It’s taken me longer than I’d hoped to get this one out, but I’ve really got to write about Adam Yauch.
In 1994 I was quickly solidifying a musical direction. While BMG had mailed me enough Alternative rock to push the pop I’d collected as a pre-teen towards the end of my shelf, there were a few important niches that had yet to be filled. I had yet to come around to punk rock and beyond DJ Jazzy Jeff and the Fresh Prince and a bit of Snoop Dogg, hip hop failed to resonate.
Being from a small northern town (where no bands ever toured), I was heavily reliant on the radio, Much Music and mix-tape trading with friends when it came to finding new music. I distinctly remember tuning into the Countdown in May of 1994 and seeing the video for Sabotage for the first time. I quickly became obsessed with the snare staccato and the punchy, yet totally fluid bass line and overall vibe of the Beasties. I also remember attending a dance at my Jr. High that night, requesting the song and the DJ having no clue what or who I was talking about.
That June, I landed my first decently-paying job cutting grass and picked up Ill Communication as soon as I could afford it. For two months, it was the only album I’d listened to (that and the Crow soundtrack) as I bagged grass, swatted at mosquitos and pushed the mower around our hood. Over the summer, I started becoming familiar with the albums’ deeper cuts and the Beasties ability to balance superb sampling with hardcore punk and NY-influenced instrumental grooves.
Check Your Head came from BMG later that fall and provided me with a snowboarding season’s worth of their earlier jams. So What ‘Cha Want, Gratitude, Funky Boss and Time For Livin’ making it on side B of a riding comp I played to death in a white Walkman I’d borrow/sneak from my sister.
The In Sound From Way Out, a collection of Beastie Boys instrumentals, came out in ’96. It was the first entirely instrumental album I’d ever heard and its lack of vocals instantly confused me. Of course, it didn’t take long for the album to grow on me and find its way into heavy rotation between the mountains of fast, melodic punk cds (quickly piling up as my friends made trips down south to A&B Sound).
Later that year, a joint effort between the Beastie Boys and Malarepa Fund (a non-profit spear-headed by Adam Yauch to promote awareness of Tibetan independence) organized the first Tibetan Freedom Concert. Initially attracted to the lineup of Alternative Nation all-stars, this series was also my introduction to the benefit show. I should say that I’ve played/organized so many of these in the last 16 years that I’ve lost count! Shortly after these shows it was announced that future Beastie Boys tours would all provide spaces for women to enjoy the show up front without having to worry about getting a stray meathead’s elbow to the face. Another way, I thought as a kid, Yauch put his money where his mouth was.
Hello Nasty came out in ’98 and admittedly, I paid less attention. By then I was on a steady diet of punk rock and the album’s heavy reliance on their more traditional hip hop elements were of less interest to me than say, Tim Armstrong raging through anything off Life Won’t Wait. But that’s not to say it wasn’t a grower as well. Intergalactic was a sweet summer jam but more importantly, it went on to win them an award at the VMA’s. I’ve got to say, if you want see an exceptional acceptance speech on international television in a post Gulf War world, check out the video below at 1:33.
In 1999 the Beasties publically apologized for the uninformed homophobia on Licensed to Ill, an album I never dove that deep into. Maybe it was their inner frat boy from ’86 I couldn’t get behind, but that statement definitely made me able to give the album a contextualized listen. As an 18 year old, I also dug the fact the fact a band so well established was actively maturing. Especially since that time was the beginning of fart-joke laced pop punk; dark ages that played an unfortunate role in the development of today’s man-boy culture.
I lost touch with the Beastie Boys for a while in the 2000′s, right through the 5 Bouroughs. I still don’t think I’ve listened to it once! But when they returned with another album of instrumental funk in the late 2007, once again I found them on increasingly higher rotation. I even rebought Ill Communication on vinyl to spin at our DJ night.
My last opportunity to see the Beastie Boys was later that year, in Washington at the Sasquatch Music Festival. I balked because I guess I thought they’d be around forever
Which brings me up to the news of his death at 47, and the emptiness I’ve felt in my stomach since it was announced. I never had the chance to thank Adam Yauch for the tunes and inspiration. Like any great music, it helped get me through rough times and increased my enjoyment of many good times. I always thought of him as the wise Beastie Boy, another man I looked up to as a directionless teenager, whose ethical and artistic influence on me was more than significant.


