All language subtitles for Hart to Heart s03e03 Dr Dre.eng

**

-My guest today is a icon,
and I really do mean that.

He is one of the most
influential cultural forces

in American history, and
that's not overstating things in the least way.

Okay? The man is one of the
architects of rap and hip-hop,

and he changed the way
that we listen to music.

And by "change,"
I do mean change.

He and Jimmy Iovine
created Beats headphones,

which of course have taken
the world by storm.

Who am I talking about? Well,
by this time, you should know.

None other than Dr. Dre.
Come out here, Dre.

How are you, man?
-I'm great, man.

-Good to see you, champ.
-Thanks for having me.

I appreciate you. This is big.
-Yeah, man.

-This is bigger than big.

-You know, I don't
come outside much, man.

-I already know, That's what
I'm saying. This is big!

-Yeah, so it takes quite a bit
to get me the fuck outside, man.

-This is huge.
-Yeah.

-So I can't fuck up
my opportunity.

I got to make it worth it.
You know what I do here.

I believe that
great conversations happen

over a great glass of wine.

This is a conversation
that I'm excited to have.

-Okay.
-Why am I excited

to have a conversation?
Because there's so much shit

that I want to know about you,
your road to success,

your now stance in success,

your business mind
while being a success,

your take and place on music,
how you listen to music,

who you fuck with in music.
I want to know so much.

This is what we're going to dive
into today. But before we do...

-That's a whole lot, Kev.
That's a lot.

-Well, yeah. We've got an hour.
Come on.

Hey. Come on, D.
This is my somm, DLynn.

-Alright.
-What are we drinking today?

-Mr. Young, Mr. Hart.
-Mm-hmm.

-Well, I've got something
for Mr. Young already.

One of the world's
finest gins for you.

-Thank you.
-And, of course, a Black family

that situated themselves
in the Napa Valley

in the late '70s, early 1980s.
-Mm-hmm.

-A reclusive blend of Cabernet
Sauvignon and Zinfandel.

-Reclusive.
-2017 vintage.

-That's a good year.
-Excellence.

-What the fuck is going on
around here?

-That's my somm.
-Okay.

-He breaking down the wine.
-Okay. Alright.

-Okay. You think
I just drink any type of wine?

-I know it's real fancy in
this motherfucker right now.

-You're goddamn right it was.
It's a reclusive.

-Okay.
-Reclusive blend.

-Okay.
-May I just in case?

-No, I'm straight. Thank you.
-Absolutely. Thank you.

Alright, man.
-Enjoy.

-That's a bold man right there,
asking Dre to his face...

To you, man.
Here. Cheers, cheers.

-Cheers, man.
-Thank you for coming on.

Dre, God damn. Where do I start?
Where the fuck do I start?

-It's your show, man.
You tell me.

-Let me tell you
where I wanna start.

I got to work with Cube.
Me and Cube did a movie

called "Ride Along,"

and while doing the movie
"Ride Along" --

or "Ride Along 1" -- you know,
I was very honest with Cube,

and I said, "Hey, man,
this is a big opportunity.

Working with you
is dope as hell.

But there's so much shit
that I want to know.

Don't think at any point

that, you know, I'm trying
to be a pain in the ass.

But throughout the course
of this film, man,

I'm with you for two months,
I'm gonna, like, ask questions.

-Of course, as you should.

-And a lot of the questions
that I was asking,

you know, they were
based off of the trajectory

that these young guys had
from the hood of Los Angeles

and coming together as a group,

reaching this phenomenal,
crazy place of success,

and really being a part
of the change in music,

the change in hip-hop.
-Right.

-Did you ever see or foresee --

and I know this is
a traditional question --

-It is.
-But I mean it when I say it.

-I know where you're
going with it, but go ahead.

-Like, from there,
you guys get together.

You're a group,
and it's a rap group.

It's gangsta rap,
whatever you want to call it.

-Yeah.

-You're now sitting
at the top of, like --

-By the way, I've never liked it
being called that. Gangsta rap.

That's never
what we went in to do.

-What is it -- What did you--

-We were just making
hard-core hip-hop.

That's all it is. You know?

I don't know
why it got that title

or who gave it that title.

I don't know who the fuck
that was, but it wasn't us.

-At the time --
I mean, you guys were adamant

about correcting it
at that time, as well,

when it was being called
gangsta rap or did you --

-No, we just let it go. We just
embraced it and let it go.

But that's not
what we decided to do. That's not what we called it.

We were just doing hip-hop.
Hard-core hip-hop.

-Hard-core hip-hop
representing the West Coast.

-Yeah.

-After representing
the West Coast,

after making,
I guess you could say,

a handprint in the game of rap,
it quickly takes off.

-Yeah.

-Success happens.
Holy shit. NWA.

-Yeah, we didn't know what
the fuck we were doing, man.

We were some 20-year-old kids.
You know?

I think Cube was still in
high school when we started.

-Mm-hmm.
-So we're kids.

I'm exploring.

I'm trying to develop my skills
and trying to figure out

what I'm gonna do with my life,

not sure if that was
gonna be it or not.

I wanted that to be it,
you know,

because I didn't see myself
doing anything else.

And it just so happens
I left my mom's house

and I moved in with my auntie,

who happened to live a couple
of houses down from Cube,

and that's how we hooked up.

He was still in high school
at the time.

So we're some kids
trying to figure out

what the fuck we're gonna
do with our lives, you know?

And fortunately, we came
together, and the shit clicked.

-At that moment, though, in rap,

who acted as influences
at that time?

-Oh, my God.

At that time, it was,
of course, Rakim.

Eric B. and Rakim.
Run-DMC. Slick Rick.

These are the artists that we
were listening to at the time.

And those were
our major influences.

And we were like,
"Okay, we can do this, too.

We can do this, too."
Also Public Enemy.

Public Enemy
was a big influence on me.

Shocklee and The Bomb Squad
and the whole shit.

So those were
major influences on me

from a production standpoint,
you know?

-And it was always --

For you, it was always
making the music.

It was always the idea of beats,

the idea of rap,
from a young age?

-Yeah, yeah, yeah.

You know,
I started when I was 14.

-Okay.

-And --
Deejaying and shit like that.

But when I started going
to the pros, "to the pros,"

professionally,
with making music,

I guess I was like 18
or something like that.

I'm not sure what age I was
when I met Cube,

but that was the connection
right there.

And, like,
okay, let's get together

and let's do something great.

We knew we could do
something great,

but it was only supposed to be
great for the neighborhood.

We didn't know it was gonna
go worldwide at the time.

So, but --
-Not only did it go worldwide,

I mean, you're talking,
once again,

about being responsible
for change.

You're talking about sitting
at the forefront of real change

and the understanding
and the identity behind --

-Yeah, it's still crazy to me
that that happened, you know?

We were able to do something
as fucking kids

that just changed the way a
fucking genre of music was done

and the way it was looked at,
you know?

So, yeah.

-What's most intriguing, man,
to me is, like,

when you talk about success
that comes from the hood

and makes it out of the hood

while still embracing
the hood, right?

Sometimes those lines
get blurred a little bit

because the expectations
of what you're supposed to do,

who you're supposed to
bring with you --

-Yeah, but you can't bring that
into a creative space.

-Okay, okay.

-We never -- At least
I never brought that

into the creative space.
We're just in there, we're kids,

and we're saying
the most wild, outlandish shit

just to get some attention
and see, okay,

we're not gonna hit them
over the head with a pillow.

We're gonna hit them over
the head with a sledgehammer

when we come out.

"Straight Outta Compton."
"Fuck the Police."

All of that. So we wanted
to come out and get attention.

-Mm-hmm.
-You know? And like I said,

it was really just to
impress our neighborhood.

If we can be good in LA

and everybody in LA
is paying attention to us,

that was good enough
for us at the time.

Little did we know, you know,

we were gonna get attention
around the world

and from the FBI
and that whole shit.

It was crazy.
-Do you feel like

the movie was made correctly?

Do you feel like you guys
were able

to correctly grasp the story?
-Absolutely, yeah.

-And if so,
where do you feel like

the navigating of that story
came from?

-I think that everybody
that was involved in the movie

at the beginning
didn't believe in the movie

and didn't trust it.
-Okay, okay.

And then myself, Cube,
and Gary Gray,

we went for it.

-Yeah.
-What you see on the screen

is the result of what
myself, Cube, and Gary did.

-Got it. So, here's
what I want to know, then.

After seeing it, right,
my takeaway from the movie was,

I had no idea that you guys

had the battles at that level
with the law.

I had no idea that the battles
at that level

came from the threat of,
"Don't perform these songs,"

"You cannot do these songs,"
and, "If you do do these songs,

then you'll be arrested
or handled accordingly."

-Yeah, that happened.
-And decisions that were made

for y'all to say, "Fuck it.
We're gonna do it anyway."

Were on spur and, like,
real moments. I didn't know --

-Yeah, that happened,
specifically in Detroit.

Yeah, they chased us down.

The way it's depicted
in the movie

was pretty close
to the way it really happened.

-At some point --
Was there ever a point in time

where the law started to get
on your ass when you said,

"You know what, man? Like, maybe
we should kind of cool out"?

"Like, maybe we need to, like,
take some steps back."

-No, no. Absolutely not.
-It was always full gas.

-Again,
we're 20-year-old kids.

We're wilding the fuck out.
We're doing what we want to do.

Like, "Fuck them.
We're gonna do what we want."

That's what it was at the time.
-After Detroit,

were there other cities
that followed in the same suit?

Because in the movie,
you can only say so much.

How many times did the same
thing present itself to...

-That was the only problem
we had.

-Okay.
-Yeah, in Detroit.

Everything was good after that.

-Okay. Let's take a quick break.

Guys, please do not go anywhere.

The conversation
will get better.

This is Dr. Dre.
We'll be right back.

**

**

-Guys, welcome back.
This is "Hart to Heart."

We're sitting with Dr. Dre.

Dude, let's get into
the career of Dre,

the blossoming of Dre
as now a solo artist.

You drop your solo project.
Holy shit. "The Chronic."

Dre now becomes a conversation

of, "Holy shit.
This is the guy."

What is the difference in you
then than you with the group?

The solo success compared
to the group success.

What was that change?

-Well, I think
that the difference there

was money and business
got involved,

and it separated the friendship.
-Okay.

So I had to separate myself
from Eazy,

because he decided
to take a different route.

Cube had already left.
So I'm out here on my own.

I have absolutely no idea
what the fuck I'm going to do.

I just know I have this talent

and I've been developing
these skills

with mixing and this whole shit.

And a close friend of mine,
we call him D.O.C.,

talked me into doing
the "Chronic" album.

And I went in there, and I --

-So that wasn't even
a Dre decision.

-No, it wasn't my decision.
I was talked into doing that.

-Okay.
-And, yeah, I just

went in there and went for it
because I felt like at that time

it was a life-or-death
situation.

-Back is against the wall.

-Back is against the wall.
Life-or-death situation.

This record
is gonna determine

whether I'm gonna
stay in the studio or not.

-Yeah, this is a career
make-or-break moment for you.

-Yeah. Absolutely.
-And, by the way,

that's when people
do their best work --

when you have no other choice,
when all the eggs are in one basket,

and either this basket
is going to be responsible

for how I eat
or it's going to break.

-Yeah, it's really weird.
It's a really weird dynamic.

Moving forward, it's like --
it's really tough to find

that kind of ambition and energy
right now today.

-Today. Yeah.
-You know?

-I was gonna --
I was going to get to that.

But I like that
you're there now, right?

Because we're talking about
the difference in your then

and, of course,
getting to your now.

But the group --
phenomenal success.

Business economics.

Business.
Deals done right, wrong.

Separation.
People go their separate ways.

-Yeah, but it doesn't mean shit

if you're not
getting treated right.

I don't give a fuck.
I've walked away

from millions of dollars, Kevin.

You know? If it's not right,
I'm not with it.

-Yeah.
-I don't give a fuck

how much money
you're offering me, you know?

I'm not about to leave
with a wet ass.

You know what I mean?
I'm not doing that.

Fuck that.
Okay. You keep your money.

I'm taking everything with me,
which is the talent.

-Okay.

-So I have absolutely no problem

with betting on myself,
you know?

And I'm gonna win.

I always call myself
a fucking professional winner.

-I don't see anything wrong
with that.

You won, and you have done it
at the highest levels.

Associating yourself
in that regard to me is a line.

Like, there's -- I don't --
That doesn't make me go, "Whoa!"

I get it.
I'm a guy that goes, "I get it."

-Oh, yeah,
you feel like you won

because I left
all this money for you.

-Yeah.
-Yeah. You have that moment.

Have your fucking 15 minutes.
Guess what I'm about to do.

-I'm gonna go do it again,
but this time do it double.

-Yeah, and every time,
it gets bigger and bigger.

And my -- the ultimate form
of revenge for me is success.

I'm gonna keep being successful
and make you look like shit.

-Yeah.
-That's what it is.

If you've done me wrong.
-Yeah.

When you talk
about the motivation, right --

And this is a great --
It's a great conversation

because the success that
you have found in yourself,

you've duplicated that success

by aligning yourself
with new talent,

with being a part
of the discovery

of some of the biggest names
in the business today.

More importantly,
the biggest albums, right?

When you go to music,
well, you can attach yourself

to the career of NWA --

-It's not about
attaching, Kevin,

I don't like that word.
It's not about attaching.

-Give me a word.
-It's about collaborating.

-Okay. Okay.
Better word. I like it.

-Yeah, collaborating with some
of the smartest motherfuckers

and the most talented
motherfuckers

that ever stepped in the studio.
-How do they happen?

How are you outsourcing
said opportunities at that time?

-It's -- The only person
that I ever heard on a demo tape

that I really liked and fucked
with in the studio was Eminem.

Everything else
is word-of-mouth.

It's exactly what you said. "Oh,
you've got to hear this guy.

Hey. You've got to hear Snoop.

You got to hear this guy
named Snoop."

Okay?

Brought him in the studio,
and he started rapping.

He didn't even understand
how to song structure

or anything like that.

I think D.O.C. taught him
how to do that shit.

But it just happened like that.

-Okay.
-You know?

-Has there --
Was there ever a time

with the artists that
you were collaborating with,

whether it was Eminem, Snoop,
50, Kendrick, right --

Was there ever a time where
a conversation had to be had?

Even Pac. Was there ever a time
where it was like,

"Hey, man, either we're gonna
do the work or we're not"?

Did any of them
ever present themselves

to be about
anything but the work?

-No. No. Never.
-It was always the work.

-Always the work.
It was always the work.

And it was always collaborating
with the creativity

and seeing what we can do next
that could be amazing.

-Mm-hmm.
-What the fuck can we do next?

We're still having
these conversations.

I love long-term relationships.

You know,
if I'm fucking with you,

hopefully I want to
fuck with you for life.

-Mm-hmm.
-You know?

We're in a relationship.
We're making this music.

We're making money.
We're getting creative.

It's not just a one-off with me.
-Okay.

-I love long-term relationships.

-So a working environment
with Dr. Dre is what?

Like, when I sign up
to go in the studio with Dre,

am I signing up for anywhere

between 12-to-16-hour
studio days?

-No, hopefully you're signing up
for a lifelong relationship.

That's why I'm going into it.
-Okay.

-Okay, we're gonna
make this music,

and hopefully
this is a stepping stone

to a fucking fantastic
relationship moving forward.

Not just with the music.
We can talk about life.

We can talk about
relationships.

We can talk about our kids
or whatever.

That's what I look for.
-Who can grow.

In this thing,
we should grow, right?

-Yeah, it's a give-and-take.
-Absolutely.

-I'm giving you this,
and I want something back.

-Absolutely.
-You know?

-I agree, and I understand
where you're coming from.

And I want to make sure
they do, too.

Guys, stick around,
because we're gonna hear more

when we come back
after this break.

**

**

Welcome back.
This is still "Hart to Heart."

I'm Kevin Hart, and I'm sitting
across from Dr. Dre.

Now, Dre, you've collaborated --
your word, I love the word --

aligned yourself with the
conversation of so much history.

Through that,
the history of will Dre go back

and do it again?

-Do what again?
I'm doing it.

-No, no, no. Will Dre --
-What again?

-Well, the conversation
is always,

will there ever be
another "Chronic?"

And this has been,
like, the conversation --

-Kev, I'm fucking --
I'm pushing 60 years old.

-I know that.

Damn!
-[ Laughs ]

-Sorry, go ahead,
I just had to do that.

-That was fucked up
what you did to Don Cheadle,

by the way.

-No, you're pushing 60,
absolutely.

I mean, look --
but, you know,

it's the elephant
in the room regardless.

You know, I like that you let
the elephant in the room

just stay in the room,
but you know,

the reality is what? Like --
-I mean, I feel like

I'm in a business where I can be
as creative as I'd like,

for as long as I would like,
but being the front man,

getting on the mic
and all that shit, I don't know.

I think, you know --

I was funny
about doing the Super Bowl

because I'm at this age,
but I felt like

because we're in LA
and the Rams are here and --

-I like that
you're mindful of that, though.

Because some people are lost
in it, and you don't, like --

you know, you don't want to
accept the fact that hey, man,

look -- these times change.
-Yeah.

This thing that we do,
especially hip hop,

is a young man's game.
-Yeah. Absolutely.

-How long can
I get away with this?

I mean, I can get away
with producing young artists

and, you know, I can --

On my 90th birthday,
I can blow out 90 candles,

and produce a young artist
that's 22.

I can produce
and stay in the background --

-We don't want to see you at 90
with the bandana --

-You're not going
to see me, though.

No, I'm just in
the studio playing

and doing my thing.
But --

-With the Dickies on.

-No, you won't see that, Kevin.

I promise you,
you won't see that.

I was funny about
doing this shit, so --

-Yes, but I had
to make you understand.

I said, "Dre, I got you."
And as you see,

like, what I said
is exactly what I mean.

It's exactly what I said
it would be.

-I knew it was going to be fun.

You know, I don't like
coming outside. But --

-But this is a good reason to
because I feel like people

don't get a chance to --

people don't get a chance
to hear you speak.

People don't get a chance
to hear your passion.

We can see it from afar,
we can assume --

-It's definitely
a massive amount of passion,

and at this point in my life,
I only want to come out for big.

I only want to come outside
for big shit.

-OK.
-I only want to come out

when it's just, like,
it really means something.

You know, like the Super Bowl
and the Grammy shit.

I'm not trying to pat myself
on the back

and shit like that right now,
but it's like,

I want to come outside
for big shit.

-Mm-hmm, the Super Bowl,

what I love about
the Super Bowl,

is it was a collaboration,
right?

-Yeah.
-It was a --

-Again, that word,
collaboration.

-It was a collaboration.

It was a celebration of --

-I didn't mean
to segue into the Super Bowl

to start talking about that shit
and patting myself on the back.

-No, no,
but this is a great segue,

and going along with the
direction of the conversation.

What I love about
the Super Bowl,

the collaboration, for one.
The celebration of rap

being embraced on that stage
is always dope,

because America
gets to see it and --

-Yeah, we had to do it right
because it was the first time

it was done,
so I went all out.

I spent money out of my pocket

to get that show
to look the way that it did.

-Production was A1.
-Yeah.

-OK, so let's go --
let's go now and look --

look past Super Bowl.

Oh, my God, blown the fuck away.
People are blown away.

Oh, my God, what a look for LA,
what a look for Dr. Dre,

a look -- what a look in general
across the board.

Oh, shit, Fif, Eminem, Kendrick,
Snoop, Mary, this is a big deal.

-They all murdered it.
Each person in that segment,

like Kendrick, Eminem,
murdered shit.

-Murdered it. Murdered it.
Right now, you get to sit

and you get to look back
at these moments, right?

And you said to me earlier,
you were like,

"It's a hard time.
I have a hard time

finding that thing,"

like you were talking about,
like when the back

was against the wall
and that level of creative.

So then where do you find it?

Like, for you to collaborate
with these people,

you're finding something,
you're digging from somewhere.

So where do you find
the energy to create --

-I don't know, Kevin.
You know what?

It's like --
It's really weird right now,

trying to find inspiration,
and you know,

being in the place
that I am with my life,

massive amount of freedom,
not just because of my divorce,

just a massive amount of freedom

and I'm, for the first time
in my life,

I have all of this freedom
and I'm trying to figure out

what I'm going to do
next creatively,

and it's like a good thing
and a bad thing.

You know?
-OK, do you feel like --

do you feel like you're the
happiest you've ever been now?

-Absolutely.
-OK.

-At this moment,
this very fucking second,

I'm the happiest that
I've ever been in my life

because I have a complete
free line to be creative.

I'm free for the first time
in my life,

and I'm not just talking
about relationships.

My kids are grown.
They're out of the house.

I don't need money. I only have
to work if I want to.

So I think that's the true --
for me personally,

that's the true definition
of success.

-Was there, at
the highest level of success,

the idea of stress,
pressure, anxiety, whatever.

-Of course.
-What were the lows for you?

-The lows for me are
just trying to keep up

with everything
that you just said.

-OK, OK.

-Just trying to
keep up with that thing.

And making sure that I look
right to my family

and my kids
and shit like that.

-OK.
-But I don't know --

-Did that appear to be too fast?

-No, no,
I don't know,

the way you just put it
is a little bit fucking weird.

I don't know if I've ever, like,
at least in the last

let's say 20 or 30 years
experienced extreme lows.

Outside of deaths
in my family.

Outside of that,
which were like --

I can't even tell you how low
I was around those times.

But other than that,

I don't know if I've ever
experienced like extreme lows

when it comes to just show
business and shit like that.

-Well, you know
what I was getting to

or alluding to --

-I know where
you're trying to go.

-Yeah, it's, like,
because you sometimes

reach these crazy levels,
and after reaching the levels,

the pressure that
we put on ourselves --

I talked about it
with several artists,

several entertainers
that have come on this show --

there's a high level
of pressure

that we sometimes
put on ourselves,

and that pressure sometimes puts
us in a place of like, fuck!

-Yeah, but it's
unnecessary pressure.

-Absolutely,
but you have to discover that

and figure that out.

-For me,
it's unnecessary pressure

and I don't like bow into that.

It's just about me
trying to figure out

what I'm going to do next.
And I'm like --

Especially now, I'm in a place
where all I have to do

is think about
what I'd like to do next,

or what I'd like to buy next,
you know?

I have that luxury.
-What is that?

Do you have an idea
of what that is?

-I have no idea.

I don't know what I'd like
to do next creatively,

I don't know if it's, like,
movies, TV, music, art.

I draw, I don't know.

-I got it. Who is Dre's, like,
they did it right?

-I don't know, man.
It's just like,

I'd have to go, like, way back
to a guy named Larry Smith,

who never really gets his props.
-OK.

-Producer named Larry Smith
who produced a lot of Run-DMC

at the beginning, LL Cool J,
a lot of shit for Def Jam.

Houdini, * Friends,
how many of us have them? *

Those records
that I grew up on.

Larry Smith, Hank Shocklee,
the Bomb Squad, Marley Marl,

those are the --
of course, Quincy Jones.

-The big dog.
-Quincy Jones --

-The way you say those names.

-Yeah, Quincy Jones
and Bruce Swedien.

It's, like, the "Thriller" album

was my go-to
when I started engineering

and developing my skills
on the mixing board and shit.

That was my go-to,
to try to make my music

have that type of clarity.

-Was there anybody
that was a part of that growth,

like when you talk about,
you started

learning the boards
and figuring --

-No, man, I did
all that shit on my own.

I taught myself the board.

-No school, that's all just
the art of consistency

and trying and figuring it out
as you go.

-Yeah, that was
just me, alone in the garage,

figuring it out on my own.
So, yeah, I'm self-taught.

So, as weird as that sounds.

-No, it doesn't sound weird.

But being self-taught,

of course you have a high level
of understanding now.

I can only assume
that you're passing

that down to the artists
that you work with --

-All the time.

-Making sure
that they gravitate

and understand
the complete ecosystem.

-Yeah, all the artists
that I'm around,

and a lot of the artists,
when they come in,

it's like,
"Show me how you do..."

I have no problem with, like,
sitting there, this is what I'm,

this is why I'm doing this,
and this is -- if you do this,

this is what's going to happen,
and the whole shit,

not only with artists that I'm
around, but my kids and shit.

Especially with my son.
My son, Truice --

he's really in it
and make shit happen.

-How old?
-He just turned 25.

-That's dope.
-Yeah.

-That's dope. I mean, that's the
biggest compliment to any dad

is to see their child
pick up the love or passion --

-Yeah, I guess.
To keep it real with you,

I didn't want him
to get into this shit.

-Really?
-No, I didn't.

-OK.
-But what can you do?

-Why, just because
of you knowing the --

-The bullshit that
comes along with this business

and the politics
and all that shit.

It's just like,
it's so many let downs

that comes along with this shit,
so you know.

-It's in his blood,
whether you like it or not.

It's in there.
-That's it.

-Yeah, you did that.

And success will happen.
It's in his blood.

-Yeah.
-And the understanding of how

and figuring it out
is in his blood too, so --

-Hundred percent.
-I can only imagine

what he may be
or will be one day.

But it comes from
what he saw, right?

Being in that environment,
that's dope as fuck.

-Whatever it is,
it's going to be the shit so --

-Congrats, man.
That's huge, toast to you.

Toast to your son.
-Thank you.

-And him just figuring it out.

Dre, let's stop for a second
and take a quick break.

Guys, we've got more Dr. Dre

when we get back
after these messages.

-And me, you know,
I'm 56 years old.

-Damn!

I'm sorry.

I'm sorry.

**

**

-Welcome back
to "Hart to Heart."

We are still talking
with Dr. Dre.

The conversation
is nothing short of amazing.

Dre, I want to know what --
On this side of the table.

Got another good question
for you, right?

-Alright.

-We're talking
about music now.

We're talking about artists now.

Who does Dr. Dre listen to now?

Who is Dr. Dre
embracing in these times?

-I get this question
all the time, Kevin.

It's like --
-Well, don't fucking make it

seem like my question
wasn't shit.

-No, no.

-That's a great
fucking question.

-It is a good question --

-I thought I just
hit you with a doozy.

-Stop, stop that.
No, I didn't mean it like that.

-Who do you like?

-I'm listening to
different genres

of music all the time.

I might -- this week, I might be
listening to '70s soul,

next week I might be listening
to rock or the Beatles,

or some shit like that.
I'm all over the place.

I might be listening
to some fucking polka

or something when I leave here.
I don't know.

I get inspiration from all types
of genres of music.

I don't know, I don't have a --

I don't necessarily
have a favorite.

I have a favorite of the week,
let me put it like that.

-OK, OK, I like that.

When we're talking
about the artists,

I'm beyond impressed
with the work

and body of work
of Kendrick Lamar.

-Yeah.
-For you to be somebody

that was influential

and, of course,
a part of his career early on,

to see him now grow into
the artist that he is today.

-I can't take credit for that.
-I didn't say take credit.

I'm saying to see him grow.
I didn't say responsible,

I'm saying for you to see him
grow into what he is today.

-Kendrick Lamar is
a real motherfucking artist.

-Yeah.
-Like, the true definition

of the word.
-Absolutely.

-And the only thing
I can take credit for

is opening the door for him.

Because he's done
everything himself.

Him and Dave Free.
-What's that relationship like,

with you and Kendrick?
-Oh, we have

a fantastic relationship.
Yeah.

-I like -- I like the fact

that you're -- well,
the way that I look at it,

I'm extremely observant
and watching Kendrick.

Seeing Kendrick from early on,
young rapper,

the BET Cyphers to eventually
getting to the album "DAMN."

-Yeah.
-To then growing and developing

into an artist that really had
to be moved to go

and actually put his craft in
a space for people to hear it.

To then get to where
he is like today, in tour --

-No, he's a fucking -- no,
he's amazing man, let me --

Kendrick is one of those artists
that we call "forever artists."

-OK. Define that for me.

-He could disappear
for fucking five years

or something like that, and come
back and fuck our heads up.

-Yeah.
-Some artists feel like,

"I have to do something all the
time so I won't be forgotten."

You know?
That's not him.

He can disappear and come back
with something that's shocking,

that's amazing, and everybody's
going to tune in and listen.

-Do you have another example
of a forever artist?

-Um...

Snoop, Eminem,
forever artists.

If we're talking about just
artists that I've worked with.

-No, just in general,
just I like that.

-Yeah, you know I mean,

that's a really tough
question to answer,

because all of a sudden

we're talking about
Michael and Prince,

all that shit,
you know what I mean?

Of course those are
forever artists.

-Let's talk about, like, the
climate now of rap now, right?

A lot of older rappers,
some of them that come from --

-What's older?
-Well, you know.

We're not going to put
an age on it, right?

-We're not going to,
but let's just say

a lot of rappers from back then.

-From back in the day.
-Yeah, a lot of rappers

from back in the day.
-Like how far?

-Rappers that can
relate to either "hoowah," or --

-Oh, you're going
back that far?

-No, this is good, yeah

[ Both shouting emphatically ]

-Either [shouts].
-That's a long time ago.

[ Laughs ]
-Yeah, or "Bitch!"

At the end -- like, the rappers
that can punch a curse word

at the end in doing it
or a noise.

Rappers have been quoted
just speaking

on the state of hip hop today,

right, or the artistry, or
the enthusiasm, or if it is --

-Are you saying
rappers today

speaking on the state
of hip hop today?

-Rappers from --
-Or older rappers --

Rappers from back --
older rappers speaking

on the state of it, right?
-OK.

-Some have been quoted
as not supporting or against

or not embracing
younger rappers.

It just felt like we don't get
enough love from the old heads.

-Fuck that.
-What is your take on that?

-Fuck that.
Let me tell you something --

hip hop is what it is.

Anybody that's talking about
the state of hip hop right now

and talking about it
from a negative place

sounds like somebody's
fucking grandfather.

-OK.
-You know what I'm saying?

-I love that.
-This is just what it is.

Hip hop is evolving.

If you don't like it,
don't listen to it.

You know what I'm saying?

Keeping it all the way
one hundred with you --

some of this shit,
most of this shit I don't like.

I don't listen
to a lot of that shit.

But, I'm not hating on it.
-Yeah.

-I'm never going
to hate on it. It's evolving.

And these kids are using

what they have
at their fingertips, right?

I mean back in the day,
I used to have to go out

and buy motherfucking keyboards
and buy sounds from pawn shops

and shit like that
to get my sounds out.

They have everything
at their fingertips right now,

but you can't be mad at that.
This is what it is.

If you don't like it,
motherfucker,

do something about it.
-Yeah, change it.

-If you don't like
what's happening right now,

are you fucking strong enough
or talented enough

to do something new
to change it to make it,

to do something that you like?

Other than that,
shut the fuck up.

That's it. Stop hating.

No, absolutely I agree.

Wait, wait, before you carry
on any further,

let's pay some bills.
Guys, this is "Hart to Heart."

I'm sitting with Dr. Dre,
we'll be right back after this.

**

**

-Welcome back
to "Hart to Heart."

Dre, so what are you
like as a boss?

Working for Dr. Dre --
like, this attitude,

this bravado right here --

the people that have
to be around you,

the people that are a part
of your environment

and the creative,
is this the energy that matches?

Is there a very strong approach
to, "Hey, man, look,

either we going to do
what we got to do,

or we not, and if you're not
going to do this,

then this ain't the place
for you, you got to go."

Or is there a more patient
world to understanding?

-Kevin, usually I'm --

I treat everybody the way
I want to be treated.

-OK.
-That's what it is.

I don't lead with my ego
or anything like that.

I don't feel like I'm better
than you or you're better

than me or anything like that.
The people that work with me

and for me may say
something different.

But I don't know,
I just feel like --

I feel like I'm the coolest
motherfucker ever and especially

when we're working
in the same space.

If we're working together,

I'm not tripping on
no egotistical shit,

I'm not thinking that because
I've done everything I've done

in my career that I'm better
than you or whatever.

We're on the same
fucking playing field,

and we're in there
to make some magic.

That's all it is.

-If there could be
a dream, like, project

or a dream opportunity, right,
the reunion of,

or the collaboration between
all the artists

that I've had
the privilege to work with --

Any of these things,
have any of these things --

-Dead or alive?
-I mean, damn.

Wow, I'm going to say both.
If you could combine it.

If you could pick your dream --
your dream work.

This is my dream work project.

My dream work project attached
to music, and this right here,

"Oh, my God, if I had
the opportunity to do..."

What would that be for you?
-Man, that's -- man.

You should have started
this motherfucking interview

with that one.
-That's a great one.

I would have started with that.
We're getting close to the end.

You start to get
the big bangers at the end.

-Yeah, it's going
to sound really weird --

Curtis Mayfield,
Marvin Gaye, Kurt Cobain,

Jimi Hendrix,
Freddy Mercury.

-Music buff.

-Yeah, I mean I can go on.
Barry White.

-Wow.

-Isaac Hayes,
Led Zeppelin, well, yeah.

-Wow.

-So, you know, those are most of
my heroes, and of course --

this is a really fucking
crazy story -- Stevie Wonder.

There's a couple of times
in my career

where I fucking bowed out
and just --

-I was going to
ask you that next.

Who did you have the opportunity
to work with

and you was like "nah" then,
but you regret

and that you should
have worked with?

But, I don't want to
throw your story off.

-No, but yeah,
that's a good segue.

Prince. Michael Jackson.

-You bowed out
from working with them?

-Yeah, yeah.
-Both of them?!

-Yeah.

-You didn't work
with both Prince

and Michael Jackson?!
-Yeah.

-Was it like
a demo tape or something?

-No, they just
asked me to work with them,

and I just -- like,
"What the fuck am I going to do with them?"

-What?!
-Yeah, that happened.

-What?!
-Yeah.

-Was there, like --
-What the fuck am I going to do

in the studio with them?

Those are my fucking heroes,
man, you know?

-You're Dr. Dre!
-Stop.

-You're Dr. Fucking Dre,
what do you mean?

-And most recently,
Stevie Wonder.

So I'm working on an album
with Marsha Ambrosia, right,

and we --
-So talented.

-She's amazing.
And we did some music,

a song using Stevie Wonder's
music,

and he had to clear it,
and he called me up,

like, "Oh --"

For some reason,
Stevie Wonder calls you,

like, super early
in the morning.

Like, 6:00-7:00 in the morning
or some shit.

I'm like, just because you can't
see the time...

Like...

[ Laughter ]

The fuck? Right?
So, true story.

He's like,
"I don't like the lyrics.

I don't like the lyrics, Dre."

Like, OK, we went in
and changed the lyrics.

He's like, "Why don't we --"

[ Laughter ]

Stop, Kevin, I don't want
to elaborate on that shit.

It's like --

-"Stevie, Stevie,
it's 3:00 a.m."

"What?"

[ Laughter ]

-Like really, is it like --

what the fuck --
What the fuck is the difference,

like 5:00 a.m.
or 5:00 p.m. to Stevie?

[ Laughter ]

So this shit happened.

-You're going to hell.
[ Laughs ]

-No, this shit happened.
-So he just called you,

he didn't like the lyrics.

-He's like,
"I didn't like the lyrics."

And he called me back,
he's like, "OK, yeah, you know,

Dre, I like the lyrics.

Why don't we get together
and just write a song together?"

I'm like, "Yeah, alright,
alright, Stevie, alright."

And uh, yeah, I didn't show up.

-You said, "No,
I just can't do it."

-What the fuck am I
going to do

in the studio
with Stevie Wonder?

-I mean. I mean.

-Touch the drums? No.
Touch the keyboard? No.

-Yeah. Yeah.
-What the fuck?

-Yeah.
-Nah.

-You want to be
able to give the best --

-Yeah, I went that way.
-But Michael!

You could have
figured it out with Mike.

-Like --
-[ Stammers ]

-No, you know what it is?
It's like --

-Do that again, Mike.
[ Scatting ]

-Imagine that, imagine me
telling Michael Jackson,

"No, Mike, I didn't like that.

We're going to need that second
harmony one more time, Mike."

Man, imagine that shit. Nah.

-[ Scatting ]

"I'm sorry, Mike, are you
singing that or what is that?"

-No, that's not going
to happen. No, so --

-Mike, say fuck one time.
"Fuck."

-These motherfuckers
are my heroes, man.

It's like, what the fuck
am I going to do in the studio

with Stevie Wonder?

-Yeah.
-What the fuck?

When you explain it,
I understand it.

I just thought
that, like, you were like no --

-I was curious.
I'm definitely curious.

I'm still curious, but.

-But, you clearly
have an appetite

for a high volume.
You clearly have a volume --

a high understanding
for music in general.

You just went through
your people that you listen to,

and I mean, you were at
Led Zeppelin at one point.

You were all over the map
in genres, like you said.

So is there an opportunity
for you to,

I don't know, not just
produce on behalf of,

but be responsible
or collaborate

with the next version
of your successful talent

from that spectrum?
-That is different.

-Yeah.
-That's different

than working with Prince.

-Yeah, because you're going,
"Somebody's here and going up."

-My enter life
and career has been dealing with

and working with new artists.

That's what I like.
Nobody comes in with an agenda.

These motherfuckers
show up on time. Everything.

So and it's a ball of clay
when they walk in the room.

You can just form it
and do what you want.

That's what I want.

Everybody else, especially
my heroes, they're coming in

and there's a set plan
as to how the shit should sound.

-Yeah.
-I can't explore.

-You can't put together --
-I'm not using that --

-You're not putting together
your puzzle the way that you --

-Yeah, I guess
I'm using that as an excuse.

But I --
-That's not an excuse,

I think you're talking
about your workflow

and where the winds that --
-And not only that,

these are my fucking heroes,
and I like it from here.

I like the idea
of what I grew up listening to,

and I want to keep it like that

and I don't want to fuck up
that idea and that look.

I like the way I feel
about Stevie, Prince, Michael,

Bruce Springsteen, and all
of these amazing artists.

I like the way I feel
about them,

and that could change it
by working with them.

I don't know.
I like it from here.

I don't need that on my resume.

-No, I definitely, clear.

Stop right there though,
let's take a quick break.

Guys, we've got more
"Hart to Heart" when we get back

after this.
It's Dr. Dre.

You don't want to go nowhere.

**

**

-Welcome back.
This is still "Hart to Heart,"

and Dr. Dre
is still across from me.

Dude, what I like
is that at the age 60,

all jokes aside, you are --

you're talking about life now,
right?

And you're like,
"Dude, I'm happy."

That's the first thing.
-Yeah.

-I'm giving my takeaways.
"I'm happy, Kev.

A lot of weights
that once were are no longer,

and I'm in a space of free,
and my struggle

is trying to figure out
what to do with that free."

I listen, I sit and I listen,
and you saying,

"I'm trying to figure out
what to do with that free

and figure out
my next version of creative."

Well, that's basically saying --
-Which is fun.

The discovery of that.
-You're still trying

to figure out
what that next thing is.

-Yes, but the discovery of that

and just even thinking
about the discovery of that,

is amazing,
it's an amazing feeling.

-That's the now adventure.
-Yes.

-That's the now adventure.
-That's it.

For the third act of my life,
it's like what the --

it's just a clear playing field
for me to just go.

-For your 60th birthday,
was there a big, like --

-I'm not 60 yet, Kev.
-When is it?

-I just turned 58.

-Just turned 58,
so it's kind of --

well, basically, you're 60.
-Yeah, alright.

-We can fight it,
but you're right here.

-Alright, I'm knocking
on 60's door.

-You're knocking on 60's door.
A big extravaganza, a big event.

-OK, so what I plan,

and I've been talking about this
since I was 25,

on my 60th birthday,
which is in February 2025.

-OK.
-Right, I'm just going to float

and travel.

It's like, I'm divorced now.

I do want a companion
at some point.

I really do want a companion,

somebody to share
the rest of my life with.

I'm not sure if it's marriage,

but I want to have somebody
to take care of me,

somebody that I can spoil
and just travel with.

So, February 2025,
what I want to do is just travel

and just go to a bunch
of places I've never been.

-What you just did just now

was just get an inbox
full of IG models

about to hit you
with 2025, I'm --

-What the fuck
are you talking about?

-"I'm free Dre,
for the world tour."

[ Laughter ]

-No, I'm just speaking my truth.
-I love that, man.

-That's what I want.
-That's what I mean.

Like, people don't get to hear
you talk.

People don't get to --
get to hear this, man.

At the end of the day,

a lot of the people
that we look up to,

a lot of the people
that we idolize --

and by idolize I mean follow,

that we respect and admire,
because of their success.

-I understand
what you're saying.

-You forget they're human.

And what I love
about "Hart to Heart"

is that I get to tap
into the idea of human.

I get to tap into the idea
of real conversation,

real questions, real answers.

And you talking about, "Yo, man,
I'm at a point, I just want --

I want to do
some different shit for me.

I want to go around the world,

and I want to do it
with somebody."

That's vulnerability and just
being honest and transparent.

-Yeah.
-That's amazing.

-That's my mission --
finding that person

that I can laugh and joke with

and just that camaraderie that
I can spoil and take care of,

and they're nurturing
and taking care of me

and I can just travel with.
That's all I want to do.

-You said another thing.
-As soon as I turn 60,

that's what I'm going to do.
-You said another thing

that I want to highlight
before we go,

and you said "the third act."

I've only heard three people in
my life break down life in acts.

And it's so dope
when you hear it,

because it really is in line
with how your life breaks down.

From the first act
to the second to the third,

to then what will be
considered the fourth.

And you being in this place
of understanding,

you being in this place
of clear where now is free --

brother, man, you deserve it.

-Thank you.
-Your life was an open book

and a place of story,
and how the story was told,

whether the road to the story
being told correctly

was smooth or not --
-No, it's absolutely bumpy.

-But it was -- it's a story,
man,

of a lot of fucking bumps,

and ultimately,
you needed those bumps,

because without those bumps,

you don't have the clarity
and understanding --

-And get this, I don't know --

I don't know
if I would change anything

that happened in my life,
including the mistakes.

I made some fucked up mistakes
in my 20s, as most people do.

But they are all there to turn
me into the person that I am.

And I'm just trying to be
a fucking good person

and move forward
and have a blast

with the rest of my life, bro,
that's all it is.

-You can't do that
if you don't get

to a place of understanding
for the mistakes

that were once made.
-Yeah.

-And if you don't address

the world of what that is,

and personally know
that you've got to grow

and move on from that,
then you're stuck in that.

-Yeah.
-So, I love the fact, man,

that you're an example
of change, of growth.

-Thank you.
-More importantly, success.

And Dre, genuinely, man,

I appreciate you for giving me
the opportunity to talk to you.

-Listen, man,
thank you for having me, man.

Thank you. It takes a lot
for me to come outside,

but I came outside
for you, Kev.

-I appreciate you, man.
Genuinely.

-Yeah.
-I mean that.

Ladies and gentlemen,
this is "Hart to Heart,"

and that was the legend himself,
Dr. Dre.

It doesn't get better.
Thank you, man.

-Yeah.
-Look at that.

Easy.
I didn't fucking lie to you.

I told you, no bad business,
no bad shit.

-That was easy, Kev.
-It was easy. It was great.

I'm very happy you came outside.
-I am.

-He's like --

[ Laughter ]

-"I am, Kevin."
-[ Laughs ]

Conan, Les, let's do
the big promo thing.

Then we'll go from there.
That's dope.

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