[[Image:ASCII Code Chart.svg|thumb|right|upright=1.6|alt=All 128 ASCII characters including non-printable characters.|All 128 ASCII characters including non-printable characters (represented by their abbreviation). The 95 ASCII graphic characters are numbered from 0x20 to 0x7E (32 to 126 decimal). The space character is considered a non-printing graphic.]] The American Standard Code for Information Interchange (ASCII, ) is a character-encoding scheme based on the ordering of the English alphabet. ASCII codes represent text in computers, communications equipment, and other devices that use text. Most modern character-encoding schemes are based on ASCII, though they support many more characters than ASCII does.

US-ASCII is the Internet Assigned Numbers Authority (IANA) preferred charset name for ASCII.

Historically, ASCII developed from telegraphic codes. Its first commercial use was as a seven-bit teleprinter code promoted by Bell data services. Work on ASCII formally began on October 6, 1960, with the first meeting of the American Standards Association's (ASA) X3.2 subcommittee. The first edition of the standard was published during 1963, a major revision during 1967, and the most recent update during 1986. Compared to earlier telegraph codes, the proposed Bell code and ASCII were both ordered for more convenient sorting (i.e., alphabetization) of lists, and added features for devices other than teleprinters.

ASCII includes definitions for 128 characters: 33 are non-printing control characters (now mostly obsolete) that affect how text and space is processed; 94 are printable characters, and the space is considered an invisible graphic. The most commonly used character encoding on the World Wide Web was US-ASCII until December 2007, when it was surpassed by UTF-8.

History

The American Standard Code for Information Interchange (ASCII) was developed under the auspices of a committee of the American Standards Association, called the X3 committee, by its X3.2 (later X3L2) subcommittee, and later by that subcommittee's X3.2.4 working group. The ASA became the United States of America Standards Institute or USASI and ultimately the American National Standards Institute.

The X3.2 subcommittee designed ASCII based on earlier teleprinter encoding systems. Like other character encodings, ASCII specifies a correspondence between digital bit patterns and character symbols (i.e. graphemes and control characters). This allows digital devices to communicate with each other and to process, store, and communicate character-oriented information such as written language. Before ASCII was developed, the encodings in use included 26 alphabetic characters, 10 numerical digits, and from 11 to 25 special graphic symbols. To include all these, and control characters compatible with the Comité Consultatif International Téléphonique et Télégraphique standard, Fieldata, and early EBCDIC, more than 64 codes were required for ASCII.

The committee debated the possibility of a shift key function (like the Baudot code), which would allow more than 64 codes to be represented by six bits. In a shifted code, some character codes determine choices between options for the following character codes. It allows compact encoding, but is less reliable for data transmission; an error in transmitting the shift code typically makes a long part of the transmission unreadable. The standards committee decided against shifting, and so ASCII required at least a seven-bit code.

The committee considered an eight-bit code, since eight bits would allow two four-bit patterns to efficiently encode two digits with binary coded decimal. However, it would require all data transmission to send eight bits when seven could suffice. The committee voted to use a seven-bit code to minimize costs associated with data transmission. Since perforated tape at the time could record eight bits in one position, it also allowed for a parity bit for error checking if desired. Machines with octets as the native data type that did not use parity checking typically set the eighth bit to 0.

The code itself was patterned so that most control codes were together, and all graphic codes were together, for ease of identification. The first two columns (32 positions) were reserved for control characters. The "space" character had to come before graphics to make sorting easier, so it became position 0x20; for the same reason, many special signs commonly-used as separators were placed before digits. The committee decided it was important to support upper case 64-character alphabets, and chose to pattern ASCII so it could be reduced easily to a usable 64-character set of graphic codes. Lower case letters were therefore not interleaved with upper case. To keep options available for lower case letters and other graphics, the special and numeric codes were arranged before the letters, and the letter 'A' was placed in position 0x41 to match the draft of the corresponding British standard. The digits 0–9 were arranged so they correspond to values in binary prefixed with 011, making conversion with binary-coded decimal straightforward.

Many of the non-alphanumeric characters were positioned to correspond to their shifted position on typewriters. Thus #, $ and % were placed to correspond to 3, 4, and 5 in the adjacent column. The parentheses could not correspond to 9 and 0, however, because the place corresponding to 0 was taken by the space character. Since many European typewriters placed the parentheses with 8 and 9, those corresponding positions were chosen for the parentheses. The @ symbol was not used in continental Europe and the committee expected it would be replaced by an accented À in the French variation, so the @ was placed in position 0x40 next to the letter A.

The control codes felt essential for data transmission were the start of message (SOM), end of address (EOA), end of message (EOM), end of transmission (EOT), "who are you?" (WRU), "are you?" (RU), a reserved device control (DC0), synchronous idle (SYNC), and acknowledge (ACK). These were positioned to maximize the Hamming distance between their bit patterns.

With the other special characters and control codes filled in, ASCII was published as ASA X3.4-1963, leaving 28 code positions without any assigned meaning, reserved for future standardization, and one unassigned control code. There was some debate at the time whether there should be more control characters rather than the lower case alphabet. The indecision did not last long: during May 1963 the CCITT Working Party on the New Telegraph Alphabet proposed to assign lower case characters to columns 6 and 7, and International Organization for Standardization TC 97 SC 2 voted during October to incorporate the change into its draft standard. The X3.2.4 task group voted its approval for the change to ASCII at its May 1963 meeting. Locating the lowercase letters in columns 6 and 7 caused the characters to differ in bit pattern from the upper case by a single bit, which simplified case-insensitive character matching and the construction of keyboards and printers.

The X3 committee made other changes, including other new characters (the brace and vertical line characters), renaming some control characters (SOM became start of header (SOH)) and moving or removing others (RU was removed). ASCII was subsequently updated as USASI X3.4-1967, then USASI X3.4-1968, ANSI X3.4-1977, and finally, ANSI X3.4-1986 (the first two are occasionally retronamed ANSI X3.4-1967, and ANSI X3.4-1968).

The X3 committee also addressed how ASCII should be transmitted (least significant bit first), and how it should be recorded on perforated tape. They proposed a 9-track standard for magnetic tape, and attempted to deal with some forms of punched card formats.

ASCII itself was first used commercially during 1963 as a seven-bit teleprinter code for American Telephone & Telegraph's TWX (TeletypeWriter eXchange) network. TWX originally used the earlier five-bit Baudot code, which was also used by the competing Telex teleprinter system. Bob Bemer introduced features such as the escape sequence. His British colleague Hugh McGregor Ross helped to popularize this work—according to Bemer, "so much so that the code that was to become ASCII was first called the Bemer-Ross Code in Europe". Because of his extensive work on ASCII, Bemer has been called "the father of ASCII."

On March 11, 1968, U.S. President Lyndon B. Johnson mandated that all computers purchased by the United States federal government support ASCII, stating:

I have also approved recommendations of the Secretary of Commerce regarding standards for recording the Standard Code for Information Interchange on magnetic tapes and paper tapes when they are used in computer operations. All computers and related equipment configurations brought into the Federal Government inventory on and after July 1, 1969, must have the capability to use the Standard Code for Information Interchange and the formats prescribed by the magnetic tape and paper tape standards when these media are used.

Other international standards bodies have ratified character encodings such as ISO/IEC 646 that are identical or nearly identical to ASCII, with extensions for characters outside the English alphabet and symbols used outside the United States, such as the symbol for the United Kingdom's pound sterling (£). Almost every country needed an adapted version of ASCII since ASCII only suited the needs of the USA and a few other countries. For example, Canada had its own version that supported French characters. Other adapted encodings include ISCII (India), VISCII (Vietnam), and YUSCII (Yugoslavia). Although these encodings are sometimes referred to as ASCII, true ASCII is defined strictly only by ANSI standard.

ASCII was incorporated into the Unicode character set as the first 128 symbols, so the ASCII characters have the same numeric codes in both sets. This allows UTF-8 to be backward compatible with ASCII, a significant advantage.

ASCII control characters

ASCII reserves the first 32 codes (numbers 0–31 decimal) for control characters: codes originally intended not to represent printable information, but rather to control devices (such as printers) that make use of ASCII, or to provide meta-information about data streams such as those stored on magnetic tape. For example, character 10 represents the "line feed" function (which causes a printer to advance its paper), and character 8 represents "backspace". RFC 2822 refers to control characters that do not include carriage return, line feed or white space as non-whitespace control characters. Except for the control characters that prescribe elementary line-oriented formatting, ASCII does not define any mechanism for describing the structure or appearance of text within a document. Other schemes, such as markup languages, address page and document layout and formatting.

The original ASCII standard used only short descriptive phrases for each control character. The ambiguity this caused was sometimes intentional (where a character would be used slightly differently on a terminal link than on a data stream) and sometimes accidental (such as what "delete" means).

Probably the most influential single device on the interpretation of these characters was the Teletype Model 33 ASR series, which was a printing terminal with an available paper tape reader/punch option. Paper tape was a very popular medium for long-term program storage through the 1980s, less costly and in some ways less fragile than magnetic tape. In particular, the Teletype Model 33 machine assignments for codes 17 (Control-Q, DC1, also known as XON), 19 (Control-S, DC3, also known as XOFF), and 127 (Delete) became de facto standards. Because the keytop for the O key also showed a left-arrow symbol (from ASCII-1963, which had this character instead of underscore), a noncompliant use of code 15 (Control-O, Shift In) interpreted as "delete previous character" was also adopted by many early timesharing systems but eventually became neglected.

The use of Control-S (XOFF, an abbreviation for transmit off) as a "handshaking" signal warning a sender to stop transmission because of impending overflow, and Control-Q (XON, "transmit on") to resume sending, persists to this day in many systems as a manual output control technique. On some systems Control-S retains its meaning but Control-Q is replaced by a second Control-S to resume output.

Code 127 is officially named "delete" but the Teletype label was "rubout". Since the original standard did not give detailed interpretation for most control codes, interpretations of this code varied. The original Teletype meaning, and the intent of the standard, was to make it an ignored character, the same as NUL (all zeroes). This was useful specifically for paper tape, because punching the all-ones bit pattern on top of an existing mark would obliterate it. Tapes designed to be "hand edited" could even be produced with spaces of extra NULs (blank tape) so that a block of characters could be "rubbed out" and then replacements put into the empty space.

As video terminals began to replace printing ones, the value of the "rubout" character was lost. DEC systems, for example, interpreted "Delete" to mean "remove the character before the cursor" and this interpretation also became common in Unix systems. Most other systems used "Backspace" for that meaning and used "Delete" to mean "remove the character at the cursor". That latter interpretation is the most common now.

Many more of the control codes have been given meanings quite different from their original ones. The "escape" character (ESC, code 27), for example, was intended originally to allow sending other control characters as literals instead of invoking their meaning. This is the same meaning of "escape" encountered in URL encodings, C language strings, and other systems where certain characters have a reserved meaning. Over time this meaning has been co-opted and has eventually been changed. In modern use, an ESC sent to the terminal usually indicates the start of a command sequence, usually in the form of a so-called "ANSI escape code" (or, more properly, a "Control Sequence Introducer") beginning with ESC followed by a "[" (left-bracket) character. An ESC sent from the terminal is most often used as an out-of-band character used to terminate an operation, as in the TECO and vi text editors. In graphical user interface (GUI) and windowing systems, ESC generally causes an application to abort its current operation or to exit (terminate) altogether.

The inherent ambiguity of many control characters, combined with their historical usage, created problems when transferring "plain text" files between systems. The best example of this is the newline problem on various operating systems. Teletype machines required that a line of text be terminated with both "Carriage Return" and "Linefeed". The first returns the printing carriage to the beginning of the line and the second advances to the next line without moving the carriage. However, requiring two characters to mark the end of a line introduced unnecessary complexity and questions as to how to interpret each character when encountered alone. To simplify matters, plain text files on Unix and Amiga systems use line feeds alone to separate lines. Similarly, older Macintosh systems, among others, use only carriage returns in plain text files. Various IBM operating systems used both characters to mark the end of a line, perhaps for compatibility with Teletype machines. This de facto standard was copied into CP/M and then into MS-DOS and eventually into Microsoft Windows. Transmission of text over the Internet, for protocols as E-mail and the World Wide Web, uses both characters.

Some operating systems such as the pre-VMS DEC operating systems, along with CP/M, tracked file length only in units of disk blocks and used Control-Z (SUB) to mark the end of the actual text in the file. For this reason, EOF, or end-of-file, was used colloquially and conventionally as a three-letter acronym (TLA) for Control-Z instead of SUBstitute. For a variety of reasons, the end-of-text code, ETX aka Control-C, was inappropriate and using Z as the control code to end a file is analogous to it ending the alphabet, a very convenient mnemonic aid. Text strings ending with the null character are known as ASCIZ, ASCIIZ or C strings.

style="background:#CFF;">0 style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;">011 style="font-size:large;" style="background:lightblue;">012 style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;">016 style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;">034 style="font-size:large;" style="background:lightblue;">035 style="font-size:large;" style="background:lightblue;" style="font-size:large;" style="background:lightblue;">037 style="font-size:large;" style="background:lightblue;" style="font-size:large;"

Binary	!! !! !! Name
000 0000	000		00	NUL	␀ ||	^@	\0	Null character
000 0001	001 ||	1	01	SOH	␁ ||	^A		style="text-align:left;"
000 0010	002 ||	2	02	STX	␂ ||	^B		style="text-align:left;"
000 0011	003 ||	3	03	ETX	␃ ||	^C		style="text-align:left;"
000 0100	004 ||	4	04	EOT	␄ ||	^D		style="text-align:left;"
000 0101	005 ||	5	05	ENQ	␅ ||	^E		style="text-align:left;"
000 0110	006 ||	6	06	ACK	␆ ||	^F		style="text-align:left;"
000 0111	007 ||	7	07	BEL	␇ ||	^G	\a	style="text-align:left;"
000 1000	010 ||	8	08	BS	␈ ||	^H	\b	Backspace<
000 1001	|	9	09	HT	␉ ||	^I	\t	Horizontal Tab<
000 1010	|	10	0A	LF	␊ ||	^J	\n	Line feed
000 1011	013 ||	11	0B	VT	␋ ||	^K	\v	Vertical Tab
000 1100	014 ||	12	0C	FF	␌ ||	^L	\f	Form feed
000 1101	015 ||	13	0D	CR	␍ ||	^M	\r	Carriage return<
000 1110	|	14	0E	SO	␎ ||	^N		style="text-align:left;"
000 1111	017 ||	15	0F	SI	␏ ||	^O		style="text-align:left;"
001 0000	020 ||	16	10	DLE	␐ ||	^P		Data Link Escape
001 0001	021 ||	17	11	DC1	␑ ||	^Q		Device Control 1 (oft. XON)
001 0010	022 ||	18	12	DC2	␒ ||	^R		Device Control 2
001 0011	023 ||	19	13	DC3	␓ ||	^S		Device Control 3 (oft. XOFF)
001 0100	024 ||	20	14	DC4	␔ ||	^T		Device Control 4
001 0101	025 ||	21	15	NAK	␕ ||	^U		style="text-align:left;"
001 0110	026 ||	22	16	SYN	␖ ||	^V		Synchronous idle
001 0111	027 ||	23	17	ETB	␗ ||	^W		style="text-align:left;"
001 1000	030 ||	24	18	CAN	␘ ||	^X		style="text-align:left;"
001 1001	031 ||	25	19	EM	␙ ||	^Y		End of Medium
001 1010	032 ||	26	1A	SUB	␚ ||	^Z		style="text-align:left;"
001 1011	033 ||	27	1B	ESC	␛ ||	^[	\e<		style="text-align:left;"
001 1100	|	28	1C	FS	␜ ||	^\		<
001 1101	|	29	1D	GS	␝ ||	^]		style="text-align:left;"
001 1110	036 ||	30	1E	RS	␞ ||	^^<			style="text-align:left;"
001 1111	|	31	1F	US	␟ ||	^_		style="text-align:left;"
colspan="9"
111 1111	177 ||	127	7F	DEL	␡ ||	^?		style="text-align:left;"

ASCII printable characters

Codes 0x20 to 0x7E, known as the printable characters, represent letters, digits, punctuation marks, and a few miscellaneous symbols. There are 95 printable characters in total.

Code 0x20, the space character, denotes the space between words, as produced by the space-bar of a keyboard. Since the space character is considered an invisible graphic (rather than a control character) and thus would not normally be visible, it is represented here by Unicode character U+2420 "␠"; Unicode characters U+2422 "␢" or U+2423 "␣" are also available for use when a visible representation of a space is necessary.

Code 0x7F corresponds to the non-printable "Delete" (DEL) control character and is therefore omitted from this chart; it is covered in the previous section's chart.

Earlier versions of ASCII used the up-arrow instead of the Caret (0x5E). {| style="background:none; text-align:center;" |- style="vertical-align:top;" |

!Binary ! style="background:#cff;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" [[Hyphen-minus style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;"

Oct !! Dec !! Hex !! Glyph
010 0000	040	32 ||	20	space (punctuation)>␠
010 0001	041 ||	33	21	Exclamation mark>!
010 0010	042 ||	34	22	Quotation mark>"
010 0011	043 ||	35	23	Number sign>#
010 0100	044 ||	36	24	Dollar sign>$
010 0101	045 ||	37	25	Percent sign>%
010 0110	046 ||	38	26	Ampersand>&
010 0111	047 ||	39	27	apostrophe>'
010 1000	050 ||	40	28	Parentheses>(
010 1001	051 ||	41	29	Parentheses>)
010 1010	052 ||	42	2A	Asterisk>*
010 1011	053 ||	43	2B	Plus sign>+
010 1100	054 ||	44	2C	Comma (punctuation)>,
010 1101	055 ||	45	2D
010 1110	056 ||	46	2E	Full stop>.
010 1111	057 ||	47	2F	Slash (punctuation)>/
011 0000	060 ||	48	30	0 (number)>0
011 0001	061 ||	49	31	1 (number)>1
011 0010	062 ||	50	32	2 (number)>2
011 0011	063 ||	51	33	3 (number)>3
011 0100	064 ||	52	34	4 (number)>4
011 0101	065 ||	53	35	5 (number)>5
011 0110	066 ||	54	36	6 (number)>6
011 0111	067 ||	55	37	7 (number)>7
011 1000	070 ||	56	38	8 (number)>8
011 1001	071 ||	57	39	9 (number)>9
011 1010	072 ||	58	3A	Colon (punctuation)>:
011 1011	073 ||	59	3B	Semicolon>;
011 1100	074 ||	60	3C	Less-than sign><
011 1101	075 ||	61	3D	Equals sign>=
011 1110	076 ||	62	3E	Greater-than sign>>
011 1111	077 ||	63	3F	Question mark>?

| !Binary ! style="background:#cff;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;"

Oct !! Dec !! Hex !! Glyph
100 0000	100	64 ||	40	@
100 0001	101 ||	65	41	A
100 0010	102 ||	66	42	B
100 0011	103 ||	67	43	C
100 0100	104 ||	68	44	D
100 0101	105 ||	69	45	E
100 0110	106 ||	70	46	F
100 0111	107 ||	71	47	G
100 1000	110 ||	72	48	H
100 1001	111 ||	73	49	I
100 1010	112 ||	74	4A	J
100 1011	113 ||	75	4B	K
100 1100	114 ||	76	4C	L
100 1101	115 ||	77	4D	M
100 1110	116 ||	78	4E	N
100 1111	117 ||	79	4F	O
101 0000	120 ||	80	50	P
101 0001	121 ||	81	51	Q
101 0010	122 ||	82	52	R
101 0011	123 ||	83	53	S
101 0100	124 ||	84	54	T
101 0101	125 ||	85	55	U
101 0110	126 ||	86	56	V
101 0111	127 ||	87	57	W
101 1000	130 ||	88	58	X
101 1001	131 ||	89	59	Y
101 1010	132 ||	90	5A	Z
101 1011	133 ||	91	5B	Square brackets>[
101 1100	134 ||	92	5C	Backslash>\
101 1101	135 ||	93	5D	Square brackets>]
101 1110	136 ||	94	5E	Caret>^
101 1111	137 ||	95	5F	Underscore>_

| !Binary ! style="background:#cff;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;" style="background:lightblue;"

Oct !! Dec !! Hex !! Glyph
110 0000	140	96 ||	60	Grave accent>`
110 0001	141 ||	97	61	a
110 0010	142 ||	98	62	b
110 0011	143 ||	99	63	c
110 0100	144 ||	100	64	d
110 0101	145 ||	101	65	e
110 0110	146 ||	102	66	f
110 0111	147 ||	103	67	g
110 1000	150 ||	104	68	h
110 1001	151 ||	105	69	i
110 1010	152 ||	106	6A	j
110 1011	153 ||	107	6B	k
110 1100	154 ||	108	6C	l
110 1101	155 ||	109	6D	m
110 1110	156 ||	110	6E	n
110 1111	157 ||	111	6F	o
111 0000	160 ||	112	70	p
111 0001	161 ||	113	71	q
111 0010	162 ||	114	72	r
111 0011	163 ||	115	73	s
111 0100	164 ||	116	74	t
111 0101	165 ||	117	75	u
111 0110	166 ||	118	76	v
111 0111	167 ||	119	77	w
111 1000	170 ||	120	78	x
111 1001	171 ||	121	79	y
111 1010	172 ||	122	7A	z
111 1011	173 ||	123	7B	Bracket#Curly brackets>{
111 1100	174 ||	124	7C	Vertical bar>|
111 1101	175 ||	125	7D	Bracket#Curly brackets>}
111 1110	176 ||	126	7E	Tilde>~

|}

Aliases

A June 1992 RFC and the Internet Assigned Numbers Authority registry of character sets recognize the following case-insensitive aliases for ASCII as suitable for use on the Internet:

us

IBM367

cp367

csASCII

Of these, the IANA encourages use of the name "US-ASCII" for Internet uses of ASCII. One often finds this in the optional "charset" parameter in the Content-Type header of some MIME messages, in the equivalent "meta" element of some HTML documents, and in the encoding declaration part of the prologue of some XML documents.

Variants

As computer technology spread throughout the world, different standards bodies and corporations developed many variations of ASCII to facilitate the expression of non-English languages that used Roman-based alphabets. One could class some of these variations as "ASCII extensions", although some misuse that term to represent all variants, including those that do not preserve ASCII's character-map in the 7-bit range.

The PETSCII code Commodore International used for their 8-bit systems is probably unique among post-1970 codes in being based on ASCII-1963, instead of the more common ASCII-1967, such as found on the ZX Spectrum computer. Atari and Galaksija computers also used ASCII variants.

Incompatibility vs interoperability

From early in its development, ASCII was intended to be just one of several national variants of an international character code standard, ultimately published as ISO/IEC 646 (1972), which would share most characters in common but assign other locally-useful characters to several code points reserved for "national use." However, the four years that elapsed between the publication of ASCII-1963 and ISO's first acceptance of an international recommendation during 1967 caused ASCII's choices for the national use characters to seem to be de facto standards for the world, causing confusion and incompatibility once other countries did begin to make their own assignments to these code points.

ISO/IEC 646, like ASCII, was a 7-bit character set. It did not make any additional codes available, so the same code points encoded different characters in different countries. Escape codes were defined to indicate which national variant applied to a piece of text, but they were rarely used, so it was often impossible to know what variant to work with and therefore which character a code represented, and text-processing systems could generally cope with only one variant anyway.

Because the bracket and brace characters of ASCII were assigned to "national use" code points that were used for accented letters in other national variants of ISO/IEC 646, a German, French, or Swedish, etc., programmer using their national variant of ISO/IEC 646, rather than ASCII, had to write, and thus read, something such as :ä aÄiÜ='Ön'; ü instead of :{ a[i]='\n'; } C trigraphs were created to solve this problem for ANSI C, although their late introduction and inconsistent implementation in compilers limited their use.

Eventually, as 8-, 16-, and 32-bit computers began to replace 18- and 36-bit computers as the norm, it became common to use an 8-bit byte to store each character in memory, providing an opportunity for extended, 8-bit, relatives of ASCII, with the 128 additional characters providing room to avoid most of the ambiguity that had been necessary in 7-bit codes.

For example, IBM developed 8-bit code pages, such as code page 437, which replaced the control-characters with graphic symbols such as smiley faces, and mapped additional graphic characters to the upper 128 positions. Operating systems such as DOS supported these code-pages, and manufacturers of IBM PCs supported them in hardware. Digital Equipment Corporation developed the Multinational Character Set (DEC-MCS) for use in the popular VT220 terminal.

Eight-bit standards such as ISO/IEC 8859 (derived from the DEC-MCS) and Mac OS Roman developed as true extensions of ASCII, leaving the original character-mapping intact, but adding additional character definitions after the first 128 (i.e., 7-bit) characters. This enabled representation of characters used in a broader range of languages. Because there were several competing 8-bit code standards, they continued to suffer from incompatibilities and limitations. Still, ISO-8859-1 (Latin 1), its variant Windows-1252 (often mislabeled as ISO-8859-1), and the original 7-bit ASCII remain the most common character encodings in use today.

Unicode

Unicode and the ISO/IEC 10646 Universal Character Set (UCS) have a much wider array of characters, and their various encoding forms have begun to supplant ISO/IEC 8859 and ASCII rapidly in many environments. While ASCII is limited to 128 characters, Unicode and the UCS support more characters by separating the concepts of unique identification (using natural numbers called code points) and encoding (to 8-, 16- or 32-bit binary formats, called UTF-8, UTF-16 and UTF-32).

To allow backward compatibility, the 128 ASCII and 256 ISO-8859-1 (Latin 1) characters are assigned Unicode/UCS code points that are the same as their codes in the earlier standards. Therefore, ASCII can be considered a 7-bit encoding scheme for a very small subset of Unicode/UCS, and, conversely, the UTF-8 encoding forms are binary-compatible with ASCII for code points below 128, meaning all ASCII is valid UTF-8. The other encoding forms resemble ASCII in how they represent the first 128 characters of Unicode, but use 16 or 32 bits per character, so they require conversion for compatibility. (similarly UCS-2 is upwards compatible with UTF-16)

Order

ASCII-code order is also called ASCIIbetical order. Collation of data is sometimes done in this order rather than "standard" alphabetical order (collating sequence). The main deviations in ASCII order are:

All uppercase come before lowercase letters, for example, "Z" before "a"

Digits and many punctuation marks come before letters, for example, "4" is before "one"

An intermediate order which can easily be programmed on a computer converts uppercase letters to lowercase before comparing ASCII values.

See also

3568 ASCII, an asteroid named after the character encoding

ASCII art

ASCII Ribbon Campaign

Extended ASCII

HTML decimal character rendering

References

Further reading

(from H.J. Smith, Jr., F.A. Williams, "Survey of punched card codes", Communications of the ACM 3, 639 & 642, December 1960)

External links

The ASCII subset of Unicode

The Evolution of Character Codes, 1874–1968

Scanned copy of American Standard Code for Information Interchange ASA standard X3.4-1963

Category:ASCII Category:Acronyms

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name	Beastie Boys
landscape	yes
background	group_or_band
origin	New York City, United States
genre	Hip hop, rap rock, hardcore punk
occupation	Rappers
years active	1979–present
label	Rat CageDef JamCapitolGrand Royal
associated acts	Run DMCBiz MarkieB.G.
website	beastieboys.com
current members	Mike DMCAAd-Rock
past members	Kate SchellenbachJohn BerryDJ Double RDoctor DréDJ Hurricane }}

Beastie Boys are an American hip hop trio from New York City. The group consists of Mike D (Michael Diamond) who plays the drums, MCA (Adam Yauch) who plays the bass, and Ad-Rock (Adam Horovitz) who plays the guitar.

The Beastie Boys began as hardcore punk band in 1979, first appearing on the compilation cassette New York Thrash before releasing their first EP, Polly Wog Stew, in 1982. After achieving moderate local success with the 1983 release of their experimental hip hop 12" Cooky Puss, they made the transition to hip hop in 1984 and a string of successful 12" singles followed by their debut album Licensed to Ill in 1986 which received international critical acclaim and commercial success. As of 2010, they have sold 22 million albums in the United States and 40 million albums worldwide.

They are one of the longest lived hip hop acts worldwide and continue to enjoy commercial and critical success in 2011, nearly 25 years after the release of their debut album. On September 27, 2007, they were nominated for induction into the Rock and Roll Hall of Fame. In 2009, the group released digitally remastered deluxe editions of their albums Paul's Boutique, Check Your Head, Ill Communication and Hello Nasty. Their eighth studio album, Hot Sauce Committee Part Two, was released on May 3, 2011, and received positive reviews.

History

Early years (1979–1983)

The Beastie Boys came together in 1979 as a hardcore punk band. A teenaged Adam Yauch had the idea to start an NY-Hard Core band after seeing Black Flag play their first NY show at Peppermint Lounge on March 14, 1981, and approached friends John Berry, Kate Schellenbach, and Michael Diamond (who were all in another band called The Young Aborigines), asking them to join him. The name "Beastie Boys" was suggested by original guitarist John Berry. The letters B.E.A.S.T.I.E. stand for "Boys Entering Anarchistic States Towards Internal Excellence", but this was a backronym, as it was decided what the letters stood for after the band's name had been chosen. The band's original line-up consisted of Adam Yauch on bass, Kate Schellenbach on drums, John Berry on guitar, and Michael Diamond on vocals. Their first gig was at Berry's loft at 100th Street and Broadway on Yauch's 17th birthday, August 5, 1981.

The band quickly earned support slots for 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 of that same year, the Beastie Boys recorded the 7" EP Polly Wog Stew at 171A studios, an early recorded example of New York hardcore.

On Friday, November 13, 1982, the Beastie Boys, consisting of band members John Berry, Michael Diamond (Mike D), Adam Yauch (MCA) (a.k.a. Nathanial Hörnblowér), and Kate Schellenbach (later of Luscious Jackson), played Philip Pucci's birthday for the purposes of his short concert film of the Beastie Boys, Philip Pucci's "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 16mm Bell and Howell Filmo cameras, and 16mm 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 (Ad-Rock) as their 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 earn the Recording Industry Association of America’s (R.I.A.A.) gold sales award for selling more than 500,000 copies.

John Berry left the group in 1983 (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). 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 in 1983. It became a hit in New York underground dance clubs and night clubs upon its release.

Licensed to Ill (1984–1987)

With the success of "Cooky Puss" they began to incorporate rap into their set. They decided to hire a DJ for their live shows, and ended up getting an NYU student named Rick Rubin. Soon thereafter, Rubin began producing records, formed Def Jam Recordings and approached the band about producing them for his new label. Around the same time, the band made a more complete switch over from a punk rock outfit to a three-man rap trio, each adopting their own hip hop monikers in the vein of Grandmaster Flash, Melle Mel and Fab Five Freddy (Mike D, MCA and Adrock). They released the 12" EP, Rock Hard, in 1985; this would be the second record released by Def Jam crediting Rubin as producer. Kate Schellenbach developed creative differences with the band soon after Rubin's arrival; friction with Rubin was a contributing factor. It is believed that Rubin objected to Schellenbach's place in the band – she did not fit the hip hop image that Rick envisioned. Schellenbach went on to join Luscious Jackson in 1991.

In 1985, the band opened for John Lydon's post-Sex Pistols band Public Image Ltd., as well as supporting Madonna on her North American The Virgin Tour. Later in the year, the group was on the Raising Hell tour with Run DMC, Whodini, LL Cool J, and the Timex Social Club. With their exposure on this tour, the track "Hold It Now, Hit It" made Billboard's national R&B; and Dance charts. The track "She's on It" from the Krush Groove soundtrack continued in a rap/metal vein while a double A-side 12", "Paul Revere/The New Style", was released at the end of the year.

The band recorded Licensed to Ill in 1986 and released the album at the end of the year. The album was well-received, and was favorably reviewed by Rolling Stone magazine with the now-famous headline, "Three Idiots Create a Masterpiece." Licensed to Ill became the best selling rap album of the 1980s and the first rap album to go No.1 on the Billboard album chart, where it stayed for five weeks. It also reached No.2 on the Urban album charts. It was Def Jam's fastest selling debut record to date and sold over five million copies. The first single from the album, "(You Gotta) Fight for Your Right (To Party!)", () reached No.7 on the Billboard Hot 100, and the video (directed by Ric Menello) became an MTV staple. Another chart hit from the album was No Sleep till Brooklyn, released in 1987.

The band took the Licensed to Ill tour around the world the following year. It was a tour clouded in controversy featuring female members of the crowd dancing in cages and a giant motorized inflatable penis similar to one used by The Rolling Stones in the 1970s. The tour was troubled by lawsuits and arrests, with the band accused of provoking the crowd. This culminated in their notorious gig at the Royal Court Theatre, Liverpool, England on May 30, 1987 that erupted into a riot approximately 10 minutes after the Beasties hit the stage and the arrest of Adam Horovitz by Merseyside Police on assault charges.

After the success of Licensed to Ill, the Beasties parted ways with Def Jam and ended their relationship with Rick Rubin to sign with Capitol Records. Tougher Than Leather, the movie made by Rick Rubin as a star vehicle for Run-D.M.C. and Def Jam Recordings with appearances by the Beastie Boys when they were still with the label, was subsequently released in 1988. In 1998, a bootleg album entitled Original Ill was released, featuring original [[Demo (music)| demos]] of all the tracks from the final version of Licensed to Ill, plus deleted tracks "I'm Down" (a Beatles cover) and "The Scenario" (an early example of gangsta rap which was memorably featured in the 1990 Christian Slater film Pump Up the Volume).

Paul's Boutique and Check Your Head (1988–1992)

The group re-entered the studio in 1988, emerging with a more artistically mature second album, Paul's Boutique. Produced by the Dust Brothers and Matt Dike, this extremely sample-heavy opus is still considered one of the strongest works by the Beastie Boys, and Rolling Stone ranked it No.156 on its list of the 500 Greatest Albums of All Time. It is also considered a landmark in hip hop recordings due to its large array of samples and intricate use of multi-layering. The album was released in 1989 by Capitol Records, after the falling out between the group and Def Jam. It failed to match the sales of Licensed to Ill, reaching No.14 on the Billboard 200 and No.10 on the Billboard R&B; charts. The lead single, "Hey Ladies", reached No.36 on the Billboard 100 and No.10 on the R&B; charts. Rolling Stone would describe the album as "the Pet Sounds/The Dark Side of the Moon of hip hop." Paul's Boutique would eventually sell a million copies, despite the initially weak commercial reception. The band digitally remastered and released the album through their own website.

The follow-up album, Check Your Head, was recorded in the band's own "G-Son" studio in Atwater Village, California and released on its Grand Royal record label. The band was influenced to play instruments on this album by Dutch group Urban Dance Squad; with Mike D on drums, Yauch on bass, Horovitz on guitar and Mark Ramos Nishita ("Keyboard Money Mark") on keyboards. Mario Caldato, Jr., who had helped in the production of Paul's Boutique, engineered the record and became a longtime collaborator. Check Your Head was released in 1992 and went double platinum in the U.S., reaching a peak of No.10 on the Billboard 200. The single "So What'cha Want" reached No.93 on the Billboard 100 and made both the urban and modern rock charts while the album's first single "Pass the Mic" became a hit in dance clubs. The album also introduced a more experimental direction, with funk and jazz inspired songs including "Lighten Up" and "Something's Got to Give". The band returned to their hardcore punk roots for the song "Time for Livin'", a Sly & the Family Stone cover.

Beastie Boys signed an eclectic roster of artists to their Grand Royal label, including Luscious Jackson, Sean Lennon and promising Australian artist Ben Lee. The group owned Grand Royal Records until 2001 when it was then sold for financial reasons. Grand Royal's first independent release was Luscious Jackson's album In Search of Manny in 1993. Also, in 1993, the band contributed the track "It's The New Style" (with DJ Hurricane) to the AIDS-Benefit Album No Alternative produced by the Red Hot Organization.

The Beastie Boys also published Grand Royal Magazine, with the first edition in 1993 featuring a cover story on Bruce Lee, artwork by George Clinton, and interviews with Kareem Abdul-Jabbar and A Tribe Called Quest MC Q-Tip. The 1995 issue of the magazine contained a memorable piece on the mullet. The Oxford English Dictionary cites this as the first published use of the term, along with the lyrics from the Beasties' 1994 song "Mullet Head". That is why one never heard the term in the 1980s, even though that decade has retroactively been hailed as the mullet's peak in popularity. The OED says that the term was "apparently coined, and certainly popularized, by U.S. hip-hop group the Beastie Boys." Grand Royal Magazine is also responsible for giving British band Sneaker Pimps their name.

Ill Communication (1993–1996)

Ill Communication, released in 1994, saw the Beastie Boys' return to the top of the charts when the album debuted at No.1 on the Billboard Top 200 & peaked at No.2 on the R&B;/hip hop album chart. The single "Sabotage" () became a hit on the modern rock charts and the music video, directed by Spike Jonze, received extensive play on MTV. "Get It Together" reached Top 10 of the Billboard dance charts and also became an urban hit while "Sure Shot" was a dance hit. Some Old Bullshit, featuring the band's early independent material, made No.50 on the Billboard independent charts.

Beastie Boys headlined at Lollapalooza—an American travelling music festival—in 1994, together with The Smashing Pumpkins. In addition, the band performed three concerts (in Los Angeles, New York City, and Washington D.C.) to raise money for the Milarepa Fund and dedicated the royalties from "Shambala" and "Bodhisattva Vow" from the Ill Communication album to the cause. The Milarepa Fund aims to raise awareness of Tibetan human rights issues and the exile of the Dalai Lama. In 1996, Yauch organized the Tibetan Freedom Concert, a two-day festival at Golden Gate Park in San Francisco that attracted 100,000 people.

In 1995, the popularity of Beastie Boys was underlined when tickets for an arena tour went on sale in the U.S. and sold out within a few minutes. One dollar from each ticket sold went to local charities. The Beastie Boys toured South America and Southeast Asia for the first time. The band also released Aglio e Olio, a collection of eight songs lasting just 11 minutes harking back to their punk roots, in 1995. The In Sound From Way Out!, a collection of previously released jazz/funk instrumentals, was released on Grand Royal in 1996 with the title and artwork a homage to an album by electronic pop music pioneers Perrey and Kingsley.

Hello Nasty (1997–2001)

Beastie Boys returned to New York City in 1997 to produce and record the album Hello Nasty. The album displayed a substantial shift in musical feel, with the addition of Mix Master Mike, who added to the Beasties' sound with his kinetic DJ style. Released July 14, 1998, Hello Nasty earned first week sales of 698,527 in the U.S. and went straight to No.1 in the U.S., the UK, Germany, Australia, the Netherlands, New Zealand, and Sweden. The album achieved No.2 rank in the charts in Canada and Japan, and reached Top Ten chart positions in Austria, Switzerland, Ireland, Belgium, Finland, France and Israel.

Beastie Boys won two Grammy Awards in 1999, receiving the Grammy Award for Best Alternative Music Album for Hello Nasty as well as the Grammy Award for Best Rap Performance by a Duo or Group for "Intergalactic". This was the first and, as of 2008, only time that a band had won awards in both rap and alternative categories.

Also at the 1998 MTV Video Music Awards they won the highly coveted Video Vanguard Award for their contribution to music videos. The following year at the 1999 MTV Video Music Awards they also won the award for Best Hip Hop Video for their hit song "Intergalactic". Beastie Boys used both appearances at the Video Music Awards to make politically-charged speeches of considerable length to the sizable MTV audiences. At the 1998 ceremony, Yauch addressed the issue of Muslim people being stereotyped as terrorists and that most people of the Muslim faith are not terrorists. These comments were made in the wake of the U.S. Embassy bombings that had occurred in both Kenya and Tanzania only a month earlier. At the 1999 ceremony in the wake of the horror stories that were coming out of Woodstock 99, Adam Horovitz addressed the fact that there had been so many cases of sexual assaults and rapes at the festival and the need for bands and festivals to pay much more attention to the security details at their concerts.

Beastie Boys started an arena tour in 1998. Through Ian C. Rogers, the band made live downloads of their performances available for their fans, but were temporarily thwarted when Capitol Records removed them from its website. The Beastie Boys was one of the first bands who made mp3 downloads available on their website; they got a high level of response and public awareness as a result including a published article in The Wall Street Journal on the band's efforts.

The 1999 Tibetan Freedom Concerts featured shows in East Troy, Wisconsin, Sydney, Tokyo, and Amsterdam. On September 28, 1999, Beastie Boys joined Elvis Costello to play "Radio Radio" on the 25th anniversary season of Saturday Night Live.

Beastie Boys released The Sounds of Science, a two-CD anthology of their works in 1999. This album reached No.19 on the Billboard 200, No.18 in Canada, No.6 on the Internet sales charts, and No.14 on the R&B;/Hip Hop charts. The one new song, the single "Alive", reached No.11 on the Billboard's Modern Rock chart.

In the years following the release of Hello Nasty the group launched their official website which underwent several transformations eventually culminating in one of the most popular recording artist related websites on the internet.

In 2000, Beastie Boys had planned to co-headline the "Rhyme and Reason Tour" with Rage Against the Machine and Busta Rhymes, but the tour was canceled when drummer Mike D suffered a serious injury due to a bicycle accident. The official diagnosis was fifth-degree acromioclavicular joint dislocation; he needed surgery and extensive rehabilitation. By the time he recovered, Rage Against the Machine had disbanded, although they would reunite seven years later.

Under the name "Country Mike", Mike D recorded an album, Country Mike's Greatest Hits, and gave it to friends and family for Christmas in 2000. Adam "Ad-Rock" Horovitz's side project BS 2000 released Simply Mortified in 2001.

Hello Nasty was reissued on September 22, 2009.

To the 5 Boroughs (2002–2006)

The band increased its level of political activism after the September 11 terrorist attacks in 2001, organizing and headlining the New Yorkers Against Violence Concert in October 2001. Funds from the concert went towards the New York Women's Foundation Disaster Relief Fund and the New York Association for New Americans (NYANA).

In 2002, Adam Yauch started building a new studio facility, Oscilloscope Laboratories, in downtown Manhattan, New York and the band started work on a new album there. The band released a protest song, "In A World Gone Mad", against the 2003 Iraq war as a free download on several websites, including the Milarepa website, the MTV website, MoveOn.org, and Win Without War. It became the most downloaded track during April 2003. The 19th and 20th Tibetan Freedom Concerts were held in Tokyo and Taipei, Beastie Boys' first Taiwan appearance. Beastie Boys also headlined the Coachella Valley Music and Arts Festival.

Their single, "Ch-Check It Out", debuted on The O.C. in "The Vegas" episode from Season 1 which aired April 28, 2004.

To the 5 Boroughs was released worldwide on June 15, 2004. It was the first album the Beastie Boys produced themselves and reached No.1 on the Billboard album charts, No.2 in the UK and Australia, and No.3 in Germany. The first single from the album, "Ch-Check It Out", reached No.1 in Canada and the US Modern Rock Tracks, No.2 on the world internet download charts, and No.3 on a composite world modern rock chart.

The album was the cause of some controversy with allegations that it installed spyware when inserted into the CD drive of a computer. The band has denied this allegation, defending that there is no copy protection software on the albums sold in the U.S. and UK. While there is Macrovision CDS-200 copy protection software installed on European copies of the album, this is standard practice for all European releases on EMI/Capitol Records released in Europe, and it does not install spyware or any form of permanent software.

The band stated in mid-2006 that they were writing material for their next album and would be producing it themselves.

The Mix-Up (2007–2008)

Speaking to British music weekly NME (April 26, 2007), Diamond revealed that a new album was to be called The Mix-Up. Despite initial confusion regarding whether the album would have lyrics as opposed to being purely instrumental, the Mic-To-Mic blog reported that Capitol Records had confirmed it would be strictly instrumental and erroneously reported a release date scheduled for July 10, 2007. (The album was eventually released June 26, as originally reported.) On May 1, 2007, this was further cemented by an e-mail sent to those on the Beastie Boys' mailing list — explicitly stating that the album would be all instrumental:

The band subsequently confirmed this in public, playing several tracks from the album at the 2007 Virgin Festival at Pimlico Race Course in Baltimore, Maryland.

To support the release, a string of live dates was announced that focused on festivals as opposed to a traditional tour, including the likes of Sónar (Spain), Roskilde (Denmark), Hurricane/Southside (Germany), Bestival (Isle Of Wight), Electric Picnic (Ireland) and Open'er Festival (Poland). Beastie Boys performed at the UK leg of Live Earth July 7, 2007 at Wembley Stadium, London with "Sabotage", "So What'cha Want", "Intergalactic", and "Sure Shot".

They worked with Reverb, a non-profit environmental organization, on their 2007 summer tour.

Beastie Boys were featured on the cover of Beyond Race magazine for the publication's summer 2007 issue.

They won a Grammy for The Mix-Up in the "Best Pop Instrumental Album" category at the 50th Annual Grammy Awards in 2008.

Hot Sauce Committee (2009–present)

In February 2009, Yauch revealed their forthcoming new album has taken the band's sound in a "bizarre" new direction, saying "It's a combination of playing and sampling stuff as we're playing, and also sampling pretty obscure records." The tentative title for the record was Tadlock's Glasses, of which Yauch explained the inspiration behind the title:

"We had a bus driver years ago who used to drive Elvis' back up singers. His name was Tadlock and Elvis gave him a pair of glasses which he was very proud of. So for some reason that title – Tadlock's Glasses – has just been bouncing around."

In June 2009 The Beastie Boys appeared at Bonnaroo Music and Arts Festival and performed the new single from the album titled "Too Many Rappers" alongside rapper Nas who appears on the track. The group would have toured the UK later in the year in support of the new record.

On May 25, it was announced during an interview on Late Night with Jimmy Fallon that the name of their new album would be Hot Sauce Committee and was set for release on September 15 (with the tracklisting of the album announced through their mailing list on June 23).

Speaking to Drowned in Sound the Beastie Boys revealed that Part 2 is done. Mike D also hinted it may be released via unusual means:

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On July 20, Yauch announced on the Beastie Boys' official YouTube channel and through the fan mailing list the cancellation of several tour dates and the postponement of the new album due to the discovery of a cancerous tumor in his parotid gland and a lymph node. The group also had to cancel their co-headlining gig at the Osheaga Festival in Montreal as well as a headlining spot at 2009's Lollapalooza.

In late October 2010, the Beastie Boys sent out two emails regarding the status of Hot Sauce Committee Pts. 1 and 2 to their online mailing list. An email dated October 18 read: "Although we regret to inform you that Hot Sauce Committee Part 1 will continue to be delayed indefinitely, Hot Sauce Committee Part 2 will be released on time as originally planned in spring of 2011." One week later, a second email was sent out, reading as follows:

The official release dates were April 27, 2011 for Japan; April 29 in the UK and Europe, and May 3, 2011 in the US. The third single for the album is "Make Some Noise" was made available for download on April 11, 2011 as well as a limited edition 7" vinyl single for Record Store Day five days later with a Passion Pit remix of the track as a b-side. The track was leaked online on April 6 and subsequently made available via their blog.

On April 22, the Beastie Boys emailed out the cryptic message "This Sat, 10:35 am EST – Just listen, listen, listen to the beat box". A day later, they live streamed their album online via beatbox inside Madison Square Garden.

Influences and legacy

Beastie Boys have had four albums reach the top of the Billboard album charts (Licensed to Ill, Ill Communication, Hello Nasty and To The 5 Boroughs) since 1986. In the November 2004 issue, Rolling Stone named "Sabotage" the 475th song on their 500 Greatest Songs of All Time list. In their April 2005 issue, Rolling Stone ranked them No.77 on their list of the 100 Greatest Artists of All Time. VH1 ranked them No.89 on their list of their 100 Greatest Artists of All Time. On September 27, 2007, it was announced that Beastie Boys were one of the nine nominees for the 2008 Rock and Roll Hall of Fame Inductions. A controversial concert in Columbus, Georgia in 1987 led to the passage of a lewdness ordinance in that city. Sal Governale, a comedian on the staff of The Howard Stern Show, indicated on air on July 25, 2007, that he was the president of the Beastie Boys fan club in the 1980s on the Prodigy computer network.

The Beastie Boys were highly influenced by the incendiary blend of the politics, art, and rock n roll of the extremely influential punk rock band The Clash. Further influences include early rock bands Led Zeppelin and Deep Purple, and Acid Rock legend Jimi Hendrix. Canadian rock band The Barenaked Ladies have also cited the Beastie Boys as a huge inspiration for their work.

Sampling lawsuit

In 2003, Beastie Boys were involved in the landmark sampling decision, Newton v. Diamond. In that case, a federal judge ruled that the band was not liable for sampling James Newton's "Choir" in their track, "Pass the Mic". The sample used is the six-second flute stab. In short, the Beasties cleared the sample but obtained only the rights to use the sound recording and not the composition rights to the song "Choir". In the decision, the judge found that "when viewed in relation to Newton's composition as a whole, the portion is neither quantitatively nor qualitatively significant... Because Beastie Boys' use of the sound recording was authorized, the sole basis of Newton's infringement action is his remaining copyright interest in the 'Choir' composition. We hold today that Beastie Boys' use of a brief segment of that composition, consisting of three notes separated by a half-step over a background C note, is not sufficient to sustain a claim for copyright infringement."

Band members

Beastie Boys

Mike D (Michael Diamond) – vocals, drums (1979–present)

MCA (Adam Yauch) – vocals, bass (1979–present)

Ad-Rock (Adam Horovitz) – vocals, guitars (1982–present)

Former members

Kate Schellenbach – drums, percussion (1979–1983)

John Berry – guitars (1979–1981)

DJ Double R (Rick Rubin) – disc jockey (1984–1985)

Doctor Dré (André Brown) – disc jockey (1986)

DJ Hurricane (Wendell Fite) – disc jockey (1986–1997)

Other contributing members

Rick Rubin – producer (1985–1986)

The Dust Brothers – producer (1988)

Mario Caldato, Jr. – producer, engineer (1988–1998)

Money Mark (Mark Ramos-Nishita) – keyboards, vocals (1992–present)

Eric Bobo – percussion (1992–1998)

AWOL (Amery Smith) – drums (1994–1995)

Mix Master Mike (Michael Schwartz) – disc jockey, turntables (1998–present)

Discography

Studio albums

Licensed to Ill (1986)

Paul's Boutique (1989)

Check Your Head (1992)

Ill Communication (1994)

Hello Nasty (1998)

To the 5 Boroughs (2004)

The Mix-Up (2007)

Hot Sauce Committee Part Two (2011)

Awards and Nominations

Grammy Awards

!Year	!Nominated work	!Award	!Result
align=center	Check Your Head	Best Rap Performance by a Duo or Group
align=center	"Sabotage"	Best Hard Rock Performance
align=center	"Intergalactic"	Best Rap Performance by a Duo or Group
align=center	Hello Nasty	Best Alternative Performance
align=center	"Alive"	Best Rap Performance by a Duo or Group
align=center	"Ch-Check It Out"	Best Rap Performance by a Duo or Group
align=center	To The 5 Boroughs	Best Rap Album
align=center	"Off the Grid"	Best Pop Instrumental Performance
align=center	The Mix-Up	Best Pop Instrumental Album
align=center	"Too Many Rappers" (featuring Nas)	Best Rap Performance by a Duo or Group

Filmography

Krush Groove (1985)

Tougher Than Leather (1988)

Awesome; I Fuckin' Shot That! (2006)

Fight For Your Right Revisited (2011)

References

Beastie (1982)

External links

Official website

Beastie Museum

Category:Capitol Records artists Category:Def Jam Recordings artists Category:East Coast hip hop groups Category:Grammy Award winners Category:Jewish hip hop groups Category:Musical groups established in 1979 Category:Hardcore punk groups from New York Category:Rapcore groups Category:Reachout International Records recording artists Category:Sony/ATV Music Publishing artists

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