Beastie Boys: How They Inspired A Crime Wave, Caused New Laws To Be Written, and Influenced Culture

Summary

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DISGRACELAND – Beastie Boys: How They Inspired a Crime Wave, Caused New Laws To Be Written, and Influenced Culture

Host: Jake Brennan
Episode Release: April 19, 2026 (Rewind episode originally aired January 21, 2025)

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Episode Overview

This episode of DISGRACELAND dives deep into the chaotic and influential history of the Beastie Boys. Host Jake Brennan explores how three New York troublemakers not only helped shape hip hop and punk but also inspired real-world crime sprees, changed the law, and set new standards for artistic influence. Brennan grapples with the Beastie Boys’ controversial early persona—especially their misogynistic antics—and the reckoning and evolution that would follow.

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Key Discussion Points & Insights

1. New York Roots & Hardcore Beginnings

• The Beastie Boys began as a punk/hardcore band in the intense cultural hothouse of early 1980s NY.
• The infamous venue 171A in the East Village served as a locus for hardcore, where violence, punk, and street life collided.
• Notable Moment: The story of Adam Yauch (MCA) holding the door against a gang to protect a fellow punk—a moment that underlines their gritty origins.
  • "17 year old Adam Yauck...was using every muscle in his body to press the door shut.” [11:17]

2. Influences & Cultural Cross-Pollination

• The Beastie Boys’ sound was shaped by everything from black funk and New Orleans jazz to London punk and underground rap.
• Jake lists influences ranging from Bad Brains to the Meters, James Brown, Blondie, Run-DMC, Sly and the Family Stone, affirming their role as cultural sponges and innovators.
• Quote: “To understand the Beastie Boys, you have to understand the concept of influence. Real influence, as in the art that influences us… that’s what’s at the heart of the Beastie Boys influence.” [15:28]

3. From Hardcore Punks to Rap Superstars

• After their transformation into a rap-rock band, the Beastie Boys pushed boundaries with the release of “Licensed to Ill” (1986), the first rap album to hit No. 1 on the Billboard charts, marking hip hop’s mainstream takeover.
• Notable Moment: Brennan can’t resist the nostalgia, “That was the number one song in America on November 15, 1986, and that was the day Beastie Boys released their album License to Ill. An album that would not only bring unimagined success to the Beasties, but an album that would almost also destroy them.” [03:56]

4. The VW Badge Crime Wave

• The “Fight for Your Right” video, where Mike D wears a VW emblem as a necklace, sparks an epidemic of Volkswagen badge thefts across the UK in 1987.
• The thefts reached such heights that VW acknowledged it in ad campaigns: “Designer labels always get ripped off. Never let it be said that we are averse to youth cults. After all, who brought you the Beatles… no sooner did the crime wave quell than the Beasties were caught up in another UK controversy.” [24:17]

5. Riots, Arrests, and Culture Shock

• Beastie Boys’ UK tour becomes infamous for rowdy crowds, negative press, and the Liverpool concert riot after MCA’s infamous, “Fuck you Liverpool!” outburst.
• Adam Horowitz (Ad-Rock) is arrested, spends four days in jail, and eventually stands trial for allegedly throwing a beer can into the crowd.
• Mini-Quote: “Security reemerged and pulled Adrock off stage. The crowd had won. A chant of ‘We Tamed the Beasties’ rang out as a triumphant fight song.” [31:12]
• Their outrageous stage props (giant inflatable penis, beer cans, go-go cages) and raucous behavior lead to legal changes, namely the “anti-lewdness” law in Columbus, GA, after their scandalous performance inspired city authorities.

6. Ironic Downfall: Becoming the Joke

• Jake unpacks how the Beasties’ satirical approach backfired—turning them into the misogynists and “assholes they meant to lampoon.”
• He details reckless interviews, scandals, and mounting discomfort with the frat boy image.
• Quote: “The Beasties had fully become the assholes they meant to lampoon on License to Ill. How did this happen? Success will fuck you harder than a giant 20 foot inflatable cock.” [33:07]
• The group’s disillusionment culminates in disputes with Def Jam (Russell Simmons/Rick Rubin), resulting in their split with the label.

7. Reinvention in LA & The Birth of “Paul’s Boutique”

• Relocating to LA and connecting with the Dust Brothers, the Beasties reinvent themselves with “Paul’s Boutique,” a sample-heavy, psychedelic hip hop record that defies genre.
• Jake romanticizes the relentless experimentation:
  • “The music the Dust Brothers was making sounded like all that [LA promise], but on tape.” [41:05]
  • The record flops commercially, mainly due to the high cost of sample clearance, but later becomes a cult classic.

8. Necessity Breeds Invention: Playing Their Own Instruments

• Shut out by sampling’s legal barriers, the Beasties pivot—playing their own instruments on the next albums, “Check Your Head” and “Ill Communication.”
• Jake compares this creative leap to the Beatles' "Sgt. Pepper’s" evolution, celebrating their return to authenticity and musical roots.
• Quote: "It's hard to overstate how insane this concept was... for a rap group in 1990. But that's what the Beasties decided to do. Largely, I believe, through the influence of Adam Yauck."[52:54]

9. Reckoning with the Past—Growth, Apology, and Legacy

• As their sound matures, so does their worldview—most notably Adam Yauch’s public apology for misogyny in “Sure Shot”:
  • “I want to say a little something that's long overdue. The disrespect to women has got to be through. To all the mothers and the sisters and the wives and friends, I want to offer my love and respect till the end.” [55:16]
• The Beastie Boys recognize their past mistakes, grow, and cement their legacy as influencers who evolve—and acknowledge when they were wrong.

10. The End of an Era: Adam Yauch’s Death and the Beastie Boys’ Impact

• Yauch’s influence on his bandmates is described as “immeasurable but also irreplaceable.”
• The episode closes reflecting on his death (2012), the band's indelible cultural mark, and the enduring value of artistic influence:
  • “The Beastie Boys moved beyond the crime and grime...beyond the arrest and dick jokes...through the absurd Hollywood headiness of Paul’s Boutique, into the triumph of Check Your Head and Ill Communication, powered by influence… a career that left a legacy of influence to be mined for years to come.” [57:45]

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Notable Quotes & Memorable Moments

• “Influence. So much of my record collection is influenced by the Beastie Boys.” [21:32]
• “Who knew that the Beastie Boys inspired a literal crime wave? I didn’t until I got into the research.” [02:40]
• “License to Ill became the first rap album to go to number one on the Billboard charts. A rap album by three white hardcore kids went to number one.” [33:47]
• “Most people conform to the obstacles they encounter… it’s the rare cats who find a way through. Usually the great ones look at a set of challenging fundamentals and decide to change the fundamentals.” [53:21]
• “The Beastie Boys couldn’t move through the loss of Adam Yauck, whose influence on his bandmates was not only immeasurable, but also irreplaceable.” [58:43]

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Key Timestamps

• [02:16] Introduction, framing, and methods
• [06:05] NYC’s music/cultural roots, 171A origins
• [11:17] The gang incident, early dangers, hardcore scene
• [15:28] The importance of “real influence”
• [20:20] Early band lineup and influences, coming of age
• [24:17] Volkswagen badge thefts and the UK “epidemic”
• [31:12] Liverpool riot and Ad-Rock’s arrest
• [33:07] The Beasties become what they mock, cultural backlash, lewdness law
• [39:58] Move to LA, creative rebirth with Paul’s Boutique
• [52:54] Switch to live instrumentation, Check Your Head
• [55:16] Yauch’s apology and band’s moral reckoning
• [58:43] Adam Yauch’s death and legacy

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Tone & Style

Jake Brennan’s narration is energetic, sardonic, and steeped in nostalgia. He toggles between gritty street realism, intellectual music-crate digging, and playful irreverence. Throughout, he reckons openly with the conflict between artistic celebration and critical reflection, capturing the chaotic and contradictory essence of the Beastie Boys and their era.

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Summary

This episode is a rollicking journey through the Beastie Boys’ history—from the grimy doors of punk NY to the heights of pop subversion, through inadvertent crime waves, riots, lawsuits, acts of misogynistic stupidity, and, ultimately, contrition, transformation, and creative transcendence. Jake Brennan contextualizes the band’s legacy as both perpetrators and victims of their own image, as relentless students and teachers of musical influence, and as proof that even the most chaotic beginnings can shape cultural tides for generations.

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For more on the episode, visit disgracelandpod.com.

Transcript

[Bethenny Frankel]

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[Jake Brennan]

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[Bethenny Frankel]

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[Jake Brennan]

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[Jake Brennan]

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[Bethenny Frankel]

Imagine getting rewarded for eating a toad in the hole.

[Jake Brennan]

Wait, what is a toad in a hole?

[Narrator/Announcer]

Visit Wells Fargo.com autographjourney Terms apply. Amazon presents Jamal vs. The Shih Tzu Descending from the Gray Wolf Shih Tzus live by their own untamed primal code of not giving a single shih tzu. But Jamal shopped on Amazon and bought dog treats, chew toys and 32 ounces of carpet cleaner. Hey Jamal, you've been promoted to pack leader. Save the everyday with Amazon. Support for the show comes from Public, the investing platform for those who take it seriously. On Public, you can build a multi asset portfolio of stocks, bonds, options, crypto and now generated assets which allow you to turn any idea into an investable index with AI. It all starts with your prompt. From renewable energy companies with high free cash flow to semiconductor suppliers growing revenue over 20% year over year, you can literally type any prompt and put the AI to work. It screens thousands of stocks, builds a one of a kind index and lets you back test it against the S&P 500. Then you can invest in a few clicks. Generated assets are like ETFs with infinite possibilities, completely customizable and based on your thesis, not someone else's. Go to public.com podcast and earn an uncapped 1% bonus when you transfer your portfolio. That's public.com podcast paid for by Public Investing Brokerage service by Open to the Public Investing Inc. Member FINRA and SIPC Advisory Services by Public Advisors llc, SEC Registered Advisor. Generated Assets is an interactive analysis tool. Output is for informational purposes only and is not an investment recommendation or advice. Complete Disclosures available at public.comdisclosures hey DISCOs,

[Jake Brennan]

welcome in for another fantastic voyage into the Disgraceland Archive this week to rewind to our Beastie Boys episode. Originally released on January 21, 2025, this was a difficult episode for me to write. I love the Beastie Boys. They're one of my favorite groups, all timers and I wanted to celebrate that and to bring to the forefront some of the crime that's part of their history. But I also wanted to fairly reckon with who the Beasties really are and most ingloriously how they became the joke that they were trying to make about misogyny, and then later, how the group faced that regrettable part of their past and overcame it. So not the easiest episode to contend with. But also, this story in terms of crime, it's truly revelatory. I mean, who knew that the Beastie Boys inspired a literal crime wave? I didn't until I got into the research. Anyways, it's all here in this episode, plus a bit of a dive back into the band's hardcore roots. And also the way in which my favorite Beastie Boys album, Paul's Boutique, came to be. I hope you dig this. I want to hear what you think. So leave a review for Disgraceland on Apple Podcasts or just give me a call at 617-906-6638. Rocka Rolla Disgraceland is a production of Double Elvis. This is a story about three bad brothers you know so well. It started way back in history with A.D. rock, MCA and me, Jake B. I mean, and Mike D. This is a story about a crime wave, an arrest, a lot of arrests. It's a story about three friends who became one of the most influential groups of all time. And this is a story about Beastie Boys, a group that made great music, music influenced by great music, and of course, music that influenced other great music. And that music I played for you at the top of the show, that wasn't great music. That was a preset loop from my melotron called snakefoot rat jam mk1. I played you that loop because I can't afford the rights to Amanda by Boston. And why would I play you that specific slice of rockman headphone cheese? Could I afford it? Because that was the number one song in America on November 15, 1986, and that was the day Beastie Boys released their album License to Ill. An album that would not only bring unimagined success to the Beasties, but an album that would almost also destroy them. On this episode, how the three bad brothers avoided self destruction, a crime wave, an arrest, other arrests, a wide array of incredible influence in the Beastie Boys. I'm Jake Brennan, and this is disgrace.

[Narrator/Announcer]

You really don't understand, do you?

[Jake Brennan]

Hey, man, don't you realize in order for us to make this thing work, man, we've got to get rid of the pimps pushes in the process,

[Narrator/Announcer]

then

[Jake Brennan]

start all over again. Clean. New York City is one of the most influential cities in the world. Art, dance, film, food. New York's cultural impact has always been significant, and its influence as a music mecca Spans back to the beginning of the 20th century, most notably, for my tastes anyway, Back from the dawn of hip hop and punk in the 70s all the way to the jazz of the 1920s and 30s. During that time, the Harlem renaissance gave the world Louis Armstrong, Duke Ellington, and Billie holiday, Artists who migrated to a city that made them and then exported them back to the rest of the world as stars. But by the 1970s, there wasn't much being exported out of Harlem besides heroin, and the drug's influence, like jazz in the 20s and 30s, could be felt throughout the rest of America. Back in Harlem, heroin was big business, with manufacturing centers spread throughout the city at large. New York City heroin, whether it was china white from southeast Asia or blue magic from Harlem. Gangster Frank Lucas, required cutting or dilution from its original pure state, in part so that it didn't kill the customer, but also so the dealer could retain more of the profit. Heroin can be cut with many different ingredients. Quinine, caffeine, even strychnine. That's right, rat poison. If you're booting up the brown boys and girls, you're likely injecting yourself with low levels of rat poison. Heroin is also sometimes cut with another drug called mannitol, A substance banned on the street in part because though it was developed to treat various ailments, by the late 1970s, Mannitol was mostly used to cut heroin, which is exactly what it was being used for. In 1976, at 171 Avenue A in New York's East Village, 2,400 pounds of mannitol, or manite as it was called on the street, was seized from the owner of the abandoned, burnt out, six story building. The street value of the illegal cutting agent was estimated to be half a million dollars, Likely more than the value of the building. They found the stash in 171 Avenue A. The building survived that mini scandal, and by 1981, it had become an unofficial clubhouse for the burgeoning New York hardcore scene. A group of disaffected lower east side punk kids, influenced more by the rage of black flag than the outlandish put on of the Sex pistols, were using the building, now commonly referred to AS171A, to put on shows, record demos, and just to hang out. Soon, a record store, the Rat cage, opened in the basement. Inside 171A youthful optimism and punk entrepreneurialism thrived. Records by the exploited, the business discharge and others were imported from the UK and sold at the Rat Cage, A demo by Washington DC's mighty bad brains. The infamous Roar demo was recorded upstairs in the makeshift studio. His shows were happening weekly, attracting hordes of punk obsessed, short haired, trench coat, wearing Doc Marten boots, rooted street hoods from all over the city, even from the Upper east side and as far afield as Brooklyn. Inside the doors of 171A, you could feel the headiness of a new style of music and a new scene being alchemized. Hardcore aggressive music blasted kids obsessed over seven inch singles and cassettes. Some geeked out on subversion by going straight edge, others burnt brain cells on Gorilla Biscuits and Brass Monkey. The youthful positive energy was infectious. And this was a new kind of punk. Just as important as what came from London a few years prior and twice as dangerous, but not nearly as scary as the hardcore reality that was happening outside the doors of 171A. Where New York City's Lower east side in 1981 was sometimes as violent a war zone as the Southeast Asian origins of the China White that was plaguing New York streets. The door wouldn't stay shut and it needed to. If the punk rocker on the other side of that door pushed his way into 171A, then the Puerto Rican street gang that was trying to kill him would also make its way way into the club and this Bad Brain show wouldn't be the joyous hardcore event it was meant to be. Instead, Blood Clot would progress to a literal bloodbath and the couple dozen kids inside who were losing their shit to the blast fury of the greatest hardcore band on the planet would surely be massacred. 17 year old Adam Yauck, bass player for the 4 piece hardcore band Beastie Boys, a band who'd just been kicked out of the 171A studio after spending too many days tracking the their Polliwog Stew EP was using every muscle in his body to press the door shut. Others were behind him, helping pressing their weight into the door, which remained open a crack refusing to shut due to the manic fury of the punk rocker on the other side trying to muscle his way into 171A. The Puerto Ricans meant business. The punk was a dead man if he didn't get in. He did get in past Adam Yauk, but not before getting stabbed in the shoulder by one of the gang members. In the end, the gang was shut out and that punk rocker who escaped into 171A was John Joseph, friend and roadie to the Bad Brains and later the frontman for one of the most influential New York hardcore bands of all time. The CRO Mags, who like the Beastie Boys and like other hardcore pioneers, Agnostic Front and Warzone, would become mainstays at 171A. To understand the Beastie Boys. Side note, it's Beastie Boys, not the Beastie Boys. I'm fully aware. But even though that's how the Beasties, Adam Yauke's surviving bandmates Michael diamond and Adam Horowitz say it, I just can't do it. Maybe it's because I'm a suburban kid who didn't get into the Beasties until they hit MTV after completely shedding their hardcore roots for whatever the hell genre you want call fight for your right to party. Us, I can't do it. So sue me. It's the Beastie Boys. But back to our story. To understand the Beastie Boys, you have to understand hardcore. It's where they came from. And you have to understand New York City because, well, duh, you also have to understand hip hop or rap, as it was almost exclusive, exclusively referred to back then during the days of Grandmaster Flash and the Furious 5, the Funky 4, plus one more, and so many others. And to the extent that it's possible, you have to understand any and all soulful music released between the years 1967 and 1987. Alphonse Mouzon, Osmutantes, Public Image Ltd. Afrika Bambaata, Malcolm McLaren and so many others. The Beastie Boys were simultaneously captivated by two genres of music that were being invented right there in that moment in New York. Hardcore in hip hop. And they were fully aware of and captivated by the music that was influencing those genres, particularly the sounds influencing hip hop, all of the coolers and cool music that was present on every radio and the city, pumping out of every downtown club and filling every record store. Spoonie G, Butthole, Surfers, chic, Blondie, Run, DMC, Napalm Death, Curtis Blow, Tana Gardner, TomTom Club, Black Flag, Nico, Even Tito Puente. To put it simply, to understand the Beastie Boys, you have to understand the concept of influence. Real influence, as in the art that influences us. Not some above average looking 20 something in front of a camera beneath a ring light on your Instagram page. Real influence. Because that's what's at the heart of the Beastie Boys influence. The influence of the music they loved, the influence of the city they grew up in, and the influence each member of the band, each a great friend to one another, had on each other. You also have to understand the influence the Beastie Boys, a band that by 1987 had grown from the crime and grime of the hardcore subgenre into a chart topping cultural phenomenon. You have to understand the influence the Beastie Boys had on mainstream culture. Influence that resulted in the makeup of huge parts of our record collections. Influence that resulted in new laws being written. Influence that resulted in clandestine espionage, in beatdowns, in riots. Influence that even resulted in a crime wave.

[Bethenny Frankel]

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[Jake Brennan]

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[Narrator/Announcer]

from Public, the investing platform for those who take it seriously. On Public you can build a multi asset portfolio of stocks, bonds, options, crypto and now generated assets which allow you to turn any idea into an investable index with AI. It all starts with your prompt. From renewable energy companies with high free cash flow to semiconductor suppliers growing revenue over 20% year over year, you can literally type any prompt and put the AI to work. It screens thousands of stocks, builds a one of a kind index and lets you back test it against the S&P 500. Then you can invest in a few clicks. Generated assets are like ETFs with infinite possibilities, completely customizable and based on your thesis, not someone else's. Go to public.com podcast and earn an uncapped 1% bonus when you transfer your portfolio. That's public.com podcast paid for by Public Investing Brokerage Services by Open to the Public Investing Inc. Member FINRA and SIPC Advisory Services by Public Advisors llc. SEC Registered Advisor Generated Assets is an interactive analysis tool. Output is for informational purposes only and is not an investment recommendation or advice. Complete disclosures [e-mail] disclosures

[Jake Brennan]

I didn't grow up in Manhattan in the 70s and 80s, which, let's be honest, would have been the best time anyone could grow up in Manhattan. But I'm happy that I didn't. I'm not sure I would have had the discipline or parenting required at such a young age to survive. The Beastie Boys, though, they're a different story. Adam Yok, Michael diamond and the Beasties. Two other original members, Kate Schellenbach on drums, who would eventually depart and years later go on to form the excellent group Luscious Jackson and John Barry, an early friend whose departure would make way for Adam Horowitz to join the group, cementing the classic Beasties lineup of Ad Rock, Mike D and mca. All of these kids were raised inside a cultural hot house in which every day the most incredible music on the planet was not only available to purchase in record stores all over the city, but also available to witness and experience in clubs throughout Manhattan. The aforementioned 171A, where hardcore was basically invented. Danceateria, where Madonna, Basquiat, Sade and Debbie Mazar performed, worked and partied Max's Kansas City the Warhol Haunt, where the Beasties played one of their first shows opening for the Bad Brains, which was actually the last show ever at Max's. All of this incredible exposure forged the Beasties. You can hear early 1980s New York City and the absolute coolness of the Beasties orbit all over their records, from early hardcore to the rap rock of their smash debut lp, Licensed to Ill to Paul's Boutique, Check youk Head, and throughout the rest of their storied catalog. My parents didn't raise me in New York city in the 70s and 80s. Like most of you, I wasn't exposed to the root level musical coolness that the three eventual members of the Beastie Boys were exposed to at such a young age. But what I did have was a father with an insane record collection. And my old man wasn't raised in New York City either. But you wouldn't know that by cruising through his records. And by the time I started reading interviews with the Beasties in which they listed their influences, I didn't need to go to the record store and spend money to check out those records that were influencing one of my favorite bands. No, I just needed to go to my dad's on the weekend, be careful not to annoy his girlfriend, and I was free to sit in his music room with a new stack of 90 minute Maxell XL2 cassette tapes and record whatever the hell I wanted. Oh, the Beastie Boys are into this New Orleans fan funk band called the Meters. Let me check the M section of my dad's records. Yep, there's the Meters self titled debut. Holy shit. This is where the Beasties got that instrumental vibe from Check youk Head. I'm gonna tape this. And yeah, that Get Funky sample from Paul's Boutique is James Brown. So let's go to the B section. Holy shit. There's. There's a lot of James Brown records here. But what are these JB's albums? I'm gonna tape this Doing it to Death record because I like the COVID and I have the whole other side of my new Meters Max L to fill. Now where are those Sly in the Family Stone records? Because my buddy Stacks was telling me that that's where the Shadrack sample comes from. Wait, my dad has a Slayer album? That guitar player is all over License to Ill. Everyone knows that. My dad took me to Sea Slayer last year at the Orpheum. But I still don't have a copy of Rain and Blood. So I'm going to tape this. Influence. So much of my record collection is influenced by the Beastie Boys. And as I mentioned before, once the Beasties hit, they began to influence culture in ways even they never could have imagined. It was a classic crime wave. A whodunit as compelling as the mutilated bodies they found out on the moors during the past century. Or those mysterious crop circles out in Hampshire. Or the cows the Bexley farming community reported, disemboweled with surgical like precision and drained of all their blood. The newspapers suspected Satanists, but the locals had more supernatural suspicions. The crime wave that was currently capturing London's collective imagination involved a rash of mysterious robbers. The theft of a specific item. An item that confounded local authorities. The front grill badge of local Volkswagen owners. The iconic VW logo, big, round and metallic. The low rent version of the iconic Mercedes and Cadillac hood ornaments. Volkswagen didn't even mount their hoods with their logo. They placed it in the grille on the the front of the car. It was cheaper, I guess, which was kind of the point of a Volkswagen. It was cheaper. But why were Volkswagen hood badges being stolen off of cars throughout London and beyond during the summer of 1987? The newspapers and nightly news programs became obsessed with this mystery. Even Volkswagen. The company wanted answers. For those answers one needed, look no further than the pop charts, where three young hardcore kids from America who'd recently become obsessed with rap had a top 10 album in the UK with license to Ill, propelled by the single you gotta fight for your right to Party which had taken over the airwaves. The video for Fight for your right was being played everywhere, non stop. And in that video, Mike D took the piss, as they say across the upon out of those super serious Rappers with their luxury brand hood ornaments hanging from their necks. Mike opted for a more sensible, affordable necklace. He jammed a Kano sporting the Volkswagen logo as a joke. And that act inspired, yes, a literal London crime wave. The news reported the mysteriously missing VW badges as a quote unquote epidemic. The BBC reported that 250 Volkswagen customers were requesting replacement badges daily. But once it was discovered that it was the Beasties and their fight for your right video that inspired the mass transgression, Volkswagen got in on the action. The company launched an ad campaign with the tagline designer labels always get ripped off. Never let it be said that we are averse to youth cults. The company joked. It went on, after all, who brought you the Beatles? B E E T L E S no sooner did the crime wave quell than the Beasties were caught up in another UK controversy. This one had much more potentially dire consequences. Adam Horowitz had no idea how long he was going to be in jail. He was arrested in London and jailed back in Liverpool for allegedly assaulting a concertgoer. Specifically, he was being accused of whipping a full beer can into the crowd from the stage of one of their shows. The beer can unfortunately hit a young girl in the face. Since the Beasties had arrived in the UK to promote License to Ill, the tabloids had seized on this riotous band of American hooligans, the likes of which they hadn't seen since the Sex Pistols. Every single day the English tabloids printed libelous headlines about the Beastie Boys hooligan behavior. In return, English fans were determined to show the Beasties what real hooliganism was all about. Their shows became unruly and in Liverpool, the shit, as they say in America, hit the fan. For whatever reason, youthful stupidity, misplaced punk rock anger. When MCA took the stage, he screamed fuck you Liverpool into the mic. Immediately the vibe shifted from eager rock and roll live show anticipation to who the fuck does this wanker think he is? And shit was on. Beer cans rocketed from the dance floor onto the stage. Boos rang out from the audience. More beer can cans rained down from the fans in the balcony. MCA freaked and called for the house lights to be turned on. The Go Go dancer inside the giant Go Go Dancer cage on stage cowered. That's right. On this tour, the Beasties were rocking a giant Go Go cage. Flanked by two massive Bud Tallboy cans as stage props. The Beasties dj, DJ Hurricane, who is standing on a different riser, took a flying beer can to the head. Security rushed to the stage to protect the Beasties and to get them to safety. Then Adrock Re emerged from stage left with a baseball bat in his hand. The crowd calmed for a moment until Adrock dug in and stood his ground like a defiant Lenny Dykster at the plate. Under the lights at Shea, the angry crowd obliged, the young punk launching more full beer cans. Adrock hung in there, swatting as many cans as he could with the baseball bat, sending them back into the crowd. Security reemerged and pulled Adrock off stage. The crowd had won. A chant of We Tamed the Beasties rang out as a triumphant fight song. Gang vocal, the Beasties hightailed it back to London. In their wake, the crowd was left to riot amongst itself, brawling on the dance floor with Roman gladiator fury for no reason at all other than there was nowhere to place the anger that the Beasties had inspired. The cops were called in, tear gas was dispensed. Many were injured. The riot was eventually quelled before the night ended. Back in London, Adam Horowitz, AKA the King Ad Rock would be cuffed in his hotel room, driven back to Liverpool, fingerprinted and jailed for four days to await his court appearance. This would result in a trial at a later date for which his semi famous father, the playwright Israel Horowitz, would provide a celebrity lawyer to get his son acquitted of the assault charge, an allegation which he still denies to this day. The larger point in the aftermath of this event, and more broadly speaking, in the aftermath of a full year of touring to support the post hardcore version of the Beastie Boys, the rap rock Rick Rubin produced version of the Beastie Boys, the riotous pro wrestling caricature version of the Beastie Boys. A group that toured in support of Madonna. Yes, Madonna, while managing to offend 12 and 13 year old girls on a nightly basis and to tour with their heroes in Def Jam Records labelmates Run dmc and to hit the road on a headlining tour in support of the first number one rap record in history. A tour that included not only go go dancers in cages flanked by giant bud tall boys, but eventually featured a giant 20 foot inflatable penis complete with a pulsing vein. To add that Warhol influenced dose of realism behind a band spitting nursery rhymes meant as satire but that played as juvenile misogyny. Girls to do the dishes, girls to do the laundry, Girls to clean up my room. The larger point was what the hell happened to the Beastie Boys? The giant penis. The fight for your right to party video in which the Beasties gleefully trashed a friend's apartment. All the Mo, Larry and Curlying through MTV interviews, the Archie bunkering their way through a Village Voice interview in which Ad Rock claimed he hated, quote unquote, faggots. And MCA clumsily trying to clean up his bandmate's quote with even more homophobic comments. The Beasties had fully become the assholes they meant to lampoon on License to Ill. How did this happen? The Beasties were hardcore kids from a scene that promoted feminism, equality, and an updated version of the liberal ideas their Upper east side parents champion. Now the Beastie Boys were literally the butt of a dick joke. They couldn't blame their producer, Rick Rubin, who, yes, encouraged them to lean into the WWF side of their image. An image that paired perfectly with the classic rock guitar samples and Slayer riffs that chugged through License to Ill. Then they made the choice to go along with Rick's creative and commercial genius, no matter how crass. But classic rock riffs? They didn't even like classic rock. They grew up on Malcolm McLaren and Oingo fucking Boingo. They couldn't blame their manager, hip hop impresario Russell Simmons, the other half of Rick Rubin's Def Jam Records. Russell wanted the band to do whatever they could to be as commercial as they could. But Russell also hooked the Beasties up with his brother DJ runs group Run dmc, literally the biggest rap group on the planet, who provided a steady, aspirational influence. An older group who knew how to act. A group that, no exaggeration, was selling out stadiums. Run DMC took the Beasties under their collective wing. The Beasties had every influence they needed to stay true. But somehow they lost the script. They have become what they hated. Success will fuck you harder than a giant 20 foot inflatable cock. And that's kind of what happened when in 1987, license to ill became the first hip hop album to go to number one on the Billboard charts. That bears repeating. License to Ill became the first rap album to go to number one on the Billboard charts. A rap album by three white hardcore kids went to number one. All the benefits that came along with that success, all the beer, all the pussy, the press, the adulation, they fucked the Beasties up. And the Beasties fucked shit up in response. In August of 1987, rapper LL Cool J was arrested in Columbus, Georgia for pantomiming sex on stage stage. In 1988, Kiss's Jean Simmons was arrested in Columbus, Georgia for, as he claimed, adjusting his crotch on stage. In 1989, Boston pop sensation Bobby Brown was arrested in Columbus, Georgia in mid performance, right there on stage for dry humping a girl he'd invited on stage to dance. Why were all these artists who arrested in Columbus, Georgia in the late 80s? Well, because of the influence of the Beastie boys. Because in 1987, Columbus authorities were so offended by the Beasties performance, by their inflatable penis and their encouragement of young women in the crowd to bare their breasts that Columbus, Georgia passed an anti lewdness law prohibiting nudity in simulated sex at any show attended by minors. What in the hell have the Beastie Boys become? We'll be right back after this. Word, word, word.

[Bethenny Frankel]

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[Jake Brennan]

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[Jake Brennan]

New York City was too hot. The Beastie Boys needed a change of environment. Los Angeles, it was decided, was where the Beasties would take it on the lamb. While the lawyers decided the group's creative fate, turns out that greed is a greater influence than friendship. At least when it concerned the Beasties friend Russell Simmons, who ran Def Jam Records and refused to pay the band royalties for their mega selling album License to Ill, insisting, suggesting that the group was in breach of contract for not recording their second album on time. A deadline that was impossible due to the fact that the band was constantly touring to support the sales of their first album. Sales that benefited the record label, not them. It was a wicked irony, one that only sunshine and weed and skateboards and great music could cure. Music that couldn't be found anywhere but in la. At least it couldn't be found in this way, in any place but la. Because LA was where the Dust Brothers were making music. In a grimy apartment on the wrong side of sunset, in a neighborhood where you'd maybe get shot if you weren't careful. One in which you'd most definitely get proposition. The dangers reminded Adam Yauck of back home in New York, one of those street corners. Corners where your whole life could change in an instant depending on the type of mood the city was in. Yauck saw it differently, though. As he did most things, this wasn't something to be feared, it was something to be celebrated. Because that danger, that tension, sprung from 8 million different personalities, each with their own influence to offer. New York City was about layers, a multitude of creative offerings, each intertwined with the other. All of it there for the mining. You could try on whatever you wanted. Wear this hat for a while, or that coat, check out this used record, or try your hand at someone else's cast off and consigned vintage instrument. You could experiment with these layers until you got it right. It, of course, being you, or more specific, specifically, your style. Adrock, who was in LA before his bandmates filming a movie with Donald Sutherland called Lost Angels, heard this music first. Somehow, underground LA DJ and Delicious Vinyl mastermind Matt Dyke got into Adam's ears with this music he was making with a set of Pomoma college radio station kids, Michael Simpson and John King, who were calling themselves the Dust Brothers. The music Dyke and the Dust Brothers were making was like nothing the young Beastie had ever heard. The samples weren't obvious, they weren't blocked off meat and potatoes, classic rock style. They were soundscapes, precisely stitched together to create their own arrangements. It wasn't about a lone breakbeat looped for 16 bars to create room for a rhymed verse. It was about 4 seconds of a drum fill that segued into 10 seconds of a beat from another tune with a keyboard sample on top of that beat. That quickly gave way to a guitar riff from another song over a different beat and bass line from another tune in the same key, which was then accentuated by a clip from a fucking Spielberg movie which disappeared before you even knew it had shown up. And that then swung straight back into the top layered verse you just heard, leaving you spellbound by a collage of samples to rhyme over rather than one Led Zeppelin drum be in one looped Kerry King riff. It was that feeling you get when you land at LAX and jump in the back of a cab with that sunshine beating down on your face as you race through Englewood toward Hollywood. All that promise, all that hope for whatever bounties your stay in this ridiculous town is going to bring your way. The music the Dust Brothers was making sounded like all that, but on tape. Adam Yauck and Mike Dee were way down when Adrock brought them out to LA to hear what he'd discovered. And the Beastie Boys, with their new producers, set out to make their second album with a new record label, the storied Capitol Records. While their old record label back in New York City plotted out ways to stop them. Poolside at the Mondrian Hotel on the Sunset Strip. The hotel was the brainchild of Ian Schrager, former partner of Steve Rubell, the Studio 54 impresario. With its new York roots, the Mondrian was as good a place as any for the Beasties and their friends to hole up during the day while they worked on their next record at night. Elsewhere, the Beasties may have begun to grow out of their misogynistic professional wrestling caricatures of the first album, but that didn't make them any less mischievous. They ordered lavish, expensive meals on Capital's dime and had them sent to the room of Bret Michaels from Poison. And they launched eggs from their balcony down onto the Strip, Pelting cars and the heads of scenesters waiting behind velvet ropes. And they got way stoned and super paranoid. Who were those dudes? The dudes in the cheap suits and the black shoes and white socks? Yeah, those dudes who were dressed kind of like Ricky Powell's nerd character from the Fight for your right to Party video. And they were there a couple feet from the pool over by the bar, but Then after you'd set eyes on them, they'd be gone. They seemed to be watching, always waiting, looking for something. The Beasties were convinced they were going to be served or worse, served papers, to appear in court back in New York to settle this beef with Russell Simmons and Def Jam or maybe served up some violence, some sort of old school roulette records retribution. Who knew what Russell was capable of? What was that dude up to at night anyway? Where did he go? What did he do? And with who? Russell was. The Beasties, along with their entourage, which included Adrock's girlfriend Eone sky and her brother Donovan Leitch, and the excellent character actor Max Perlich, who you might recognize from movies like Drugstore Cowboy and Rush, and perhaps also from the young MC Video Bust a move. They all bounced from the Mondrian to get out from under the prying eyes of Russell Simmons spies, or the eyes of those who the Beasties, in all of their stone paranoia, imagined to be Russell's spies. They rented a house up near the Griffith Observatory, a home they would soon dub the G Spot. It belonged to TV producer Alex Grashoff and his wife Marilyn. Mrs. Grashoff's wardrobe was a treasure trove of 70s clothes. Dolomite, Rudy Ray Moore, Pam Grier, Shaft. All the blaxploitation films the Beasties vibed on in New York seemed to physically come to life inside of Maryland Grasshoff's closet. And the Beasties got down on all of it, trying on the clothes and taking inspiration from the feel of the vintage threads, a vintage that suited the music they were making perfectly. The music was not Def Jam fare. This music was something different. Fortunately, the beef between the Beasties and Russell Simmons was eventually resolved and the group group was allowed to pursue the new music they were making. And it was great. Unlike anything on License to Ill. Together with the inspired production of Matt Dyke and the Dust Brothers, these new songs for the Beasties, first Capitol Records effort sounded different than anything that had been recorded, not only in hip hop up to that point, but in all of popular music. This music had more in common with the layered pop symphony of sergeant Peppers and Pet Sounds than it did classic rock and professional wrestling. It was a totality of influence reborn into something completely its own. It was the JB's and Funky Snakefoot, fusion and melancholic. Donny Hathaway and Curtis, Superfly and AJ Scratch by Curtis with a K and Steven Spielberg needing a bigger boat. And Lennon and McCartney playing their way out of Abbey Road. And Loggins and Messina and the fucking Eagles, man. The Eagles, BDP and yes, of course, Run DMC machine guns and holy ghosts. More bounce to the ounce and getting arrested in Mardi Gras for jumping off the float. And your man MCA with his beard like a billy goat. The disco call, the car wash, the funky drummer, go go the levy breaking, Mr. Big Stuff, Susie, your mama, Sergeant Pepper, Mojo, Sports, Sharon, Miss America, Shadow Rack, Meshak, a bed and a go and so much more. It was the sound of that corner back in New York in MCA's mind. Rivington and Ludlow on the Lower east side. More specifically, it was the sound of the store on that corner. A thrift store. The sound of all of its items come to life. The vintage 70s clothing, the disco polyester, the west side's rough trade leather, the punk denim, the classic rock studs. It was the sound of the forgotten vinyl in the dollar bin, sticks and seeds in the crease, the dusty banjo in the corner, the racks of gin soaked coke dusted memories from 8 million influences, from an infinite number of crazy nights that happened only in New York. It was the best immense cloth art. So Jenny, so The number is 718-498-1043. That's Paul's boutique and they're in Brooklyn. For as great as Paul's Boutique was, it was not received well. Critics were lukewarm, the record didn't sell, and Capitol Records nearly dropped the Beastie Boys, mainly because of the money the label had already sunk into the group, a large portion of which went to clearing the almost immeasurable amount of samples on Paul's Boutique. Capital was forced to keep the Beasties signed and to go for one more album to recoup their losses. But this time it would be different. The next Beastie Boys record would have to be constructed and produced differently. Clearing the same number of samples as Paul's Boutique was financially impossible. Despite the failure of Paul's Boutique, the Beastie Boys were a household name. And the obscure artists the Beasties sampled had the group's representatives over a barrel when it came time to negotiate samples. Sampling fees, rightfully so. The older artists whose influence constitutes so much of Paul's Boutique wanted to get paid, and they did. But this wasn't a sustainable way to make records. There would never be another Paul's Boutique, which is a shame. Imagine if the Beatles weren't allowed to make Sergeant Peppers after hearing Pet Sounds. We'll never know what greatness could have sprung from one of the Beasties contemporary. Or perhaps how the Beasties would have followed up Paul's Boutique had they been afforded the opportunity to make another record in the same way. Instead, the group's limitations forced them to dig deep. Not into the record crates hidden in the back of downtown vintage shops, but through the classified pages listing vintage instruments. Because for the Beastie Boys next record, the musical group would do something truly revolutionary. They would play their own instruments. The next Beasties album was another wild creative swing and also a make or break business endeavor. Had it not worked out, Capitol Records would have dropped the band, and they'd likely be working for tech firms or Hollywood production companies right now. But the Beastie Boys didn't let that happen. Plato said that necessity is the mother of invention. HR from Bad Brains said, don't care what they may say we got that attitude don't care what they may do we got that attitude. And Adam Yauck said that Bad Brains created the quote unquote, best hardcore album of all time, the roar demo that features the aforementioned lyric. Adam Horowitz and Michael diamond themselves will tell you that Adam Yauch was a different kind of kid. He was the mother of invention, at least in their band. He was the type of kid who, according to Adrock, said things like, I'm gonna walk up to the top of the Empire State Building with cameras taped to my shoes. I'll carry you up piggyback style. It'll be funny. Let's go. Most people conform to the obstacles they encounter. They either find their way around them or find a way to avoid them altogether. It's the rare cats who find their way through. Usually the great ones look at a set of challenging fundamentals and decide to change the fundamentals to find their way through the obstacle. Oh, we can't rely on samples to make our next hip hop record because it's now too expensive. No problem. We'll just play our own instruments. It's hard to overstate how insane this concept was and I guess still is for a rap Group in 1990. But that's what the Beasties decided to do. Largely, I believe, through the influence of Adam Yauck. And the gambit worked. The Beastie Boys next album, Check youk Head, was a turn inward. It was a completely authentic representation of all of what influenced the Beastie Boys. Not just the downtown New York coolness, not only the Hollywood kid absurdity. And not just the larger than life license to ill caricature charisma. It was all of those things, but it was also all of the little things that made the Beastie Boys tick. Skateboarding, basketball, spirituality, a return to their hardcore roots, an instrumental reach toward Floyd's metal and a New Orleans sissy strut. It was bad 70s television, John Coltrane, Japanese baseball references. So bad they're good buddy cop movies, and a common constant effort by each band member to make the others laugh. It was as close a representation as an album can get to the entire picture of the artist who made it. And because of that, Check youk Head had a much broader appeal than its predecessor. And because of that and the band's relentless touring behind the album, Check youk Head became the massive hit it deserved to be, as did its successor, Ill Communication, a record that is really a continuation of Check youk Head, made in the same way and within the same whirlwind of creative time and place and circumstance. So much so that these two albums now together sound like one of music history's greatest double albums. This time period for the Beastie Boys was also a reckoning, a chance for the group to right the wrongs of their misogynistic past, to show who they were at their core. Hardcore kids, not dickhead frat boys dudes who may have lost the plot at one point, but who had finally had an understanding not only of who they were, but who they were meant to be. On Ill Communications sure shot Adam Yauck. I want to say a little something that's long overdue. The disrespect to women has got to be through to all the mothers and the sisters and the wives and friends I want to offer my love and respect till the end. But the end, unfortunately, would come too soon for mca. There would be four more full length albums. The most excellent hello nasty to the five boroughs, the mix up and hot sauce committee part two. Before in 2012, Adam Yauck would succumb to cancer, dying at the age of just 47. The Beastie Boys moved beyond the crime and grime of late 70s and early 80s New York City, beyond the arrest and dick jokes of License to Ill, through the absurd Hollywood headiness of Paul's Boutique into the twin triumph of Check your Head and Ill Communication, powered by influence, the influence of great music influence that led to the continued creation of great music through the end of the Beasties career, a career that influenced culture in real time, a career that left a legacy of influence to be mined for years to come. But the Beastie Boys couldn't move through the loss of Adam Yauck, whose influence on his bandmates was not only immeasurable but also irreplaceable. I'm Jake Brennan and this is Disgraceland. Alright? I hope you guys dug this story on the Beastie Boys. The theme of this episode is obviously influence. So this week's question of the week is which musician has had the most influence influence on you and why? Maybe the way they've lived their life or the songs, their lyrics, the way they conduct themselves, their style. The type of influence could be anything, but we're all influenced by the music we listen to, even if we're not musicians. So think about it. Which musician has most influenced you and in what way? I want to know. Hit me up at 617-906-6638. Ask for Cookie Puss. Leave me a voicemail or a text for the the best in men's clothing. That's at Disgraceland Pod on the Socials Instagram, facebook x and disgracelandpodmail.com all right, here comes some credits. Disgraceland was created by yours truly and is produced in partnership with Double Elvis, the Exactly right Network and iHeart Podcasts. Credits for this episode can be found on the show notes [e-mail] if you're listening as a Disgraceland All Access member, thank you for supporting the show. We really appreciate it. And if not, you can become a member right now by going to Disgracelandpod.com membership. Members can listen to every episode of Disgraceland ad free, rate and review the show and follow us on Instagram, Tik Tok, Twitter and Facebook Disgracelandpod and on [e-mail] Disgracelandpod Robinson. He's a bad bad man. All right Discos, what did you think of our crime and grime inspired Beastie Boys Episode 617-90-66638 to let us know via voicemail and text or Disgraced Land Pod on the Socials Dive into the Disgraceland Podcast archive of over 250 episodes. Guys, if you got questions on artists we may or may not have covered, hit me up.

[Bethenny Frankel]

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