to experimenting with turntables, teaching himself DJing techniques around 1979 and quickly developing skills that would define his career. As the DJ and primary producer for Run-DMC, Mizell played a pivotal role in the group's innovative sound, blending raw hip-hop rhythms with spacious drum breaks and scratching that emphasized turntable manipulation over electronic effects. His approach to turntablism highlighted precise cuts and mixes that integrated seamlessly with the rappers' delivery, helping Run-DMC pioneer a harder-edged style that bridged street hip-hop and mainstream appeal without relying on studio gimmicks. In 1989, Mizell founded JMJ Records, an independent label under which he nurtured emerging talent, most notably signing the hardcore rap group Onyx in 1991 after encountering them at a traffic-delayed event, leading to their breakthrough album Bacdafucup. Mizell's influence extended beyond Run-DMC through his mentorship of up-and-coming artists in , where he provided guidance on song structure, production, and the music business to aspiring rappers like a young Curtis Jackson, later known as , whom he signed to JMJ Records in the late 1990s and helped develop before Jackson's major-label breakthrough. He also supported early acts such as , featuring , by offering production advice and studio access that contributed to their energetic, youth-focused style. Committed to his Hollis roots, Mizell engaged in community efforts by remaining active in the neighborhood, supporting local youth through informal music workshops and planning a DJ academy for at-risk kids to provide positive outlets amid ' challenges. Mizell was married to Terri Corley from 1991 until his death, and they had three children: TJ Mizell, Jesse Mizell, and Jason Mizell Jr. Mizell's life ended tragically on October 30, 2002, when he was fatally shot at age 37 in his recording studio during what authorities later described as a drug-related incident. The case remained unsolved until February 2024, when Ronald Washington and Karl Jordan Jr. were convicted of the murder in connection with a dispute over a deal. As of November 2025, sentencing is pending. This marked the abrupt close to his contributions as a hip-hop innovator and mentor.

Legacy and Cultural Impact

Influence on Hip-Hop and Music Industry

Run-DMC revolutionized hip-hop production through their adoption of a bare-bones aesthetic, emphasizing minimalistic beats, aggressive by , and sparse instrumentation that stripped away the lush, party-oriented sounds of earlier rap acts. This raw approach, evident on tracks like "" from their 1984 self-titled debut, prioritized lyrical delivery and rhythmic intensity over elaborate arrangements, setting a template for future producers to focus on street authenticity and . Their extended to pioneering rock-rap fusion, most notably with "," which layered hard-hitting guitar riffs over rap verses, blending genres and broadening hip-hop's sonic palette to incorporate elements from . This hybrid style challenged traditional boundaries and influenced the evolution of crossover rap. The group's debut album, Run-D.M.C., released in 1984, became the first rap record to achieve gold certification by the RIAA, selling over 500,000 copies and proving hip-hop's commercial viability beyond singles. This milestone validated the genre's potential for full-length projects and encouraged labels to invest in rap artists. In terms of industry impact, Run-DMC's association with —co-founded by , brother of member —helped establish the label's model of blending street credibility with major distribution deals, launching a roster that included future stars and transforming hip-hop into a billion-dollar enterprise. Their groundbreaking partnership with , sparked by the 1986 track "My Adidas" from Raising Hell, marked the first major endorsement between a hip-hop act and a global brand, generating a $1 million deal and elevating merchandise tie-ins as a key revenue stream in music, influencing how artists monetize their cultural cachet. Run-DMC's advancements in sampling techniques, particularly under Rick Rubin's guidance on later albums like Raising Hell, involved integrating snippets from and to create dense, layered beats that expanded hip-hop's production vocabulary and inspired a generation of samplers. Their influence rippled through artists such as the , who adopted Run-DMC's energetic, genre-blending style on (1986), and , whose politically charged sound on It Takes a Nation of Millions to Hold Us Back (1988) built on the raw aggression and crossover appeal Run-DMC popularized, paving the way for hip-hop's . The group's accolades underscore this legacy: they were inducted into the Rock & Roll Hall of Fame in 2009 as the second rap act to receive the honor, awarded the in 2016 as the first hip-hop group to do so, and honored at the inaugural VH1 in 2004 for their foundational contributions.

Broader Cultural Significance and Recent Recognition

Run-DMC played a pivotal role in breaking racial barriers in mainstream media, particularly through their 1984 video for "Rock Box," which became the first rap video to receive regular rotation on MTV, thereby opening doors for Black artists in a predominantly rock-oriented platform. This breakthrough symbolized a shift in music broadcasting, challenging the color line and amplifying hip-hop's visibility to diverse audiences. Additionally, their 1986 track "My Adidas" revolutionized sneaker culture by elevating Adidas Superstars from athletic wear to a symbol of urban identity, culminating in the group's landmark $1 million endorsement deal—the first of its kind for a hip-hop act—and inspiring enduring artist-brand collaborations in streetwear. In the midst of the 1980s crack epidemic, Run-DMC contributed to public awareness efforts with a 1987 anti-drug public service announcement, where they freestyled messages urging youth to reject drugs and prioritize education, aligning with their image as positive role models. The group's social impact extended to fostering cross-cultural connections, notably through their collaboration with on a 1986 remake of "," whose video depicted the artists demolishing a wall between them—metaphorically bridging Black and white musical worlds and propelling rap into mainstream rock radio and play. This crossover not only broadened hip-hop's appeal but also influenced fashion trends, as Run-DMC's signature style of unlaced sneakers, black leather jackets, and fedora hats shifted hip-hop aesthetics from flashy glam to authentic , embedding urban Black culture into global pop sensibilities. In recent years, Run-DMC's legacy has received renewed acclaim, including the 2024 Peacock docuseries Kings from Queens: The Run DMC Story, a three-part exploration of their rise from , featuring archival footage, personal interviews with surviving members Rev Run and DMC, and insights from peers like and on their barrier-breaking influence. The resolution of Jam Master Jay's 2002 murder case with convictions in August 2024 provided long-awaited closure for the hip-hop community, reigniting discussions of the group's resilience and cultural endurance through renewed media attention and tributes. The Smithsonian's National Museum of and Culture holds several artifacts, such as photographs of the group from their 1980s tours, highlighting their contributions to hip-hop's cultural evolution. Tributes continued into 2025, with events like DMC headlining the third annual Hip Hop Cultural Summit in on October 18, 2025, building on the 2024 40th anniversary celebrations of their debut album that underscored their foundational role in the genre. Despite their progressive impact, Run-DMC's era in early hip-hop has been critiqued for reflecting the genre's initial male dominance and limited gender representation, where female artists like struggled for visibility amid a landscape shaped by all-male groups, contributing to broader discussions on inclusivity in rap.

Discography

Studio Albums

Run-DMC released seven studio albums during their active years, each contributing to the evolution of hip-hop through their signature hard-hitting beats, streetwise lyrics, and crossover appeal. These works, primarily issued by Profile Records (with the final on Arista), showcased collaborations with influential producers and achieved varying commercial success, with certifications reflecting their impact on sales.
AlbumRelease DateLabelKey ProducersPeak Position on Billboard 200Certification
Run-D.M.C.March 27, 1984Profile Records, Larry SmithNo. 53Gold (RIAA, December 17, 1984)
January 21, 1985Profile Records, Larry SmithNo. 52Platinum (RIAA, February 18, 1987)
Raising HellMay 15, 1986Profile Records, No. 33× Platinum (RIAA, certified Platinum July 15, 1986; 3× Platinum later)
May 17, 1988Profile RecordsRun-DMC, , others (e.g., Davy D)No. 9Platinum (RIAA, July 19, 1988)
Back from HellOctober 16, 1990Profile RecordsRun-DMC, , othersNo. 81None
Down with the KingMay 4, 1993Profile RecordsRun-DMC, , , othersNo. 7Gold (RIAA, July 20, 1993)
April 3, 2001, , , othersNo. 37None
The debut album Run-D.M.C. introduced the group's minimalist, drum-machine-driven sound, establishing them as pioneers with tracks that emphasized raw rhymes over elaborate production. King of Rock expanded their rock-infused style, becoming the first rap album released on CD and marking their growing mainstream presence. Raising Hell represented a breakthrough, featuring the Aerosmith collaboration "Walk This Way" that bridged hip-hop and rock, propelling the genre into broader commercial success. Tougher Than Leather tied into their film of the same name, delivering gritty narratives with guest appearances that maintained their tough image amid evolving rap trends. Back from Hell reflected a transitional phase, incorporating new jack swing influences but struggling commercially as hip-hop diversified. Down with the King revitalized their career with high-profile features from artists like Naughty by Nature and Onyx, reaffirming their legacy through updated production. Crown Royal served as the group's final studio album, featuring contemporary collaborations with artists like Nas and Method Man to adapt to late-1990s hip-hop trends, though it received mixed reviews and modest sales. No new studio albums followed after 2001, following the group's shift amid personal and industry changes.

Singles and Compilations

Run-DMC's debut single, "It's Like That" backed with "Sucker M.C.'s," released in 1983, marked a pivotal moment in hip-hop by introducing a raw, socially conscious sound that contrasted with the party-oriented rap of the era, peaking at No. 15 on the chart. This double A-side release established the group's minimalist production style and lyrical directness, influencing countless future artists and becoming a cornerstone of old-school hip-hop. The group's crossover breakthrough came with "Walk This Way" in 1986, a collaboration with that fused rap verses over the rock classic's riff, reaching No. 4 on the and helping to bridge hip-hop and rock audiences. This track not only revitalized 's career but also propelled Run-DMC's album Raising Hell to commercial success, demonstrating rap's potential for mainstream appeal. Follow-up singles like "It's Tricky" in 1987, with its infectious hook and playful lyrics, charted at No. 57 on the , further solidifying their chart presence while showcasing their ability to blend humor with rhythmic innovation. In 1993, "Down with the King," featuring , peaked at No. 21 on the , serving as a triumphant return that reaffirmed Run-DMC's relevance amid evolving hip-hop trends and topping the chart for two weeks. The song's bold production and guest appearances highlighted the group's adaptability, contributing to the album's No. 1 debut on the Top R&B/Hip-Hop Albums chart. Run-DMC's compilations captured their enduring legacy, with Greatest Hits released in 2002 compiling 18 tracks including early singles and crossovers, offering fans a of their chart-topping moments. The 2003 collection Ultimate Run-D.M.C. expanded on this with 18 songs plus a bonus DVD of music videos, emphasizing their visual and audio impact from "" to "." No major new compilations emerged after , though 2000s re-releases and remixes, such as the 1997 Jason house remix of "It's Like That" that gained renewed club play, sustained their influence into the digital era.

Filmography

Feature Films and Appearances

Run-DMC starred in lead roles in the 1988 semi-autobiographical film , directed by , where the group plays fictionalized versions of themselves navigating the music industry and solving a friend's murder amid rival threats. The movie served as a promotional for their simultaneous release of the same name, blending concert footage with narrative elements to showcase their rising stardom. The group made cameo appearances as themselves in several narrative films tied to hip-hop culture. In the 1985 fictionalized drama Krush Groove, inspired by the founding of Def Jam Recordings, Run-DMC performs key tracks like "It's Like That" while portraying up-and-coming artists signed to a fledgling label. They also appeared briefly in the 1993 comedy-thriller Who's the Man?, contributing to the ensemble of hip-hop figures in a story about two bumbling Harlem barbers turned cops. On television, they guest-starred as themselves in the 1989 episode "The Class of '89" of the sitcom 227, where characters recruit them to perform at a high school prom. Following Tougher Than Leather, Run-DMC did not take on lead roles in feature films during the 1990s or beyond, shifting focus to music and occasional cameo spots that highlighted their enduring influence.

Documentaries and Biopics

Run-DMC's story explored in several documentaries that highlight their pioneering in hip-hop, personal struggles, and tragic events. The most recent and comprehensive retrospective is the three-part docuseries Kings from Queens: The Run DMC Story, directed by Kirk Fraser and executive produced by surviving members Joseph "Rev Run" Simmons and Darryl "DMC" McDaniels. Premiering on February 1, 2024, on Peacock, the series chronicles the group's origins in , their breakthrough success, collaborations like the one with on "," and challenges including substance abuse and the 2002 murder of DJ Jason "" Mizell. It features interviews with Rev Run, DMC, and hip-hop figures such as and members of the , emphasizing Run-DMC's influence on music, fashion, and culture. Earlier documentaries include the 1986 Dutch film Big Fun in the Big Town, directed by Bram van Splunteren, which explores New York hip-hop culture through interviews and performances featuring Run-DMC alongside artists like LL Cool J and Grandmaster Flash. In 1995, Run-DMC features prominently in the documentary-style concert film The Show through interviews and performance clips, reflecting on their foundational role in hip-hop alongside contemporaries like Snoop Dogg and Wu-Tang Clan. The VH1 episode of Behind the Music focused on Run-DMC, which aired in 2000, provided an in-depth look at the group's formation, rise to fame in the 1980s, and early industry barriers they broke as the first hip-hop act to achieve gold certifications and MTV video rotation. In 2018, Netflix released ReMastered: Who Killed Jam Master Jay?, a investigative special directed by Daniel Bogado that examines Mizell's unsolved murder through interviews with family, friends, and law enforcement, while contextualizing his contributions to Run-DMC's sound and community work in Queens. These works underscore the group's enduring legacy amid personal and external adversities. Regarding biopics, no full-length feature films about Run-DMC have been released to date. However, in early 2024, DMC revealed that two biopics are in development, with one potentially centering on the era surrounding their landmark album Raising Hell. As of November 2025, both projects remain in , reflecting ongoing interest in dramatizing the trio's trailblazing journey.

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