1983 proves to be a very busy year for the members of the Beastie Boys. Not only do they call upon Adam Horovitz to join the band, but they also begin to incoporate hip hop into their sound. The result of all of this work, is the Cooky Puss 12" and several shows opening for bands in and around New York.
Adam Horovitz leaves the Young and the Useless to join the Beastie Boys following John Berry's pre-New Year's Eve departure. John Berry goes on to form Big Fat Love with Bosco.
Although the Beastie Boys were now heading in a new musical direction with the addition of Adam Horovitz on guitar, people outside of New York were finally getting their first listen to the “Polly Wog Stew” e.p. The seven inch record was now being widely sold for only $2.50 via mail order directly from Rat Cage Records, which by this point in time had relocated from its first location below Jerry Williams’ 171-A studio (between 10th and 11th) to its new location at 307 East 9th Street.
It was not long before the e.p.’s release was picked up on the punk radar far outside of the New York Hard Core music scene. For example, in issue #8 of the San Diego punk zine “Ripper” (which went to press on January 13th 1983), editor Tim Tonooka said the following in his review of the Polly Wog Stew e.p.:“Really wild stuff. The Beastie Boys are a young New York band with a fun J.F.A. kind of sound, but thicker. Doomsday mayhem music with humorous lyrics makes this unique. The singer has a really snotty snarl, and there’s lots of fun choruses. You’ll have a good time with this one.”
At approximately the very same time (early January 1983) Dave Parsons began to run full page ads in other punk zines such as Brooklyn’s “Straight Edge” promoting the release of the Young and the Useless “Real Men Don’t Floss” e.p. The six song 7” record sold for only $2.50 (which included postage) and showcased a band with an uncertain future, following Adam Horovitz’s move from TYATU to the Beastie Boys. In an example of cosmic coincidence and adding further buzz to the young band, punk rock cartoonist John Crawford publishes his comic strip take (Baboon Doooley, Rock Critic!) on David Scilken and the Young and the Useless in that very same January 1983 issue of “Straight Edge.”
The line up of Michael Diamond, Adam Yauch, Kate Schellenbach, and Adam Horovitz enter Celebration studios in New York and proceed to record the Cooky Puss 12" with the help of engineer Doug Pomeroy. The Cooky Puss 12" gets released on the Ratcage Records label and generates a fair amount of buzz in the New York area, but the live performances that the Beastie Boys do from March through May 1983 remain comprised of primarily New York hardcore punk material.
One of these performances, the May 7th gig at White Columns in New York, gets recorded and one song (Egg Raid on Mojo) finds it way onto the Speed Trials 12" album.
June - August
The Beastie Boys spend the summer of 1983 opening for bands like the Bad Brains, Regan Youth, and the Necros. This provides them with more exposure and gets them gigs outside of the state of New York.
Band members Yauch, Diamond, and Schellenbach all depart for college in the fall putting the Beastie Boys on hold. Meanwhile continuing his rise in the world of artist management; Russell Simmons orchestrates the signing of Run DMC to Profile Records. Through this contract Run DMC is given a $25,000 advance and ten royalty points on the first Run DMC album.
Back in town and on Christmas break from Vassar, Michael Diamond forms a side project with friends Tom Cushman and Thomas Beller called the Beat Brothers. The trio record a song known as the "Reading Rap." Michael Diamond never returned to Vassar to finish his degree.