Hey, it's Alan, and I just wanted to let you know that you can now listen to the ongoing

history of new music early and ad-free on Amazon music, included with Prime.

It's almost impossible for anyone from a lightweight boy band to transition to serious,

respected artists. Now, it can be done. We can look at Justin Timberlake and, well, well, we can look at Justin Timberlake.

And as tough as that is, it's even more difficult to move from being pigeonholed as a novelty

act to one that carries gravitas and serious artistic merit. Yet that's what the Beastie Boys

managed to do. No one took them seriously for the first eight years of their career.

They were spoiled, snotty frat boys writing goofy songs and making funny videos.

Licensed to Ill was a parody of hip-hop.

It was a good one, but it was still a parody.

And let's not forget that Rolling Stone described the album as

Three Idiots Make a Masterpiece. But then something changed. And let's not forget that Rolling Stone described the album as three idiots make a masterpiece.

But then something changed. The Beastie Boys grew up. They grew as artists. They grew as businessman.

And they grew as humans. They took risks. They experimented. They branched out. They sought to make a difference.

Not just in music, but in the world.

And by the time it all came to one end with the death of Adam Yock in the spring of 2012,

the Beastie Boys had cemented her reputation as one of the most important bands of not one, but at least two generations.

This is Remembering the Beastie Boys, part two.

This is the ongoing history of new music podcast with Alan Cross. The Beastie Boys, Let me get some action from the back section We need to bea rocking Not perfection

The Beastie Boys and Body Moving

One of the singles from their 1998 album

Hello Nasty

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