Try http://networkawesome.com/2012-5-11 if the video above isn’t loading for you.

It’s not hard to understand the impact of the loss of Adam Yauch, aka MCA, founding Beastie Boy. With the passing of music idols comes a sense of the passage of time, all the more so when they’re barely into middle age. But MCA, to a swath of music fans, is more than a distant idol. He, and the band he helped build, somehow make a connection as everymen to those who loved their music. It’s not because they’re white kids from Brooklyn rapping, or because Yauch had a Jewish mother; that’d ignore their popularity across the broader hip-hop spectrum and far from the New York City boroughs. It’s not simply their combination of punk and hip-hop and rock, though that blend they and producer Rick Rubin brewed was clearly an essential vehicle.

Somehow, Yauch spans coming of age all the way from unapologetic immaturity to genuine manhood. Maybe it’s beause Yauch was so downright irreverant, ready to speak up, in that uniquely forward manner of New Yorkers, across that whole span. And Yauch’s own journey has unique appeal, seeming to play every possible role a musician can. From starting a band with an inflatable phallus and crank calls to ice cream shops made into raps to contemplative Buddhist advocate and activist, everyone seems to just follow along. “You’ve got to fight for your right to party,” and the fans nod in agreement. “The disrespect to women has got to be through,” and the fans nod in agreement. From raucous kid to advocate of women’s rights, against violence, for Tibetan freedom, in a New York facing down 9/11 and an America choosing between peace and war, Yauch earnestly gave voice to those people. Celebrities can try to do this, but Yauch and the Beasties could do it for fans who truly felt they were one of their own.

To understand that appeal, though, you have to go back to the most irreverant stuff, the jokes the Beasties would later apologize for. You have to see them in their rawest state, mugging for New York’s DIY public access television, making weird informercials for their music. You have to see them live, tearing it up, making the music that kept them from being just another label creation or young kids’ fantasy. People loved Adam Yauch the man because they understood the kid, because they grew up with him. And what an extraordinary path he took – what an incredible, unforgettable voice.

That’s why I’m hugely grateful to Jason Forrest of Network Awesome for teaming up with us to share some of those videos, some of the oddest and most obscure finds, dug from the archives and found via YouTube, “sampled” from the Interwebs in the way the Beasties sampled on their records. In the lineup:

• Interviews with the Beastie Boys at every stage of their career.
• The Beasties in 1994 presenting MTV’s excellent, sadly-defunct 120 Minutes.
• An extraordinary live performance in Germany on the Hello Nasty tour.
• In LA, the charming Paul’s Boutique record release party, which shows off a lot of the character of the trio.
• An early view of the band on NYC public access cable – The Scott and Gary Show.
• Faux infomercial, made obviously on the cheap, for Hello Nasty. Did MCA invent hipster fashion? You be the judge.

Live Music Show: Beastie Boys, Curated by The Sadnesses

TALK SHOW – BEASTIE BOYS

http://networkawesome.com/2012-5-11 – All the videos on one Network Awesome page

Assuming you can tear yourself away from watching the videos, we have text, too. Among the many words spilled over the past week by fans, here are a few of my favorites.

Sasha Frere-Jones, who met Yauch first in 1982 at age 15, gets straight to this personal connection in his obituary for The New Yorker:

Adam Yauch was a part of my childhood, an ambassador to America from our New York, which is now gone, as is he.

Understanding both the pre-Rubin Beasties and the improbable, million-selling phenomenon that was to come, Frere-Jones explains:

“Licensed to Ill” presented us with a can of question marks. When did they gain access to handguns? When did they start smoking angel dust? When did they start hitting girls? WHAT. (And you could just sample a Led Zeppelin record? That was O.K.?) When “Licensed to Ill” hit the world, at the end of 1986, it was like an April Fools’ joke that lasted a year. America apparently wanted to hear backward TR-808 drums and samples of Trouble Funk records. Or maybe they liked white kids rapping over loud guitars about partying. O.K.—hold on. Maybe it wasn’t a mystery. “Cooky Puss” was a joke for New York. “Licensed To Ill” was a joke for America. Or on America. It was hard to tell.

A must-read, as I think the most personal of the remembrances, while still – despite his apologies – maintaining enough journalistic distance to provide insight in a way those who knew Yauch must surely appreciate:
PEACE, ADAM [The New Yorker]

CDM reader “nonnon” Dave Madden is not an obituary you’re likely to read elsewhere, but on his personal blog I think he gets right at the heart of that connection to fans, and that feeling of being “fourteen forever.” He paints a picture of 1989:

We weren’t kids, but eighteen only makes a man in theory, especially if you’re still living with your parent(s). The point is, though License to Ill would not be understood, or appreciated, or met with anything but disgust at home or by girlfriends at the time, it was the soundtrack of that first fulltime job and year between half-grownups “taking some time off from school” and someone nudging us with “you need to sort your life out, mate”. It was otherworldly, both the music and the idea that people could stay fourteen years old forever.

I’ll Steal Your Honey Like I Stole Your Bike: MCA RIP and the Influence of Beastie Boys On My 1989

I write about gory technical details because I always find some sense of what makes musicians tick. So, accordingly, we can look back to Electronic Musician for one view of how MCA and the Beasties worked together. For a band that came out of neighborhood friends, it’s little wonder that even in their late albums, they got there by getting together in a room and recording together, all at once. MCA tells EM:

“There is something about the energy of the three of us in the room at the same time,” MCA says. “The main take for any given song will always come from that setting. You could go individually and really scrutinize and do a million punches, but, somehow, the master take always comes from the three of us together. We don’t do as many fixes as compared to how most records are made.”

Future Flashback (2004)

The New York Times takes a New York-centric view of Yauch – whose last name is pronounced, conveniently, in the way the city’s denizens once pronounced York. (Say it: “Yowk.”) Writing for that paper, Jon Pareles codifies the many dimensions of what MCA was to the Beastie Boys, and the Beastie Boys to music:

Mr. Yauch was a major factor in the Beastie Boys’ evolution from their early incarnation, as testosterone-driven pranksters, to their later years as sonic experimenters, as socially conscious rappers — championing the cause of freedom in Tibet — and as keepers of old-school hip-hop memories. The Beastie Boys became an institution — one that could have arisen only amid the artistic, social and accidental connections of New York City.

In the history of hip-hop, the Beastie Boys were both improbable and perhaps inevitable: appreciators, popularizers and extrapolators of a culture they weren’t born into.

Rapper Conquered Music World in ’80s With Beastie Boys [New York Times obituary]

But maybe the most hopeful vision comes from some of these videos, from the youngest iteration of Adam Yauch on cable TV in his home of New York. That homebrewed, DIY, straight-from-the-neighborhood spirit endured in their albums and videos through multiple decades, multiple generations. And it’s appropriate to remember Yauch as a filmmaker through that medium. It seems we still haven’t seen the act to come out of the YouTube generation, the way the Beasties ascended from public access to MTV. But maybe, somewhere, that neighborhood band is there, whether in Brooklyn or a suburb of Delhi. Maybe they’re fourteen. Through the miracle of recording and the album, we can remember Yauch as the man he became, but also as MCA, fourteen forever, and that spirit that drives musicians – endless, irreverant possibility.

A few decades is a short time in the history of instruments. But something magical is happening: the electronic instrument, the computer, is finally easily shifting into performance scenarios, into improvisation, and into bands. (The performance features Livid’s Ohm64 and Ableton Live, with sax, guitar, and drums, at New York’s Le Poisson Rouge. See a note on the rig at Livid’s blog.)

Look no further than Nicolas Jaar. In an insightful performance and conversation for MTV Hive, he reveals how he thinks about music – and puts his chops where his mouth is. Excerpt:

“I think honesty and electronic music weren’t really tied together for a while … it was more about forgetting and partying. And now everything is coming together.”

That notion of “honesty” appears to cover finding his voice, finding a performance technique, and finding musical ideas.

In my dream world, this is what MTV looks like when you turn on your television, before reality killed the video star.

We’ve had some reports of difficulty playing the video. We will hopefully get to do our own interview with Mr. Jaar soon, which we’ll make available to all.

And yes, while I enjoy watching the video, I’m very unclear what Nico means by “honesty.” It seems to be a personal take on what he’s doing in his own work, and I’d like to know more, as to me, it’s unclear. Some reader comments, rather than wanting to know more or questioning what he’s saying, instead decide to say that so much as posting this video on CDM takes away from the site’s integrity or suggest that he’s a bad person or that I don’t know that people have used sequencers in live bands before 2011. So, yes, that’s a … perspective. Carry on. I’ll continue trying to do actual research. Nico’s on tour; we’re waiting for him to get back to the US to do a proper interview, for those with more open-minded attitudes.

It’s official: we had heard rumblings that game maker Harmonix was about to announce something, and it’s here. It’s a collaboration directly with the Beatles to make something that isn’t Rock Band or Guitar Hero — something completely new. And something completely new is exactly what’s needed.

Before Guitar Hero and Rock Band, before being purchased by MTV/Viacom, game developer Harmonix were a very different creative house. Co-founders Alex Rigopulos and Eran Egozy were MIT friends whose first project was an application that let you play guitar with a joystick. (Sounds like a research project you might read about here.) Their interactive music games were influenced by the explosion of Japanese titles like PaRappa the Rapper and Beatmania, to be sure. But part of what made FreQuency and Amplitude so important was that they offered more than just a simplified music experience. They were digitally-powered acid trips, with VJ-style video clips playing up buildings and surprisingly sophisticated interfaces that remixed the music as you played.

Make no mistake about it: Guitar Hero and Rock Band are brilliant titles with a fair dose of musical integrity in the way they abstract playing experiences for broader audiences. But there’s no question some of the original creativity — the sense that the game experience was unlike any other experience — is missing. And in this pumped-up HD age, in which surreal game experiences like intra-dimensional navigation in Portal or ambient floating cartoon paramecia in Spore, it’s hard to wonder if gamers who weren’t ready to snap up FreQuency a few years ago might be ready now.

So while rival Activision bakes a watered-down GarageBand-style app into another iteration of Guitar Hero, it’s intriguing, at least, that Harmonix is working with the Beatles. And they really are working with surviving Beatles and Beatles Significant Others: Sir Paul McCartney and Ringo Starr, Yoko Ono Lennon, and Olivia Harrison. (Okay, I’d like to see a special Yoko-inspired game on Xbox Live Arcade.) Most interesting, producer Giles Martin, heir to production legend Sir George Martin
and producer of the Love project with Cirque due Soleil, twice a Grammy winner, and the man behind The Beatles Anthology is involved, too. (See a great story on him in Sound on Sound.)

Let’s get straight to the point: for the band that made virtual acid trips mainstream decades ago, it’s time for a new, digital trip. (They do describe it as a “journey” through the Beatles’ work, after all.) I think the Beatles make a perfect choice. I can’t count the number of people I know in music composition who were addicted to Beatles records as kids — not the Beatles’ generation, but their offspring in the 80s and 90s.

And despite the intervening decades, Yellow Submarine still looks imaginative and bizarre. If gaming can do anything, it can take music we’ve heard a zillion times and make it new. It can make our regular experience, the reality around us feel a little different. Rock Band has proven to be a trojan horse: it’s literally driven up sales of real instruments. That’s proof that making something palatable to a mass market can help get them hooked on new kinds of experiences. Can a Beatles game feel less like interactive documentary or re-hashed Guitar Hero, and more like a groovy, retro journey into the strange imagination that turned a lot of us on to recording, music, visuals, and … uh … animations of strange creatures? I think so. Can’t wait to see what comes out.

PS — I want to play as George.

But maybe the real message of Rock Band’s success is that musicians need some friends to jam with. Witness what happens to MTV Multiplayer blogger Tracey John when she tries to play all four instruments at once:

‘Rock Band’ Challenge — One Woman, Four Instruments, At The Same Time [MTV Multiplayer]

Funny, this is roughly what I looked like trying to play just one guitar in my play test at Harmonix in August. Doh. (I’m holding out for Herbie Hancock Presents Keyboard Hero any day now.)

In all seriousness, the multiplayer aspect of Rock Band is its killer feature. My prediction: back here in music land, while the computer music emphasis remains on one-man-bands, more multi-computer, multi-player jamming functionality could be the wave of the future. In the meantime, I’ll continue to wrangle two or three or five computers in performance at once — probably with similar effects.