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You're shakin' that mic. Staying around. Stravin' me crazy. I hate this mic stand.
I hate it. So? Okay. Yeah.
Hi. Should I stop everything? No, just, you know. Carry on.
Carry on. I'm just saying. It's a... We fight.
We tussle me in this mic stand. Hi. Hi. Yeah, I've ruined a lot of mic stands in my day.
I used to just grab them and twist them until I thought they were right. But you're not supposed to do that. You go through it, you loosen things, you adjust them, and you do it methodically, mindfully. Like a good sound engineer.
So there's a methodical calm way of adjusting it instead of just fighting with it like I do? Yeah, I have. I thought with gear, I thought with instruments, microphones, cables, for most of my life. And I still do.
Yeah. When you fight with computers, that's my favorite. I mean, you have such a calm, reasoned response when things are not going well with computers. It's inspiring, hun.
It's inspiring. It's just taking that as a compliment. Don't you know, you're being completely sarcastic. I'm going, that's actually true.
I am reasoned. I am. Whatever's happened in the past. We're turning over a new leaf right now.
Well, I've done something that I really wanted to do for a long time on the podcast. What would that be? It's cover a very special song, a song that I felt early on in the podcast was very necessary for me to do. Yes.
Five notes. Look at that. Yeah. Okay.
Sometimes I try to do things. I try hard to do it. I take my time. It just doesn't work out the way I want it.
I concentrate only real hard, but it just doesn't work out. Everything I do, everything I try, and it never turns out. And it's like I need time to figure these things out. But there's always someone there going like, Hey Mike, you know, we've been noticing, we've been having a lot of problems lately, you know.
You should maybe get away and like maybe you should talk about it and you'll feel a lot better. And I go, no, it's okay. You know, I'll figure it out. I'll just leave me alone.
I'll figure it out. You know, I'll just work it out myself. And they go, well, you know, if you want to talk about it, I'll be here, you know, and you'll probably feel a lot better if you talk about it. So why don't you talk about it?
And I go, no, I don't want to. I'm okay. I'll figure it out myself. But they just keep bugging me.
They just keep bugging me. And it builds up inside. You're gonna be institutionalized. Pretty much.
Much. I'm not happy. They say they'll bring you and you and you. See, they're not crazy.
That's crazy. They said it was me. This feels first one. I'm relating to the song maybe too much.
That's verse one. First one. First one. Oh.
The song. Do you know the song? No. Have you ever heard the song before?
Never. It's almost like someone pulled my diary out though and just started. This is true. You found my diary.
How cute. This song was like everybody's diary in 1983, including my own. This song spoke to me in 1983. Who's responsible for this song?
Suicidal tendencies. Okay. From Venice, California. They released a record on Frontier Records on 1983.
Frontier Records was an amazing record label from LA that released such classics, such hardcore, amazing, incredible Southern California punk. Like the Circle Jerks and the Adolescents and China White and blah, blah, blah. They're an amazing label. And they started putting out like Americana records in the mid-80s too.
This record label was way ahead of the curve. Wow. They put out a band called The Long Riders and a band called The Pontiac Brothers, which kind of ties into that whole country punk thing that I was trying to swim. Really?
Yeah. Anyway, so the great record label, they put out this amazing Latino band or partially Latino band from Venice, California with possible gang ties. Is that suicidal ties? Yes.
And they were supposed to be just a party band and then people started to show up at their shows and they had to become a real band. But they were getting huge in Southern California. They put out this record institutional, this self-titled record. I get so excited about it.
I know. I got the record. But they put out the song institutionalized. And if something could go viral, that went viral because everybody I knew who found out about it in 1983.
It spread like wildfire in the underground hardcore music community. It was a hit. Even though... Sign me up.
It was not a hit. It was not a hit. They did play it on K-Rock in LA and it was the 23rd number 23 of the top whatever of 1983. So it made it to 23 on K-Rock's playlist.
Okay. You know, top 23 of the year. So that was it. But you cannot underestimate how intense that song was for kids like me.
And we loved it. And I've always loved that song. I think it's not a novelty song per se. But the fact that it is mostly spoken word really sets it apart and makes it interesting to me.
It puts it with like convoy and the streak that I've done previously. Right, right. The podcast. I'm about to speak through the song.
Like telling you what's up. Which is always like a recitation throughout the song. Which I think makes it so unique. And yeah, the guy who wrote it like Muir.
He wrote that's all his lyrics and it's set to his buddy the guitar player. So, can I see? And I see. And I see.
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I really am impressed with these lyrics. I just had to look them up. Oh, yeah. They sound familiar to me.
I'm wondering if they had a hit later. Can you just give me a Pepsi? Can I have a Pepsi? They're like, oh, I wanted a Pepsi.
That became a meme. Before memes, people. It was a repo man. The song was in repo man.
The movie. Not the seminal underground film that featured a punk rock soundtrack and arguably a punk rock main character played by Emilio Estvez. In wait and what? Sorry.
I was reading about suicidal tendencies. What does this always happen when I try to tell people about repo man? Oh, repo man. Hey, no.
Did I see that? Disgazing over. He said seminal. Then I think he might have said Harry Dean Stanton.
I'm like, wake up. So wait, do they have a hit though? Because I feel like this is sounding familiar to me. So I feel like I had a...
Suicidal tendencies were immensely influential. They started calling them a crossover band because they were a crossover between metal and hardcore. And that was a big thing. In 1983, it was coming together.
The metal and hardcore was coalescing. This is when Metallica, when speed metal was really born, it was born from a common punk rock. The punk rock roots that influenced the Metallica. The Metallica were very influenced by hardcore suicidal tendencies.
Like every, almost, they've had 36 X members of suicide tendencies. Many of whom are speed metal luminaries. Like Robert Trejo of Metallica. The bass, the current bass, where Metallica.
He spent time with suicidal tendencies. Dave Lombardo. Slayer drummer. Huge drummer.
He's been in suicidal... They've all been touched. Touched by it. I'm sitting in my room and my mom and my dad came and they pulled up the chair and they sat down.
They go, like, we need to talk to them. And they go, okay, what's the matter? And they go, me and your mom, we've been noticing, like, we've been having a lot of problems. You've been going off for no reason and we're afraid you're gonna hurt somebody.
We're afraid you're gonna hurt yourself. So we decided that it would be your best interest and we could put you somewhere. Get the help that you need. And I go, wait, what are you talking about?
We decided my best interest? How do you know what my best interest is? And how can you say what my best interest is? What are you trying to say?
I'm crazy. When I went to your schools. I went to your churches. I went to your institutional learning facilities.
How can you say that I'm crazy? They said I could have fixed my brain and we gave myself my camera and my pain. By the time they fixed my head and it went mentally, I'm not crazy. That's crazy.
It's driving me crazy. They said it was the only solution to give me needed professional help. That made me from the enemy myself. Oh, wild song.
Oh. This must, I mean, this has got to be relatable to tell many, so many people. I like the assistive Izzy there on the... Yeah.
Of course. Yeah. Is that a course? Yeah.
She hasn't been recording with me lately. I ask her. She hasn't seen that interested, but I did get her in the studio. I'm like, hey, you want to try this?
And she started... She's like, I don't feel like singing that line. And I'm like, okay. And then I tried to get her to sing something.
And she's like, she got, she walked out. But then she came back in. She said, I'll do it now. She did.
She had to be, she had to make the decision on her own. You know? She had to decide to do it. I know, but I had to ask her first.
Yeah. I had to ask her. She had to refuse. And then she had to just for some reason come around.
Yeah. She killed it live. That's pretty classic. Izzy Barlow when she comes in and drops down some, some, what, some vocals.
Institutionalized by suicidal tendencies. The video was one of the first, if not the first hardcore music video to be shown on MTV. It was a, and the song was sampled in how I could just kill a man by Cypress Hill. One of my favorite, one of my favorite albums of all time, 1991, the first Cypress Hill, I love that record.
Wow. I didn't realize that was a... I was kind of like thinking about Eminem while listening to that like song. Like, I wonder if he listened to this at all because it had this sort of like, you know, poetic rap type like cadence, right?
Yeah. You know, where... No, but... And just also the way the subject matter kind of reminds me of Eminem too.
Oh, yeah. No, this, I mean, it was really, it was a great hardcore song. I'll say, I think that was, that's really, and it, like a lot of Southern California hardcore bands, they had lead guitar in it. Like they've always been lead guitar, even the most beginnings of Southern California hardcore had elements of heavy guitar.
Like heavy, like lead shredding. It was always a shredder. Not always, but the guitar, the playing was really good, even, you know. So that would be different than the East Coast hardcore at that time, right?
Or... Kind of... It was me. Go into that.
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Do you keep hearing podcast ads? Like this one, for example. But always wonder how you actually get involved with them for your own brand or organization? Well, it's easier than you think.
We're Acast, and we give you the platform to do it all yourself. Browse thousands of popular podcasts. Choose the shows that match your perfect audience, set your budget, and launch. And if you want to hand, our podcast specialists are there to help you launch with confidence.
This is Podcast Advertising Without Barriers. Get started at acast.com slash advertising.