Problem: Background: Beastie Boys were an American rap rock group from New York City, formed in 1981. For the majority of their career, the group consisted of Michael "Mike D" Diamond (vocals, drums), Adam "MCA" Yauch (vocals, bass) and Adam "Ad-Rock" Horovitz (vocals, guitar). Originally formed as a four-piece hardcore punk band, the Young Aborigines, in 1978 by Diamond (vocals), John Berry (guitar), Yauch (bass) and Kate Schellenbach (drums), the band appeared on the compilation cassette New York Thrash, contributing two songs from their first EP, Polly Wog Stew, in 1982. Berry left shortly thereafter, and was replaced by Horovitz.
Context: Prior to forming the Beastie Boys, Michael Diamond was part of a number of bands such as the Walden Jazz Band, BAN, and The Young Aborigines. The Beastie Boys formed in July 1981 when the Young Aborigines bassist Jeremy Shatan left New York City for the summer and the remaining members Michael Diamond, John Berry and Kate Schellenbach formed a new hardcore punk band with Adam Yauch called Beastie Boys. The band supported Bad Brains, the Dead Kennedys, the Misfits and Reagan Youth at venues such as CBGB, A7, Trudy Hellers Place and Max's Kansas City, playing at the latter venue on its closing night. In November 1982, the Beastie Boys recorded the 7" EP Polly Wog Stew at 171A studios, an early recorded example of New York hardcore.  On November 13, 1982, the Beastie Boys played Philip Pucci's birthday for the purposes of his short concert film of the Beastie Boys, Beastie. Pucci held the concert in Bard College's Preston Drama Dance Department Theatre. This performance marked the Beastie Boys' first on screen appearance in a published motion picture. Pucci's concept for Beastie was to distribute a mixture of both a half dozen 16 mm Bell & Howell Filmo cameras, and 16 mm Bolex cameras to audience members and ask that they capture the Beastie Boys performance from the audience's own point of view while a master sync sound camera filmed from the balcony of the abandoned theater where the performance was held. The opening band for that performance was The Young and the Useless, which featured Adam Horovitz as the lead singer. A one-minute clip of Beastie was subsequently excerpted and licensed by the Beastie Boys for use in the "Egg Raid on Mojo" segment of the "Skills to Pay the Bills" long-form home video released by Capitol Records. "Skills to Pay the Bills" later went on to be certified Gold by the Recording Industry Association of America (RIAA).  Berry left the group in 1982 (later forming Thwig, Big Fat Love and Bourbon Deluxe) and was replaced by Adam Horovitz, guitarist of The Young and the Useless, who had become close friends with the Beastie Boys at this point; Schellenbach left the band in 1984 and was not replaced, with Diamond filling the role of drummer. The band also recorded and then performed its first hip hop track, "Cooky Puss", based on a prank call by the group to Carvel Ice Cream franchise in 1983. It was a part of the new lineup's first EP, also called Cooky Puss, which was the first piece of work that showed their incorporation of the underground rap phenomenon and the use of samples. It quickly became a hit in New York underground dance clubs and night clubs upon its release.  In 1983, the new lineup released the Cooky Puss EP, which offered the first evidence of them picking up on the underground rap phenomenon and the use of samples. "Beastie Revolution" was later sampled for a British Airways commercial. The Beastie Boys sued them over the use of the song, earning them $40,000 in royalties.
Question: What did they do after the Polly Wog Stew release?
Answer: On November 13, 1982, the Beastie Boys played Philip Pucci's birthday for the purposes of his short concert film of the Beastie Boys, Beastie.

Problem: Background: Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.
Context: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers.  By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper:  While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Question: How did they react
Answer:
According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.