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"title": "Relive the Beastie Boys’ Legendary Tibetan Freedom Concert in SF",
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"content": "\u003cp>\u003cstrong>Update, Feb. 26, 2023: Noise Pop’s scheduled screening of\u003cem> Free Tibet\u003c/em> at The Cut Outdoor Cinema has been postponed until June 15, 2023, due to poor weather conditions.\u003c/strong>\u003c/p>\n\u003cp>Back in 1996, Beastie Boys’ Adam “MCA” Yauch was going through a spiritual awakening. He had recently converted to Buddhism after years of studying the religion and Tibetan culture. Yauch had attended lessons by the Dalai Lama and spent time with the monk \u003ca href=\"https://www.nytimes.com/2018/12/07/obituaries/palden-gyatso-dead.html\">Palden Gyatso\u003c/a>, who had survived torture and imprisonment in Chinese camps for 33 years.\u003c/p>\n\u003cp>As Yauch embraced Tibetan ideologies, he felt compelled to do something to help the people of the region who had been living under Chinese occupation since 1949.\u003c/p>\n\u003cp>[aside postid='arts_13921900']“There’s really only a couple of years left that Tibetan culture is gonna survive unless something starts changing,” Yauch told \u003cem>Inside Edition\u003c/em> at the time. “At the rate that their culture is being destroyed, there’s very little time left. I think we all have a responsibility because it’s part of our world. To ignore it is to contribute to it.”\u003c/p>\n\u003cp>What Yauch came up with to assist the Tibetan people was the biggest benefit concert since 1985’s transatlantic Live Aid event. The two-day Tibetan Freedom concert in Golden Gate Park’s Polo Field ended up attracting more than 100,000 fans and raising $800,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s no surprise that the lineup featured a lot of the biggest alternative acts of the day. On Saturday, June 15, 1996, Beastie Boys, the Smashing Pumpkins, Foo Fighters, A Tribe Called Quest, Pavement, Cibo Matto, Biz Markie, Richie Havens and John Lee Hooker all performed. The following day, Red Hot Chili Peppers, Rage Against the Machine, Sonic Youth, Beck, Björk, Yoko Ono, De La Soul, Fugees, Buddy Guy and Skatalites hit the stage.\u003c/p>\n\u003cfigure id=\"attachment_13924959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg\" alt=\"A fresh-faced woman with dirty blond hair sits calmly next to a man with a shaved head wearing a buttoned up shirt. She is wearing a puffy white winter coat.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk and Adam ’MCA‘ Yauch hang out backstage at the Tibetan Freedom Concert, San Francisco, June 1996. \u003ccite>(Tim Mosenfelder/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shows were a huge deal at the time, and two years later resulted in a concert documentary directed by Sarah Pirozek titled \u003cem>Free Tibet\u003c/em>. The movie is a mashup of live sets, crowd footage and interviews, plus historical context about the occupation of Tibet. It’s far from a perfect film — at the time, \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/library/film/091198tibet-film-review.html\">one \u003cem>New York Times\u003c/em> review\u003c/a> despaired at the “well-meaning musicians who … display a woeful lack of eloquence and coherence when given the opportunity on film to rally support.”\u003c/p>\n\u003cp>But the film does preserve footage from a significant day in San Francisco music history. It is peak-’90s viewing — the music, the fashion, the pre-cellphone mosh pits, the slackerdom. (“I care, you know,” one kid says, “but short attention span.”) Though several sets from the weekend are available to watch now on YouTube — \u003ca href=\"https://www.youtube.com/watch?v=fefr8RLwxeU&t=854s\">Rage Against the Machine\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=0kPweqWXyDw&t=806s\">Björk\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kXf9F_UpCbE\">Smashing Pumpkins\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=-ffrdwAz_z8\">Pavement\u003c/a> — the quality of those is decidedly grainy.\u003c/p>\n\u003cp>[aside postid='arts_13925249']The \u003cem>Free Tibet\u003c/em> documentary has been lost to time in a lot of ways — there is no trailer online, and it’s not available to stream anywhere. Unless you’re willing to invest in a DVD or VHS purchase, it’s likely you’ll never see it. That is, unless you head to The Cut Outdoor Cinema on Feb. 26.\u003c/p>\n\u003cp>\u003cem>Free Tibet\u003c/em> is screening as part of this year’s \u003ca href=\"https://www.kqed.org/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> festival, and marks the movie’s 25th anniversary. The screening will also feature a Q&A with Deyden Tethong of the \u003ca href=\"https://en.wikipedia.org/wiki/Milarepa_Fund\">Milarepa Fund\u003c/a> — the nonprofit co-founded by Yauch to raise funds and awareness for the Tibetan cause — and Stacy Horne, the Noise Pop producer who helped plan the original Tibetan Freedom concerts with Yauch.\u003c/p>\n\u003cp>Sure, the movie doesn’t know if it wants to be a concert film or a rallying cry. But in many ways, that reflects the Tibetan Freedom concert itself — and much of the 1990s musical landscape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\" rel=\"noopener\">Free Tibet\u003c/a>\u003cem> is showing at The Cut Outdoor Cinema (250 Main St., San Francisco) on Thursday, June. 15 at 7:30 p.m. \u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 26, 2023: Noise Pop’s scheduled screening of\u003cem> Free Tibet\u003c/em> at The Cut Outdoor Cinema has been postponed until June 15, 2023, due to poor weather conditions.\u003c/strong>\u003c/p>\n\u003cp>Back in 1996, Beastie Boys’ Adam “MCA” Yauch was going through a spiritual awakening. He had recently converted to Buddhism after years of studying the religion and Tibetan culture. Yauch had attended lessons by the Dalai Lama and spent time with the monk \u003ca href=\"https://www.nytimes.com/2018/12/07/obituaries/palden-gyatso-dead.html\">Palden Gyatso\u003c/a>, who had survived torture and imprisonment in Chinese camps for 33 years.\u003c/p>\n\u003cp>As Yauch embraced Tibetan ideologies, he felt compelled to do something to help the people of the region who had been living under Chinese occupation since 1949.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s really only a couple of years left that Tibetan culture is gonna survive unless something starts changing,” Yauch told \u003cem>Inside Edition\u003c/em> at the time. “At the rate that their culture is being destroyed, there’s very little time left. I think we all have a responsibility because it’s part of our world. To ignore it is to contribute to it.”\u003c/p>\n\u003cp>What Yauch came up with to assist the Tibetan people was the biggest benefit concert since 1985’s transatlantic Live Aid event. The two-day Tibetan Freedom concert in Golden Gate Park’s Polo Field ended up attracting more than 100,000 fans and raising $800,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no surprise that the lineup featured a lot of the biggest alternative acts of the day. On Saturday, June 15, 1996, Beastie Boys, the Smashing Pumpkins, Foo Fighters, A Tribe Called Quest, Pavement, Cibo Matto, Biz Markie, Richie Havens and John Lee Hooker all performed. The following day, Red Hot Chili Peppers, Rage Against the Machine, Sonic Youth, Beck, Björk, Yoko Ono, De La Soul, Fugees, Buddy Guy and Skatalites hit the stage.\u003c/p>\n\u003cfigure id=\"attachment_13924959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg\" alt=\"A fresh-faced woman with dirty blond hair sits calmly next to a man with a shaved head wearing a buttoned up shirt. She is wearing a puffy white winter coat.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk and Adam ’MCA‘ Yauch hang out backstage at the Tibetan Freedom Concert, San Francisco, June 1996. \u003ccite>(Tim Mosenfelder/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shows were a huge deal at the time, and two years later resulted in a concert documentary directed by Sarah Pirozek titled \u003cem>Free Tibet\u003c/em>. The movie is a mashup of live sets, crowd footage and interviews, plus historical context about the occupation of Tibet. It’s far from a perfect film — at the time, \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/library/film/091198tibet-film-review.html\">one \u003cem>New York Times\u003c/em> review\u003c/a> despaired at the “well-meaning musicians who … display a woeful lack of eloquence and coherence when given the opportunity on film to rally support.”\u003c/p>\n\u003cp>But the film does preserve footage from a significant day in San Francisco music history. It is peak-’90s viewing — the music, the fashion, the pre-cellphone mosh pits, the slackerdom. (“I care, you know,” one kid says, “but short attention span.”) Though several sets from the weekend are available to watch now on YouTube — \u003ca href=\"https://www.youtube.com/watch?v=fefr8RLwxeU&t=854s\">Rage Against the Machine\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=0kPweqWXyDw&t=806s\">Björk\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kXf9F_UpCbE\">Smashing Pumpkins\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=-ffrdwAz_z8\">Pavement\u003c/a> — the quality of those is decidedly grainy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Free Tibet\u003c/em> documentary has been lost to time in a lot of ways — there is no trailer online, and it’s not available to stream anywhere. Unless you’re willing to invest in a DVD or VHS purchase, it’s likely you’ll never see it. That is, unless you head to The Cut Outdoor Cinema on Feb. 26.\u003c/p>\n\u003cp>\u003cem>Free Tibet\u003c/em> is screening as part of this year’s \u003ca href=\"https://www.kqed.org/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> festival, and marks the movie’s 25th anniversary. The screening will also feature a Q&A with Deyden Tethong of the \u003ca href=\"https://en.wikipedia.org/wiki/Milarepa_Fund\">Milarepa Fund\u003c/a> — the nonprofit co-founded by Yauch to raise funds and awareness for the Tibetan cause — and Stacy Horne, the Noise Pop producer who helped plan the original Tibetan Freedom concerts with Yauch.\u003c/p>\n\u003cp>Sure, the movie doesn’t know if it wants to be a concert film or a rallying cry. But in many ways, that reflects the Tibetan Freedom concert itself — and much of the 1990s musical landscape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\" rel=\"noopener\">Free Tibet\u003c/a>\u003cem> is showing at The Cut Outdoor Cinema (250 Main St., San Francisco) on Thursday, June. 15 at 7:30 p.m. \u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy",
"headTitle": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy | KQED",
"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://ww2.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, among a year that saw our tactile relationship to music further deteriorating, writer Rae Alexandra finds joy in a chance encounter affirming that certain icons haven’t been forgotten.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg\" alt=\"\" width=\"160\" height=\"176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n August, I was strolling the packed Santa Cruz Beach Boardwalk with a friend when a trio of teens suddenly caught my eye. Casually walking in the opposite direction, the boys, complete strangers to me, were instantly recognizable.\u003c/p>\n\u003cp>One kid wore a red baseball cap and red shirt with the word “Stuyvesant” on it. The second had scruffy black hair and (despite the very hot weather) sported a black leather jacket over a white T-shirt. The third kid had on blue double denim paired with a FILA logo shirt, a baseball cap, and a VW chain hanging around his neck. The words leapt out of my mouth before I’d had a chance to even think about them. “It’s the Beastie Boys!” I yelled across the boardwalk.\u003c/p>\n\u003cp>All three boys heard me and immediately erupted into the kind of undiluted glee that only comes when someone finally recognizes your brilliance for the first time. Once they’d calmed down a bit, I asked if I could take their photo for posterity. The trio happily obliged, then went on their way, excitedly chatting about what had just happened.\u003c/p>\n\u003cfigure id=\"attachment_13921908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png\" alt=\"Three teenage boys huddle together, smiling broadly, while dressed like the Beastie Boys.\" width=\"800\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-1020x1079.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-768x813.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The super-rad teens who walked around Santa Cruz Beach Boardwalk dressed like 1986 Beastie Boys for no reason. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t ask these goofy, incredibly cool kids their names. I didn’t ask them any questions. We simply shared a moment of mutual respect. I respected them for their musical knowledge and attention to detail; they respected that I recognized their point of reference. I suspect our brief exchange was far more important to me, however, than it was to them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was 8 years old when the music video for “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener noreferrer\">(You Gotta) Fight For Your Right (To Party)\u003c/a>” — the source of the Santa Cruz teenagers’ outfits — was released. The Beastie Boys went on to soundtrack most of my formative years. I spent the mid-’90s cultivating a wardrobe almost entirely based on the band’s “\u003ca href=\"https://www.youtube.com/watch?v=ru3gH27Fn6E\" target=\"_blank\" rel=\"noopener noreferrer\">So What’cha Want\u003c/a>” video. In 1996, when Kathleen Hanna from Bikini Kill starting dating the Beasties’ Ad Rock, it absolved me of the feminist guilt that had plagued me for still appreciating their earliest records. In college, I noticed that the Beastie Boys were the great leveler — the one thing the punk rock kids, the hip-hop kids, the skater kids and the stoner kids could all agree on.\u003c/p>\n\u003cp>Back then, truly loving a band was hard work. You had to own physical copies of their records (including imports) in order to listen to them. Sometimes you had to order these from the record store, or a mail-order catalog, and sometimes that took over a month. You had to keep a blank tape in the VCR at all times if you wanted to watch your favorite videos on demand later. In the pre-internet age, I remember that coming by Beastie Boys merch — let alone a copy of \u003cem>Grand Royal\u003c/em>, the band’s own fanzine — required patience, persistence and a fair amount of postage. But there was joy in the hunt, and unbelievable satisfaction in finally getting your hands on what you’d wanted.\u003c/p>\n\u003cp>Truthfully, I’ve spent years now feeling bad for Gen Z and their relationship with music. When you have every song in the history of the world in your pocket, the joy of discovery is reduced. The tactile joys of the record store are absent. The price of concert tickets is now astronomically high in part because physical album sales figures are so low — which results in bands being way less physically accessible. Worst of all, with streaming services’ \u003ca href=\"https://www.theverge.com/2021/11/10/22774897/spotify-connect-autoplay-default-speaker-music-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">insistence on autoplay\u003c/a>, songs are often listened to by algorithm, and not by complete album as the artist originally intended. When the hunt is gone, I’ve long worried, the rewards are fleeting.\u003c/p>\n\u003cp>So the teenaged Beastie Boys of Santa Cruz carried some important lessons for 44-year-old me. They taught me that, despite having all the musical options in the world, Gen Z kids still know a Really Great Anthem when they hear it. They let me know that young energy once spent on hunting for music and merch hasn’t disappeared; it’s merely transformed into new forms of dedication. (Like, I don’t know, spending Monday afternoon dressed up like a band most of your friends haven’t even heard of.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My boardwalk Beasties encounter also taught me that the Beastie Boys are \u003cem>still\u003c/em> a great leveler — and that the spirit of teen rebellion transcends generational barriers. More than anything, these teens let me know that, while they may not do music fandom exactly how we did it, the Gen Z kids are just fine.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://ww2.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, among a year that saw our tactile relationship to music further deteriorating, writer Rae Alexandra finds joy in a chance encounter affirming that certain icons haven’t been forgotten.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg\" alt=\"\" width=\"160\" height=\"176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n August, I was strolling the packed Santa Cruz Beach Boardwalk with a friend when a trio of teens suddenly caught my eye. Casually walking in the opposite direction, the boys, complete strangers to me, were instantly recognizable.\u003c/p>\n\u003cp>One kid wore a red baseball cap and red shirt with the word “Stuyvesant” on it. The second had scruffy black hair and (despite the very hot weather) sported a black leather jacket over a white T-shirt. The third kid had on blue double denim paired with a FILA logo shirt, a baseball cap, and a VW chain hanging around his neck. The words leapt out of my mouth before I’d had a chance to even think about them. “It’s the Beastie Boys!” I yelled across the boardwalk.\u003c/p>\n\u003cp>All three boys heard me and immediately erupted into the kind of undiluted glee that only comes when someone finally recognizes your brilliance for the first time. Once they’d calmed down a bit, I asked if I could take their photo for posterity. The trio happily obliged, then went on their way, excitedly chatting about what had just happened.\u003c/p>\n\u003cfigure id=\"attachment_13921908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png\" alt=\"Three teenage boys huddle together, smiling broadly, while dressed like the Beastie Boys.\" width=\"800\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-1020x1079.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-768x813.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The super-rad teens who walked around Santa Cruz Beach Boardwalk dressed like 1986 Beastie Boys for no reason. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t ask these goofy, incredibly cool kids their names. I didn’t ask them any questions. We simply shared a moment of mutual respect. I respected them for their musical knowledge and attention to detail; they respected that I recognized their point of reference. I suspect our brief exchange was far more important to me, however, than it was to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was 8 years old when the music video for “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener noreferrer\">(You Gotta) Fight For Your Right (To Party)\u003c/a>” — the source of the Santa Cruz teenagers’ outfits — was released. The Beastie Boys went on to soundtrack most of my formative years. I spent the mid-’90s cultivating a wardrobe almost entirely based on the band’s “\u003ca href=\"https://www.youtube.com/watch?v=ru3gH27Fn6E\" target=\"_blank\" rel=\"noopener noreferrer\">So What’cha Want\u003c/a>” video. In 1996, when Kathleen Hanna from Bikini Kill starting dating the Beasties’ Ad Rock, it absolved me of the feminist guilt that had plagued me for still appreciating their earliest records. In college, I noticed that the Beastie Boys were the great leveler — the one thing the punk rock kids, the hip-hop kids, the skater kids and the stoner kids could all agree on.\u003c/p>\n\u003cp>Back then, truly loving a band was hard work. You had to own physical copies of their records (including imports) in order to listen to them. Sometimes you had to order these from the record store, or a mail-order catalog, and sometimes that took over a month. You had to keep a blank tape in the VCR at all times if you wanted to watch your favorite videos on demand later. In the pre-internet age, I remember that coming by Beastie Boys merch — let alone a copy of \u003cem>Grand Royal\u003c/em>, the band’s own fanzine — required patience, persistence and a fair amount of postage. But there was joy in the hunt, and unbelievable satisfaction in finally getting your hands on what you’d wanted.\u003c/p>\n\u003cp>Truthfully, I’ve spent years now feeling bad for Gen Z and their relationship with music. When you have every song in the history of the world in your pocket, the joy of discovery is reduced. The tactile joys of the record store are absent. The price of concert tickets is now astronomically high in part because physical album sales figures are so low — which results in bands being way less physically accessible. Worst of all, with streaming services’ \u003ca href=\"https://www.theverge.com/2021/11/10/22774897/spotify-connect-autoplay-default-speaker-music-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">insistence on autoplay\u003c/a>, songs are often listened to by algorithm, and not by complete album as the artist originally intended. When the hunt is gone, I’ve long worried, the rewards are fleeting.\u003c/p>\n\u003cp>So the teenaged Beastie Boys of Santa Cruz carried some important lessons for 44-year-old me. They taught me that, despite having all the musical options in the world, Gen Z kids still know a Really Great Anthem when they hear it. They let me know that young energy once spent on hunting for music and merch hasn’t disappeared; it’s merely transformed into new forms of dedication. (Like, I don’t know, spending Monday afternoon dressed up like a band most of your friends haven’t even heard of.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My boardwalk Beasties encounter also taught me that the Beastie Boys are \u003cem>still\u003c/em> a great leveler — and that the spirit of teen rebellion transcends generational barriers. More than anything, these teens let me know that, while they may not do music fandom exactly how we did it, the Gen Z kids are just fine.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Cypress Hill Documentary 'Insane in the Brain' Chronicles a Blazing Triumph",
"headTitle": "New Cypress Hill Documentary ‘Insane in the Brain’ Chronicles a Blazing Triumph | KQED",
"content": "\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>[aside postid='arts_13909610']The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezoTkEIivrY\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>[aside postid='arts_13906331']That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ezoTkEIivrY'\n title='//www.youtube.com/embed/ezoTkEIivrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music",
"headTitle": "From ‘Walk This Way’ to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/4B_UYYPb-Gk\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. [aside postid='arts_13866441']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/kdQN-B8aodw\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/yNPECkESPbU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. [aside postid='arts_13854359']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/91QQqfr1qzE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n",
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"title": "From 'Walk This Way' to Rico Nasty, Rap-Rock Collaborations Reveal Power Shifts in Music | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, rap was still a fledgling genre largely thought of as a fleeting trend—even though multiple hip-hop singles had reached the Billboard charts and Sugar Hill Records enjoyed seven years of success. Yet the genre’s \u003c/span>\u003cspan style=\"font-weight: 400\">new, creative energy proved to be the saving grace of one of the biggest rock bands of all time: Aerosmith, who were all but washed by the mid ’80s, with drug issues threatening the future of the band. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Rick Rubin approached Aerosmith’s manager about working with the buzzing rap trio Run-DMC, both sides had reservations. But the groups got into the studio and pushed out a reworked version of the band’s 11-year-old track, “Walk This Way,” in a single day. The song peaked at No. 4 on Billboard’s Hot 100, charting higher than the original, and propelled Run-DMC’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Raising Hell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to become the\u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1986/08/29/run-dmc-and-the-rap-flap/552172c5-eef3-48f3-b700-028ef4bcd28f/\" target=\"_blank\" rel=\"noopener noreferrer\"> first Platinum-selling hip-hop album\u003c/a>. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4B_UYYPb-Gk'\n title='//www.youtube.com/embed/4B_UYYPb-Gk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Six months later, Beastie Boys released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licensed to Ill\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, their rock-inspired debut album, also produced by Rick Rubin and Russell Simmons, that has since gone Diamond. (Beastie Boys had attempted to kick off the rap-rock trend two years earlier: in 1984, Def Jam withdrew their single “Rock Hard” because of an uncleared AC/DC sample.) Two months before \u003ca href=\"https://youtu.be/07Y0cy-nvAg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Licensed to Ill\u003c/em>\u003c/a> came out, LL Cool J’s 1986 Rubin-produced song “\u003ca href=\"https://youtu.be/ZyswjkZJugI\" target=\"_blank\" rel=\"noopener noreferrer\">Rock the Bells\u003c/a>” also made Billboard’s Top 40. Def Jam was on top. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Walk This Way” was a win-win for Aerosmith and Run-DMC. Run-DMC got the mainstream music industry cosign they needed to transcend the underground. And Aerosmith enjoyed sustained longevity and pop-culture relevance: they released their album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Vacation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 1987 (with three top-20 singles and over five million copies sold) and went on tour almost immediately. Executives and fans alike realized how powerful rap-rock was. Over the next 35 years, the two genres worked together to create career-defining material for multiple artists, and also created space for the genre-bending solo artists that are popular today. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1990s, rock artists inspired by hip-hop, like Korn, Kid Rock and Limp Bizkit, were on the rise. Korn’s lead vocalist, Jonathan Davis, was a fan of Ice Cube and the gritty sounds of N.W.A., which was evident in the music he helped create. In 1998, the band collaborated with Ice Cube on “Children of the Korn,” exchanging hardcore verses that spoke to Gen X and Y rebellion, advising parents to “Report to your local church / Report to your local police department / It’s going down.” But Davis always resented the “rap metal” label, calling it “corny” \u003c/span>\u003ca href=\"https://allhiphop.com/features/jonathan-davis-of-korn-is-hip-hop-v91zVz_ZakWXULXJsJaAAw/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">in a 2007 interview\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kdQN-B8aodw'\n title='//www.youtube.com/embed/kdQN-B8aodw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The ’90s also birthed the rap girl/pop girl formula that was showcased on Melanie C (of Spice Girls) and Left Eye’s 1999 song, “\u003ca href=\"https://youtu.be/2nEzfa43VF8\" target=\"_blank\" rel=\"noopener noreferrer\">Never Be The Same Again\u003c/a>.” Two years later, a newly-solo Gwen Stefani and Eve worked together on “Blow Ya Mind,” which won a Grammy for a new category: Best Rap/Sung Collaboration. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jay-Z’s “99 Problems,” released in 2003, came during the beginning of an important shift in American pop culture: as \u003ca href=\"https://www.theguardian.com/music/2004/may/02/popandrock#00s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>’s Sean O’Hagan noted\u003c/a>, by October 2003, none of the top 10 songs on Billboard were by white artists for the first time. “\u003c/span>\u003cspan style=\"font-weight: 400\">The ascendancy of rap and contemporary R&B as the music of choice for young Americans, black and white, was total and irrefutable,” he wrote in 2004\u003c/span>\u003cspan style=\"font-weight: 400\">. Before “99 Problems,” rap historically leaned on rock, its older, angsty and rebellious sibling, for validation from the mainstream pop world. But in 2003, when Jay-Z shared his Rick Rubin-produced, cop-dodging anthem, rap was decades strong and was slowly overtaking rock as the more popular art form—\u003c/span>\u003cspan style=\"font-weight: 400\">though it would take nearly 15 years for it to dominate sales in the streaming era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike “Walk This Way,” the rap-rock collaborations of the early 2000s reflected a spirit of fun and collaboration rather than career-reviving necessity. Rap-rock group Linkin Park, which formed in 1996, released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Collision Course\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with Jay-Z in 2004. The EP’s only single, “Numb/Encore” went on to win a Best Rap/Sung Grammy. But this collaboration wasn’t about resuscitating anyone’s career: both acts were at the top of their game.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yNPECkESPbU'\n title='//www.youtube.com/embed/yNPECkESPbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Collaborations like Avril Lavigne and Lil Mama’s 2007 solid “\u003ca href=\"https://youtu.be/EnwLrQ2ys_g\" target=\"_blank\" rel=\"noopener noreferrer\">Girlfriend\u003c/a>” remix continued the formula’s success into the late 2000s, but by the end of that decade, rap-rock had all but lost its cool. As Jayson Greene noted in \u003c/span>\u003ca href=\"https://pitchfork.com/features/overtones/the-unlikely-resurgence-of-rap-rock/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Pitchfork\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, listeners associated the genre with projects like Limp Bizkit’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chocolate Starfish and the Hot Dog Flavored Water\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an album that brimmed with toxic masculinity and copious amounts of shock value. Lil Wayne’s 2010 guitar-heavy album \u003c/span>\u003ca href=\"https://youtu.be/kY1DgtW5kIQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Rebirth \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">didn’t do as well as his previous releases, and Gen Xers and older millennials began to scoff at rap-rock’s seemingly irredeemable corniness. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, by the second half of the 2010s, enough time had passed for cringe-worthy rap-rock memories to fade, and a new generation that grew up with this fusion took up the mantle. Rock star rappers that came after Lil Wayne, like Young Thug, Lil Uzi Vert and Travis Scott—and even more underground performers such as Bones and Xavier Wulf—picked up the pieces. In 2018, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Neilson reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that rap usurped rock as the best-selling genre, and rock continued to serve as a crucial source of inspiration for rap’s newer faces, including chart-topper Trippie Redd and 2019 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">XXL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Freshman Rico Nasty. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91QQqfr1qzE'\n title='//www.youtube.com/embed/91QQqfr1qzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In a sense, the shift marks a return to form, as Chuck Berry, Little Richard and Big Mama Thornton and other black innovators are often credited for the invention of rock’n’roll. Collaborations continue, but the reception is different. Kendrick Lamar worked with U2 on his Pulitzer-winning album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">DAMN.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (the first-ever rap album to win the prestigious award),\u003c/span> \u003cspan style=\"font-weight: 400\">but the album’s glowing reception had everything to do with Lamar’s vision and little with the rock giant’s cosign. The fledgling finally spread its wings and soared higher than anyone could’ve imagined in less than 40 years. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, when artists like pop-rap-rock crossover act Post Malone reach out to 21 Savage, the intent is different. Rap is now the top dog, the stamp of “cool” that rock acts turn to for charting material. Rock is still an endless well of auditory and visual inspiration. The two have historically helped one another sell, but above all, they’ve exposed each other’s demographics to new sounds and birthed some of the freshest material made the last several decades.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "And Ya Don't Stop: The Beastie Boys Visit City Arts & Lectures in SF",
"headTitle": "And Ya Don’t Stop: The Beastie Boys Visit City Arts & Lectures in SF | KQED",
"content": "\u003cp>In almost every way, the Beastie Boys’ appearance at City Arts & Lectures Monday night was about the person who wasn’t in the room.\u003c/p>\n\u003cp>Adam Yauch, the group’s raspy-voiced MCA who died of throat cancer in 2012, loomed large over the proceedings, from the surviving members’ opening story about Yauch’s elaborate pranking skills to a bittersweet eulogy on his friendship and dedication that closed the two-and-a-half-hour show. \u003c/p>\n\u003cp>Out on the road to promote \u003cem>Beastie Boys Book\u003c/em>, a massive 571-page retrospective, Mike D and Ad Rock did away with with City Arts & Lectures’ usual orange-chairs-and-end-table setup and instead presented a theatrical series of vignettes, complete with costume changes, lighting cues and elaborate sets.\u003c/p>\n\u003cfigure id=\"attachment_13844447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-800x469.jpg\" alt=\"The Beastie Boys' Mike D and Ad Rock at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"469\" class=\"size-medium wp-image-13844447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-768x450.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1020x598.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1200x703.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-960x563.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-375x220.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-520x305.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beastie Boys’ Mike D and Ad Rock at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flanked by two giant video screens and soundtracked by a stage-right DJ Mix Master Mike, the two drank espresso at a French coffee shop one minute, and sat for a late-night talk show segment the next. At one point, Mike D appeared in a smock and red beret, painting a giant canvas of himself nude in a bathtub and getting snacks from a nearby refrigerator. \u003c/p>\n\u003cp>In other words, Ad Rock and Mike D were the same jokesters who donned wigs and walkie-talkies in the “Sabotage” video and seared themselves into 1990s culture. Often, it was hard to tell when the two were being serious—especially with an ongoing gag of the two getting into tiny arguments, which stopped being funny after the first hour and routinely threw off the pacing. But when reading from the book—or rather, from onstage teleprompters—the reflections of the Beasties’ genesis in 1980s New York and creative development in the 1990s came off as vivid and heartfelt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the stories: Meeting Yauch at a Bad Brains show. Hiring Rick Rubin as their DJ because he had a bubble machine. Being asked to play a “pro-smoking” benefit concert by Bob Dylan at Dolly Parton’s birthday party. Looping a reel-to-reel tape of the drums from Led Zeppelin’s “When the Levee Breaks,” the tape spooling around Yauch’s kitchen, for “Rhymin’ and Stealin’.” \u003cem>Paul’s Boutique\u003c/em> getting the brush from the president of Capitol Records, who had the entire staff in 1989 prioritizing \u003ca href=\"https://www.youtube.com/watch?v=nLKzwb2JvLo\" rel=\"noopener\" target=\"_blank\">Donnie Osmond instead\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13844448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-800x583.jpg\" alt=\"Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-13844448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1200x874.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the evening dwelled on the early years. Naturally, the group addressed their discomfort with the \u003cem>Licensed to Ill\u003c/em> era, when they performed songs like “Girls” and kept a 20-foot hydraulic penis on stage: “It was toxic as hell,” Mike D said. The group also kicked out original drummer Kate Schellenbach “because she didn’t fit into our new tough-rapper-guy identity,” Ad Rock lamented. “It was just shitty the way it happened. And I am so sorry about it.”\u003c/p>\n\u003cp>Despite the presence of Mix Master Mike on stage, the two didn’t perform any songs; again, in apparent respect for Yauch. Outside in the courtyard before the show, however, a speaker played early hip-hop for a long line of fans eager to see over 100 pieces of group memorabilia on display: handwritten lyrics, drum machines, old sneakers, a card from Madonna, backstage passes, and yes, the walkie-talkies from Spike Jonze’s “Sabotage” video.\u003c/p>\n\u003cfigure id=\"attachment_13844449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-800x600.jpg\" alt=\"Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13844449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd was mostly over the age of 40. But within that age group were a variety of people: skaters, businessmen, punks, CEOs. People checking Slack in one corner, people sneaking a joint in another. Friends singing “The Biz vs. The Nuge” at the top of their lungs in line. Celebrity chefs like Chris Cosentino, and hip-hop legends like DJ Shadow. It drove home the idea that the Beastie Boys were a social network of their day, a way for disparate subcultures to connect under the unlikely banner of a hybrid rap-rock-jazz group from New York who seemed to know things the rest of the world didn’t. \u003c/p>\n\u003cp>Which raises the question: could something like the Beastie Boys even happen today? No doubt they’d be tagged as appropriators exploiting their white privilege; even more of an obstacle may be the internet itself and its demythologizing effect.\u003c/p>\n\u003cp>It calls to mind one of the earliest web pages on the hip-hop internet, a \u003ca href=\"https://www.newsweek.com/mysterious-website-thats-been-cataloguing-beastie-boys-pauls-boutique-1993-261415\" rel=\"noopener\" target=\"_blank\">complete list of sample sources and lyrical references from \u003cem>Paul’s Boutique\u003c/em>\u003c/a>. Never before published in traditional media, it served as a Rosetta Stone for budding producers, and a treasure chest to fans. But it also took away a little bit of the Beasties’ magic.\u003c/p>\n\u003cfigure id=\"attachment_13844450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-800x471.jpg\" alt=\"The Beastie Boys' Ad Rock, Mix Master Mike and Mike D (L–R) at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"471\" class=\"size-medium wp-image-13844450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beastie Boys’ Ad Rock, Mix Master Mike and Mike D (L–R) at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>With this current tour, the massive book and their openness about their past, the Beasties are finally fitting into the information age, warts and all. And over and over again, last night, Mike D and Ad Rock repeated variations of the same thing: “I wish Yauch were here.”\u003c/p>\n\n",
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"excerpt": "Over two and a half hours, Mike D and Ad Rock told stories, acted out vignettes, and remembered MCA, the group's heart and soul.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In almost every way, the Beastie Boys’ appearance at City Arts & Lectures Monday night was about the person who wasn’t in the room.\u003c/p>\n\u003cp>Adam Yauch, the group’s raspy-voiced MCA who died of throat cancer in 2012, loomed large over the proceedings, from the surviving members’ opening story about Yauch’s elaborate pranking skills to a bittersweet eulogy on his friendship and dedication that closed the two-and-a-half-hour show. \u003c/p>\n\u003cp>Out on the road to promote \u003cem>Beastie Boys Book\u003c/em>, a massive 571-page retrospective, Mike D and Ad Rock did away with with City Arts & Lectures’ usual orange-chairs-and-end-table setup and instead presented a theatrical series of vignettes, complete with costume changes, lighting cues and elaborate sets.\u003c/p>\n\u003cfigure id=\"attachment_13844447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-800x469.jpg\" alt=\"The Beastie Boys' Mike D and Ad Rock at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"469\" class=\"size-medium wp-image-13844447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-768x450.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1020x598.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1200x703.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-960x563.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-375x220.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-520x305.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beastie Boys’ Mike D and Ad Rock at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flanked by two giant video screens and soundtracked by a stage-right DJ Mix Master Mike, the two drank espresso at a French coffee shop one minute, and sat for a late-night talk show segment the next. At one point, Mike D appeared in a smock and red beret, painting a giant canvas of himself nude in a bathtub and getting snacks from a nearby refrigerator. \u003c/p>\n\u003cp>In other words, Ad Rock and Mike D were the same jokesters who donned wigs and walkie-talkies in the “Sabotage” video and seared themselves into 1990s culture. Often, it was hard to tell when the two were being serious—especially with an ongoing gag of the two getting into tiny arguments, which stopped being funny after the first hour and routinely threw off the pacing. But when reading from the book—or rather, from onstage teleprompters—the reflections of the Beasties’ genesis in 1980s New York and creative development in the 1990s came off as vivid and heartfelt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the stories: Meeting Yauch at a Bad Brains show. Hiring Rick Rubin as their DJ because he had a bubble machine. Being asked to play a “pro-smoking” benefit concert by Bob Dylan at Dolly Parton’s birthday party. Looping a reel-to-reel tape of the drums from Led Zeppelin’s “When the Levee Breaks,” the tape spooling around Yauch’s kitchen, for “Rhymin’ and Stealin’.” \u003cem>Paul’s Boutique\u003c/em> getting the brush from the president of Capitol Records, who had the entire staff in 1989 prioritizing \u003ca href=\"https://www.youtube.com/watch?v=nLKzwb2JvLo\" rel=\"noopener\" target=\"_blank\">Donnie Osmond instead\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13844448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-800x583.jpg\" alt=\"Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-13844448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1200x874.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the evening dwelled on the early years. Naturally, the group addressed their discomfort with the \u003cem>Licensed to Ill\u003c/em> era, when they performed songs like “Girls” and kept a 20-foot hydraulic penis on stage: “It was toxic as hell,” Mike D said. The group also kicked out original drummer Kate Schellenbach “because she didn’t fit into our new tough-rapper-guy identity,” Ad Rock lamented. “It was just shitty the way it happened. And I am so sorry about it.”\u003c/p>\n\u003cp>Despite the presence of Mix Master Mike on stage, the two didn’t perform any songs; again, in apparent respect for Yauch. Outside in the courtyard before the show, however, a speaker played early hip-hop for a long line of fans eager to see over 100 pieces of group memorabilia on display: handwritten lyrics, drum machines, old sneakers, a card from Madonna, backstage passes, and yes, the walkie-talkies from Spike Jonze’s “Sabotage” video.\u003c/p>\n\u003cfigure id=\"attachment_13844449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-800x600.jpg\" alt=\"Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13844449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd was mostly over the age of 40. But within that age group were a variety of people: skaters, businessmen, punks, CEOs. People checking Slack in one corner, people sneaking a joint in another. Friends singing “The Biz vs. The Nuge” at the top of their lungs in line. Celebrity chefs like Chris Cosentino, and hip-hop legends like DJ Shadow. It drove home the idea that the Beastie Boys were a social network of their day, a way for disparate subcultures to connect under the unlikely banner of a hybrid rap-rock-jazz group from New York who seemed to know things the rest of the world didn’t. \u003c/p>\n\u003cp>Which raises the question: could something like the Beastie Boys even happen today? No doubt they’d be tagged as appropriators exploiting their white privilege; even more of an obstacle may be the internet itself and its demythologizing effect.\u003c/p>\n\u003cp>It calls to mind one of the earliest web pages on the hip-hop internet, a \u003ca href=\"https://www.newsweek.com/mysterious-website-thats-been-cataloguing-beastie-boys-pauls-boutique-1993-261415\" rel=\"noopener\" target=\"_blank\">complete list of sample sources and lyrical references from \u003cem>Paul’s Boutique\u003c/em>\u003c/a>. Never before published in traditional media, it served as a Rosetta Stone for budding producers, and a treasure chest to fans. But it also took away a little bit of the Beasties’ magic.\u003c/p>\n\u003cfigure id=\"attachment_13844450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-800x471.jpg\" alt=\"The Beastie Boys' Ad Rock, Mix Master Mike and Mike D (L–R) at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"471\" class=\"size-medium wp-image-13844450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beastie Boys’ Ad Rock, Mix Master Mike and Mike D (L–R) at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>With this current tour, the massive book and their openness about their past, the Beasties are finally fitting into the information age, warts and all. And over and over again, last night, Mike D and Ad Rock repeated variations of the same thing: “I wish Yauch were here.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The year was 2009, the Beastie Boys were scheduled to headline Outside Lands in San Francisco, and then came the announcement: MCA was sick. Throat cancer.\u003c/p>\n\u003cp>The Beastie Boys had to cancel the show. When Adam “MCA” Yauch died in 2012, at the age of 47, it officially meant no more performances from the New York-based rap group.\u003c/p>\n\u003cp>Fast-forward to 2018, and to the release of the group autobiography \u003cem>Beastie Boys Book: Live & Direct\u003c/em>, and today’s announcement: the Beastie Boys’ Mike D, Adrock and Mix Master Mike \u003ca href=\"https://www.cityarts.net/event/beastie-boys-book-live-direct-with-adam-horovitz-michael-diamond/\" rel=\"noopener\" target=\"_blank\">will appear at City Arts & Lectures\u003c/a> on Monday, Nov. 5, at the Nourse Theater. \u003c/p>\n\u003cp>There’s no official word on if the group will perform any music, but the announcement includes “readings, conversations between Mike D, Adrock and a special guest moderator, Q&A sessions—all with a live score provided by Mix Master Mike.” An art exhibit with a mixtape soundtrack is part of the event, too, and every entrant gets a free copy of the book.\u003c/p>\n\u003cp>Tickets, at $75 a pop, \u003ca href=\"https://www.cityboxoffice.com/AccessDenied.asp?p=10357&bundleId=0&a=0&backurl=\" rel=\"noopener\" target=\"_blank\">go on sale Friday, Sept, 28\u003c/a>, at 10am. (\u003ca href=\"https://www.cityboxoffice.com/AccessDenied.asp?p=10357&bundleId=0&a=0&backurl=\" rel=\"noopener\" target=\"_blank\">Members\u003c/a> of City Arts & Lectures can buy them Tuesday at 10am.) Considering that San Francisco is one of only four cities to host the tour, tickets will disappear fast. \u003ca href=\"https://www.cityarts.net/event/beastie-boys-book-live-direct-with-adam-horovitz-michael-diamond/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 2009, the Beastie Boys were scheduled to headline Outside Lands in San Francisco, and then came the announcement: MCA was sick. Throat cancer.\u003c/p>\n\u003cp>The Beastie Boys had to cancel the show. When Adam “MCA” Yauch died in 2012, at the age of 47, it officially meant no more performances from the New York-based rap group.\u003c/p>\n\u003cp>Fast-forward to 2018, and to the release of the group autobiography \u003cem>Beastie Boys Book: Live & Direct\u003c/em>, and today’s announcement: the Beastie Boys’ Mike D, Adrock and Mix Master Mike \u003ca href=\"https://www.cityarts.net/event/beastie-boys-book-live-direct-with-adam-horovitz-michael-diamond/\" rel=\"noopener\" target=\"_blank\">will appear at City Arts & Lectures\u003c/a> on Monday, Nov. 5, at the Nourse Theater. \u003c/p>\n\u003cp>There’s no official word on if the group will perform any music, but the announcement includes “readings, conversations between Mike D, Adrock and a special guest moderator, Q&A sessions—all with a live score provided by Mix Master Mike.” An art exhibit with a mixtape soundtrack is part of the event, too, and every entrant gets a free copy of the book.\u003c/p>\n\u003cp>Tickets, at $75 a pop, \u003ca href=\"https://www.cityboxoffice.com/AccessDenied.asp?p=10357&bundleId=0&a=0&backurl=\" rel=\"noopener\" target=\"_blank\">go on sale Friday, Sept, 28\u003c/a>, at 10am. (\u003ca href=\"https://www.cityboxoffice.com/AccessDenied.asp?p=10357&bundleId=0&a=0&backurl=\" rel=\"noopener\" target=\"_blank\">Members\u003c/a> of City Arts & Lectures can buy them Tuesday at 10am.) Considering that San Francisco is one of only four cities to host the tour, tickets will disappear fast. \u003ca href=\"https://www.cityarts.net/event/beastie-boys-book-live-direct-with-adam-horovitz-michael-diamond/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Top 5 Tracks Born from the Bay Area's Filipino Mobile DJ Scene",
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"content": "\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=H-XxMAoaiLM&list=PLDGuz5lFaZAAUWMT3zYMTcoMr6WQcFMMR&index=2\u003c/p>\n\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=it-1CE3aDjA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=0AkeAoHigis\u003c/p>\n\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n[vimeo 12886475 w=500 h=331]\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=XflfiylNNXY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H-XxMAoaiLM'\n title='//www.youtube.com/embed/H-XxMAoaiLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/it-1CE3aDjA'\n title='//www.youtube.com/embed/it-1CE3aDjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0AkeAoHigis'\n title='//www.youtube.com/embed/0AkeAoHigis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XflfiylNNXY'\n title='//www.youtube.com/embed/XflfiylNNXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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