IN: 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.

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?
IN: Stephen Ray Vaughan (October 3, 1954 - August 27, 1990) was an American musician, singer, songwriter, and record producer. In spite of a short-lived mainstream career spanning seven years, he was one of the most influential guitarists in the revival of blues in the 1980s. AllMusic describes him as "a rocking powerhouse of a guitarist who gave blues a burst of momentum in the '80s, with influence still felt long after his tragic death." Born and raised in Dallas, Texas, Vaughan began playing guitar at the age of seven, inspired by his older brother Jimmie.

In May 1969, after leaving the Brooklyn Underground, Vaughan joined a band called the Southern Distributor. He had learned The Yardbirds' "Jeff's Boogie" and played the song at the audition. Mike Steinbach, the group's drummer, commented: "The kid was fourteen. We auditioned him on 'Jeff's Boogie,' really fast instrumental guitar, and he played it note for note." Although they played pop rock covers, Vaughan conveyed his interest in the addition of blues songs to the group's repertoire; he was told that he wouldn't earn a living playing blues music and the band parted ways. Later that year, bassist Tommy Shannon walked into a Dallas club and heard Vaughan playing guitar. Fascinated by the skillful playing, which he described as "incredible even then", Shannon borrowed a bass guitar and the two jammed. Within a few years, they began performing together in a band called Krackerjack.  In February 1970, Vaughan joined a band called Liberation, which was a nine-piece group with a horn section. Having spent the past month briefly playing bass with Jimmie in Texas Storm, he had originally auditioned as bassist. Impressed by Vaughan's guitar playing, Scott Phares, the group's original guitarist, modestly became the bassist. In mid-1970, they performed at the Adolphus Hotel in downtown Dallas, where ZZ Top asked them to perform. During Liberation's break, Vaughan jammed with ZZ Top on the Nightcaps song "Thunderbird". Phares later described the performance: "They tore the house down. It was awesome. It was one of those magical evenings. Stevie fit in like a glove on a hand."  Attending Justin F. Kimball High School during the early 1970s, Vaughan's late-night gigs contributed to his neglect in his studies, including music theory; he would often sleep during class. His musical career pursuit was disapproved by many of the school's administrators, but he was also encouraged by many people to strive for a career in art, including his art teacher. In his sophomore year, he attended an evening class for experimental art at Southern Methodist University, but bailed when it conflicted with rehearsal. Vaughan later spoke of his dislike of the school and stated that he had to receive a daily note from the principal about his grooming.
QUESTION:
Was Vaughan interested in art?