The news called the London crime wave an “epidemic”. The Beastie Boys inspired it. Liverpool wanted to kill the group. Ad Rock was in jail. Numerous other musicians were arrested, in part, because of the Beasties. These stories plus the band’s hardcore roots, their hip hop success, how they created a Gen X Sgt. Peppers, and a legacy that will be hard to top for future artists. Buckle up for a crime and grime Beastie Boys story.
This episode was originally released on January 21, 2025.
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Episode Transcript
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Speaker 1 (00:00):
Hey Discus, welcome in for another fantastic voyage into the
Disgraceland archive this week to rewind to our Beastie Boys episode,
originally released on January twenty first, twenty twenty five. This
was a difficult episode for me to write. I love
the Beastie Boys. They're one of my favorite groups all timers,
and I wanted to celebrate that and to bring to
(00:22):
the forefront some of the crime that's part of their history.
But I also wanted to fairly reckon with who the
Beasties really are and most ingloriously, how they became the
joke that they were trying to make about misogyny, and
then later how the group faced that regrettable part of
their past and overcame it. So not the easiest episode
(00:44):
to contend with, but also this story in terms of crime,
it's truly revelatory. I mean, who knew that the Beastie
Boys inspired a literal crime wave. I didn't until I
get into the research. Anyways, it's all here in this episode,
plus a bit of a dive back into the band's
hardcore roots, and also the way in which my favorite
(01:05):
Beastie Boys album, Paul's Boutique came to be. I hope
you dig this. I want to hear what you think,
so leave a review for Disgraceland on Apple Podcasts or
just give me a call at six one seven nine
oh six six six three eight Rock and Roller. Disgraceland
is a production of Double Elvis. This is a story
(01:36):
about three bad brothers you know so well. It started
way back in history with add Rock MCA and Me,
Jake B I Mean and Mike D. This is a
story about a crime wave and arrest a lot of arrests.
It's a story about three friends who became one of
the most influential groups of all time. And this is
(01:59):
a story about Beastie Boys, a group that made great music,
music influenced by great music, and of course music that
influenced other great music. And that music I played for
you at the top of the show that wasn't great music.
That was a preset loop from my melotron called snake
(02:20):
Foot Rat Jam MK one. I played you that loop
because I can't afford the rights to Amanda by Boston.
And why would I play you that specific slice of
Rockman Headphone Cheese? Could I afford it? Because that was
the number one song in America on November fifteenth, nineteen
(02:42):
eighty six, and that was the day Beastie Boys released
their album Licensed to Ill, an album that would not
only bring unimagined success to the Beasties, but an album
that would almost also destroy them. On this episode, how
the Three Bad Brothers avoided self destruction, a crime wave,
(03:03):
an arrest, other arrests, a wide array of incredible influence
in the Beastie Boys. I'm Jake Brennan, and this is disgraceland.
Speaker 2 (03:37):
You really don't understand, hey, man, You realize all of
us to make this thing work.
Speaker 1 (03:44):
Man, We've got to get rid of questions.
Speaker 2 (03:51):
It's again.
Speaker 1 (03:58):
New York City is one of the most influential cities
in the world art, dance, film, food. New York's cultural
impact has always been significant, and its influence as a
music mecca spans back to the beginning of the twentieth century,
most notably for My Tastes, anyway back from the dawn
(04:19):
of hip hop and punk in the seventies all the
way to the jazz of the nineteen twenties and thirties.
During that time, the Harlem Renaissance gave the world Louis Armstrong,
Duke Ellington and Billie Holiday artists who migrated to a
city that made them and then exported them back to
the rest of the world as stars. But by the
(04:42):
nineteen seventies there wasn't much being exported out of Harlem
besides heroin, and the drug's influence, like jazz in the
twenties and thirties, could be felt throughout the rest of America.
Back in Harlem, heroin was big business, with manufacturing centers
spread throughout the city at large. New York City heroin,
(05:03):
whether it was China White from Southeast Asia or Blue
Magic from Harlem gangster Frank Lucas, required cutting or dilution
from its original pure state, in part so that it
didn't kill the customer, but also so the dealer could
retain more of the profit. Heroin can be cut with
(05:24):
many different ingredients quinine, caffeine, even strychnine. That's right, rat poison.
If you're booting up the Brown boys and girls, you're
likely injecting yourself with low levels of rat poison. Heroin
is also sometimes cut with another drug called manitol, a
(05:44):
substance band on the street, in part because though it
was developed to treat various ailments, By the late nineteen seventies,
manitol was mostly used to cut heroin, which is exactly
what it was being used for. In nineteen seventy six,
at one seventy one Avenue A in New York's East Village,
(06:05):
twenty four hundred pounds of manitol, or mannite as it
was called on the street, was seized from the owner
of the abandoned, burnt out six story building. The street
value of the illegal cutting agent was estimated to be
half a million dollars, likely more than the value of
the building. They found the stash in one seventy one
(06:25):
Avenue A. The building survived that mini scandal, and by
nineteen eighty one it had become an unofficial clubhouse for
the burgeoning New York hardcore scene, a group of disaffected
Lower east Side punk kids influenced more by the rage
of Black Flag than the outlandish put on of the
sex pistols. We're using the building, now commonly referred to
(06:46):
as one seventy one A, to put on shows, record demos,
and just to hang out. Soon, a record store, the Ratcage,
opened in the basement inside one seventy one. A youthful
optimism in punk entrepreneurialism. Thrived records by the Exploited, the
Business Discharge and others were imported from the UK and
(07:10):
sold at the rackage. A demo by Washington, DC's Mighty
Bad Brains, the infamous Roar Demo, was recorded upstairs in
the makeshift studio and shows were happening weekly, attracting hordes
of punk obsessed short haired, trench coat wearing Doc Martin
booted street hoods from all over the city, even from
(07:30):
the Upper East Side and as far afield as Brooklyn.
Inside the doors of one seventy one A, you could
feel the headiness of a new style of music in
a new scene being alchemized. Hardcore aggressive music blasted kids
obsessed over seven inch singles and cassettes. Some geeked out
(07:51):
on subversion by going straight edge, others burnt brain cells
on guerrilla biscuits and brass Monkey. The youthful positive energy
was infectious, and this was a new kind of punk,
just as important as what came from London a few
years prior, and twice as dangerous, but not nearly as
(08:12):
scary as the hardcore reality that was happening outside the
doors of one seventy one A. Where New York City's
Lower East Side in nineteen eighty one was sometimes as
violent a war zone as the Southeast Asian origins of
the China White that was plaguing New York streets. The
(08:36):
door wouldn't stay shut, and it needed to. If the
punk rocker on the other side of that door pushed
its way into one seventy one A, then the Puerto
Rican street gang that was trying to kill him would
also make its way into the club. Then this bad
brain show wouldn't be the joyous hardcore event it was
meant to be. Instead, blood clot would progress to a
(08:56):
literal blood bath. Then the couple dozen kids inside using
their shit to the blast fury of the greatest hardcore
band of the planet would surely be massacred. Seventeen year
old Adam Yelk, bass player for the four piece hardcore
band Beastie Boys, a band who'd just been kicked out
of the one seventy one A studio after spending too
many days tracking their polywog stew ep, was using every
(09:20):
muscle in his body to press the door shut. Others
were behind him helping, pressing their weight into the door,
which remained open. A crack, refusing to shut due to
the manic fury of the punk rocker on the other
side trying to muscle his way into one seventy one A.
The Puerto Ricans meant business. The punk was a dead
(09:40):
man if he didn't get in. He did get in,
pasted Adam Yelk, but not before getting stabbed in the
shoulder by one of the gang members. In the end,
the gang was shut out, and that punk rocker who
escaped into one seventy one A was John Joseph, Friend
and Roady to the Bad Brains and later the front
(10:00):
man for one of the most influential New York hardcore
bands of all time, the Chromax, who like The Beastie
Boys and like other hardcore pioneers Agnostic Front and war Zone,
would become mainstays at one seventy one A. To understand
the Beastie Boys side note, it's Beastie Boys, not the
(10:22):
Beastie Boys. I'm fully aware, but even though that's how
the beastis, Adam Yeuk's surviving bandmates Michael Diamond and Adam
Harrovitz say it, I just can't do it. Maybe it's
because I'm a suburban kid who didn't get into the
Beastis until they hit MTV after completely shedding their hardcore roots.
For whatever the hell genre you want to call. Fight
for your right to party us, I can't do it,
(10:43):
so sue me. It's thet But back to our story.
To understand the Beastie Boys, you have to understand hardcore,
it's where they came from. And you have to understand
New York City because well, duh. You also have to
(11:04):
understand hip hop or rap as it was almost exclusively
referred to back then during the days of Grandmaster Flash
and the Furious Five, the Funky Four plus one more
and so many others, And to the extent that it's possible,
you have to understand any and all soulful music released
between the years nineteen sixty seven and nineteen eighty seven,
(11:25):
Alphonse mouzon, Os Mutantes, Public Image Limited Africa, Bambada, Malcolm McLaren,
and so many others. The Beastie Boys were simultaneously captivated
by two genres of music that were being invented right
there in that moment in New York, hardcore and hip hop,
(11:47):
and they were fully aware of and captivated by the
music that was influencing those genres, particularly the sounds influencing
hip hop, all of the coolers and cool music that
was present on every radio in the city, pumping out
of every downtown club and filling every record store, Spoony
g Butthole, Surfers, Chic, Blondie Run, DMC, Napalm Death, Curtis Blow,
(12:12):
Tana Gardner, Tom Tom Club, Black Flag, Nico, even Tito Plente.
To put it simply, to understand the Beastie Boys, you
have to understand the concept of influence. Real influence, as
in the art that influences us, not some above average
(12:32):
looking twenty something in front of a camera beneath the
ring light on your Instagram page. Real influence, because that's
what's at the heart of the Beastie Boys. Influence, the
influence of the music they loved, the influence of the
city they grew up in, and the influence each member
of the band, each a great friend to one another,
(12:53):
had on each other. You also have to understand the
influence the Beastie Boys, a band that by nineteen eighty
seven had grown from the crime and grime of the
hardcore subgenre into a chart topping cultural phenomenon. You have
to understand the influence the Beastie Boys had on mainstream culture.
(13:14):
Influence that resulted in the makeup of huge parts of
our record collections. Influence that resulted in new laws being written.
Influence that resulted in clandestine espionage, in beatdowns, in riots.
Influence that even resulted in a crime wave. I didn't
(13:57):
grow up in Manhattan in the seventies and eighties. Let's
be honest, would have been the best time anyone could
grow up in Manhattan. But I'm happy that I didn't.
I'm not sure I would have had the discipline or
parenting required at such a young age to survive The
Beastie Boys, though they're a different story. Adam Yauch, Michael Diamond,
(14:18):
and the Beasti's two other original members, Kate Schellmenbach on drums,
who would eventually depart and years later go on to
form the Excellent Group Luscius Jackson and John Barry, an
early friend whose departure would make way for Adam Harrovitz
to join the group, cementing the classic Beasties lineup of
Ad Rock, Mike d and MCA. All of these kids
(14:40):
were raised inside a cultural hothouse in which every day
the most incredible music on the planet was not only
available to purchase in record stores all over the city,
but also available to witness and experience in clubs throughout Manhattan.
The afore mentioned One seventy one A where hardcore was
basically invented, the Antiteryria where Madonna, Basquiat, Shade, and Debbie
(15:03):
Mazar performed, worked and partied Max's Kansas City, the Warhol Haunt,
where the Beasties played one of their first shows, opening
for the Bad Brains, which was actually the last show
ever at Max's. All of this incredible exposure forged the Beasties.
You can hear early nineteen eighties New York City and
the absolute coolness of the Beastis' orbit all over their records,
(15:27):
from early hardcore to the rap rock of their smash DEBUTLP,
Licensed to Ill, to Paul's Boutique, Check Your Head, and
throughout the rest of their storied catalog.
Speaker 2 (15:38):
Your Mama, Call Your Mom.
Speaker 1 (15:43):
My parents didn't raise me in New York City in
the seventies and eighties. Like most of you, I wasn't
exposed to the root level musical coolness that the three
eventual members of the Beastie Boys were exposed to at
such a young age. But what I did have was
a father with an insane record collection. And my old
man wasn't raised in New York City either, but you
wouldn't know that by cruising through his records. And by
(16:05):
the time I started reading interviews with the Beasties in
which they listed their influences, I didn't need to go
to the record store and spend money to check out
those records that were influencing one of my favorite bands. No,
I just needed to go to my dad's on the weekend,
be careful not to annoy his girlfriend, and I was
free to sit in his music room with a new
stack with ninety minute maxel XL two cassette tapes and
(16:27):
record whatever the hell I wanted. Oh, the Beastie boys
are into this New Orleans funk band called the Meters.
Let me check the M section of my dad's records. Yep,
there's the Meter's self titled debut. Holy shit, this is
where the Bast's got that instrumental vibe from Check your Head.
I'm gonna tape this and yeah, that get funky sample
from Paul's boutique is James Brown. So let's go to
the b section. Holy shit, there's a lot of James
(16:50):
Brown records here, but what are these JB's albums. I'm
gonna tape this doing It to Death record because I
like the cover and I have the whole other side
of my new meters Maxel to Phil. Now, where are
those sign in the family Stone Records? Because my buddy
Stacks was telling me that that's where the shadrack sample
comes from. Wait, my dad has a Slayer album that
guitar player is all over licensed to Hill. Everyone knows
(17:12):
that my dad took me to see Slayer last year
at the Orphume, But I still don't have a copy
of Rain and Blood. So I'm gonna tape this too. Influence.
So much of my record collection is influenced by the
Beastie Boys, and as I mentioned before, once the Beasties hit,
they began to influence culture in ways even they never
(17:35):
could have imagined. It was a classic crime wave who
done it as compelling as the mutilated bodies they found
out on the moors during the past century, or those
mysterious crop circles out in Hampshire, or the cows the
Bexley farming community reported disembowled with surgical like precision of
(18:00):
all their blood. The newspapers suspected Satanists, but the locals
had more supernatural suspicions. The crime wave that was currently
capturing London's collective imagination involved a rash of mysterious robberies,
the theft of a specific item, an item that confounded
(18:20):
local authorities. The front grille badge of local Volkswagen owners,
the iconic VW logo big round and metallic, the low
rent version of the iconic Mercedes and Cadillac hood ornaments.
Volkswagen didn't even mount their hoods with their logo. They
placed it in the grill on the front of the car.
(18:42):
It was cheaper, I guess, which was kind of the
point of a Volkswagen. It was cheaper, But why were
Volkswagen hood badges being stolen off of cars throughout London
and beyond. During the summer of nineteen eighty seven, The
newspapers and nightly news programs became obsessed with this mystery.
Even Volkswagen the company wanted answers. For those answers, one
(19:07):
needed look no further than the pop charts, where three
young hardcore kids from America who'd recently become obsessed with
rap had a top ten album in the UK with
License to Ill, propelled by the single you Got a
Fight for Your Right to Party, which had taken over
the airwaves. The video for Fight for Your Right was
(19:27):
being played everywhere NonStop, and in that video, Mike d
took the piss, as they say, across the pond out
of those super serious rappers with their luxury brand hood
ornaments hanging from their necks. Mike opted for a more sensible,
affordable necklace. He jammed o'cano sporting the Volkswagen logo as
a joke, and that act inspired, yes, a literal London
(19:52):
crime wave. The News reported the mysteriously missing VW badges
as a quote unquote epidemic. The BBC reported that two
hundred and fifty Volkswagen customers were requesting replacement badges daily.
But once it was discovered that it was the Beasties
and their Fight for Your Right video that inspired the
mass transgression, Volkswagen got in on the action. The company
(20:16):
launched an ad campaign with the tagline designer labels always
get ripped off. Never let it be said that we
are averse to youth cults, the company joked. It went
on after all who brought you the Beatles b ee
t l ees. No sooner did the crime wave quell
(20:37):
than the Beasties were caught up in another UK controversy.
This one had much more potentially dire consequences. Adam Horovitz
had no idea how long he was going to be
in jail. He was arrested in London and jailed back
in Liverpool for allegedly assaulting a concert goer. Specifically, he
(20:58):
was being accused of whipping a full beer can into
the crowd from the stage of one of their shows.
The beer can unfortunately hit a young girl in the face.
Since the Beasties had arrived in the UK to promote
license to ill, the tabloids had seized on this riotous
band of American hooligans, the likes of which they hadn't
seen since the sex Pistols. Every single day, the English
(21:22):
tabloids printed libelous headlines about the Beastie boys hooligan behavior.
In return, English fans were determined to show the Beasties
what real hooliganism was all about. Their shows became unruly
and in Liverpool the shit, as I say in America,
hit the fan. For whatever reason, youthful stupidity misplaced punk
(21:44):
rock anger. When MCA took the stage, he screamed fuck
you Liverpool into the mic. Immediately, the vibe shifted from
eager rock and roll list show anticipation to who the
fuck does this wanker think he is? And sho was on.
Beer cans rocketed from the dance floor onto the stage.
(22:04):
Booze rang out from the audience. More beer cans rained
down from the fans in the balcony. MCA freaked and
called for the house lights to be turned on the
Go Go dancer inside the giant Go Go Dancer cage
on stage, Coward, that's right on this tour. The Beasties
were rocking a giant Go Go cage flanked by two
massive bud Tallboy cans as stage props. The Beasties DJ
(22:26):
DJ Hurricane, who was standing on a different riser, took
a flying beer can to the head. Security rushed the
stage to protect the Beasties and to get them to safety.
Then ad Rock re emerged from stage left with a
baseball bat in his hand. The crowd calmed for a
moment until Adrock dug in and stood his ground like
(22:48):
a defiant Lenny diister at the plate under the lights
at Shay, The angry crowd obliged the young punk, launching
more full beer cans. Ad Rock hung in there, swatting
his many kansas he could with the baseball bat, sending
them back into the crowd. Security re emerged and pulled
a Rock off stage, and the crowd had won. A
(23:09):
chant of we Tamed the Beasties rang out as a
triumphant fight song gang vocal. The Beasties high tailed it
back to London. In their wake, the crowd was left
to riot amongst itself, brawling on the dance floor with
Roman gladiator fury for no reason at all other than
there was nowhere to place the anger that the Beasties
(23:30):
had inspired. The cops were called in, teargas was dispensed,
many were injured, and the riot was eventually quelled. Before
the night ended. Back in London, Adam Harrovitz aka the
King ad Rock, would be cuffed in his hotel room,
driven back to Liverpool, fingerprinted, and jailed for four days
(23:51):
to await his court appearance. This would result in a
trial at a later date, for which his semi famous father,
the playwright Israel Harvin, will provide a celebrity lawyer to
get his son acquitted of the assault charge, an allegation
which he still denies to this day. The larger point
in the aftermath of this event, and more broadly speaking,
(24:14):
in the aftermath of a full year of touring to
support the post hardcore version of the Beastie Boys, the
rap rock Rick Rubin produced version of the Beastie Boys,
the Riotous pro wrestling caricature version of the Beastie Boys,
a group that toured in support of Madonna, Yes Madonna,
while managing to offend twelve and thirteen year old girls
on a nightly basis, and to tour with their heroes
(24:36):
and def JAM Records label Mats Run DMC, and to
hit the road on a headlining tour and support the
first number one rap record in history, a tour that
included not only go go dancers and cages flanked by
giant bud tallboys, but eventually featured a giant twenty foot
inflatable penis complete with a pulsing vein. To add that
(24:56):
Warhol influenced dose of realism behind a b and spitting
nursery rhymes meant as satire, but they played as juvenile misogyny.
Girls to do the dishes, girls to do the laundry,
girls to clean up my room. The larger point was
what the hell happened to the Beastie Boys. The Giant
(25:20):
penis the Fight for Your Right to Party video in
which the Beasties gleefully trashed a friend's apartment, all the
mo Larry and curlying through MTV interviews, the Archie bunkering
their way through a Village Voice interview in which ad
Rock claimed he hated quote unquote faggots and MCA clumsily
trying to clean up his bandmates quote with even more
(25:41):
homophobic comments. The Beasties had fully become the assholes they
meant to lampoon un license to ill. How did this happen?
The Beasties were hardcore kids from a scene that promoted feminism,
equality in an updated version, you know, the liberal ideas
their Upper East Side parents championed. Now the Beastie Boys
(26:06):
were literally the butt of a dick joke. They couldn't
blame their producer, Rick Rubin, who yes encouraged them to
lean into the WWF side of their image, an image
that paired perfectly with the classic rock guitar samples. And
Slayer rifts that chugged through License to Ill. Then they
made the choice to go along with Rick's creative and
(26:27):
commercial genius, no matter how crass but classic rock riffs.
They didn't even like classic rock. They grew up on
Malcolm McLaren and only go fucking Boingo. They couldn't blame
their manager, hip hop empresario Russell Simmons, the other half
of Rick Rubin's DEPHJAM Records. Russell wanted the band to
do whatever they could to be as commercial as they could.
(26:49):
But Russell also hooked the Beasties up with his brother
DJ runs group run DMC, literally the biggest rap group
on the planet, who provided a steady aspirational influence, an
older group who knew how to act, a group that
no exaggeration was selling out stadiums. Run DMC took the
(27:10):
Beasties under their collective wing. The Beasties had every influence
they needed to stay true, but somehow they lost the
script they had become what they hated. The success will
fuck you harder than a giant, twenty foot inflatable cock.
And that's kind of what happened when in nineteen eighty seven,
(27:33):
Licensed to Ill became the first hip hop album to
go to number one on the Billboard Charts. That bears repeating,
Licensed to Ill became the first rap album to go
to number one on the Billboard Charts. A rap album
by three white hardcore kids went to number one. All
the benefits that came along with that success, all the beer,
(27:55):
all the pussy, the press, the adulation. It fucked the beasties,
and the Beasties fuck shit up. In response. In August
of nineteen eighty seven, RAPPERL Cooljay was arrested in Columbus,
Georgia for pantomiming sex on stage. In nineteen eighty eight,
Kisses Gene Simmons was arrested in Columbus, Georgia for, as
(28:17):
he claimed, adjusting his crotch on stage. In nineteen eighty nine,
Boston pop sensation Bobby Brown was arrested in Columbus, Georgia
in mid performance, right there on stage, for dry humping
a girl he'd invited on stage to dance. Why were
all these artists arrested in Columbus, Georgia in the late eighties,
(28:40):
Well because of the influence of the Beastie Boys. Because
in nineteen eighty seven, Columbus authorities were so offended by
the Beastis' performance, by their inflatable penis, and their encouragement
of young women in the crowd that bear their breasts
that Columbus Georgia passed an anti Ludnus law prohibiting Newton
in simulated sex at any show attended by minors. What
(29:05):
in the hell had the Beastie Boys become We'll be
right back after this. We're We're, We're New York City
(29:27):
was too hot. The Beastie Boys needed a change of environment.
Los Angeles, it was decided, was where the beasts would
take it on the lamb while the lawyers decided the
group's creative fate. Turns out that greed is a greater
influence than friendship, at least when it concerned the Beastie's friend,
Russell Simmons, who ran def Jam Records and refused to
(29:51):
pay the band royalties for their mega selling album Licensed
to Ill, insisting that the group was in breach of
contract for not recording their second album, a deadline that
was impossible due to the fact that the band was
constantly touring to support the sales of their first album,
sales that benefited the record label, not them. It was
(30:12):
a wicked irony, one that only sunshine and weed and
skateboards and great music could cure. Music that couldn't be
found anywhere but in La. At least, it couldn't be
found in this way, in any place but La, because
La was where the Dust Brothers were making music, in
a grimy apartment on the wrong side of sunset, in
(30:35):
a neighborhood where you'd maybe get shot if you weren't careful,
one in which you'd most definitely get proposition. The dangers
reminded Adam Yauk of back home in New York, one
of those street corners where your whole life could change
in an instant, depending on the type of mood the
city was in. Yok saw it differently, though, as he
(30:56):
did most things, This wasn't something to be feared. It
was something to be celebrated, because that danger, that tension,
sprung from eight million different personalities, each with their own
influence to offer. New York City was about layers, a
multitude of creative offerings, each intertwined with the other, all
(31:19):
of it there for the mining. You could try on
whatever you wanted, wear this hat for a while, or
that coat, check out this used record, or try your
hand at someone else's cast off and consigned vintage instrument,
and you could experiment with these layers until you got
it right, it of course being you, or more specifically
(31:40):
your style. Ad Rock, who was in LA before his
bandmates filling a movie with Donald Sutherland called Los Angels,
heard this music first. Somehow, underground LA DJ and Delicious
Vinyl mastermind Matt Dyke got into Adam's years with this music.
He was making with a set of a moment college
(32:00):
radio station kids Michael Simpson and John King, who were
calling themselves the Dust Brothers. The music Dyke and the
Dust Brothers were making was like nothing the young Beastie
had ever heard. The samples weren't obvious. They weren't blocked
off meat and potatoes classic rock style. They were soundscapes
precisely stitched together to create their own arrangements. It wasn't
(32:23):
about a loan breakbeat looped for sixteen bars to create
room for a rhymed verse. It was about four seconds
of a drum fill that segued into ten seconds of
a beat from another tune with a keyboard sample on
top of that beat. That quickly gave way to a
guitar riff from another song over a different beat and
bassline from another tune in the same key, which was
then accentuated by a clip from a fucking Spielberg movie
(32:46):
which disappeared before you even knew it had shown up,
and that then swung straight back into the top blue
layered verse you just heard, leaving you spellbound by a
collage of samples to rhyme over rather than one led
Zeppelin drum beat and one loop to carry k It
was that feeling you get when you land at Lax
(33:07):
and jump in the back of a cab with that
sunshine beating down on your face as you race through
Englewood toward Hollywood. All that promise, all that hope for
whatever bounties you're stay in this ridiculous town is going
to bring your way. The music the Dust Brothers was
making sounded like all that, but on tape, Adam Yalk
(33:28):
and Mike Dee were way down when ad Rock brought
them out to La to hear what he discovered, and
the Beastie Boys, with their new producers, set out to
make their second album with a new record label, the
storied Capitol Records, while their old record label back in
New York City plotted out ways to stop them pool
(33:51):
side at the Mandrian Hotel on the Sunset Strip. The
hotel was the brainchild of Ian Schrager, former partner of
Steve Rubel the Studio four I Prasario. With its New
York roots, the Mandrion was as good a place as
any for the Beasties and their friends to hole up
during the day while they worked on their next record
at night elsewhere. The Beasties may have begun to grow
(34:14):
out of their misogynistic professional wrestler caricatures of the first album,
but that didn't make them any less mischievous. They ordered lavish,
expensive meals on Capitol's dime and had them sent to
the room of Brett Michaels from poison, and they launched
eggs from their balcony down onto the strip, pelting cars
in the heads of scenesters waiting behind velvet ropes, and
(34:35):
they got way stoned and super paranoid. Who were those dudes,
The dudes in the cheap suits and the black shoes
and white socks. Yeah, those dudes who were dressed kind
of like Ricky Powell's nerd character from the Fight for
Your Right to Party video. And they were there a
couple of feet from the pool, over by the bar.
But then after you'd set eyes on them, they'd be gone.
(34:58):
They seemed to be watching, always waiting, looking for something.
The Beasties were convinced they were going to be served,
or worse, serve papers to appear in court back in
New York to settle this beef with Russell Simmons and
deaf Jam or maybe served up some violence, some sort
of old school roulette records retribution. Who knew what Russell
(35:20):
was capable of? What was that dude up to at night? Anyway?
Where did he go? What did he do with? Who?
Russell was shady? The Beasties along with their entourage, which
included Adroc's girlfriend Ione Sky and her brother Donovan Leech,
and the excellent character actor Max Perwick, who you might
(35:44):
recognize from movies like a Drugstore Cowboy in Rush and
perhaps also from the Young MC video Bust to Move.
They all bounced from the mandre on to get out
from under the prying eyes of Russell Simmons's spies or
the eyes of those for the Beasties and all of
their stone paranoid, imagined to be Russell's spies. They rented
a house up near the Griffith Observatory, a home they
(36:06):
would soon dub the g Spot. It belonged to TV
producer Alex Grashoff and his wife Marilyn Missus. Grasshaus wardrobe
was a treasure shrove of seventies clothes, Dolomite, Rudy Ray Moore,
Pam Greer Shaft. All the black exploitation films the Beasties
vibed on in New York seemed to physically come to
(36:27):
life inside of Marylyn Grasshouse closet, and the Beasties got
down on all of it, trying on the clothes and
taking inspiration from the feel of the vintage threads, a
vintage that suited the music they were making perfectly. And
the music was not def jam fare. This music was
something different. Fortunately, the beef between the Beasties and Russell
(36:49):
Simmons was eventually resolved and the group was allowed to
pursue the new music they were making, and it was great,
unlike anything un license to ill. Together with the inspired
production of Matt Dike and the Dust Brothers, these new
songs for the Beasti's first Capitol Records. Effort sounded different
than anything that had been recorded, not only in hip
(37:10):
hop up to that point, but in all of popular music.
This music had more in common with the layered pop
symphonies of Sergeant Pepper's and Pet Sounds than it did
classic rock and professional wrestling. It was a totality of
influence reborn into something completely its own. It was the
JBS and Funky snake foot Fusion and melancholic Donnie Hathaway
(37:32):
and Curtis's Superfly and AJ Scratch by Curtis with a
K and Steven Spielberg needing a bigger boat and Lennon
and McCartney playing their way out of Abbey Road, and
Loggins and Messina and the Fucking Eagles Man the Eagles,
BDP and Yes of course Run DMC machine Guns and
Holy Ghosts more bounced to the ounce and getting arrested
(37:53):
in Marty Graff were jumping off the float and your
man MCA with his beard like a billy goat the disco,
call the car wash, the monkey Drummer go go the
levee breaking mister big Stuff, Susie, your Mama, Sergeant Pepper,
Mojo Sports, Sharon miss America, shadrack, meshak, abedding to go,
and so much more. It was the sound of that
(38:15):
corner back in New York, in MCA's mind, Rivington and
Ludlow on the Lower east Side. More specifically, it was
the sound of the store on that corner, a thrift store,
the sound of all of its items come to life,
the vintage seventies clothing, the disco polyester, the West Side's
rough trade leather, the punk denim, the classic rock studs.
(38:39):
It was the sound of the forgotten vinyl and the
dollar bin, sticks and seeds, and the crease, the dusty
banjo in the corner, the racks of gin soaked coke,
dusted memories from eight million influences from an infinite number
of crazy nights that happened only in New York.
Speaker 2 (38:56):
It was the best immense Paul's boutique, So Jenny, so
remember is that paying the fold to three? That's Poles boutique.
Speaker 1 (39:31):
For as great as Paul's boutique was, it was not
received well. Critics were lukewarm, and the record didn't sell,
and Capitol Records nearly dropped The Beastie Boys, mainly because
of the money the label had already sunk into the group,
a large portion of which went to clearing the almost
immeasurable amount of samples on Paul's boutique. Capitol was forced
to keep the Beastie signed and to go for one
(39:53):
more album to recoup their losses, but this time it
would be different. Then the ex Beastie Boys record would
have to be constructed and produced differently. Clearing the same
number of samples as Paul's boutique was financially impossible. Despite
the failure of Paul's Boutique, the Beastie Boys were a
household name and the obscure artists the Beastis sampled had
(40:17):
the group's representatives over a barrel when it came time
to negotiate sampling fees rightfully so. The older artists whose
influence constitutes so much of Paul's boutique wanted to get paid,
and they did, but this wasn't a sustainable way to
make records. There would never be another Paul's Boutique, which
is a shame. Imagine if the Beatles weren't allowed to
(40:39):
make Sergeant Pepper's after hearing pet Sounds, We'll never know
what greatness could have sprung from one of the Beast's contemporaries,
or perhaps how the Beasties would have followed up Paul's
boutique had they been afforded the opportunity to make another
record in the same way. Instead, the group's limitations forced
them to dig deep, not into the creates hidden in
(41:00):
the back of downtown vintage shops, but through the classified
pages listening vintage instruments. Because for the Beastie Boys next record,
the musical group would do something truly revolutionary. They would
play their own instruments. The next Beasties album was another
wild creative swing and also a make or break business endeavor.
(41:23):
Had it not worked out, Capitol Records would have dropped
the band and they'd likely to be working for tech
firms or Hollywood production companies right now. But the Beastie
Boys didn't let that happen. Plato said that necessity is
the mother of invention. Hr from Bad Brain said, don't
care what they may say, We got that attitude. Don't
(41:45):
care what they may do, We got that attitude, and
Adam Yauch said that Bad Brains created the quote unquote
best hardcore album of all time, The Roar Demo. The
features the aforementioned lyric. Adam Harvitz and Diamond themselves will
tell you that Adam Yeuk was a different kind of kid.
He was the mother of invention, at least in their band.
(42:08):
He was the type of kid who, according to Adrock,
said things like, I'm going to walk up to the
top of the Empire State Building with cameras taped to
my shoes. I'll carry you up piggyback style. It'll be funny.
Let's go. Most people conform to the obstacles they encounter.
They either find their way around them or find a
way to avoid them altogether. It's the rare cats who
(42:29):
find their way through. Usually the great ones look at
a set of challenging fundamentals and decide to change the
fundamentals to find their way through the obstacle. Oh, we
can't rely on samples to make our next hip hop
record because it's now too expensive. No problem, We'll just
play our own instruments. It's hard to overstate how insane
(42:49):
this concept was, I guess still is for a rap
group in nineteen ninety. But that's what the Beasties decided
to do, largely, I believe through the influence of Adam
and the gambit worked. The Beastie Boys next album, Check
Your Head, was a turn inward. It was a completely
authentic representation of all of what influenced the Beastie Boys,
(43:14):
not just the downtown New York coolness, not only the
Hollywood kid absurdity, and not just the larger than life
licensed to ill caricature charisma. It was all of those things,
but it was also all of the little things that
made the Beastie Boys tick. Skateboarding, basketball, spirituality, a return
to their hardcore roots, an instrumental reach toward Floyd's metal
(43:38):
in a New Orleans sissy strut. It was bad seventies television,
John Coltrane, Japanese baseball references so bad They're good, Buddy
cop movies, and a constant effort by each band member
to make the others laugh. It was as close a
representation as an album can get to the entire picture
of the artists who made it. And because of that,
(44:00):
Check Your Head had a much broader appeal than its predecessor.
And because of that and the band's relentless touring behind
the album, Check Your Head became the massive hit it
deserved to be, as did its successor, Ill Communication a
record that is really a continuation of Check Your Head,
made in the same way and within the same whirlwind
(44:20):
of creative time and place and circumstance, so much so
that these two albums now together sound like one of
music history's greatest double albums. This time period for the
Beastie Boys was also a reckoning, a chance for the
group to right the wrongs of the misogynistic past, to
show who they were at their core, hardcore kids, not
(44:43):
dickhead frat boys, dudes who may have lost the plot
at one point, but who had finally had an understanding
not only of who they were, but who they were
meant to be. On ill Communications, Sure Shot, Adam Yeukraps,
I want to say a little something that's long overdue.
Respect to women has got to be through through all
the mothers and the sisters and the wives and friends.
(45:05):
I want to offer my love and respect to the end.
But the end, unfortunately would come too soon for MCA.
There would be four more full length albums, the most
excellent Hello Nasty, to the Five Boroughs, The Mix Up
and Hot Sauce Committee Part two, before in twenty twelve,
(45:28):
Adam Yauch would succumb to cancer, dying at the age
of just forty seven. The Beastie Boys moved beyond the
crime and grime of late seventies and early eighties New
York City, beyond the arrest and dick jokes of License
to Ill, through the absurd Hollywood headiness of Paul's boutique,
and to the twin triumph of check your Head and
(45:49):
ill communication powered by influence, the influence of great music,
influence that led to the continued creation of great music
through the end of the Bear East's career, a career
that influenced culture in real time, a career that left
the legacy of influence to be mined for years to come.
(46:10):
But the Beastie Boys couldn't move through the loss of
Adam Yelk, whose influence on his bandmates was not only
immeasurable but also irreplaceable. I'm Jake Brennan, and this is Disgraceland,
(46:39):
all right. I hope you guys dug this story on
the Beastie Boys. The theme of this episode is obviously influenced,
So this week's question of the week is which musician
has had the most influence on you and why? And
maybe the way they've lived their life, or the songs,
their lyrics, the way they conduct themselves, their style. The
type of influence could be anything, but we're all influenced
(47:01):
by the music we listen to, even if we're not musicians.
So think about it. Which musician has most influenced you?
And in what way? I want to know?
Speaker 3 (47:09):
Hit me up at six one seven nine oh six
six six three a ask for cookie Puss, leave me
a voicemail or a text for the best men's clothing
that's at disgrace slampod on the socials, Instagram, Facebook, x
and disgrace lampod at.
Speaker 1 (47:22):
Gmail dot com. All right, here comes some credits. Disgraceland
was created by Yours Truly. It is produced in partnership
with Double Elvis, The Exactly Right Network, and iHeart Podcasts.
Credits for this episode can be found on the show
notes page at disgracelampod dot com. If you're listening as
a Disgraceland All Access member, thank you for supporting the show.
(47:44):
We really appreciate it. And if not, you can become
a member right now by going to disgracelampod dot com
slash Membership members can listen to every episode of disgracelan
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on Instagram, TikTok, Twitter and Facebook at discs Grace lampod
and on YouTube at YouTube dot com slash at Disgrace lamppod,
(48:05):
rock A Rolla, hen Man all Right. Disc goes what
did you think of our crime and Grime inspired Beastie
Boys Episode six one seven nine oh six, six six
three eight To let us know via voicemail and text,
or at Disgrace lampod on the socials. Dive into the
Disgrace LAMD podcast archive of over two hundred and fifty episodes. Guys,
(48:29):
if you've got questions on artists, we may or may
not have covered, hit me up, rock A Rolla
Hey Discus, welcome in for another fantastic voyage into the
Disgraceland archive this week to rewind to our Beastie Boys episode,
originally released on January twenty first, twenty twenty five. This
was a difficult episode for me to write. I love
the Beastie Boys. They're one of my favorite groups all timers,
and I wanted to celebrate that and to bring to
(00:22):
the forefront some of the crime that's part of their history.
But I also wanted to fairly reckon with who the
Beasties really are and most ingloriously, how they became the
joke that they were trying to make about misogyny, and
then later how the group faced that regrettable part of
their past and overcame it. So not the easiest episode
(00:44):
to contend with, but also this story in terms of crime,
it's truly revelatory. I mean, who knew that the Beastie
Boys inspired a literal crime wave. I didn't until I
get into the research. Anyways, it's all here in this episode,
plus a bit of a dive back into the band's
hardcore roots, and also the way in which my favorite
(01:05):
Beastie Boys album, Paul's Boutique came to be. I hope
you dig this. I want to hear what you think,
so leave a review for Disgraceland on Apple Podcasts or
just give me a call at six one seven nine
oh six six six three eight Rock and Roller. Disgraceland
is a production of Double Elvis. This is a story
(01:36):
about three bad brothers you know so well. It started
way back in history with add Rock MCA and Me,
Jake B I Mean and Mike D. This is a
story about a crime wave and arrest a lot of arrests.
It's a story about three friends who became one of
the most influential groups of all time. And this is
(01:59):
a story about Beastie Boys, a group that made great music,
music influenced by great music, and of course music that
influenced other great music. And that music I played for
you at the top of the show that wasn't great music.
That was a preset loop from my melotron called snake
(02:20):
Foot Rat Jam MK one. I played you that loop
because I can't afford the rights to Amanda by Boston.
And why would I play you that specific slice of
Rockman Headphone Cheese? Could I afford it? Because that was
the number one song in America on November fifteenth, nineteen
(02:42):
eighty six, and that was the day Beastie Boys released
their album Licensed to Ill, an album that would not
only bring unimagined success to the Beasties, but an album
that would almost also destroy them. On this episode, how
the Three Bad Brothers avoided self destruction, a crime wave,
(03:03):
an arrest, other arrests, a wide array of incredible influence
in the Beastie Boys. I'm Jake Brennan, and this is disgraceland.
Speaker 2 (03:37):
You really don't understand, hey, man, You realize all of
us to make this thing work.
Speaker 1 (03:44):
Man, We've got to get rid of questions.
Speaker 2 (03:51):
It's again.
Speaker 1 (03:58):
New York City is one of the most influential cities
in the world art, dance, film, food. New York's cultural
impact has always been significant, and its influence as a
music mecca spans back to the beginning of the twentieth century,
most notably for My Tastes, anyway back from the dawn
(04:19):
of hip hop and punk in the seventies all the
way to the jazz of the nineteen twenties and thirties.
During that time, the Harlem Renaissance gave the world Louis Armstrong,
Duke Ellington and Billie Holiday artists who migrated to a
city that made them and then exported them back to
the rest of the world as stars. But by the
(04:42):
nineteen seventies there wasn't much being exported out of Harlem
besides heroin, and the drug's influence, like jazz in the
twenties and thirties, could be felt throughout the rest of America.
Back in Harlem, heroin was big business, with manufacturing centers
spread throughout the city at large. New York City heroin,
(05:03):
whether it was China White from Southeast Asia or Blue
Magic from Harlem gangster Frank Lucas, required cutting or dilution
from its original pure state, in part so that it
didn't kill the customer, but also so the dealer could
retain more of the profit. Heroin can be cut with
(05:24):
many different ingredients quinine, caffeine, even strychnine. That's right, rat poison.
If you're booting up the Brown boys and girls, you're
likely injecting yourself with low levels of rat poison. Heroin
is also sometimes cut with another drug called manitol, a
(05:44):
substance band on the street, in part because though it
was developed to treat various ailments, By the late nineteen seventies,
manitol was mostly used to cut heroin, which is exactly
what it was being used for. In nineteen seventy six,
at one seventy one Avenue A in New York's East Village,
(06:05):
twenty four hundred pounds of manitol, or mannite as it
was called on the street, was seized from the owner
of the abandoned, burnt out six story building. The street
value of the illegal cutting agent was estimated to be
half a million dollars, likely more than the value of
the building. They found the stash in one seventy one
(06:25):
Avenue A. The building survived that mini scandal, and by
nineteen eighty one it had become an unofficial clubhouse for
the burgeoning New York hardcore scene, a group of disaffected
Lower east Side punk kids influenced more by the rage
of Black Flag than the outlandish put on of the
sex pistols. We're using the building, now commonly referred to
(06:46):
as one seventy one A, to put on shows, record demos,
and just to hang out. Soon, a record store, the Ratcage,
opened in the basement inside one seventy one. A youthful
optimism in punk entrepreneurialism. Thrived records by the Exploited, the
Business Discharge and others were imported from the UK and
(07:10):
sold at the rackage. A demo by Washington, DC's Mighty
Bad Brains, the infamous Roar Demo, was recorded upstairs in
the makeshift studio and shows were happening weekly, attracting hordes
of punk obsessed short haired, trench coat wearing Doc Martin
booted street hoods from all over the city, even from
(07:30):
the Upper East Side and as far afield as Brooklyn.
Inside the doors of one seventy one A, you could
feel the headiness of a new style of music in
a new scene being alchemized. Hardcore aggressive music blasted kids
obsessed over seven inch singles and cassettes. Some geeked out
(07:51):
on subversion by going straight edge, others burnt brain cells
on guerrilla biscuits and brass Monkey. The youthful positive energy
was infectious, and this was a new kind of punk,
just as important as what came from London a few
years prior, and twice as dangerous, but not nearly as
(08:12):
scary as the hardcore reality that was happening outside the
doors of one seventy one A. Where New York City's
Lower East Side in nineteen eighty one was sometimes as
violent a war zone as the Southeast Asian origins of
the China White that was plaguing New York streets. The
(08:36):
door wouldn't stay shut, and it needed to. If the
punk rocker on the other side of that door pushed
its way into one seventy one A, then the Puerto
Rican street gang that was trying to kill him would
also make its way into the club. Then this bad
brain show wouldn't be the joyous hardcore event it was
meant to be. Instead, blood clot would progress to a
(08:56):
literal blood bath. Then the couple dozen kids inside using
their shit to the blast fury of the greatest hardcore
band of the planet would surely be massacred. Seventeen year
old Adam Yelk, bass player for the four piece hardcore
band Beastie Boys, a band who'd just been kicked out
of the one seventy one A studio after spending too
many days tracking their polywog stew ep, was using every
(09:20):
muscle in his body to press the door shut. Others
were behind him helping, pressing their weight into the door,
which remained open. A crack, refusing to shut due to
the manic fury of the punk rocker on the other
side trying to muscle his way into one seventy one A.
The Puerto Ricans meant business. The punk was a dead
(09:40):
man if he didn't get in. He did get in,
pasted Adam Yelk, but not before getting stabbed in the
shoulder by one of the gang members. In the end,
the gang was shut out, and that punk rocker who
escaped into one seventy one A was John Joseph, Friend
and Roady to the Bad Brains and later the front
(10:00):
man for one of the most influential New York hardcore
bands of all time, the Chromax, who like The Beastie
Boys and like other hardcore pioneers Agnostic Front and war Zone,
would become mainstays at one seventy one A. To understand
the Beastie Boys side note, it's Beastie Boys, not the
(10:22):
Beastie Boys. I'm fully aware, but even though that's how
the beastis, Adam Yeuk's surviving bandmates Michael Diamond and Adam
Harrovitz say it, I just can't do it. Maybe it's
because I'm a suburban kid who didn't get into the
Beastis until they hit MTV after completely shedding their hardcore roots.
For whatever the hell genre you want to call. Fight
for your right to party us, I can't do it,
(10:43):
so sue me. It's thet But back to our story.
To understand the Beastie Boys, you have to understand hardcore,
it's where they came from. And you have to understand
New York City because well, duh. You also have to
(11:04):
understand hip hop or rap as it was almost exclusively
referred to back then during the days of Grandmaster Flash
and the Furious Five, the Funky Four plus one more
and so many others, And to the extent that it's possible,
you have to understand any and all soulful music released
between the years nineteen sixty seven and nineteen eighty seven,
(11:25):
Alphonse mouzon, Os Mutantes, Public Image Limited Africa, Bambada, Malcolm McLaren,
and so many others. The Beastie Boys were simultaneously captivated
by two genres of music that were being invented right
there in that moment in New York, hardcore and hip hop,
(11:47):
and they were fully aware of and captivated by the
music that was influencing those genres, particularly the sounds influencing
hip hop, all of the coolers and cool music that
was present on every radio in the city, pumping out
of every downtown club and filling every record store, Spoony
g Butthole, Surfers, Chic, Blondie Run, DMC, Napalm Death, Curtis Blow,
(12:12):
Tana Gardner, Tom Tom Club, Black Flag, Nico, even Tito Plente.
To put it simply, to understand the Beastie Boys, you
have to understand the concept of influence. Real influence, as
in the art that influences us, not some above average
(12:32):
looking twenty something in front of a camera beneath the
ring light on your Instagram page. Real influence, because that's
what's at the heart of the Beastie Boys. Influence, the
influence of the music they loved, the influence of the
city they grew up in, and the influence each member
of the band, each a great friend to one another,
(12:53):
had on each other. You also have to understand the
influence the Beastie Boys, a band that by nineteen eighty
seven had grown from the crime and grime of the
hardcore subgenre into a chart topping cultural phenomenon. You have
to understand the influence the Beastie Boys had on mainstream culture.
(13:14):
Influence that resulted in the makeup of huge parts of
our record collections. Influence that resulted in new laws being written.
Influence that resulted in clandestine espionage, in beatdowns, in riots.
Influence that even resulted in a crime wave. I didn't
(13:57):
grow up in Manhattan in the seventies and eighties. Let's
be honest, would have been the best time anyone could
grow up in Manhattan. But I'm happy that I didn't.
I'm not sure I would have had the discipline or
parenting required at such a young age to survive The
Beastie Boys, though they're a different story. Adam Yauch, Michael Diamond,
(14:18):
and the Beasti's two other original members, Kate Schellmenbach on drums,
who would eventually depart and years later go on to
form the Excellent Group Luscius Jackson and John Barry, an
early friend whose departure would make way for Adam Harrovitz
to join the group, cementing the classic Beasties lineup of
Ad Rock, Mike d and MCA. All of these kids
(14:40):
were raised inside a cultural hothouse in which every day
the most incredible music on the planet was not only
available to purchase in record stores all over the city,
but also available to witness and experience in clubs throughout Manhattan.
The afore mentioned One seventy one A where hardcore was
basically invented, the Antiteryria where Madonna, Basquiat, Shade, and Debbie
(15:03):
Mazar performed, worked and partied Max's Kansas City, the Warhol Haunt,
where the Beasties played one of their first shows, opening
for the Bad Brains, which was actually the last show
ever at Max's. All of this incredible exposure forged the Beasties.
You can hear early nineteen eighties New York City and
the absolute coolness of the Beastis' orbit all over their records,
(15:27):
from early hardcore to the rap rock of their smash DEBUTLP,
Licensed to Ill, to Paul's Boutique, Check Your Head, and
throughout the rest of their storied catalog.
Speaker 2 (15:38):
Your Mama, Call Your Mom.
Speaker 1 (15:43):
My parents didn't raise me in New York City in
the seventies and eighties. Like most of you, I wasn't
exposed to the root level musical coolness that the three
eventual members of the Beastie Boys were exposed to at
such a young age. But what I did have was
a father with an insane record collection. And my old
man wasn't raised in New York City either, but you
wouldn't know that by cruising through his records. And by
(16:05):
the time I started reading interviews with the Beasties in
which they listed their influences, I didn't need to go
to the record store and spend money to check out
those records that were influencing one of my favorite bands. No,
I just needed to go to my dad's on the weekend,
be careful not to annoy his girlfriend, and I was
free to sit in his music room with a new
stack with ninety minute maxel XL two cassette tapes and
(16:27):
record whatever the hell I wanted. Oh, the Beastie boys
are into this New Orleans funk band called the Meters.
Let me check the M section of my dad's records. Yep,
there's the Meter's self titled debut. Holy shit, this is
where the Bast's got that instrumental vibe from Check your Head.
I'm gonna tape this and yeah, that get funky sample
from Paul's boutique is James Brown. So let's go to
the b section. Holy shit, there's a lot of James
(16:50):
Brown records here, but what are these JB's albums. I'm
gonna tape this doing It to Death record because I
like the cover and I have the whole other side
of my new meters Maxel to Phil. Now, where are
those sign in the family Stone Records? Because my buddy
Stacks was telling me that that's where the shadrack sample
comes from. Wait, my dad has a Slayer album that
guitar player is all over licensed to Hill. Everyone knows
(17:12):
that my dad took me to see Slayer last year
at the Orphume, But I still don't have a copy
of Rain and Blood. So I'm gonna tape this too. Influence.
So much of my record collection is influenced by the
Beastie Boys, and as I mentioned before, once the Beasties hit,
they began to influence culture in ways even they never
(17:35):
could have imagined. It was a classic crime wave who
done it as compelling as the mutilated bodies they found
out on the moors during the past century, or those
mysterious crop circles out in Hampshire, or the cows the
Bexley farming community reported disembowled with surgical like precision of
(18:00):
all their blood. The newspapers suspected Satanists, but the locals
had more supernatural suspicions. The crime wave that was currently
capturing London's collective imagination involved a rash of mysterious robberies,
the theft of a specific item, an item that confounded
(18:20):
local authorities. The front grille badge of local Volkswagen owners,
the iconic VW logo big round and metallic, the low
rent version of the iconic Mercedes and Cadillac hood ornaments.
Volkswagen didn't even mount their hoods with their logo. They
placed it in the grill on the front of the car.
(18:42):
It was cheaper, I guess, which was kind of the
point of a Volkswagen. It was cheaper, But why were
Volkswagen hood badges being stolen off of cars throughout London
and beyond. During the summer of nineteen eighty seven, The
newspapers and nightly news programs became obsessed with this mystery.
Even Volkswagen the company wanted answers. For those answers, one
(19:07):
needed look no further than the pop charts, where three
young hardcore kids from America who'd recently become obsessed with
rap had a top ten album in the UK with
License to Ill, propelled by the single you Got a
Fight for Your Right to Party, which had taken over
the airwaves. The video for Fight for Your Right was
(19:27):
being played everywhere NonStop, and in that video, Mike d
took the piss, as they say, across the pond out
of those super serious rappers with their luxury brand hood
ornaments hanging from their necks. Mike opted for a more sensible,
affordable necklace. He jammed o'cano sporting the Volkswagen logo as
a joke, and that act inspired, yes, a literal London
(19:52):
crime wave. The News reported the mysteriously missing VW badges
as a quote unquote epidemic. The BBC reported that two
hundred and fifty Volkswagen customers were requesting replacement badges daily.
But once it was discovered that it was the Beasties
and their Fight for Your Right video that inspired the
mass transgression, Volkswagen got in on the action. The company
(20:16):
launched an ad campaign with the tagline designer labels always
get ripped off. Never let it be said that we
are averse to youth cults, the company joked. It went
on after all who brought you the Beatles b ee
t l ees. No sooner did the crime wave quell
(20:37):
than the Beasties were caught up in another UK controversy.
This one had much more potentially dire consequences. Adam Horovitz
had no idea how long he was going to be
in jail. He was arrested in London and jailed back
in Liverpool for allegedly assaulting a concert goer. Specifically, he
(20:58):
was being accused of whipping a full beer can into
the crowd from the stage of one of their shows.
The beer can unfortunately hit a young girl in the face.
Since the Beasties had arrived in the UK to promote
license to ill, the tabloids had seized on this riotous
band of American hooligans, the likes of which they hadn't
seen since the sex Pistols. Every single day, the English
(21:22):
tabloids printed libelous headlines about the Beastie boys hooligan behavior.
In return, English fans were determined to show the Beasties
what real hooliganism was all about. Their shows became unruly
and in Liverpool the shit, as I say in America,
hit the fan. For whatever reason, youthful stupidity misplaced punk
(21:44):
rock anger. When MCA took the stage, he screamed fuck
you Liverpool into the mic. Immediately, the vibe shifted from
eager rock and roll list show anticipation to who the
fuck does this wanker think he is? And sho was on.
Beer cans rocketed from the dance floor onto the stage.
(22:04):
Booze rang out from the audience. More beer cans rained
down from the fans in the balcony. MCA freaked and
called for the house lights to be turned on the
Go Go dancer inside the giant Go Go Dancer cage
on stage, Coward, that's right on this tour. The Beasties
were rocking a giant Go Go cage flanked by two
massive bud Tallboy cans as stage props. The Beasties DJ
(22:26):
DJ Hurricane, who was standing on a different riser, took
a flying beer can to the head. Security rushed the
stage to protect the Beasties and to get them to safety.
Then ad Rock re emerged from stage left with a
baseball bat in his hand. The crowd calmed for a
moment until Adrock dug in and stood his ground like
(22:48):
a defiant Lenny diister at the plate under the lights
at Shay, The angry crowd obliged the young punk, launching
more full beer cans. Ad Rock hung in there, swatting
his many kansas he could with the baseball bat, sending
them back into the crowd. Security re emerged and pulled
a Rock off stage, and the crowd had won. A
(23:09):
chant of we Tamed the Beasties rang out as a
triumphant fight song gang vocal. The Beasties high tailed it
back to London. In their wake, the crowd was left
to riot amongst itself, brawling on the dance floor with
Roman gladiator fury for no reason at all other than
there was nowhere to place the anger that the Beasties
(23:30):
had inspired. The cops were called in, teargas was dispensed,
many were injured, and the riot was eventually quelled. Before
the night ended. Back in London, Adam Harrovitz aka the
King ad Rock, would be cuffed in his hotel room,
driven back to Liverpool, fingerprinted, and jailed for four days
(23:51):
to await his court appearance. This would result in a
trial at a later date, for which his semi famous father,
the playwright Israel Harvin, will provide a celebrity lawyer to
get his son acquitted of the assault charge, an allegation
which he still denies to this day. The larger point
in the aftermath of this event, and more broadly speaking,
(24:14):
in the aftermath of a full year of touring to
support the post hardcore version of the Beastie Boys, the
rap rock Rick Rubin produced version of the Beastie Boys,
the Riotous pro wrestling caricature version of the Beastie Boys,
a group that toured in support of Madonna, Yes Madonna,
while managing to offend twelve and thirteen year old girls
on a nightly basis, and to tour with their heroes
(24:36):
and def JAM Records label Mats Run DMC, and to
hit the road on a headlining tour and support the
first number one rap record in history, a tour that
included not only go go dancers and cages flanked by
giant bud tallboys, but eventually featured a giant twenty foot
inflatable penis complete with a pulsing vein. To add that
(24:56):
Warhol influenced dose of realism behind a b and spitting
nursery rhymes meant as satire, but they played as juvenile misogyny.
Girls to do the dishes, girls to do the laundry,
girls to clean up my room. The larger point was
what the hell happened to the Beastie Boys. The Giant
(25:20):
penis the Fight for Your Right to Party video in
which the Beasties gleefully trashed a friend's apartment, all the
mo Larry and curlying through MTV interviews, the Archie bunkering
their way through a Village Voice interview in which ad
Rock claimed he hated quote unquote faggots and MCA clumsily
trying to clean up his bandmates quote with even more
(25:41):
homophobic comments. The Beasties had fully become the assholes they
meant to lampoon un license to ill. How did this happen?
The Beasties were hardcore kids from a scene that promoted feminism,
equality in an updated version, you know, the liberal ideas
their Upper East Side parents championed. Now the Beastie Boys
(26:06):
were literally the butt of a dick joke. They couldn't
blame their producer, Rick Rubin, who yes encouraged them to
lean into the WWF side of their image, an image
that paired perfectly with the classic rock guitar samples. And
Slayer rifts that chugged through License to Ill. Then they
made the choice to go along with Rick's creative and
(26:27):
commercial genius, no matter how crass but classic rock riffs.
They didn't even like classic rock. They grew up on
Malcolm McLaren and only go fucking Boingo. They couldn't blame
their manager, hip hop empresario Russell Simmons, the other half
of Rick Rubin's DEPHJAM Records. Russell wanted the band to
do whatever they could to be as commercial as they could.
(26:49):
But Russell also hooked the Beasties up with his brother
DJ runs group run DMC, literally the biggest rap group
on the planet, who provided a steady aspirational influence, an
older group who knew how to act, a group that
no exaggeration was selling out stadiums. Run DMC took the
(27:10):
Beasties under their collective wing. The Beasties had every influence
they needed to stay true, but somehow they lost the
script they had become what they hated. The success will
fuck you harder than a giant, twenty foot inflatable cock.
And that's kind of what happened when in nineteen eighty seven,
(27:33):
Licensed to Ill became the first hip hop album to
go to number one on the Billboard Charts. That bears repeating,
Licensed to Ill became the first rap album to go
to number one on the Billboard Charts. A rap album
by three white hardcore kids went to number one. All
the benefits that came along with that success, all the beer,
(27:55):
all the pussy, the press, the adulation. It fucked the beasties,
and the Beasties fuck shit up. In response. In August
of nineteen eighty seven, RAPPERL Cooljay was arrested in Columbus,
Georgia for pantomiming sex on stage. In nineteen eighty eight,
Kisses Gene Simmons was arrested in Columbus, Georgia for, as
(28:17):
he claimed, adjusting his crotch on stage. In nineteen eighty nine,
Boston pop sensation Bobby Brown was arrested in Columbus, Georgia
in mid performance, right there on stage, for dry humping
a girl he'd invited on stage to dance. Why were
all these artists arrested in Columbus, Georgia in the late eighties,
(28:40):
Well because of the influence of the Beastie Boys. Because
in nineteen eighty seven, Columbus authorities were so offended by
the Beastis' performance, by their inflatable penis, and their encouragement
of young women in the crowd that bear their breasts
that Columbus Georgia passed an anti Ludnus law prohibiting Newton
in simulated sex at any show attended by minors. What
(29:05):
in the hell had the Beastie Boys become We'll be
right back after this. We're We're, We're New York City
(29:27):
was too hot. The Beastie Boys needed a change of environment.
Los Angeles, it was decided, was where the beasts would
take it on the lamb while the lawyers decided the
group's creative fate. Turns out that greed is a greater
influence than friendship, at least when it concerned the Beastie's friend,
Russell Simmons, who ran def Jam Records and refused to
(29:51):
pay the band royalties for their mega selling album Licensed
to Ill, insisting that the group was in breach of
contract for not recording their second album, a deadline that
was impossible due to the fact that the band was
constantly touring to support the sales of their first album,
sales that benefited the record label, not them. It was
(30:12):
a wicked irony, one that only sunshine and weed and
skateboards and great music could cure. Music that couldn't be
found anywhere but in La. At least, it couldn't be
found in this way, in any place but La, because
La was where the Dust Brothers were making music, in
a grimy apartment on the wrong side of sunset, in
(30:35):
a neighborhood where you'd maybe get shot if you weren't careful,
one in which you'd most definitely get proposition. The dangers
reminded Adam Yauk of back home in New York, one
of those street corners where your whole life could change
in an instant, depending on the type of mood the
city was in. Yok saw it differently, though, as he
(30:56):
did most things, This wasn't something to be feared. It
was something to be celebrated, because that danger, that tension,
sprung from eight million different personalities, each with their own
influence to offer. New York City was about layers, a
multitude of creative offerings, each intertwined with the other, all
(31:19):
of it there for the mining. You could try on
whatever you wanted, wear this hat for a while, or
that coat, check out this used record, or try your
hand at someone else's cast off and consigned vintage instrument,
and you could experiment with these layers until you got
it right, it of course being you, or more specifically
(31:40):
your style. Ad Rock, who was in LA before his
bandmates filling a movie with Donald Sutherland called Los Angels,
heard this music first. Somehow, underground LA DJ and Delicious
Vinyl mastermind Matt Dyke got into Adam's years with this music.
He was making with a set of a moment college
(32:00):
radio station kids Michael Simpson and John King, who were
calling themselves the Dust Brothers. The music Dyke and the
Dust Brothers were making was like nothing the young Beastie
had ever heard. The samples weren't obvious. They weren't blocked
off meat and potatoes classic rock style. They were soundscapes
precisely stitched together to create their own arrangements. It wasn't
(32:23):
about a loan breakbeat looped for sixteen bars to create
room for a rhymed verse. It was about four seconds
of a drum fill that segued into ten seconds of
a beat from another tune with a keyboard sample on
top of that beat. That quickly gave way to a
guitar riff from another song over a different beat and
bassline from another tune in the same key, which was
then accentuated by a clip from a fucking Spielberg movie
(32:46):
which disappeared before you even knew it had shown up,
and that then swung straight back into the top blue
layered verse you just heard, leaving you spellbound by a
collage of samples to rhyme over rather than one led
Zeppelin drum beat and one loop to carry k It
was that feeling you get when you land at Lax
(33:07):
and jump in the back of a cab with that
sunshine beating down on your face as you race through
Englewood toward Hollywood. All that promise, all that hope for
whatever bounties you're stay in this ridiculous town is going
to bring your way. The music the Dust Brothers was
making sounded like all that, but on tape, Adam Yalk
(33:28):
and Mike Dee were way down when ad Rock brought
them out to La to hear what he discovered, and
the Beastie Boys, with their new producers, set out to
make their second album with a new record label, the
storied Capitol Records, while their old record label back in
New York City plotted out ways to stop them pool
(33:51):
side at the Mandrian Hotel on the Sunset Strip. The
hotel was the brainchild of Ian Schrager, former partner of
Steve Rubel the Studio four I Prasario. With its New
York roots, the Mandrion was as good a place as
any for the Beasties and their friends to hole up
during the day while they worked on their next record
at night elsewhere. The Beasties may have begun to grow
(34:14):
out of their misogynistic professional wrestler caricatures of the first album,
but that didn't make them any less mischievous. They ordered lavish,
expensive meals on Capitol's dime and had them sent to
the room of Brett Michaels from poison, and they launched
eggs from their balcony down onto the strip, pelting cars
in the heads of scenesters waiting behind velvet ropes, and
(34:35):
they got way stoned and super paranoid. Who were those dudes,
The dudes in the cheap suits and the black shoes
and white socks. Yeah, those dudes who were dressed kind
of like Ricky Powell's nerd character from the Fight for
Your Right to Party video. And they were there a
couple of feet from the pool, over by the bar.
But then after you'd set eyes on them, they'd be gone.
(34:58):
They seemed to be watching, always waiting, looking for something.
The Beasties were convinced they were going to be served,
or worse, serve papers to appear in court back in
New York to settle this beef with Russell Simmons and
deaf Jam or maybe served up some violence, some sort
of old school roulette records retribution. Who knew what Russell
(35:20):
was capable of? What was that dude up to at night? Anyway?
Where did he go? What did he do with? Who?
Russell was shady? The Beasties along with their entourage, which
included Adroc's girlfriend Ione Sky and her brother Donovan Leech,
and the excellent character actor Max Perwick, who you might
(35:44):
recognize from movies like a Drugstore Cowboy in Rush and
perhaps also from the Young MC video Bust to Move.
They all bounced from the mandre on to get out
from under the prying eyes of Russell Simmons's spies or
the eyes of those for the Beasties and all of
their stone paranoid, imagined to be Russell's spies. They rented
a house up near the Griffith Observatory, a home they
(36:06):
would soon dub the g Spot. It belonged to TV
producer Alex Grashoff and his wife Marilyn Missus. Grasshaus wardrobe
was a treasure shrove of seventies clothes, Dolomite, Rudy Ray Moore,
Pam Greer Shaft. All the black exploitation films the Beasties
vibed on in New York seemed to physically come to
(36:27):
life inside of Marylyn Grasshouse closet, and the Beasties got
down on all of it, trying on the clothes and
taking inspiration from the feel of the vintage threads, a
vintage that suited the music they were making perfectly. And
the music was not def jam fare. This music was
something different. Fortunately, the beef between the Beasties and Russell
(36:49):
Simmons was eventually resolved and the group was allowed to
pursue the new music they were making, and it was great,
unlike anything un license to ill. Together with the inspired
production of Matt Dike and the Dust Brothers, these new
songs for the Beasti's first Capitol Records. Effort sounded different
than anything that had been recorded, not only in hip
(37:10):
hop up to that point, but in all of popular music.
This music had more in common with the layered pop
symphonies of Sergeant Pepper's and Pet Sounds than it did
classic rock and professional wrestling. It was a totality of
influence reborn into something completely its own. It was the
JBS and Funky snake foot Fusion and melancholic Donnie Hathaway
(37:32):
and Curtis's Superfly and AJ Scratch by Curtis with a
K and Steven Spielberg needing a bigger boat and Lennon
and McCartney playing their way out of Abbey Road, and
Loggins and Messina and the Fucking Eagles Man the Eagles,
BDP and Yes of course Run DMC machine Guns and
Holy Ghosts more bounced to the ounce and getting arrested
(37:53):
in Marty Graff were jumping off the float and your
man MCA with his beard like a billy goat the disco,
call the car wash, the monkey Drummer go go the
levee breaking mister big Stuff, Susie, your Mama, Sergeant Pepper,
Mojo Sports, Sharon miss America, shadrack, meshak, abedding to go,
and so much more. It was the sound of that
(38:15):
corner back in New York, in MCA's mind, Rivington and
Ludlow on the Lower east Side. More specifically, it was
the sound of the store on that corner, a thrift store,
the sound of all of its items come to life,
the vintage seventies clothing, the disco polyester, the West Side's
rough trade leather, the punk denim, the classic rock studs.
(38:39):
It was the sound of the forgotten vinyl and the
dollar bin, sticks and seeds, and the crease, the dusty
banjo in the corner, the racks of gin soaked coke,
dusted memories from eight million influences from an infinite number
of crazy nights that happened only in New York.
Speaker 2 (38:56):
It was the best immense Paul's boutique, So Jenny, so
remember is that paying the fold to three? That's Poles boutique.
Speaker 1 (39:31):
For as great as Paul's boutique was, it was not
received well. Critics were lukewarm, and the record didn't sell,
and Capitol Records nearly dropped The Beastie Boys, mainly because
of the money the label had already sunk into the group,
a large portion of which went to clearing the almost
immeasurable amount of samples on Paul's boutique. Capitol was forced
to keep the Beastie signed and to go for one
(39:53):
more album to recoup their losses, but this time it
would be different. Then the ex Beastie Boys record would
have to be constructed and produced differently. Clearing the same
number of samples as Paul's boutique was financially impossible. Despite
the failure of Paul's Boutique, the Beastie Boys were a
household name and the obscure artists the Beastis sampled had
(40:17):
the group's representatives over a barrel when it came time
to negotiate sampling fees rightfully so. The older artists whose
influence constitutes so much of Paul's boutique wanted to get paid,
and they did, but this wasn't a sustainable way to
make records. There would never be another Paul's Boutique, which
is a shame. Imagine if the Beatles weren't allowed to
(40:39):
make Sergeant Pepper's after hearing pet Sounds, We'll never know
what greatness could have sprung from one of the Beast's contemporaries,
or perhaps how the Beasties would have followed up Paul's
boutique had they been afforded the opportunity to make another
record in the same way. Instead, the group's limitations forced
them to dig deep, not into the creates hidden in
(41:00):
the back of downtown vintage shops, but through the classified
pages listening vintage instruments. Because for the Beastie Boys next record,
the musical group would do something truly revolutionary. They would
play their own instruments. The next Beasties album was another
wild creative swing and also a make or break business endeavor.
(41:23):
Had it not worked out, Capitol Records would have dropped
the band and they'd likely to be working for tech
firms or Hollywood production companies right now. But the Beastie
Boys didn't let that happen. Plato said that necessity is
the mother of invention. Hr from Bad Brain said, don't
care what they may say, We got that attitude. Don't
(41:45):
care what they may do, We got that attitude, and
Adam Yauch said that Bad Brains created the quote unquote
best hardcore album of all time, The Roar Demo. The
features the aforementioned lyric. Adam Harvitz and Diamond themselves will
tell you that Adam Yeuk was a different kind of kid.
He was the mother of invention, at least in their band.
(42:08):
He was the type of kid who, according to Adrock,
said things like, I'm going to walk up to the
top of the Empire State Building with cameras taped to
my shoes. I'll carry you up piggyback style. It'll be funny.
Let's go. Most people conform to the obstacles they encounter.
They either find their way around them or find a
way to avoid them altogether. It's the rare cats who
(42:29):
find their way through. Usually the great ones look at
a set of challenging fundamentals and decide to change the
fundamentals to find their way through the obstacle. Oh, we
can't rely on samples to make our next hip hop
record because it's now too expensive. No problem, We'll just
play our own instruments. It's hard to overstate how insane
(42:49):
this concept was, I guess still is for a rap
group in nineteen ninety. But that's what the Beasties decided
to do, largely, I believe through the influence of Adam
and the gambit worked. The Beastie Boys next album, Check
Your Head, was a turn inward. It was a completely
authentic representation of all of what influenced the Beastie Boys,
(43:14):
not just the downtown New York coolness, not only the
Hollywood kid absurdity, and not just the larger than life
licensed to ill caricature charisma. It was all of those things,
but it was also all of the little things that
made the Beastie Boys tick. Skateboarding, basketball, spirituality, a return
to their hardcore roots, an instrumental reach toward Floyd's metal
(43:38):
in a New Orleans sissy strut. It was bad seventies television,
John Coltrane, Japanese baseball references so bad They're good, Buddy
cop movies, and a constant effort by each band member
to make the others laugh. It was as close a
representation as an album can get to the entire picture
of the artists who made it. And because of that,
(44:00):
Check Your Head had a much broader appeal than its predecessor.
And because of that and the band's relentless touring behind
the album, Check Your Head became the massive hit it
deserved to be, as did its successor, Ill Communication a
record that is really a continuation of Check Your Head,
made in the same way and within the same whirlwind
(44:20):
of creative time and place and circumstance, so much so
that these two albums now together sound like one of
music history's greatest double albums. This time period for the
Beastie Boys was also a reckoning, a chance for the
group to right the wrongs of the misogynistic past, to
show who they were at their core, hardcore kids, not
(44:43):
dickhead frat boys, dudes who may have lost the plot
at one point, but who had finally had an understanding
not only of who they were, but who they were
meant to be. On ill Communications, Sure Shot, Adam Yeukraps,
I want to say a little something that's long overdue.
Respect to women has got to be through through all
the mothers and the sisters and the wives and friends.
(45:05):
I want to offer my love and respect to the end.
But the end, unfortunately would come too soon for MCA.
There would be four more full length albums, the most
excellent Hello Nasty, to the Five Boroughs, The Mix Up
and Hot Sauce Committee Part two, before in twenty twelve,
(45:28):
Adam Yauch would succumb to cancer, dying at the age
of just forty seven. The Beastie Boys moved beyond the
crime and grime of late seventies and early eighties New
York City, beyond the arrest and dick jokes of License
to Ill, through the absurd Hollywood headiness of Paul's boutique,
and to the twin triumph of check your Head and
(45:49):
ill communication powered by influence, the influence of great music,
influence that led to the continued creation of great music
through the end of the Bear East's career, a career
that influenced culture in real time, a career that left
the legacy of influence to be mined for years to come.
(46:10):
But the Beastie Boys couldn't move through the loss of
Adam Yelk, whose influence on his bandmates was not only
immeasurable but also irreplaceable. I'm Jake Brennan, and this is Disgraceland,
(46:39):
all right. I hope you guys dug this story on
the Beastie Boys. The theme of this episode is obviously influenced,
So this week's question of the week is which musician
has had the most influence on you and why? And
maybe the way they've lived their life, or the songs,
their lyrics, the way they conduct themselves, their style. The
type of influence could be anything, but we're all influenced
(47:01):
by the music we listen to, even if we're not musicians.
So think about it. Which musician has most influenced you?
And in what way? I want to know?
Speaker 3 (47:09):
Hit me up at six one seven nine oh six
six six three a ask for cookie Puss, leave me
a voicemail or a text for the best men's clothing
that's at disgrace slampod on the socials, Instagram, Facebook, x
and disgrace lampod at.
Speaker 1 (47:22):
Gmail dot com. All right, here comes some credits. Disgraceland
was created by Yours Truly. It is produced in partnership
with Double Elvis, The Exactly Right Network, and iHeart Podcasts.
Credits for this episode can be found on the show
notes page at disgracelampod dot com. If you're listening as
a Disgraceland All Access member, thank you for supporting the show.
(47:44):
We really appreciate it. And if not, you can become
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(48:05):
rock A Rolla, hen Man all Right. Disc goes what
did you think of our crime and Grime inspired Beastie
Boys Episode six one seven nine oh six, six six
three eight To let us know via voicemail and text,
or at Disgrace lampod on the socials. Dive into the
Disgrace LAMD podcast archive of over two hundred and fifty episodes. Guys,
(48:29):
if you've got questions on artists, we may or may
not have covered, hit me up, rock A Rolla
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