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robertogreco : beastieboys   9

Aloha Miscreant!: The Ultimate Beastie Boys Sample Source Collection
"Many years ago (more than I care to remember), I began a quest to personally track down every record and song that had ever been sampled by the Beastie Boys. I was inspired by the classic Ultimate Breaks & Beats series as it introduced me to songs that I had only heard in sampled form, and needless to say, hearing these tracks in their entirety as opposed to a quick snippet, stab, scratch, or loop opened my mind to a whole new musical experience. While digging in the bins at Uncle Sam's Records back in 1996, I discovered the white-label/bootleg pressing of B-Boy Breaks:12 Original Tunes as Sampled By The Beastie Boys:

[image]

Despite only twelve tracks (one of which was incorrect), it was a great start, but hardly scratched the surface as there were hundreds of other samples that needed to be sourced and tracked down. By 1998, the internet was becoming more robust and though various boards and fan sites, I was able to start compiling a list of all the samples that were used on a per-album basis. By this point, I had only tracked down a handful of records, CDs, and tapes, but it wasn't long before I was trading digital tracks with like minded sample-nerds that I had met online. Then, in 2005, I released the prototype of what would become the Beastie Boys Sample Source Collection. With less than seventy tracks, it definitely needed some serious work, and to make things even worse, the quality of the tracks that I had personally ripped from vinyl or cassette were less than stellar, in most cases, around 128kbps. Likewise, many the digital tracks which I had acquired online were just as bad, if not worse ranging in quality from mediocre to piss poor. From that point forward, I made quality a much higher priority and implemented a more efficient process for ripping vinyl/cassettes (better cartridges, better deck, better software, and interface). I also made it a point to only trade/acquire high quality audio and fully avoid the dreaded web-rips which were usually around 64 to 96kbps. Thanks to Soulseek, Discogs, eBay, and a bunch of really cool cats that I've met over time, the project continued to move forward and it wasn't long before all of the ducks were in a row and it was time to release the beast(ie)! In 2007, I posted the first official version of the compilation, and continued to make updates throughout the next few years as additional samples were sourced and found.

After a several year hunt, I finally acquired a vinyl copy of Modern Dynamic Physical Fitness Activities which was sampled in Body Movin', and for all intents and purposes; it was my holy grail and the final addition to the collection. Obviously not every sample or drum break can or ever will be identified, but this is about as close as it's gonna get! With the completion of this eighteen year long ongoing project, I want to personally thank each and every single person out there that has lent insight, shared knowledge, or provided me with any of the tracks that were used to compile this amazing piece of history. It goes without saying that much love, gratitude, and respect is owed to the Beastie Boys for introducing me (and you) to some amazing music via sampling that may otherwise not be heard, let alone acknowledged in this light.

If you've downloaded this collection prior to December 1st, 2014, it should be deleted immediately, and replaced with this version as the quality and content has increased tenfold. As it stands, it's 286 full-length tracks which equates to just over 22 hours worth of amazing music which was sampled by the Beastie Boys from Licensed to Ill up until To The 5 Boroughs. If you're a stickler for quality, you'll be happy to know that all of the tracks are encoded between 256kbps and 320kbps, with a hefty majority being the latter.

At the present time, the files are being hosted via MEGA, Uploadable, and Uploaded, but I will try to add more mirrors as time passes. As is always the case, I strongly suggest grabbing these as quickly as possible because I don't foresee them being available very long. If anybody experiences any difficulty downloading from any of these hosting sites or if the links are dead, please contact me via email and I will directly link you with the files.

Enjoy!"
beastieboys  sampling  remixing  music  history  audio  sound 
october 2015 by robertogreco
AD Rock of the Beastie Boys Reveals Why He Doesn't Listen to New Music - YouTube
"My theory is that nobody wants to see the old guy at the club… If you're a rapper and you're 20 years old, why would you care about me? … Rap music is the only music where kids just don't care. Like rock music, if you're making rock music right now, you have to Led Zeppelin. You *have* to. Rap music, a 20-year-old does not care about Public Enemy. I know that could be blasphemous, but it's the truth. And that's fine and that's why rap music is so different and special, because it's so current. It's very current and very timely and it's always constantly changing and evolving. You know what I mean? It's like the kids today… the kids today don't give a shit what I think and that's why I love that. That's how it should be."

[via: “'C'mon, apps? What am I, 12?' Mr Adrock ladies and gentlemen. ”
https://twitter.com/adrock/status/577593794251649024 ]

[See also: “Yea..that's me+Chuck. Still at Saturday morning detention. We've been in this fkn classroom for the past 35 years.”
https://twitter.com/adrock/status/577593794251649024 ]
adrock  beastieboys  rap  hiphop  music  2015  generations  history 
july 2015 by robertogreco
Creative License: how the hell did sampling get so screwed up and what the hell do we do about it? - Boing Boing
"Kembrew McLeod and Peter DiCola's Creative License: The Law and Culture of Digital Sampling is a fantastic and deep look at the business, art, culture, ethics, history and future of musical sampling. The authors -- respected academics/writers/filmmakers -- undertook to interview a really amazingly wide spectrum of people involved in music production, and what emerges is a clear picture of how legal rulings, historical accidents, musical history, good intentions, naked greed, and conflicts of all kind came to produce our current, very broken system for musical sampling.
The interview subjects in Creative License include all manner of business people (managers, industry lawyers, execs, lobbyists, producers), musicians who want to sample but can't legally do so, musicians who got away with it before the law caught up with them, musicians who benefit from sampling licenses, musicians who've lost big due to licensing fees and lawsuits, musicians who think that sampling is a legitimate form of creativity, musicians who think it's a lazy way of making art; musicians who think that they should have the power to decide who might sample them and musicians who think that's absurd. They also talk to musicologists, lawyers (academic and commercial), economists, and so on -- producing a remarkable, in-the-round picture of the state of things as they stand.

A few clear truths emerge. When sampling works, it produces works that lots of musicians and fans love -- art that is both critically and commercially successful. The early days of sampling -- when the law wasn't very developed and no one was sure what was and wasn't legal -- yielded extraordinary albums that can't be produced legally today (the authors make a pretty compelling case that an artist would have to be insane to produce a song with more than one or two samples in it). When the market for commercial sample licensing is working -- when it's not being hijacked by lawyers and labels -- it can produce real commercial benefit for poor artists and their descendants, and these are often Black artists who got screwed by their labels when their music was originally recorded. Finally, all music is and always has been derivative, and there's no special creativity or lack thereof inherent to using or not using samples.

How screwed up are things? The best example of this is a back-of-the-envelope calculation of the cost to clear the samples on two of the best-loved, uncleared albums of all times: the Beastie Boys' Paul's Boutique and Public Enemy's Fear of a Black Planet, both of which typify the kind of album that couldn't possibly be made today. By the authors' math, Black Planet would lose $6.8 million in sampling fees on 1.5 million sales; Paul's Boutique would lose an eye-popping $19.8M on its sales of 2.5m. (Kembrew and his publisher were kind enough to supply the chapter in question, along with the notes).

The authors conclude Creative License with a fairly depressing look at solutions -- voluntary, technical, legislative, artistic -- to the sampling deadlock. None of these are very convincing, but practically any of them would be preferable to the status quo.

Books about copyright usually focus on either art or law or business, but it's a rare book that manages to equally weight all three considerations -- Creative License gets it right. It's a fascinating and important read."
sampling  beastieboys  publicenemy  paul'sboutique  fearofablackplanet  copyright  music  corydoctorow  kembrewmcleod  peterdicola  licensing 
may 2015 by robertogreco
The Lives They Lived [Adam Yauch] - NYTimes.com
"Of all the things the Beastie Boys rendered cool by association — ’70s cop-show mustaches, outlandish golf attire, throwing eggs at people — the idea that you could change, that in order to be cool you had to change, was the most important. The fact that they’d been unrepentant knuckleheads made their transformation into repentant knuckleheads seem heroic."
maturation  mindchanges  mindchanging  growth  evolution  cool  beastieboys  mca  2012  alexpappademas  adamyauch  change 
december 2012 by robertogreco
Spike Jonze and Beastie Boys, Together Again | Open Culture
"Being John Malkovich director and longtime Beastie Boys collaborator Spike Jonze has directed yet another music video for the band: A high-concept sci-fi extravaganza that features zombies, GI Joe action figures, and, as usual, a soundtrack with a pretty decent hook.

The song is called “Don’t Play No Game That I Can’t Win,” and the version we’ve posted above is the 11-minute director’s cut.  You can watch a shorter version here, but why would you ever want to?"
spikejonze  beastieboys  video  music  musicvideo  2011 
july 2011 by robertogreco
“Electric like Dick Hyman”: 170 Beastie Boys references explained | Music | Inventory | The A.V. Club
"This week, Inventory breaks format a bit to offer a glossary of terms deployed in the Beastie Boys’ lyrics. (Hat tip to beastiemania.com for serving as an invaluable research tool.)"

[via: http://kottke.org/11/05/the-beastie-boys-annotated ]
culture  history  reference  hiphop  beastieboys  glossary 
may 2011 by robertogreco
Some Kind of Awesome - Home - [Watch] Beastie Boys - "Fight For Your Right - Revisited" Trailer
"Above is the trailer for the upcoming 30 minute Beastie Boys video for "Fight For Your Right - Revisited" featuring a star cast including (but not limited to): Jack Black, Will Arnet, Will Farrell, Elijah Wood, Susan Saranden, Harvey Keitel and a handful more. The video will also include "Make Some Noise", so I guess technically this is the video for that as well?"
via:rushtheiceberg  beastieboys  2011  video  music  humor  willferrell  jackblack  elijahwood  susansarandon  harveykeitel  future  time  timetravel  willarnet 
april 2011 by robertogreco
Metroblogging Los Angeles: No Sleep Till KXLU
"Los Angeles. 1985. The Beasties boys on their first trip to LA touring with Madonna....podcast of a 1985 recording of Adam Bomb's radio show on KXLU [part one | part two] which he just found online by accident."
losangeles  music  beastieboys  audio  podcasts 
october 2007 by robertogreco

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