Considered the fourth member of the Beastie Boys for his numerous contributions and writing credits on every Beastie Boys’ album since 1992’s “Check Your Head,” Mark Ramos-Nishita prides himself on the fact that he is still “keeping it real.” Despite all the past grandeur that has surrounded Money Mark over the past decade, he finds pride insofar that he is the same person he was before gaining international exposure with his involvement with the Beastie Boys. The University News recently had an opportunity to spend some time with Mark and gather his thoughts on touring, music and inspiration.

Money Mark sat down for dinner at the Missouri Bar and Grill before his evening performance. Mark is currently on a two-month tour tentatively titled the “Anti-Rock Star Tour.” Mark refers to his 2001 release, Change is Coming as the “old record”. He has since released a new album (Devil’s Hat) in Japan with a limited pressing of 5000 and believes that this record has also “run its course.” Having never officially signed with a label, Mark is touring the United States on his own funding. Packing all their equipment in one Ford van, Mark travels from state to state with bassist Walter Miranda and drummer Alfredo Ortiz.

Upon totaling up the expenses from each show, Mark says he consistently loses money, “but if financial gain is the end result of art, then you have become a victim of the system.” Mark continues, “What nobody seems to realize is that with this tour we have absolutely no expectations for the music.”

Engaging in a lighthearted disagreement with the bus driver concerning bus fares — “Five people costs $6.25, not $7.25…I’ll show you the math” — Mark and company board the Westbound 93 bus only to get off at Grand and Lindell.

The trio was amazed at the intricacy of College Church. “The structure reminds me of touring Spain. Everywhere I go I try to step back and become aware of where I am. There is an incorruptible innocence in inspiration that I try to translate into music and art. Whether it be musicians coming together in a room or me sitting under a tree writing songs, it is those moments of inspiration that I try to capture.”

Having let too much time pass, everyone frantically tries to find a ride to the venue. “Well, if we dial all 7’s we will reach a Central Taxi Service.” It is explained to Mark that taxis aren’t as readily available in St. Louis as they are in New York. Catching another bus, everyone makes it to the Galaxy just as the opening band A.I. launched into a cohesive set of experimental songwriting with live and electronic drumming.

Shortly after, Money Mark and the band quietly take the stage. Mark dives into a set covering nearly every aspect of his solo career. With selections from each of his three domestic releases, Mark juggles between guitars, synthesizers, pianos and a harmonica. Performing new material, Mark adds, “If anyone is making a bootleg recording of this show, this next tune was written last night.”

Mark pulls out renditions of older songs (“Hand in Your Head”), along with ballads (“Harmonics of Life”), pop tunes (“Too Like You”), tongue in cheek rock (“The Right to Be Wrong”) and “Chocochip”, a jazz number to close the evening.

Offering a musical smorgasbord, Money Mark delivered a punch square into the paunches of those expecting him to relive his Beastie Boys hits. “My music is the soundtrack of my life, the creations are so close to me. I have no expectations. If you would please excuse me, my band and I have to get to work.”

“Mark, you just performed, you’re done for the night.”

“No, my job is a van driver, I have to make it into Kansas before the show tomorrow night.”