It’s still sinking in here that MCA-aka Adam Yauch- has died, and that, in effect, the Beastie Boys are no more. What a fucking bummer.

It’s an inescapable fact that the Beastie Boys are one of the bands that define my generation. If you were a child at any point from the mid 80s up until the late 90s you cannot have escaped their influence. And I’m not just talking about their music; their aesthetic reached everywhere, from film and music videos to magazine publishing and clothes lines.

I feel like my generation (and I use that term loosely) don’t have a singular iconic figure they can point too, like a Prince or a Bowie. You know, that one person that unites an entire age group through sheer talent and poise. Well, the Beasties may not have had the incredible album-a-year productivity rate of Prince or Bowie at their prime (in fact they were legendarily slow at making music,) but their extra-musicular activites more than made up for that, and meant that when their albums did drop it was a major event.

More than just the music on its own, more than the Grande Royale magazine and record label, more than fantastic the art work or the trend-setting X-Large clothing range, it was the Beastie Boys incredible videos that set them apart, and brought their diverse fan base together. They really knew how to work in different media while retaining their core identity, making them some of the first and most successful rap music entrepreneurs, and this placed them right at the centre of the 90s golden age of both hip-hop and music videos. And there steering the helm of most of those awesome Beastie Boys promo clips was Yauch himself, often in the guise of Swiss director Nathanial Hornblower.
 

Nathanial Hornblower cartoon by Evil Design
 

My God, looking back now it’s startling to think of how these videos have influenced my life and my addiction to (and perception of) pop culture.

I caught the raunchy video for ‘She’s On It” on TV when I was about 8 years old and the image of Mike D sliding an ice cube down a bikini-clad model’s back has been seared into my brain ever since. I didn’t quite understand what was going on in that shot at the time (hey, I was too young and too sheltered) but there was naked flesh and it was naughty and exciting. I still remember that tingly feeling of not wanting my parents to walk in and see me watching the video. Even though that’s a feeling that returned often in my teenage years, I guess I can say that seeing “She’s On It” was one of my first childhood sexual experiences. 

When I was 13 the promo for Check Your Head‘s opening track “Jimmy James” was a staple on late night European cable music channels, the kind I would creep downstairs and watch on low volume while my parents were asleep. It was hard to keep the volume on this one down, and the visuals themselves were a hypnotic template for everything I thought rocked in the world at the time - New York subways, vintage go-go strippers, dope looking rappers filmed in fish-eye lenses, burning 8mm film, Jimi fucking Hendrix. At this point the Beastie Boys were a bit of an unknown quantity in the UK press, as their reputation stemmed largely from the License To Ill “frat” period (Paul’s Boutique was still being seen as a costly, if interesting, flop.) Still, “Jimmy James” (and “So Watcha Want”) was THE SHIT, and helped spread the word of mouth amongst listeners and the journos alike about how great Check Your Head was. 

Early 1994 saw the release of “Sabotage”. Sure, the clip was directed by Spike Jonze, but Yauch’s fingerprints were all over it. I don’t think I need to write much about this video, only to say that it really was a cultural milestone for people my age. Almost single handedly it ushered in a new era. Out went heroin-chic and woe-is-me grunge, and in came a new sense of fun (with a healthy dose of irony.)  Here was an appreciation of pop-culture’s bargain bin that tied in nicely with Tarantino, some new looks that were equal parts vintage and street, and most importantly of all an incredibly broad musical palate where anything went.

Beyond the stone cold classic video, “Sabotage” pushed boundaries musically. Yeah, so it may be a straight forward punk song, but how many ‘rap groups’ had ever done something like that? In fact, me and my friends didn’t really perceive the Beasties as strictly a ‘rap group’ per se, even though (obviously) they rapped. They were more than that. Presumably because they were white and played actual instruments on occasion, they weren’t talked about in the same hallowed tones as Cypress Hill or Public Enemy. But they were very much a gateway to those bands, and the more commercial hip-hop that followed, and their blessing of the above mentioned acts with tours and remixes made it feel ok for middle-class white kids to define themselves as “rap fans.”

Last year’s video for “Make Some Noise” brought the band back in to the limelight, not least for the starry cast list: what other modern act would be able to convince Seth Rogen, Danny McBride and Elijah Wood to play them in a clip AND THEN rope in Ted Danson, Kirstin Dunst and Will Ferrell for additional cameos? But the real fan treat was the clip for “Don’t Play No Game That I Can’t Win”, which featured G.I.Joe-style puppet versions of the band doing battle underwater, on ice, and even at a music festival. 

Adam Yauch was a visionary, and should be remembered for his film work just as much as his music. In fact, he brought music and film together better than anyone else up to that point, and for that has to be counted as a huge influence and inspiration on the artistic endeavours of myself and my peers. I probably wouldn’t do what I do now if it weren’t for him.

And he did it while wearing a ginger wig and lederhosen. Here’s a strange (and strangely touching) short film of Yauch David Cross [? - what’s going on here?] as Hornblower, shooting the shit on a NY Street and engaging in a game of chess with a labrador:
 

 
Adam Yauch, aka MCA, aka Nathanial Hornblower (August 5, 1964 – May 4, 2012.)

Rest In Peace. 

After the jump, videos for the above mentioned Beastie Boys songs, and a 1992 interview with the band featuring Yauch (yes, definitely Yauch this time) in full Hornblower attire…

 
The Beastie Boys tore down the walls that existed between rock and rap and did so with such crazy grace and a seamless groove that nobody noticed until the deed was done that these white boys had brought uptown downtown and vice versa. Even people who up-until-then had no place for hip-hop in their lives found themselves smitten. And the hardcore haters were musically bum-rushed so swiftly by the sonic velociraptors from NYC that resistance was futile. Everybody ended up coming to the party and found it worth fighting for.

I remember hearing “Cookie Puss” on the radio for the first time in 1983 and wondering “what the fuck was that?” It defied all categories of music as I knew it…and I loved it. I immediately headed over to Sounds on St. Mark’s Place to buy the 12 inch single. I’d play it for my friends and got a kick at watching their amused and perplexed reactions. This shit was fresh - a simple keyboard and drum riff with some scratching and a taped crank call to a Carvel Ice Cream store melded into something hilarious and infectious and a lot smarter and pioneering than we knew back then - it heralded the coming of a band that played dumb but were possessed of a poetic irreverence that celebrated popular culture while subverting it - yeah, punk rock with a hip-hop sense of the beat. On the surface it sounded sloppy and off-the-cuff. In reality it was perfect. The Beastie Boys had a “fuck you” attitude wedded to a shitload of charm and craft. They elevated the ordinary with the lyrical deftness of a Jack Kerouac or Chuck Berry.

It was announced that Adam Yauch (MCA) died today. I know that what I’ve written reads like an obituary for the entire band. It’s not. Mike D and Ad-Rock are still very much alive and I suspect will continue to create new music, produce films and act, as well as taking up the torch for the plight of Tibet as Adam had done for the past two decades. When someone dies, it brings perspective and an opportunity to remind oneself of how much certain things have meant in one’s life. Adam’s death has given us the chance to appreciate what made his band so fucking amazing. Long live the Beastie Boys!

When the Beastie Boys were inducted into this year’s Rock And Roll Hall Of Fame, Chuck D was there to celebrate the legacy of one of hip hop and rock n’ rolls most innovative groups. The fact that Adam Yauch was too ill (physically speaking) to attend, made the evening all that much more significant.

Here’s Chuck D’s Beastie Boys induction speech on April 14:

  Get it! Get it! You know the Beastie Boys? Can we get a ‘Yeah’ to hip-hop? Can we get a ‘Hell, yeah,’ Cleveland? Hip-hop in the Rock and Roll Hall of Fame before I turn it over because Def Jam, in the words of Billboard, is the last great record label. And this man behind me wants to finish it off because Chess is to electric blues as Def Jam is to hip-hop and this man helped build the house. So as a resident, can you give three and a half minutes to hip-hop and the Beastie Boys for me? Help me out ya’ll!

  [raps with audience] Now here’s a little story – I’ve got to tell about three bad brothers – you know so well It started way back in history with Ad-Rock, M.C.A., and number three – Mike D.

  I know I can read from the teleprompter but I wrote it down. I won’t take much of your time. There’s no adequate measure for the impact that the Beastie Boys had on rap music and yours truly, Public Enemy, during our formative years. Artistically, just like my man back here, they are our role models. They gave us some of our richest support and that’s uncharacteristic of the many advisors in this game. They led and lead by example.

  The very first time the Beastie Boys headlined they toured, it was the ‘Licensed to Ill’ tour, they hit the road in January 1987. They invited us to join the bill in April 1987. The lineup was the Beastie Boys, Murphy’s Law, and Public Enemy. Watching them tear the house up just like 9,000 here tonight, tearing the house up, we learn so much the importance of a great stage show, just like my man back here.

  They made us rethink what we should do on stage and affirmed for us how important our own Beastie Boys, he calls himself Flavor Flav, might be to our success. In that way, the Beastie Boys literally helped us to get our act together by living up to more than their name night after night on the road.
  They were and still are one of the greatest live acts in music. How can we not learn from the way this group has challenged the dimensions in the music business? How they made up their own rules about what it means to be world class hip-hop heads.

  After ‘Licensed to Ill,’ the Beasties left the Def Jam label and broke with their producer Rick Rubin and still kept it going on. Everyone wondered and how many people were pessimistic about how the hell they were going to top their multi-platinum debut, ‘Licensed to Ill.’ But their second album, ‘Paul’s Boutique,’ broke the mold, and with it they accomplished everything they hoped for.

  They kept the band together through a challenging period when most groups would have broken up and gone home. They proved that they can produce themselves when too many folks wrongly believed they were puppets of marketing and production. And they insisted on maturity as a band and as human beings, when the easier thing for the band was to come back with a form that might have been ‘Licensed to Ill 2.0.’

  It was the courage and self-respect that we all learned from, and so right now we make sure we never take the easy way out just to repeat a hit record for a hit record’s sake: never to compromise our faith in ourselves and our artistry.  Besides they were the first hip-hop group on the World Wide Web in 1993, people.

  Two more minutes for hip-hop, people. One of the most – gotta sulk it in – the third hip-hop group ever. Gotta sulk it in. One of the most admirable qualities about the Beastie Boys is that they stayed so true to the game over the years. No matter what was going on with them or hip-hop culture in general, as far as I’m concerned, I quote myself, the trip towards individualism in hip-hop have come a play. Yes, I quote myself. In a [indiscriminate] art form.

  Yet through it all, the Beastie Boys remain a team of MCs, in the style of groups that inspired them – the Treacherous Three, the Crash Crew, the 2007 inductees into the Rock and Roll Hall of Fame Grand Master Flash and The Furious Five. The 2009 inductees salute Run-DMC and Jay Master Jay. And let’s not forget the DJs throughout the years Andre, Dr. Dre, my friend DJ Hurricane, Mix Master Mike, and DJ Double R better known as Rick Rubin.

  And rock and roll fans’ still got to be a fan, it’s the same thing with hip-hop, the Beastie Boys have made a mountain for us all. Be together, play together, stay together, together forever.  A couple of paragraphs, one more minute for hip-hop, they ain’t got nothing on me. Sulk it in hip-hop and rap music it’s been around 30 years, gotta do it.

  Time and time again and in word and in practice The Beastie Boys honor hip-hop. As true musicians they move beyond drum machines and repetitive samples and sometimes pick up their own instruments. It’s their way of paying tribute to musicians who preceded them who built the foundations of hip-hop. More than many, many situations out there the Beastie boys have fought, in particular I’m thinking about somebody who wasn’t able to join us tonight, Adam Yauch, salute M.C.A. I feel him here tonight, you all feel him here tonight.

  And LL got more to say about that. He belongs here with the greatest. It was M.C.A. who committed the Beastie Boys through their lengthy campaign for freedom for Tibet. The campaign that not only helped the shining light on Tibet’s struggle for independence but allowed the Beastie Boys to move from fighting for their right to party to partying for their right to fight.

  Lastly, no matter what your lyrical subjects are on stage parodies, one thing the Beastie Boys never were to me was a joke. They remind us that this is a craft. We were talking about this on the side. This is a craft, this is not a hustle. And I couldn’t be more honored to induct this group along with this man behind me because they represent the best of the hip-hop/rap music idiom.

  I did love and always thank them for doing a hard work of paving those roads for musicians all over the world, and to rock, rap and roll on those roads, especially before people took us seriously as artists. Rap music is here to stay because it pays homage. So, may we all be as professional, distinctive, powerful as this group coming up right here and as this man. The Beastie Boys are indeed three bad brothers that made history.

Here’s more of Mister D talking about the Beasties, rock n’ roll and Bette Midler. April, 2012. It’s pretty much wonderful.
 

 
A crazy good performance of “Fight For Your Right” on the Joan Rivers Show in 1987 after the jump…

 
Noosha Fox is an Australian singer who, in the mid 1970s, fronted the British act Fox, who scored a handful of hits across Europe with their funk and reggae-influenced strain of glam-rock. After the band dissolved near the end of the decade, Noosha embarked on a moderately successful solo career; one of her tracks, “The Heat Is On”, ended up being covered by a solo Agnetha Faltskog of ABBA.

Fox’s tunes are great, and regularly entered high up on the British charts (as some of these clips will attest.) So how come I’d never heard of the fantastic Noosha until very recently?

Thanks to the website Lost Idols (and DM’s own Paul Gallagher,) here’s a bit more information on Noosha and the band:

The band was formed by Kenny Young (the man who got the credits for writing the song “Under the Boardwalk” for The Drifters in 1964). Lead singer of The Fox was Susan Traynor (from Australia) who earlier did backing vocals on Kenny Young’s solo album “Last Stage for Silverworld” in 1973 and also was in a band called “Wooden Horse”. The rest of the band included Herbie Armstrong (guitar and vocals), Pete Solley (keyboards), Jim Gannon (lead guitar), Gary Taylor (bass guitar) and Jim Frank (drums & percussion). Kenny Young played guitars, percussion and vocals. Susan became known as Noosha Fox and their first album “FOX” was a top ten hit in 1975.

It appears that Roger Taylor of ‘Queen’ added backing vocals to the track ‘Survival’ on Fox’s ‘Tails of Illusion’ album. Queen were in the same studio recording ‘A Night at the Opera’.

What happened then?

Noosha Fox (Susan Traynor), had a solo career when she left the band (1977) during the late 70s and early 80’s. She only had one minor hit with “Georgina Bailey”. Herbie Armstrong and Kenny Young moved on to a band called Yellow Dog and later Armstrong worked with Van Morrison in the late 70’s and early 80’s.Kenny Young has been working as a Record producer. Now Herbie is running a Restaurant together with his Swedish-born wife Elizabeth, in Hampshire called The Fountain Inn & Thai Restaurant. the rumour says they combine their talents in running one of the best eating places in the area.

Pete Solley joined Whitesnake on keyboards in 1977 for Snakebite. He’s also played with Procol Harum, Mickey Jupp and many more. He has also produced records for Oingo Boingo, Motorhead and Romantics. Jim Frank worked as an sound engineer for Alice Cooper (“Welcome to my nightmare”) and Peter Gabriel’s first solo album to mention a few. Jim Gannon played with the band “Black Widow” and also did some vocals on Alice Cooper “Goes To Hell”.

Not bad post-pop careers there, not bad at all.

Fox are one of those acts who have been unfairly booted into history’s dumpster, casualties of a cultural shift that saw extravagant glam rock relegated to just an embarrassing phase. Although undoubtedly an influence on a whole generation’s burgeoning sexuality (check out the YouTube comments on any of her/their clips,) ask anyone under the age of 40 who Noosha Fox is and you’ll get a blank stare and an itchy scalp.

That’s a real shame, because Noosha and her band were fantastic. With her very distinctive look and sound (silent-cinema star and pinched-nose temptress, respectively) Noosha Fox predated the far-out kookiness of Kate Bush by a good four years, and seems to have been a huge influence on the band Goldfrapp, who have basically re-interpreted her look and sound for the electronic age.

Of course, maybe Fox passed me by because I am not a child of the Seventies. If any of our readers have any memories of the great band/singer, do feel free to share them in the comments. In the meantime (while I try and track down a “best of” album,) here are a selection of Noosha and Fox clips:
 
Fox “S-S-S-Single Bed”
 

 
After the jump, more music by Noosha and Fox, including “Imagine You, Imagine Me”, “Electro People”, “The Heat Is On” and more…

 
Opening Scene:

Blackout.

Though this maybe a fiction, it is all too believable, for nothing is unbelievable when it comes to Lindsay Kemp.

Lindsay Kemp has agreed to give a telephone interview. He is to be called at his home in Italy, by Paul Gallagher from Dangerous Minds, who is based in Scotland. We never hear the interviewer’s questions, only Kemp’s answers and see his facial expressions as he listens to questions.

Photographs of Kemp’s career appear on screens. We hear a recording of his voice.

Lindsay Kemp:

I began dancing the same as everybody does, at birth. The only difference was, unlike many other people, I never stopped. In other words, you know, I love movement. Movement gave me such a great pleasure, such a great joy.

Dance is really my life. I’ve always said for me ‘Dance is Life, Dance is Living, Dance is Life and Life is Dance’. I’ve never really differentiated between the two of them. It’s always been a way of life, a kind of celebration of living.

Kemp is an exquisite dancer, a fantastic artist, and a brilliant visual poet. No hyperbole can truly capture the scale of his talents.

In the 1960s and 1970s, his dance group revolutionized theater with its productions of Jean Genet’s The Maids, Flowers and Oscar Wilde’s Salome.

He shocked critics by working with non-dancers. At the Traverse Theater in Edinburgh, he often cast his productions by picking-up good-looking, young men in Princes Street Gardens - good looks, an open mind and passion for life were more important than learned techniques, or a classical training. His most famous collaborator was the blind dancer, Jack Birkett, aka The Great Orlando – perhaps now best known for his role as Borgia Ginz in Derek Jarman’s Jubilee.

Kemp was the catalyst who inspired David Bowie towards cabaret and Ziggy Stardust. He taught him mime, and directed and performed in Bowie’s Ziggy Stardust and the Spiders from mars. He also taught Kate Bush, and choreographed her shows.

As an actor, he gave outrageous and scene-stealing performances in Jarman’s Sebastiane, Ken Russell’s Savage Messiah and Robin Hardy’s The Wicker Man.

“I’ve never really differentiated between dance and mime and acting and singing. I’ve always loved all aspects of performing, though I still can’t play the trumpet, but I’d like too. Well, it’s never too late to learn.”

He has performed across the world, from department stores in Bradford, through the Edinburgh Festival, the streets and cafes of Italy, to London’s West End and Broadway.

Kemp is a poetic story-teller, and his performances engage and seduce as much as the words that spill from tell such incredible tales. His voice moves from Dame Edith Evans (“A handbag!”) to a lover sharing intimacies under the covers.

Lindsay Kemp is on the ‘phone.

Lindsay Kemp:

Hello. (Pause.) Where are you in Scotland?

(Longer Pause.)

My grandparents are from Glasgow. I always pretend to be Scottish because I was born accidentally in Liverpool when my Mother was saying bye-bye to my Father, who was a sailor, and he was off to sea from Liverpool’s port, you see.

(Longer Pause.)

Well, I don’t quite know where that came from, unless I said it one drunken night, maybe when I chose to be more romantic than Birkenhead, where I was in fact born. I was born in Birkenhead on May the 3rd, 1938, but my family hailed form Scotland, between Glasgow and Edinburgh, and for many years I lived in Edinburgh, when I returned there for the first performance of Flowers, that show that put me on the map, you know.
 
Lindsay Kemp> debuts his new production Histoire du Soldat (‘A Soldier’s Tale’) by Stravinsky on 5th May, in Bari, Italy. You can buy tickets for the World Premiere here.

Lindsay Kemp – The Last Dance is a film currently being made by Producer / Director Nendie Pinto-Duschinsky – check here for more information.
 

 
Previously on Dangerous Minds

Lindsay Kemp and David Bowie’s rarely seen production ‘Pierrot in Turquoise’ from 1968

 
The full interview with Lindsay Kemp, after the jump…