All language subtitles for What.We.Started.2018.1080p.WEB-DL5.1.H264

[clatters]

[car door closes]

[indistinct chatter]

[tranquil music]

[Kerri]
The biggest misconception is

that dance music is a new thing.

That it just kind of
burst from the ether.

People don't see it as part
of a long history.

[upbeat music]

[upbeat music continues]

[Carl]
My drive has always been about

sharing the love of music.

Finding it, and then sharing it.

[Martin] Some tracks
make me really happy,

some tracks makes me think,

some tracks
make you forget everything.

[John] Such an experience
of freedom.

And experiencing this freedom
with other people,

all through the sound of music.

[Louie] Dance music
has always been about

an escape and letting go.

[Richie] Just get lost
in this aural sound state.

I close my eyes,
stick my head in the speaker,

and just be...

absorbed.

[upbeat music]

[crowd cheering]

[upbeat music]

[upbeat music continues]

[crowd cheering]

[upbeat music]

[upbeat music continues]

[crackling]

[upbeat music]

Sweet!
[chuckles]

[truck beeping]

[Martin] I'm very nervous.

What if something goes wrong?

[beeping]

[Carl]
I've always done everything

for the love of music.

Always.

[tranquil music]

I was always
building tree houses

with my dad.

[Martin]
And we'd put a radio in it,

bought, like,
cheap car speakers,

kept expanding it.

Before we knew it,
we had, like, uh...

kind of "tree...
tree house club."

[Martin chuckles]

[Martin]My friends were there,
we started playing music.

Then, we made it like, mobile,

so we could, like,
travel with it.

It wasn't a tree house anymore.

It was just like
a kind of DJ booth.

[Gerard]
We made a very big sign

saying, "DJ MARTY" on it.

And it all fitted in the car,

so I could drive him to, uh,

the places where he wanted
to perform.

[upbeat music]

[Carl] So, eight years old,

my father was bringing
the music home,

I got inspired by the music
he was playing.

[Pam]Carl played music nonstop.

We constantly told him,

"Turn it down!"

[Carl] I used to take
my sound system to school,

and an hour-break that we had,

I would play music
to them to the canteen.

[upbeat music]

I kind of grew up all the way
through the '70s, '80s,

playing hip-hop, R&B,
funk, and soul music.

Most of the parties that I did,
we never got paid for.

My dad thought I would amount
to nothing.

[Pam] DJ'ing was not something
that my dad thought was a job.

He didn't encourage Carl.

[Carl] He was always
just looking at me, going,

"Just get a proper job,

because
whatever you're doing now

is never gonna amount
to anything."

[Martin]
I discovered electronic music

due to Ti�sto's performing
at the Olympics.

I heard, like, the sound
on television,

and I never, never kind of
listened to it before,

I never really got
connected to it.

I, I loved it.

[upbeat music]

I, I played at, like,
the local house parties,

for like, ten people.

I had my first real DJ gig

on 16th of January, 2010.

There were, like, 250 people,

and there was, for me,
already like,

there was, like, a goal for me
to, like, make it bigger.

[upbeat music]

[Carl]
I started to understand music

at a very early age.

I'd just study there
as much as I possibly could.

Where does it all stem from?

How did we get here?

[funky music]

[John] When I first started
working in nightclubs,

there were really one kind
of music that would fill a room.

Live music.

� At least
They'll hear me sing �

The people I worked for
had a concept,

where they would have
a DJ play records.

Everybody said,
"It will never work.

People want to see a live band."

That was sort of
the beginning of disco.

[disco music]

Uh, everyone comes here
to do whatever they want.

["Good Times" by Chic playing]

Disco is the phenomenon
of our time.

[Seth] The Paradise Garage.

� Good times �

� These are the good times �

Where so many artists,

so many people met
and congregated,

and created
the Downtown New York scene.

� These are the good times �

[Seth]There's a way for people
who would disenfranchise

to connect with other
like-minded individuals,

express themselves, and dance.

� Good times �

I went to the Paradise Garage
when I was about 14,

and my sister snuck me in.

[Louie] That's when I went
to my first club

and never turned back.

� Happy days are here again �

That was kind of, the,
the theater for the DJ.

[Pete] The way Larry Levan
was playing,

he had two copies
of the same record,

going between
the two turntables.

Remixing the record on the fly,

and extending bits of work
with the crowd.

[Louie] He knew about sound.

How to pick the right music
at the right time,

and it just opened up
a whole new thing for everybody.

This is DJ heaven,
when you walked in that club.

� I think I want to live
The sporting life �

There's a space for an idea

for freedom and expression,

that was outside
of popular culture.

� Leave your cares behind �

� These are the good times �

[John]
And then, the next thing I knew,

that every single Holiday Inn
in America

converted their lounge
into a discotheque,

and it started becoming
a caricature of itself.

� Look out �

[John]
It became almost too comical.

Disco died an ugly death.

[explosion]

[Steve] Disco sucks!

Disco sucks! Disco sucks!

[reporter #1] It was billed
as disco demolition night.

And the White Sox went along.

In Chicago,
a shock jock on the radio

challenged everyone
to burn their disco records.

[Kerri] And everyone did it.

[reporter #2]
One of the saddest sights

I've ever seen in a ballpark
in my life.

It's getting out of hand.

[Kerri] America just gave up
on disco and kind of,

came out of its stupor and said,

"This is gay black music.

We can't listen to this.
We like rock and roll."

So then it went back
underground.

[calm music]

[John] Those primal beats
returned in different forms.

Really like a rebirth of disco.

Although it...
It wasn't called disco.

["In the Beginning"
by Chuck Roberts playing]

� In the beginning
There was Jack �

� And Jack had a groove �

� And from this groove �

� Came the grooves
Of all grooves �

[Pete] When house music
first kind of started,

it was like the map
was completely redrawn.

� Jack boldly declared
Let there be house �

� And house music was born �

� I am, you see,
I am the creator �

� And this is my house �

[Pete]The inner city of Chicago

really celebrating disco
from ten years before.

[groovy music playing]

[Pete] Experimental sessions
of, of setting

drum machines and synthesizers.

[upbeat music]

[upbeat music continues]

[Pete] And no one
have ever actually heard

what a drum pattern
played over six, seven minutes

coming out of a machine
sounded like.

["Time to Jack" by Chip E.
playing]

The beginning, for me,
for this movement,

was, basically, Chip E.,
"Time to Jack," 1986.

� Time to Jack �

� Time to Jack �

� Time to Jack �

[Carl] This track, for me,
changed everything.

It would literally stop
the dance floor.

� Time to Jack �

� Jack, Jack �

[Carl]People didn't understand
where this was coming from,

why am I playing it.

It has no elements or soul to it
because they can't see a band.

Well, to me, that was exciting,

because all we've done
is see bands.

Now, what we're seeing is what
could be created and electronic.

� Time to Jack �

� Time to Jack �

� Time to Jack �

� Time to Jack �

[Louie] Disco music was made
by musicians,

arrangers, songwriters.

When house music
started being made,

it was made by DJ's.

We had no musical training.

[upbeat music]

I was lucky to stumble upon
the Detroit scene very early.

[Richie]I was probably 16, 17.

The main hub was a club
called the Music Institute.

A black box, big speakers,
and a strobe light.

All the Detroit guys
playing incredible music.

[techno music playing]

[techno music continues]

Jeff Mills, he was, like,
playing so fast...

[techno music playing]

[techno music continues]

[Richie] He was playing
all the records

that I have listened to
for the last year.

And we were sitting in the back,
helping him sort his records,

and just copying
all the records' names down.

[techno music playing]

[techno music continues]

Listening
to those first records,

it was like, every time,
it was like,

not only listening
to the future, but...

even if it wasn't every day
or every week,

there was always something,

just when you started to get
a little bit comfortable,

someone else released
a new record.

[club dance music playing]

[club dance music continues]

[Louie] The sound is minimal.

It was direct and in-your-face.

More industrial.

[Richie]
Detroit is a motor city.

The Ford Motor production line.

[crackles]

That's what you hear
when you hear

Kevin Saunderson and Derrick May

in one act,
in their early records.

Their start with their...

These sounds and synthesizers

and these, like, high-hats,
and it's just like...

[inhales]

Like pulling you into tomorrow.

[clatters]

[crackles]

[Richie]
People like that feel good

and in tune with technology,

not afraid of it.

And they're like,
"Where's this gonna take us?"

[upbeat music]

[Carl] A lot of the artists,

they were enjoying a moment
of creativity.

This was brilliant,

because there was no boundaries
to that sound, you know,

especially Detroit techno.

[Carl] And I found,

a lot of music
that was being made in America

wasn't being paid in America.

Artists kept buying
these records.

Whatever they made
from Chicago, Detroit,

every record I bought
was an American import.

And I was buying it
and playing it in the UK.

[upbeat music]

[upbeat music continues]

[Pete]The birth of house music,

and then the birth
of the Detroit sound,

did have a profound effect

on what we were playing
as DJ's in the UK.

It wasn't really fashionable
to be a DJ.

You could identify yourself
by playing music that...

you and your friends love

though it kinda
wasn't on the radio.

[upbeat music]

[Paul] Trevor Fung,
he was a big DJ in Britain,

as I was growing up.

I got to meet him
to hang out with him

and really got excited
by what he introduced me to.

The British interpretation
of what America was doing.

[upbeat music]

[Pete] For the likes of me
and Paul Oakenfold,

we were more excited
about change

than we were about staying,
you know, in our own lane.

We were obsessed
about innovation,

hunting for music.

[club dance music]

[club dance music continues]

[Paul]Trevor, he was in Ibiza,
working there all summer,

I went there with a few friends.

We went to this club
called Amnesia.

[upbeat music]

[upbeat music continues]

[Pete] All that excitement

could run all night
into the morning.

And just going out
and going crazy.

[upbeat music]

[upbeat music continues]

[Paul]
Ibiza was a seasonal place.

The end of May, early June,
until September.

The workers and the people
who have been there on holiday,

when they all came back
to the UK,

they wanted to go somewhere.

Me and Trevor went on
to start our own club.

[upbeat music]

[Paul] Such a wonderful,
exciting moment.

We were very free in the respect
of what we play.

So you would hear Cyndi Lauper
next to LL Cool J,

next to Bob Marley,
next to... a house record.

[Paul] We didn't do clubs
over weekend.

The clubs that I ran

were on Monday
and Thursday night,

till 3:30 in the morning.

If it meant that you would
stay up all night

and go to work...

then so be it.

We were underground,
it wasn't a commercial movement.

[upbeat music]

[crowd cheering]

[club dance music]

[Paul] We were in the moment.

Really living this scene.

Carl Cox was my sound man
at the time.

[indistinct chatter]

Look, look, here comes the mob.
[Carl chuckles]

Here comes the mob.

[crowd cheering]

[Carl] When I started,

I was going up and down
the country, in the UK,

playing four or five gigs
every weekend.

It was only
till roundabout 27, 28

that people started
knowing and...

started hearing
the name Carl Cox.

[club dance music playing]

Oh, yes, oh!

[club dance music playing]

[crowd cheering]

[club dance music playing]

Carl Cox is such a special DJ,
because he is the king.

[club dance music playing]

[club dance music continues]

People that have been
in the game that long,

they still might love it.

But they're not exuding
the energy

that Carl exudes
when he's behind the decks.

[club dance music playing]

[club dance music continues]

The longest
that I've ever played

is up to about ten hours.

[Carl] Most people

are only gonna work
for eight hours a day.

In their eight hours,
they have...

you know, a breakfast,
they have a tea break,

they have a lunch break,
they have another tea break,

and they go home for tea.

We're still playing.
[laughs]

[club dance music playing]

[club dance music continues]

[Donnie] He's probably
the hardest working man

in this whole business.

I mean, he's nonstop.
He's amazing.

[club dance music playing]

[club dance music continues]

[Carl] I never really
give myself a break.

So, to play for ten hours,
not even time to go for a pee.

Yeah, it's not
a ten-hour step program, yeah.

You know, to try and get rid
of all the carbs,

you know, that you put on
over the Christmas party.

You know?
[laughs]

[club dance music playing]

[Carl] After ten hours,
I'm done. My brain's fried,

my legs are killing me,
back's killing me.

My ears are killing me.

You know, if I go past
the ten hours,

and then, I don't know
what I'm playing.

[club dance music]

[crowd cheering]

[cheering continues]

[Kobi] Carl Cox
is what DJ is all about.

He walks into the room,

and he knows how to read them
like they're a book.

And he understand
what needs to happen.

And that's a DJ.

[guitar playing]

[guitar playing continues]

[Martin]
I played the guitar at the time.

I had so many ideas which I had
on my guitar, but I...

had no... Nothing to, like,
put it in.

Started messing around
with the ideas

and with the melodies
which I created on my guitar.

I started doing some research

and I found, like, this program,

which allowed me
to put my guitar melodies

in the computer.

[slow techno music]

[slow techno music continues]

[Martin]
I finished my first record

when I was, like,
ten or something.

I still have it.
It's, it's completely terrible.

But I was super proud of it.

I was doing everything
from my bedroom.

Luckily, I had a neighbor
who was deaf,

who wasn't complaining
about my noise.

I had agreements with my parents
that after 10:00 p.m.

I couldn't play
loud music anymore,

because my sister
wanted to go to sleep.

Then I would be
at the middle of the night,

with my headphones on.

[upbeat music]

[Martin] I got discovered
through a local DJ.

I made an unofficial remix
for "Tonight"

by Enrique Iglesias.

And he started playing it live
at his shows.

[club dance music]

� But tonight �

[club dance music playing]

[club dance music continues]

[Martin] Some other DJ's
contacted me,

and one of them was looking
for a producer,

and I played him some
of my stuff, and he was like,

"One track.
Oh, I really liked that track."

And, and he released it
on Spinnin' Records.

And the track became really big.

Spinnin' Records, they,
they invited me at their office,

and what was fun,
I never told them how old I was,

until I actually met them
in real life.

And they were like,
"Fuck off. This can't be true."

So then, they joined me
to my house,

to my room, where I still
produce the music, and...

they were like,
"Yeah, show what you do."

And I showed them,
like, a lot of new stuff.

A lot of melodies
which I was working on, and...

not that much later,
I signed on Spinnin' Records.

[club dance music]

[club dance music continues]

[record scratching]

[groovy music]

� Stand back
Watch the bomb drop �

� All the competition
That try to compete �

[Carl] In the early days,
a DJ was someone

that can juggle two
or three or four turntables.

You had to really be talented

to be a DJ that can play
continuous music.

[upbeat music]

[club dance music]

� Come on! �

[record scratching]

[Carl] The craft was always
about mixing music,

from our perspective,

always about digging
into the crate,

always about playing new music
to people,

so they can actually expect
the unexpected.

[record squeaking]

[crowd cheering]

[record scratching]

[crowd cheering]

[club dance music playing]

[club dance music continues]

[crowd cheering]

[Louie]You can give another DJ
the same records,

and have us play
in front of a crowd.

Those records
will sound different...

when we... we each play 'em.

It's getting creative
with what you have.

I think that's something
that can't be taught.

It's something
that comes from here.

With computer now,

you know,
you have a lot of people

who don't know how to mix,
don't know how to DJ.

[Carl] They've never done it.
It's because technology...

They came in when the technology
was available,

and that's what they use,
and they go,

"You know, I can do this live."

[upbeat music]

[upbeat music continues]

There are a lot of DJ's
who've got pre-programmed sets.

[Paul] And, unfortunately,
are just pressing play.

[upbeat music]

[upbeat music continues]

[Martin]
Right now, there's a lot of...

USB DJ's, which I'm a part of.

We are also DJ'ing,
but just in a different way.

[Kobi] If you play USB,

and you don't use vinyls
anymore,

does that make you
not a real DJ?

That's exactly the same thing.

You use the technology

that is available to you today.

[Ed] But I don't get it.

It's a laptop and a dude.

And that's it.

[upbeat music]

[upbeat music continues]

[Carl] People want DJ's
to play the records they love.

Buy the top 20 records,
put them on a USB,

stick it,
put your hands in the air,

you have a big smile
on your face, away you go.

If you've got your hands
in the air

for three quarters of your show,

how are you mixing records?

[Phil] If you're throwing pies
at people,

how are you mixing records?

[Carl]
It's just kinda dumbing down

on what made the craft,
the craft.

[Sasha]
Watching some of the guys

that do the main stages
at festivals,

play their hour-long
pre-recorded set,

with their arms in the air,
it's very hard to acquaint that

to what, say, Carl Cox
does in our set at Space.

[upbeat music]

[upbeat music continues]

[crowd chattering]

[James]The '80s were not really
great years for the UK.

We had a series of...

you know, industrial strikes,

people with no jobs,

violence and riots,
at the same time.

Clubbing was very exclusive.

[Pete] That changed
in the kind of mid to late '80s.

[disco music]

[Sasha]
Lasers, smoke machines...

smiley faces.

The sound of acid house music
had arrived,

and I was like, "What is this?"

[upbeat music]

[upbeat music continues]

[Sasha] Before you know it,
that sound had kinda taken over.

[ominous music]

[ominous music continues]

[Paul] The rave culture
developed from acid house.

Outdoor parties held in fields.

[Pete]Something completely new,

that no one
had ever done before.

There's no legal venue in London
you could do that,

hence, started to do it
in warehouses

and fields around the M25.

[phone ringing]

[phone ringing continues]

[Carl] The only way
we had to know

where these parties
were happening

was if you had a number to call.
[phone ringing]

The address would be
on the answer phone.

[phone ringing]

[man on phone]
You are cordially invited

to A Midsummer Night's Dream.

Take the M25 motorway,
to 8296, and head east.

Ten thousand people
on the motorway

going around and around
and around the toll.

[Carl] Someone found out
where it was located,

then everyone followed
that person.

And at that time,
we were playing vinyl.

So you imagine
walking through a field

with two boxes of vinyl.

It just kicked off
at three o'clock in the morning,

at some poor guy's farmland.

� Check, check your body �

� Check, check your body �

� Check, check your body �

� Check, check your body �

� Check, check your body �

� Check, check your body �

� Check, check your body �

[Kobi] Dance music
made people feel like

their own secret society.

They're on to something

that the rest of the people
are not.

[upbeat music]

[upbeat music continues]

[James] It was called
the "Summer of Love."

Because the culture
finds its roots

in the hippie culture.

The late '60s,
and peace and love.

[upbeat music]

[upbeat music continues]

[James] I come from a city

which is full of like
really hard guys.

It's a hard city.

To see these guys go from
fighting every Saturday night,

to dancing,
with their arms in the air,

and, you know,
it was just unbelievable.

[club dance music]

[grunts]

[Pete] It was
our punk rock moment.

It was like everything
that had gone before

didn't exist.

It was the year zero.

We were starting again.

And you're either part of this
or you weren't.

[upbeat music]

[Afrojack] How cool was it
when you have

like a little secret
that no one understands,

and you go to this place
where there's 10,000 others

that feel exactly the same
as you do.

In the world
of electronic dance music,

we are in
sort of uncharted territory.

[club dance music]

[Moby] When I was growing up,
dance music was supposed to be

the alternative, you know?

You're supposed to have
top 40 over here,

and dance music over here.

And dance music
was supposed to be the domain

of like weird underground-misfit
electronic musicians.

Underground dance music
is about art,

where EDM is show business.

[Seth] And there is still
some of the same

shared aesthetics of unity,

and expression,
and people opening up, you know.

But they are two
different things.

[Ti�sto] The main core
of our music

will always be underground.

Doesn't matter if your Carl Cox
or Ti�sto or Martin Garrix.

It always will be underground.

With, uh, the popularity
of electronic music today,

sure, um, we all appreciate

that more and more kids
are in to it.

Um...

But we know,
we always hope that...

getting into electronic music
via like Afrojack or Ti�sto,

they're just sort of
scratching the surface,

and, you know,
interested to explore further.

[Afrojack]
Thing with dance music,

it is not about focus,
but it's about arrangement.

The whole journey
you can take someone on.

You create something

that sounds like,
"Hey, this is a nice song."

Like, for people that are
not used to dance music,

and then you present them
with the drop.

[club dance music]

If I ask my grandma,
"Do you like the drop?"

She's like, "What's the drop?"

[Afrojack]
Then she heard the drop,

"Look, oh,
I like the dancing parts."

"I like the dancy part."

[club dance music]

I've got this bad habit
when I start working on an idea,

I'm like working, working on
like a breakdown so much,

and I build up, and then
I have to come up with a drop,

and I'm like, "What?"

[Michael] Martin Skypes me,

and he's like, "Hey!"

you know, "Haven't been able
to sleep all night,

uh, there's this melody
in my head.

I made this new record,
you need to hear it."

And it was the demo
of "Animals".

[club dance music]

[club dance music continues]

[Martin] Sometimes,
I start with the melody.

Sometimes,
I start with a kick drum.

I go through a sound bank

with already
pre-programmed sounds,

where I start programming
my own sounds.

[club dance music]

[Watse] When we started out,

we did very small shows,

you know, just to get him going,

get, um, get him to experience
how the life is and stuff.

And, um...

And, suddenly, you know,

we release his record,
"Animals".

["Animals" by Martin Garrix
playing]

[Moby]
It's an amazing piece of music.

That's an example
of electronic music

becoming top 40.

That...

seems to have quite a lot
of integrity around it.

["Animals" by Martin Garrix
playing]

It's this special drop,
you know.

Everybody was making hard drops,

and his was still special.

[club dance music]

� We are the fuckin' animals �

[techno music]

[screams]

[Michael]
This instrumental record,

becomes a top 40
radio record in the US,

the number one single in the UK.

He was the first
17-year-old guy,

who made it into the UK chart.

[Jose] He was the youngest guy
ever playing Ultra.

[dramatic music]

[Reagan] Mr. Gorbachev,

tear down this wall.

[people cheering]

[Moby]There was this explosion
of openness.

A lot of the problems
of the past

just started to fade away.

[cheering]

[Moby] The wall had come down.

And the world was becoming
a more prosperous place,

and I feel like the Love Parade

was very much
a reflection of that.

Like this new...

youth culture
that wasn't burdened

by the prejudices of the past.

[cheering]

[uplifting music]

[Carl]
It started off very innocent.

Maybe 250 people.

Couple of trucks going through
the streets of Berlin,

and they would just
stop the trucks

and just party.

[club dance music]

[Carl]
East and West come together,

and brought people
who were into dance music

to, basically, celebrate life.

[Pete] It was the same spirit

that went
into the league of raves

in the UK.

You know, it was pretty crazy
for the way it grew,

through the first five years
in the '90s

was insane.

The scale of it was just unreal.

[club dance music]

I can't believe it,
it's amazing.

I've never seen this many people
in one place before.

I'm from Holland, and I really,
really like it here!

[Carl] I was invited

to come and be a part
of the proceedings.

At my first time
to go in there...

completely blew my mind.

[cheering]

[Carl] Going through
the streets of Berlin,

I just cannot believe

there's over a million
and a half people.

[upbeat music]

[cheering]

[Carl]Breaking down the walls,

breaking down, even culturally,

and there's no way
we could have done this

anywhere else in the world.

We've got
this big massive monument

in the middle.

[cheering]

And in the monument is where
they built the DJ stage,

and you go up in the monument,
and you see over

the whole of the park.

And all you can see
is just heads.

[electronic dance music]

[Russell] I discovered
electronic dance music

in the early '90s.

I started going
to a lot of the events.

In Miami...

the community and the culture

was like nothing
I've ever seen before.

[electronic dance music]

[Donnie] I discovered
electronic music in New Orleans.

I was working at a restaurant,

and the other waiters
invited me to a party.

I kinda walked in the doors
and it was a whole new world.

[club dance music]

[Pasquale] I discovered
electronic music

by getting dragged
to an underground party

in Los Angeles.

You know,
when I was 15 years old.

It was one
of the most magical experiences

in my life.

I fell in love with the music,

the culture, and the vibe.

[Donnie] I started promoting

even though
I had nothing financial

to gain from it.

It was basically a hobby.

We would rent out warehouses.

It was totally illegal.

You were basically risking
a house every weekend.

Um, and all it takes
is for somebody

to do something stupid
or something bad to go happen,

and then you could lose
everything.

Because I loved it.

[Donnie] I put that house
on the line every weekend.

[Russell] First event
that I ever promoted

and produced was in a warehouse.

We would rent the venue,

contract the venue, hire police,
hire fire rescue, hire security

We were definitely in
over our heads.

But we didn't realize it
at the time.

[Pasquale]I did my first event
in Los Angeles,

thinkin' I and my friends

would have a place to go,
and party, and have a good time,

and listen to, you know,
the music that we loved.

And I found out

it was extremely difficult
to even get a venue.

[club dance music]

[Donnie] It was all ages,
and we were serving alcohol.

It was just... It was just
a recipe for disaster.

But at the time,

when you're 23 years old,

it just seemed like
nothing could go wrong.

[chattering]

[chuckles]

[chattering]

[man #1] Yo!

[Martin] I'm nervous as fuck.

I'm really nervous, yeah.

-Oh, you...
-I threw up earlier today.

-Oh, really?
-Yeah.

[somber music]

[Martin] The craziest thing
for me is like how it all went

so quick.

And that's also why I still...

don't really realize yet what,
what's happening right now.

Omri, is this for fireworks?

[Omri] Yes.

[Martin] I was at Ultra 2013
in the crowd.

And right now...

uh, you're playing
the main stage,

you're a main stage actor and...

It's...

[stuttering]
It's super...

I had to pinch myself
a million times.

[chuckles]

[Gerard] It went that fast
at every moment.

You had no time
to getting used at the success.

It went that fast.

But imagine for him,
he just did this in two years.

-Yeah.
-What we did in ten years,

he did in two years.

[David]
It must be hard to process

so much in such a short time.

You know?

You go from being
in your bedroom,

to play
in front of a 100,000 people

in a year almost.

-Like this is crazy.
-[Martin] I was in the crowd

two years ago.

What the fuck.

[giggles]

[fireworks crackling]

[Martin] Like, for me, it was,

boom, this!

Then, oh, we got a request
for tomorrow.

Oh, we got, then...

before you know it,
you're in the middle of it,

and there's so much happening
at the same time

that you kinda forget
what's happening,

and you're focused
on the next thing.

[Martin]Where is it gonna end?

-[Martin] That's my question.
-[David] Hm?

[Martin]'Cause I have no clue.

What's gonna happen next?

I don't know.

Do you know
what's gonna happen next?

I mean...

[Steve] I think it's about
not being scared.

And not having...
And having fun.

You know,
the fact the you're nervous now

is a good thing.

[Seth chuckles]

[Seth]How is a 17-year-old kid

the fucking face of dance music?

What the fuck?

You know? Like...

[panting]

[Paul] A 16, 17-year-old kid
makes a record,

he's never...
He has got no experience ever,

playing in front of a crowd.

And they book him.

Why?

[Seth] You know,
a 17-year-old kid,

who has no context
of the greater history

of anything he's doing.

He made some track
for teenage kids.

Like, it's not music,
'cause it's just a way,

for... to sell music
to teenagers.

[electronic dance music]

[Martin] There's a lot
of commotion going on,

like,
"Oh, you're too mainstream."

From like the underground people
or the mainstream people,

who don't understand
the underground thing, but...

If, if people who love techno
don't like the electronic music

or the stuff which I make,

then don't listen to it.

[interviewer]
So what is underground?

I guess underground, for me, uh,

is anything that's outside
of the mainstream.

[Dubfire] It's outside of like
whatever is considered popular.

But it always been
more interesting to me.

Underground dance music

is a representation of trying
to do things

with a cultural acknowledgement
who we are as humans.

There's always gonna be
super underground music,

and there's always
gonna be stuff

that some people
consider cheesy,

and that's gonna appeal
to the pop market.

David Guetta's underground
for Katy Perry fans.

[Afrojack] I'm underground
for David Guetta fans.

Like, compared to me,
deadmau5 is underground.

Compared to deadmau5,
Feed Me would be underground.

Compared to Feed Me,

Richie Hawtin
would be underground.

But if you compare
Richie Hawtin to Nicolas Jaar,

Richie Hawtin
is commercial techno.

But, like, no matter
how underground you are,

if you're driving your car,

and A-ha "Take On Me"
comes on the radio,

you sing along.

If Richie Hawtin will play it
in his set,

you would not be happy.

But if the song comes on
in the car, like...

� Take on me �

� Take on me �

Like, it's always.

["Take On Me" by A-ha playing]

[Afrojack]You can't deny that.

And that's why I love music
so much,

because it's universal.

� I'll be gone �

� In a day or two �

� So needless to say �

� I'm odds and ends
But I'll be stumbling away �

� Slowly learning
That life is okay �

[man #2] Did you guys
have fun tonight?

-Yeah, man.
-[woman #1] Yeah, excellent.

[man #2]
Why? What was so good about it?

[woman #1] Good atmosphere.

Excellent atmosphere.

[man #2] Are you guys
gonna stop ever?

Or you're gonna keep dancing
forever?

I can keep dancing forever,
I mean.

Well, at least till I remember
where I put my car.

[Moby] When you talk about

thousands of people
gathering together

in a field or on a warehouse,

and throwing their hands
in the air,

and having
these euphoric experiences,

of course, the music plays
a big part in it.

The drugs play
a huge part in it, too.

[club dance music]

[woman #2] Are you all good?

Yeah, there's, uh...

[woman #2] Oh, no.

[Erick] When you do ecstasy,

music feels unbelievable.

[uplifting music]

[Erick]As a DJ, it's incredible

because, you know,
you could really take 'em

to different heights.

[uplifting music]

[Moby] I spent time
at raves sober,

and I've spent time
at raves not sober.

[uplifting music]

[Moby] The sound is huge.

Visuals are huge.

Everyone's dancing.

[club dance music]

The crowd is the star.

[club dance music]

[Moby] It's hardwired
into our evolutionary DNA...

to wanna dance with each other,

have ecstatic experiences
at night in front of light.

You know, 50,000 years ago,

people were banging on sticks,
and dancing around the fire.

No one has to learn

how to throw
their hands in the air,

and dance ecstatically

at three o'clock in the morning.

[club dance music]

[laughing]

[producer] The rave scene,
what were they like?

Did many deny it?

[producer] Many denied it.

Did they really?

Were they really there?

Or they were just trying
to claim they were there?

[club dance music playing]

[whistle blows]

[Paul] The first raves
were very successful.

And then, of course, the police
got wind of it.

People who go to the parties

are calling for them
to be legalized.

[reporter #3]
But the authorities

are worried
about drugs and noise levels.

Things were getting
pretty crazy.

[Pete]Some stuff was happening

that wasn't necessarily
that safe.

[reporter #4] Police moved in
to break up the party

at five this morning.

Eight hundred
and thirty-six youngsters

were arrested,

and officers seized
1,000 pounds worth of drugs.

This was an easy outlet for them
to sell drugs.

[Chief Inspector Wilson]
We got some very firm evidence

about major criminals involved,

major criminal organizations,

drugs, protection rackets,

all at the background
of these parties.

[Carl] They really thought

that I was a part
of the syndicate

that was basically
making parties

just to sell drugs.

And, apparently,
I was carrying it around

with a silver platter,
while I was DJ'ing,

I'm handing out ecstasies
to people

who I know would take it,
while they were dancing.

I said,
"Well, if I was doing that,

how would I be mixing
the records at the same time

I was handing out
all the drugs?"

[motorcycle revs]

[James] Castlemorton.

What began as a small gathering,

suddenly turns
this huge, huge rave.

[reporter #5] At the height
of the festival,

an estimated 20,000 people
have converged

on Castlemorton Common.

[James] More and more people
were arriving.

It went on for a week.

And the police just couldn't
break it up.

It was just so big.

Twenty thousand people
on this Common,

and no toilets.

You can imagine the mess

they're going to leave
behind them.

[reporter #6]
The police view is that these

are purely criminal events.

[Jack]These people are crooks,

and they are destroying
the lives

of hundreds
not to say thousands,

of decent law-abiding citizens.

[Sasha] I remember going
to some parties

that were really dangerous.

Packed into sweaty warehouses,
no lights, no exits.

[Pete] If people get hurt,

then it needs to be addressed.

It can't, it can't carry on.

[James] That point,
a lot of people realized

that concept
of the illegal raves was dead.

It couldn't continue.

You know, the government
were crazy about it,

the media were all over it.

And so something has to change.

[club dance music]

[indistinct chattering]

You had the beginnings
of the legal space,

where all the DJ's could work.

[club dance music]

[James] We launched Cream,

and it just became
this phenomenon.

It just exploded.

[club dance music]

They started putting on
really highly-produced venues

with great sound systems,
and it was safer.

[club dance music]

[Richie] I like DJ'ing
because I was nerdy, insecure.

And DJ'ing was the perfect,

anonymous way to connect
and touch hundreds

even thousands of people,

without actually
having to talk to them.

[Richie]What you gotta remember
in the late '80s,

where was the DJ in the club?

In the corner,
probably the darkest corner.

[Carl] And the corner here,

was where the original DJ booth.

[man #3] Yeah, yeah, in between
these two columns. Here.

[Carl] In between
the two columns here.

So, when you were DJ'ing here,

you can see the people dancing
if they're up there,

and you can see people
coming inside here.

But I always felt
that the DJ should be...

[man #3] Yeah, yeah, yeah.
Of course.

-Should be there as the area.
-[man #3] Yeah, yeah, yeah.

[club dance music]

[James]When we set up our club,

we put the DJ center stage.

We built a huge gold gilt frame
around him.

So there was no escaping

the fact that you had to look
in this direction,

you had to worship the DJ.

We aggressively promoted
the concept

of the DJ being as important
as the lead guitarist

or the lead singer in a band.

Paul Oakenfold
is the most obvious DJ

who had used the advantage
of the time,

and the interests in DJ's,

and packaged himself
as a rockstar.

[uplifting music]

[Paul] I was doing remixes
for the love of the big acts.

I was approached by U2
to do some remixes for them.

I remixed a track

called "Even Better
than the Real Thing".

["Even Better than
the Real Thing" by U2 remix]

[Paul]That became a bigger hit
than the original.

And then they asked me

if I would like to be
the opening act

on their world tour.

["Even Better than
the Real Thing" by U2 remix]

Primarily a rock and roll crowd,

so I can't play
underground music.

So what am I gonna do?

[Paul] I didn't want
to let anyone down.

I started to look at a lot
of the remixes I've done.

I would take classic rock songs,

and do my own version of it.

The club version.

They still had the roots
and essence

of what it was.

But it had my flavor to it.

Knowing 2,000 people,
nervous, excited.

It was a scary moment
walking out,

and you find just you,

and all these people
looking at you.

[upbeat music]

[cheering]

[whistling]

[upbeat music]

[Paul]It was such a wonderful,
exciting moment.

I really was like,

"Wow, these people
are really into it."

[Sasha]The big story, you know,

wow, there's a DJ playing
to a U2-size crowd.

And I think it really
kind of set something in motion.

[Paul] That was
a big moment for me.

'Cause it really
proved to myself

that I was more than just a DJ
in a club.

[upbeat music]

[Paul] I took a lot
of what I saw and learned

from the biggest band
in the world,

and put it into my career.

[indistinct chatter]

[somber music]

[Donnie] The DEA raided
the State Palace Theatre,

which was the venue
that I was doing shows at.

Some creative genius in the DEA

came up with the idea

that the owner
and the management

of a dance event
should be charged

as if they were operating
a crack house.

[reporter #7] The manager
and two promoters of the club

were indicted,

for simply knowingly
and intentionally

making the building available

for the purpose
of unlawfully distributing

and using controlled substances.

Imagine when you go
and you meet with your lawyer,

and they say, "Well, it's bad.

They wanna charge you
with the Crack House Law."

[ominous music]

There was a lot
of other people that...

did the same thing I was doing.

If you're a club owner
or you're a promoter,

you go to battle in order
to produce shows.

I don't have to worry.

Um...

[Kobi] Donnie was the one
they used as an example

to scare other promoters
from doing the raves.

Who is he with?

It was a test case.

And what they wanted to do
was take my conviction,

and basically use it
against everybody else.

[Graham] We had a full trial
in front of a federal judge

in New Orleans.

We insisted that there was
a constitutional right

to play music of your choice.

And Donnie,
at the end of the day,

was exonerated.

But the United States
was in the middle

of a sort of a moral panic

about ecstasy,

and about the perception
that a certain kind of music

was causing people
to use the drug.

After the Crack House Law
failed,

they came up with The Rave Act.

[Donnie]A way to scare venues.

[Pasquale] I mean,
it was ridiculous

trying to put the club owners,

venue owners, promoters in jail.

[Donnie]
And right at that same time,

then you have 9/11.

And then, boom.

You know,
the whole market crashed.

[slow techno music]

[Donnie]
We went from never stop growing

to half.

[Pete]
You know, record companies

were closing labels down,
magazines were going bust.

People were getting laid off.

[slow techno music]

[Pasquale] Literally, everyone
pretty much disappeared.

After you put, you know,

every last dollar you have
on the line,

and that event doesn't happen.

I was broke.

[Russell]
We were losing a lot of money.

Everybody I knew

asked me if I was crazy
to continue.

There was no point to continue.

It didn't make any sense
on any level.

I was very anxious.

I didn't wanna really imagine

that I had to stop doing
what I loved.

[Donnie] The rave scene
was the lowest of the low.

I would go to a party
with somebody, and like,

"Okay, don't tell anybody
you're a rave promoter, right?"

It's like, "Okay, yeah, I won't.
I won't embarrass you."

Maybe people
are just tired of it.

Yeah, maybe the...

The people
that were in, into it,

for just 'cause
it was a cool thing to do,

I think they found
something else.

[Donnie]
Now I have a 4-year-old,

and my wife's pregnant again.

And, you know, I'm there
at the gas station

using five credit cards
to put five dollars in my car.

And I have to ask my wife
for her credit card.

And she's like,
"You know, you need to stop

doing these shows,
and go get a job."

I really sorta thought,
"Well, okay,

that was a fun ride
while it happened."

[Martin] I always wished

like, when I was in my bedroom,

like, I wanna do this

in front of 100,000 people,

but I never really thought
it would happen.

I never had the intention
to become famous.

For me, I make music
'cause I love it.

Because it's my hobby.

[calm music]

[Carl] I do this
'cause I love the music,

I have a passion for it.

Since I was 8 years old,

I have not looked back.

When the time comes
where you have to close the door

and put it all behind you,

is the time that you know
that you've done something

of self-worth with your life.

[tranquil music]

[Carl] I believe in
what I'm doing.

And if you do that,

you're gonna find other people
that also feel the same.

This movement
is still pushing forward.

[electronic music]

[Paul] Having come to America,

I saw that there
was pockets of people

that were into electronic music
in certain cities.

[electronic music continues]

[Pete]Paul turned around to me,
literally, in the DJ booth.

Mid-season in Ibiza and said,

"By the way, I'm not
gonna be here next week.

Can you do the rest
of the season?"

And I said, "Why?"

He said,
"'Cause I'm going to America.

'Cause I'm gonna go
and break America."

[Paul]
I looked to America and thought,

"I really want a challenge here.

I really wanna go to Cincinnati,

I wanna go to Nashville,

I wanna go
to these smaller places."

I did about 150 shows in a year.

[Pete] Across the country,
backwards and forwards,

touring in America

in the same way
a rock band would.

It was like a chemical reaction.

This metamorphosis happened

with the advent of the Internet.

Napster had started.

And LimeWire and file sharing
really took off.

You can make a track at home.

You could share it,

start sending files
around the world.

[reporter #8]Uh, how many mp3s
you have on your computer?

About 600.

Maybe like 100.

Six or seven thousand.

-Come again.
-Six or seven thousand.

[Erick]You have all these kids

that were really looking
for the music.

And the Internet
kinda brought it to them.

[Pete]
Suddenly, people were able

to monetize themselves
in a different way.

[upbeat music]

[Paul]Big turning point for me

was when I sold
Hollywood Bowl out.

I was like, "Wow!
I didn't realize it,

that there was these many kids

that were really
into electronic music."

[Pete] Things would just seem
to get bigger

and bigger and bigger.

People started calling
from around the world

to actually book you
for the first time.

The DJ's started migrating
like birds

to other parts of the world.

[techno music]

[Ti�sto]
Uh, I played at festivals.

And they asked all the people,
"Who do you come here to see?"

And most would say,
"We come here to see Ti�sto."

And the promoter and I decided,

"Why don't we try
a T�sto solo show?"

You play for like,
six, seven hours

and you might sell out
a stadium.

[upbeat music]

[host] Ladies and gentlemen,

please welcome...

DJ Ti�sto!

[upbeat music]

[crowd cheering]

[Ti�sto] I walked on stage
and I was like,

"This is... This is not real."

Just one DJ in a stadium
for 25,000 people.

Oh, that,
that never happened before.

[upbeat music playing]

[Ti�sto]There was this one guy
from Greece,

he saw the concert.

And he was like, "I want you
to play at the Olympics."

[people gasping]

[upbeat music]

[upbeat music]

[Ti�sto]I saw, like, presidents
fist-bumping and stuff.

So, it was...
It was an amazing experience.

It was live on television
for 4.6 billion people.

[techno music]

He became the first
global superstar.

[Pete] After Olympics in 2004,
you really saw

it's going further and further
into the mainstream.

[Ed] I remember seeing
a massive poster

that said,
"Sold out Victoria Park."

And Victoria Park is, like,
40,000 people.

It said, "Sold Out
Victoria Park, Ti�sto."

I was like,
"Who the fuck is Ti�sto?"

DJ.

[laughter]

[applause]

["Summer"
by Calvin Harris playing]

We were doing
Electric Daisy Carnival.

[Donnie] Everything was kinda
building up,

the crowds kept getting bigger.

And in 2002,
we did about 6,000 people.

And then, in 2003,
we did about 10,000.

Barely trickling up.

Y'all ready?

[cheering]

[Pete] Donnie and Pasquale,

they kinda had to legitimize
their business.

Like the UK came away
from riskier spaces

and started to look
to re-invent themselves

in a dedicated legal space.

["Summer"
by Calvin Harris playing]

[Donnie] In 2008,

Electric Daisy Carnival
got 30,000 people.

[Pasquale]
It was an amazing moment.

I was like,
"Finally, we're here." You know?

This is gonna go somewhere.

[Russell] In Miami, I realized

that I didn't
wanna just continue

doing warehouse parties,

I kind of have reached
the ceiling.

So, I wanted to go
to the next step

and do a festival.

We started coming up with ideas

of what we can do
that would be special,

something unique,
something different.

Let's go talk
to the main stage there,

and we'll go up to, uh,
Carl's station.

[Russell] First year of Ultra
Music Festival on the beach,

we started with 10,000 people.

And then,
it just grew from there.

The attendance just kept rising
and rising and rising.

One year, it really exploded.

It went up over 100,000.

["Around The World"
by Daft Punk playing]

� Around the world
Around the world �

� Around the world... �

[Donnie] The scene just kept
growing and growing.

I knew that we were on
to something.

I knew that, eventually,
it would filter around

to the rest of the country.

� 'Cause I gotta feeling �

� Whoo-hoo �

� That tonight's gonna be
A good night �

� That tonight's gonna be
A good night �

I think the guy that got us
to where we are today

was actually David Guetta.

["I Gotta Feeling"
by David Guetta playing]

David Guetta collaboration
with, uh, The Black Eyed Peas.

That record
really opened the door.

� And then we'll do it again
Let's do it... �

People were interviewing me

about me bringing
electronic concert to the US.

[David] And I'm like, "What?
It's coming from the US."

� Here we go
We gotta rock, rock, rock �

A lot of people,
even in America,

didn't know this.

� Now we on top
Top, top, top, top �

� Feel the shot, body rock �

David Guetta was making music

that was acceptable
to Top 40 Radio,

and actually really catchy
and fun.

� Monday, Tuesday �

[Afrojack] He's been, by far,
the reason that EDM

has had such an amazing
cultural success.

That song introduced
so many people

to another form of music.

They started looking in.

� Party every day �

� And I'm feeling �

� Whoo-hoo �

� That tonight's gonna be... �

[Carl]
We're now in a global scene.

We're in
a billion-dollar industry.

["Levels" by Avicii playing]

[Jamie] You hear
electronic music everywhere.

It has become pop music.

So, those crowds,
the people who...

who do listen to pop music,

are now listening
to electronic music.

All of us are reaping
the benefits of that.

["Levels" by Avicii playing]

[Carl] When you go
to one of these events,

you escape from whatever
you're involved in life.

[dramatic music]

[Martin] Because a lot

of electronic music
is instrumental,

it's universal,

there's no language
attached to it.

Everybody can understand it.

Music is the language itself.

[calm music]

[Kerri] You can't really do
dance music on your own.

It's participatory.

It's a tribal experience
you have together.

Right? It's meant to be enjoyed
in a group.

[calm music]

[Paul] It is crazy
at how many festivals

around the world there are.

Most electronic festivals
came from raves.

[exciting music]

[Carl] What we started,

from where it was
to where it is now, today,

we've made it as a whole,
for the scene.

These artists right now
are averaging...

a half a million dollara night.

[uplifting music]

Now, there's like
a commercial appeal to them.

You can hear... Like, that's
the only thing you hear

on pop radio now is EDM music.

Every urban artist, pop star,

anybody whose anybody wants
a dance record on their album.

[Martin] Are you happy
with the shorts like this?

[Ed] How about this?
How about this?

How about this?
The first break is just,

doo-doot, doo-doot.

And then the second break
is both of 'em together.

[Martin]
It's like if... What I think,

if we are gonna use
the first break,

is that when the drop comes
with the melody,

It's way too random.
It's out of nothing.

The reason I initially wanted
to work with Martin

is because of "Animals".

I heard it, I was like,
"This is fucking weird."

I like it.
It's... it's different.

We're gonna record,
like right now,

the guitar parts.

[Ed] Do you want it like that?
[guitar playing]

Or...

[guitar strums]

-[Martin] Yeah, that. Better.
-[Ed] Or that?

You know what? I'll do it.

And then you can chop it
and use it.

Yeah, just, uh, just turn
the track down low,

if that's all right.

[Ed]
You forget how young Martin is,

because he's so, like,
well-traveled.

It's like you feel like

he's like T�sto or something.

The quality of production
is really out there, everywhere,

so many good producers.

You know?

What's the problem for me
is a lot of anti-music.

How are we gonna make music
that touch people's heart,

but in a new,
fresh and exciting way?

[light music]

[indistinct chatter]

-Like that.
-Okay.

["Don't Look Down"
Martin Garrix ft. Usher playing]

[Usher] I really feel like
a creative musical chemist.

You know, I mean,
when the fusion of music

comes together,

whatever you may call it,
pop, R&B, and EDM,

and it works, and it opened
an entire new conversation.

� You got me way up
A thousand miles �

� Can we stay right here... �

Because those greats before us
who created that fusion.

Like Michael Jackson
when disco was on its way out,

and rock was on its way in,

[Usher] Michael was able
to create something

that satisfy both parties.

� We're gonna reach it now �

� Do you feel the lightning
Inside of you? �

� Will you follow through
If I fall for you? �

� Don't look down �

� Up this high
We'll never hit the ground �

I feel like once the world

was able to hear EDM
in that way,

and me experiment
with David Guetta

and now, Martin Garrix.

[Usher] To me, that creates
an entire new movement.

[upbeat music]

It's created an authenticity
within a style

that everybody's
kind of enjoying.

What the big challenge is,
for me,

is to keep evolving,
evolving and to stay relevant.

[calm music]

[calm music continues]

[Carl] My career has spanned
over 38 years,

doing what I love to do.

Hey, hi! Hey, hey, hey.

[Carl]
To be honest with you, you know,

my father would not really
get behind me.

It was quite damning
in some ways

and he didn't respect
the fact that,

that I had this drive
and energy,

uh, to be able to become
the person I am today.

[somber music]

[Carl] When I said to him

that I didn't really
wanna do anything

as apart from DJ'ing,
he... just basically laughed.

He didn't give me the respect
to find my own path.

[Pam] I think
he had made Carl stronger.

That he wanted, you know,
when my dad said no,

I think it was a yes to Carl

that, "I'm gonna follow
my dreams."

[uplifting music]

[Pam] I'm so proud to say
that he's my big brother.

Um, right now, I really wish
that he could say those words.

At the moment,
my dad is not very well.

He has dementia.

[Pam] It would have been nice
for him to say those words.

I don't think Carl
will ever hear them

from his father now,

because he doesn't remember.

[somber music]

[crowd cheering]

[indistinct chatter]

[loud cheering]

[crowd screaming]

[indistinct chatter]

[crowd cheering]

[indistinct chatter]

[techno music]

Hello.

["Virus" by Martin Garrix & MOTi
ft. Jenny Wahlstr�m playing]

[crowd shouting]

What's up, Miami?

[crowd cheering]

[Gerard] Imagine
that you're standing there,

and you're seeing your son,

and he's standing
before 40,000 people.

It's incredible.

� Virus �

["Virus" by Martin Garrix & MOTi
ft. Jenny Wahlstr�m continues]

[crowd screaming]

Party with me all of you!
Scream right now!

One, two, three, let's go!

["Virus" by Martin Garrix & MOTi
ft. Jenny Wahlstr�m playing]

[Carl] Martin Garrix,
you put him on any festival,

and he can't do no wrong.

See, it's something
which is wondrous.

You know, you got someone
that's this young,

who's connected
with 18-year-olds.

He's connecting directly
to the people he is inspirin'.

It'd be difficult
for me to be there.

And have 18-years-olds go,
"Oh, my god, he's amazing!"

They'd be like,
"Oh, my god, my dad's amazing."

You know? It doesn't work.

[Martin] I don't see myself
as a big act.

It doesn't count
how many tickets you sell.

It also counts
about what you did

for the industry,

what you are still doing,

and what your abilities are,
what you can do.

You're gonna be
right over there.

Hey, there he is.

-How you doing?
-[Martin] Hey.

So, you've played
already, right?

-You've been at it.
-I just came off stage,

-and we rushed here.
-You just came off. Really?

-Oh, thank god.
-No worries, it's all good.

[Martin] I respect Carl
as a producer and a DJ.

His DJ sets are...

I can't play
eight hours in a row,

and not lose attention
from the crowd.

The longest set I've done
is 12, is 10 hours.

-It's like...
-How did you, like...

You didn't play one track
two times?

-No, no, I did not.
-That's nuts.

Yeah.
[laughs]

Are you solo or did you do
back to back with others?

No, no, no. Just me on my own.

Yeah. Went to the toilet once.

-Yeah, yeah.
-Uh, took two slices of pizza.

And, uh, I think four beers.
And that was me.

-But that's something I respect.
-Yeah.

I can't think about 12 hours.
That's nuts.

He can do so many things
which I am dreaming of.

And which I'm still...
trying to do.

I mean, I was actually quite shy
as a young DJ.

When I was up on the stage,
I had the curtains closed.

And I'll still play my music.

And I was like,
"Keep them closed,

keep them closed"
as long as I could.

And then, I went out, there's
the DJ, I'd be like...

[laughing]

-But that's cool, though.
-He'd be playing, you know.

"Say something on the mic."
I'll be like, "No."

"You say something." You know?

But that's how it was for me,
I kinda grew into all of this.

[Carl] Martin's gotta believe
that he can do this.

Because the whole scene
rests on his shoulders now.

He's young, he's hungry,

and he's out
to basically set the bar

of what's happens next.

[dramatic music]

[dramatic music continues]

[Carl] Big, deep breath.

[deep breath]

Final night.

[Carl]
In all these defining moments,

T�sto's played
to billions of people,

Paul Oakenfold at Wembly
with U2.

No one's actually been in a club
for 15 years straight.

But I played gigs all over
the world, festivals, clubs,

house parties.

Everything that I've done

feels like it's gone so quickly.

[applauding]

[Carl] Oh, yes. Oh, yes!

We have got ten hours to go.

I never really thought

in any way, shape,
or form that...

that I would have this longevity
in my career.

Thank you all, so, so, so much.
Thank you.

[crowd cheering]

[Carl] Great spot. Thank you to
heart!

[crowd cheering]

I came with Carl the very,
very first trip to Ibiza.

[Pam] I loved it.

It was the start of my journey
coming to Space.

You know, I love my brother
to bits.

Um, I am his number one fan.

And I am so proud.

My journey with Carl,

um, is coming to an end.

[somber music]

[Carl] The last half an hour,

down to the last,
actual last record,

I have never seen
so much emotion in a club.

[dramatic music]

[Carl] I've been so blessed
to about... do what I do

at the level that I do it.

And when you look back,

the amount of music
you've played,

people you've met,

touched a lot of hearts
and souls

all over the world.

And people remember those times
and those moments.

[dramatic music]

[crowd cheering]

[whistling]

[loud cheering]

[Carl] In the end of the day,
it's all about music.

And if I've touched you
with my music,

then all I can say is,
"Thank you."

[tranquil music]

[Afrojack]We're all lost souls
at one point,

and when we come together
at dance music festivals,

we're not lost anymore.

Dance music used to be
my little secret, you know.

It was my little thing.

But if you have something great,

you want to share it with these
many people as possible.

It's just a lot of thing
and it's a fun thing.

And you should never,

never be greedy
about something great.

[crowd screaming]

[screaming continues]

["Virus" by Martin Garrix & MOTi
ft. Jenny Wahlstr�m playing]

[Martin]
It's not about being on the top,

it's about making
other people happy.

� We'll make it �

� It's just who we are �

� Say where to go �

[Martin]It's all about the DJ,
the music.

The people
you're surrounded with.

I think that's so beautiful.

You make people happy

and make them forget
about everything else.

� It's just who we are �

� Yeah, we will do anything
We dream about �

[Martin] I'm kind of happy
that it's going

towards a new direction
right now.

Because it won't make it,
like, fade away.

And that's only fear I have.

Like, because it went...
Like, same with my career,

like, because it went so fast.

I just hope, like,
I can hold on.

What I just hope is that

electronic music is not
at the limit yet.

And it can still grow
for the next ten years.

["Virus" by Martin Garrix & MOTi
ft. Jenny Wahlstr�m playing]

I just hope I can be,
like, a part of it.

And we'll see what happens.

["Virus" by Martin Garrix & MOTi
ft. Jenny Wahlstr�m continues]

[Richie] We love
and are tied together by music,

created by a technology
that is always...

evolving and mutating.

That makes every day
a new possibility.

[light music]

[Paul]When you look back at it,

god, what we started,
to where we are now,

years later,

it was some achievement.

Whether it's underground
or commercial,

as a whole, electronic music
is thriving around the world.

[Donnie] I wanna protect
the scene, you know,

I want it to be here
a long time.

Way after I'm done and retired
and in the ground.

In rave heaven.

Uh, I want this
to go on forever.

[electronic music]

[electronic music continues]

Uh, Martin and I were
at a festival tour together

for Future Music in Australia.

And we had a five-hour
long flight.

-And we are next to each other.
-Yeah.

At first, we're all,
and it's like...

And then we're both
kinda like, "Oh, hey."

So, we chatted up.

And, I have to say, I was wrong
about some things, you know.

Martin is the first person
I met...

from that scene who's doing it
for the right reasons.

In my mind, "Maybe, one day,

he can break
into the dark side."

[chuckles]

[upbeat music]

[slow electronic music]