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BEASTIE BOYS YOUNG GODS
(from page 54) erend. WHAT DO YOU
HATE? Mike D.: I hate Oliver Stone
movies. I haven't even seen them
all, but I hate them anyway. I chal-
lenge Oliver Stone to get up on the
mic now, tonight at the I-Beam.
Boom. I'll knock his ass into the
audience. WHAT'S THE DUMBEST
THING YOU'VE EVER DONE? Yauch:
There've been so many dumb
things. That's a really tough one.
WELL, WHAT IS THE DUMBEST THING
YOU NEVER DID BUT WISH YOU HAD
DONE? Mike D.: Put the plant in
Yauch's bed. Ad Rock: A garden
plant, that is. An indoor, potted gar-
den plant. DESCRIBE THE MUSIC BIZ IN
FIVE WORDS, Mike D.: Can I do it in
four? Industry people are shady.
DESCRIBE YOUR MUSIC IN FIVE WORDS.
Ad Rock: Fat. Yauch: Fat fat fat fat
fat. Do you vote? Mike D.: Actually,
I went through much pain because I
tried to get the absentee ballot and
they kept dicking me down. So
finally I registered at my current
address. But I was really disapoint-
ed because in NY you go to a public
school and use these big metal
levers in a machine that's been
there since like 1909. But in LA, you
punch holes in this little card in a
cardboard booth. I think that pretty
much sums up the cultural differ-
ence between East Coast and West
Coast right there. It's disposable
bullshit. I don't even trust that they
register my vote when I just punch it
in some hole. WHO IS THE TOUGHEST
BEASTIE? Mike D.: Hurricane. Hurri-
cane: Yauch is the strongest.
Yauch: 'Cane and I were just arm
wrestling. WHAT ABOUT INDIAN
WRESTLING? Mike D.: Actually, Indi-
an wrestling would be Keyboard
Money Mark, aka Coach (the Beast-
ies' keyboard player when they jam
with live instruments). Yauch:
Adam's a sumo wrestler. He's got to
get fat, though. HOW LONG DID IT
TAKE YOU TO RECORD THIS RECORD?
Ad Rock: Five years. Mike D.:
We've been working on it since I got
off the tightrope. WHEN YOU GO ON
TOUR ARE YOU GOING TO PLAY ALL
YOUR OWN INSTRUMENTS? Ad Rock:
Actually, I'm going to play Mark's
guitar. Mike D.: On the whole album
he never plays his own guitar. He
always plays Mark's because it's a
better guitar. Normally I buy all my
drums old, but for the tour I'm trying
to get hooked-up with some new
drums. Yauch: I've been playing a
new bass, but I'm thinking about
playing an old one for the tour. ANY-
THING ELSE YOU WANT TO SAY TO THE
KIDS OUT THERE? Mike D.: I'd like to
give a special shout-out to the kid in
the green car and tell him whatever
you do, don't crash your car in front
of the I-Beam tonight, and don't
shoot anyone. He was gettin' hectic
today over in the Fillmore. Ad
Rock: Keep on truckin'. WELL, I
THINK THAT'S A PRETTY SUFFICIENT
INTERVIEW. Mike D.: Well, we're a
pretty sufficient band.
(from page 54) control, we're not hold
ing the strings of the puppets. We
are the puppets," says Franz.
In a world of total chaos, time is i
irrelevant, making it possible to
reunite the dead with the living. The
band take full advantage of this, jux-
taposing artists like Jimi Hendrix
and Mozart against Guns N' Roses
and Metallica. In a sense, the Young
Gods' anachronistic sampling
allows them to play God, recrafting
music history to fit their own contort-
ed vision. Their first three albums
melded grandiose classical orches
trations, carnal calliope rhythms,
strident French and German vocals,
harsh, dissonant guitars and synco-
pated drumming into brutally deso-
late storms of molten mayhem.
Their new album TV Sky, the first
sung completely in English, is a bit
more down to earth, sampling.
exclusively from rock music, sound-
ing at times like the Doors jamming
with Prong at a ZZ Top concert.
"This is our rock tribute album,"
says Franz. "I decided to use only
rock music to be creative and
scream out the energy I have in my
guts. After I had stayed one or two
months, I started thinking in English,
not French, so I decided I would try
doing the record in English as a sort
of challenge to myself," he says.
Safety, security and stability are
not in the Young Gods' vocabulary.
They're concerned with risk and
experimentation. Their self-titled
debut featured an outrageous cover
of Gary Glitter's "Did You Miss Me,"
and their third album The Young
Gods Play Kurt Weill, was an ambi
tious carnival ride composed entire-
ly of Weill and Bertold Brecht cov-
ers, including an ominous version of
"Mackie Messer (Mack the Knife)."
The Young Gods would much rather
have an experiment blow-up in their
faces than not experiment at all. "I'm
not afraid of mistakes or of taking
risks," says Franz. "Why should I be
afraid of this? Chance is the best
thing that can happen. Life is boring
if you don't experiment."
While the Young Gods are ener
gized by the sheer joy of creation,
there has always been a tangible
sense of frustration bubbling under
the group's chilling trills and thrilling
drills. No matter how hard they
strive to reach nirvana, no matter
how much they alter their public's
consciousness, they know it's all for
naught in the end.
"Everybody tries to get to a higher
order," says Franz. "You want to be
more than just a simple human
being, but you're never able to do it,
you know? You try to challenge
yourself, and to discover, but you
will never be God. You're just a
Young God and then you die. Feel-
ing this way is maybe what makes
our music so alive." I
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