Download Beastie Boys (Hip-Hop Stars) by Dennis Abrams PDF

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By Dennis Abrams

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They were playing to huge crowds. They were getting to play the music they loved, and, as it turned out, they loved playing on stage. Ad-Rock, especially, due to his family background in theater, knew how to use the stage to project the image he wanted. In The Skill to Pay the Bills, he remembers, “It was totally ridiculous. It was great. It was great. They hated us so much. It was the most bizarrest thing to be playing in these huge places—Radio City Music Hall for, like two, three nights. I don’t understand what happened.

As DMC says in The Skills to Pay the Bills, “From day one, they was killing. Even when nobody knew them, they was killing. It could be a completely black, Negro, southern crowd, here to see Run-DMC and Whodini and their favorites. But when the Beasties came on, it wasn’t like people were walking around getting hot dogs; they really paid attention to those white boys. What was cool about ’em, I never had to defend them. ’ or anything. ” Of course a few people disagreed. They felt that since the B-Boys didn’t come from the streets of the Bronx or Harlem, that they hadn’t paid their dues.

After the move, the work came together fairly quickly. The technical work of layering and looping to synchronize perfectly was a difficult challenge. Today, the work is easy to do with a computer. In 1988, what today takes just a few minutes took hours to do. Mike Simpson described the process in the book Paul’s Boutique: “Basically, we would find a groove, and we would loop it, and then we would print that tape, and we would The Making of a Masterpiece Following the Licensed to Ill tour, the boys split up and worked on their own projects.

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