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Eߣ�B��B��B�B�B��matroskaB��B��S�g o�M�t�M��S��I�fS��M��S��T�kS���M��S��S�kS��M��S��T�gS��ny�O� I�f@�*ױ�B@M��libebml v1.4.5 + libmatroska v1.7.1WA�mkvmerge v98.0 ('Chonks') 64-bitD��AJt� Da��SH�F {��Shangri-La.2019.S01E02.720p.AMZN.WEBRip.x264-GalaxyTVs��ųf�����tvd���T�k���ׁsŁ���� ��S_TEXT/UTF8"���enSn�GalaxyTV - small excellence!�D C�u@�炮����� After 12 days of new life,�� G����� G a baby spotted mallard��ɠ���� will leap from
its mother's nest into flight,��;C�u@���^����� because it doesn't know
it might fall.���Сʁ� The amateur mind
possesses a valuable lack
of knowledge about rules.��)C�u����� When matched with passion
and gumption,��������� gravity ceases to exist
and new things take flight.���C�u��>����� We see people hitting
each other with chairs,��������� but they're working together
to put on a show.��
kC�u@��W��ơ�� Sometimes they like each other,
and other times they don't.��������� And then sometimes
they'll say things.��_C�u@��p������ Their job is
to make you hate them�� ����� by saying things
that make you��
A�����A love one and hate one
based on what they're saying.�� GC�u��������� Sometimes they say things
that just have��������� this ring of truth about them.���C�u��������� That's too real.��XC�u���X����� Let me tell you something
right now.��w�����
0 When I watch MTV,��X������ I see Run-D.M.C.
all day long.��SC�u@���3����� As it is now,
I see Run-D.M.C.
all day long.��������� They talk about
the Beastie Boys
all day long,��}�����w they don't even
have a video.���C�u@���b����� That amazes me.
The only reason��РɡÁ� that we haven't done
a video yet is because
as soon as we do,�� ��� they're gonna have to change it
from MTV to Beastie-TV,��
@C�u@��7�Сʁ because that's all they're
gonna show, all day long,
all night long.������� You talk about magazines,
you talk about...�� C�u@��)$����� I would do interviews��*�����* as part of
the Beastie Boys at that time,��ՠ����
� and it was always
from the position��_C�u��C������ of the bad guy wrestler.��������� It was all performance art.��������� -The Beastie Boys.
-Oh, wow!���C�u@��Y������ The Beastie Boys
are the most important thing��Z�����Z in music today,
holding everything together.��������� I think, you know...���C�u@��r������ I think I'm wasting
my breath a little bit.��������� Maybe I'm talking
over your head.������
� I think the interview's over,
thank you very much.���C�u���ؠ���� Rick? Rick, Rick!��M������ Did it matter that a lot of
people didn't understand?���C�u���`����� Never.��#C�u���E����� ♪Your kisses take me♪��/C�u���2����� ♪To Shangri-La ♪��^C�u��
Ҡ���� ♪Each kiss is magic♪�� ������ ♪That makes my little world♪��^C�u��3����� ♪A Shangri-La...♪��vC�u��K������ ♪For anywhere♪��
�����
♪You are♪���C�u��d?����� ♪Is Shangri-La...♪��C�u���X����� Uh, tell 'em about Rick.��������� The first time I met him
was at the studio years ago,���C�u@��������� with, Ye was in there
fucking around,�� p����� p and...��������� like Rick barely said a word,
and I was like,�� �C�u@���ߠ���� "What the fuck is with that guy?��������� He's barely talking, like,�������� but he's doing
something in here."�� �C�u�������� And it was a little unnerving,
to be honest.��
������� What is the Rick Rubin
mythology?���C�u��=����� There is one where people think��
k�����
k I'm arrogant
because I'm pretty quiet.��
�C�u@�R
����� I've heard that people
interpret that
as arrogance.��^�����^ There's a mythology
that I don't do anything��C�u@��qs����� because I lay down
when I work.����Ρȁ
Because I have a beard
and was photographed
often with sunglasses,���C�u�������� people always assumed
I was on drugs.������� I've heard that everything
I touch turns to gold,��qC�u��������� both in terms of music
and in terms of people.���C�u���"����� It's funny that my mind went
to the worst ones first.��
C�u@���E����� Inside Shangri-La,
are you trying��S�ˡŁS to expose people to
the outside world
or insulate them from it?�������� -Insulate them.
-Right.��5C�u����� Yeah, the goal is to take away��������� the voices of
the outside world,�� �C�u������� so you're protected to be��$�����$ your pure, natural,
naked self.��C�u@��$T�Сʁ So, part of what I'm decoding,
and why this is such
a generous thing��
X�����
X you're building here,
is the perception...���C�u��AL����� -...from the outside...
-Yes.��������� is that musical success
is based on connections,���C�u��Z������ magical wonder that cannot
be described, and luck.�� ������� And what you're being
really honest about is,���C�u@��p,����� none of those things are it,��֠����� and that instead
there is something��������v within us that,
if we just let it find���C�u@���~�š�� the confidence
and the generosity
to create a difference,��
X�����G and then be alert
and hard-working enough���C�u@��������� to curate it appropriately,��
B�����
B we can be our best
version of that.��Р���� Yes. And the only goal really��#C�u���ՠ���� is to be the best
version of ourselves.��)C�u@��������� Ugly words in public places��w�����w Fear and doubt and all the races�������� Have come out to
show their faces���C�u@�������� Under me��e�����e There is a gulf
that separates us�� �����e And it seems to gape
a little wider every day��
�C�u������� Now, we can pray
on every tragedy��f�����f Defy, defy the frenzy
of the nastiness�� pC�u�������� The devil in us,
the human cost�� ��� � The rising threat,
we must be watched��
C�u��3������ Clocked and kept
and streamed and dropped��#�����# If this is strength,
then we're all fucked...���C�u@��M������ To realize that this
is a creative persona,�� ĠˡŁ � it makes it a bit
safer to go out
in front of all these people.���C�u@��c������ Kate Tempest is
like a superhero;
she can do that.��S�����S But Kate Calvert would never
go out there, you know.���C�u��������� You can't come here
and not feel��������� so lucky to be able
to be here, like...�� �C�u���)�š�� The way this place just flows,
it's kind of uplifting you,��|�����| trying to get the best
out of you.��)C�u��Ԟ����� You have to hit it hard.������� Yeah, you have to dig in.��`������ We have written an album,��C�u���D����� and we want to record it
in one take.��
X�����
X This is in stereo now...��
AC�u��ݠ���� I want the lyric
to have the feeling��������� of completeness
and liveness.��`C�u@��"����� If we do it like this,�� ����� we're hoping
that Kate can deliver the lyric��������� and I'll just follow her
with all the music.��)C�u��>������ It's like scoring
rather than recording.��ʠ����� Yep. We've looked at it
like she's the picture���C�u@��VW����� and I'm the soundtrack
and it's a film.��M�����M Do you know where
that little screwdriver is?��v������ -Yeah.
-Oh, yeah.���C�u��������� The idea is that we just do
a few takes a day,������ and hopefully
in three or four days��0C�u��������� we'll have the one
that feels right.�������� We've got ideas to do ones
where I can see the ocean.��^C�u���Ƞ���� One outside the chapel
with a small audience.������� I wanna do
one up that tree,���C�u���Ӡ���� but it might be
kinda dangerous.��蠡���� I wanna do it at night.��5C�u@���g����� I think it's cool.��������� -Should we give it
a run-through?
-Yeah.��5������ The thing is, because
it's so long, like you start,���C�u�������� -Dan plays
the opening chords...��۠����� and we're doing like
a 46-minute take.���C�u��2ࠪ��� We're doing the album in a take.��֠����� He's playing everything live,
Dan's like this, like...�� C�u@��SD�ϡɁ If you're feeling tired
and you're like,
"We'll just get one more,"���ȡ what you're committing to
is going through
your album again.�� �C�u��oC����� Like, you know,
it's like, it's heavy.�� ����� The emotional drain on you.���C�u��������� I came to under a red moon��
.�����@ Thirsty for water��_C�u���j����� My eyes were like shovels
in the soil of the sky��
������� Digging into the night
to find solids���C�u��������� Burying emptiness��������
� I was heartbroken��^�����4 And vomiting memories��$C�u���Ơ���� Because I promised
her everything������� But then I did what
I could not to recognize���C�u�� ������ Anything��ܠ����S So here I was��������4 Marching to town
like a priest in my rapture���C�u�� %d����� Muttering spells��|������ So desperate for tenderness��������� So raw from
the grating of senses���C�u�� D������ The way the day drinks
every drop of my strength��
Y�����A It's relentless���C�u�� �⠻��� In the archives, we have
acetates and cylinders,��
�����
um, got reel-to-reel,�� C�u@�� �砨��� uh, and some really rare vinyl��|�����| that I will bring out
and show you.�������� How did you start?
-I was in a punk rock band.��GC�u@�� �E����� -Really?
-Playing guitar.��Y�����Y Rudimentary punk rock guitar.��|�����
� What was it called?��e�����: Hose. H-O-S-E.���C�u�� �+����� -That's hot.
- Yeah.���C�u�� �Сʁ This is the very first
recording ever released
on the Def Jam label.���C�u@��
Z����� You would never know
that this is a noise
punk record��R�����R from these song titles,�� �����R like You Sexy Thang,�� C�u@��
ʠ���� and Super Freak,
and Dope Fiend.��
�ӡ́
� But I think it's a good,
really good evidence that,
you know, early on,���C�u@��
6��̡Ɓ that early in his
recording career, he was
already mixing genres��������� and trying to find
ways to create���C�u��
K����� new combinations
and new sounds.��ՠ���� Hip-hop was going on
at the same time,��
�C�u��
g������ and I felt like the energy
of the hip-hop��֠����� and the punk rock
were very simpatico.���C�u@��
{Z����� It was like the same thing.��Y�����Y Similar, just
different spectrums.��۠����4 Exactly similar,
but different people
were liking it.��
�C�u@��
�;����� Nobody white liked hip-hop.��������� And then I joined
the Beastie Boys,��
B������ and the Beastie Boys were
a punk rock band.���C�u��
������� Wow.�� ���� � And they made one record
called Cookie Puss,��;����� that was like
a DJ-based record��SC�u��
��� but they didn't have
a DJ in the group,��/�����/ so I started DJing for them.��
�C�u@��
������� We did that for a while
and then it felt like,��
A�����
A all we did was
listen to hip-hop,
and it was like,�� �C�u��
�Ҡ���� why are we still doing
the punk-rock...��������� -Wow.
-...if all we listen to
is hip-hop?��
@C�u@��ʠ���� I feel like we're,
it's like,��w�����w I feel like we're
doing that out of habit,��#������ and this is what we love.��C�u��j����� That's fire.��_�����_ We had the misguided notion�������j that we'd be super-duper fly��_C�u��63����� by all showing up
in matching Puma suits,��_�����_ which I believe
you underwrote this venture.���C�u@��K[����� For sure.������� And if the matching
Puma suits��������� weren't bad enough,
we decided to wear
do-rags too.�������� I remember.���C�u��c������ And then to add on to that,
we roll up in a limo.��_�����k And we were like,
"Oh, this is gonna be def."��
�C�u��Ġ¡�� Then people were like turning
and looking at us like...��������
� "Who are you guys, Menudo?"��6C�u�������� -Do you remember that?
-Yes.��)�����
X There was
basically one radio show
a week on WHBI...���C�u�������� On WHBI, 105.9.�� q����� q ...where they had one hour
of hip-hop a week.��
XC�u@���ؠ���� And everybody would
cassette-record that show��������� and then listen to it all week
on little boom boxes.��|C�u@���f����� Creativity and change
live with the heretic,����ˡŁ� with the person who
says the emperor's
not wearing any clothes.���C�u������ With the person who says,
"No, I hear a voice in my head��
������
� and it sounds like this."��5C�u@�������� In the old days, when
you had a voice in your head,��$�����$ we burned you at the stake.��Рġ�� But now when you have a voice
in your head, a few people,���C�u@��=��ѡˁ the early adopters,
will listen to you,
and maybe they'll embrace it.��㠗���w ♪Oooh...♪�� ���e So, when you seek
to be creative,�� GC�u@��Y7����� you have to accept the fact����ʡā� that you're also gonna be hated,
you're gonna be misunderstood,��_�ġ��^ you're gonna be judged, and
it's probably not gonna work.��
�C�u���#����� I used an early
drum machine in the dorm.��
蠘���
� It was an 808.���C�u�����¡�� I borrowed it from a friend
who was in a new wave band.��|����� He loaned it to me.�� GC�u���\����� In the fall of 1982,��������� I was assigned to NYU
Weinstein dorm, room 712.��C�u������ I go into the room,
and sitting in this
darkened room���C�u@���q����� is a kid with long hair
and dark glasses on.��ʠơ��� The desks have been
pushed together
and across the surface��vC�u��
������ are two turntables connected��
������
� to the biggest Cerwin-Vega
speakers you ever saw.��
AC�u��
.o����� And I just look around
and I go,��^�����^ "Where are you
supposed to study?"���C�u@��
C��ġ�� And the response I get,
Rick in his deep voice,
he goes,�� ����� "Studying is to be done
in the library."��
AC�u��
_������ What's up, Rick?��⠩���
� I didn't know what a label did.��
�C�u��
x ����� I didn't know
what a producer did.��
X�����
X I knew very little,
I just knew that I loved music��
�C�u@��
�@�ʡā and wanted to be involved
in making it as good
as it could be.��
�ɡÁ
� It's almost like he just didn't
know that he couldn't do this.��
C�u��
�?����� You know, start your
own record label?������� Why not start your
own record label
in the dorm room?��)C�u@��
�h����� When I met him,
Rick was the most��M�����M confident 19-year-old
I'd ever met.��ɠȡ Like, even if he didn't know,
he said and acted like he knew,���C�u@��
�<����� and it was the only way
it could be, so...��
A�ơ��
A Like when he explained
punk rock to me
and do-it-yourself,���C�u��
��ġ�� I mean, it was just the law,
like this is how we do this.��wC�u��ɠΡȁ Tell me what was going on,
your first memories
of hip-hop. Period.��
ՠ����
� In your life.���C�u@�� K����� Well, number one,
this will probably be��5�����5 the longest conversation
we've ever had.��������
� Yeah.��������| But we've always
been like this,��������5 we've been like this.��XC�u��9ؠá�� I would see Rick,
Rick would see me
and we'd be like...��
0�����
0 -It'd be like...
-We knew the mission.��C�u��S����� Right, exactly, so...��_������ My first sense
of hip-hop was '76,��
�C�u��m������ Roosevelt Roller Rink.��Ġ����� I'm a skating fanatic, right?
I skate my ass off.���C�u���j����� That's what you're
moving around to.��������� That's what
the DJs are playing.�������� I see.���C�u@��������� And that's where
the inspiring thing��0�����0 for our first record�� �����
0 and the record
I think you like,��;C�u�������� Public Enemy Number 1,
came from.������� A couple times the DJs
would play this record...��
C�u�������� ...off of Blow Your Head,��������� which was J.B.'s and Bootsy�� ���v and Clyde Stubblefield.��kC�u@���N����� And it had that wind-up.�� Ġ���� � ♪Waah-waah-waah-waah-waah♪��������L And then the beat comes in,
and it's like all skaters,��C�u�������� and it's like,
"Girls, get out of the way,"��������� 'cause it's gonna be manic,
it's gonna be crazy.��C�u@�������� In my mind as I'm skating,
I'm like,��}�����} -if only...
- That could keep going.��v������ ...this could keep
going, you know.��SC�u��2ޠ���� You have to be a little
demented to just like...��⠲���� something that goes like...
♪Waaah♪���C�u��G������ And I just one day,
after work moving furniture,��
�����
I just took the two tape decks���C�u@��\6����� and said,
"Imma finally do this."��S�����S And I, you know,
made the tape, paused it,�� G������ pause tapes,
paused it,�� �C�u@��vj����� which was a style
that people did
in the late '70s.��;�����; If you didn't have turntables,
you did pause tapes.��}������ - You did pause tapes.���C�u����� It's called
a pause tape because���ơ��S on a cassette player,
there's a little pause
button there.���C�u�������� And it's like we can stop time
and the whole world.���C�u@�����ǡ�� It's a small increment of sound
and it becomes a long piece.��5�����5 I always feel like
sometimes limitations,��;C�u���0����� whatever it is,��
��ȡ
� not having the right equipment,
forces you to find a new way.��^C�u��������� So I finally paused it.��������� I said, I'm gonna come
with this vocal,
on top of it,��C�u@��Q����� that will kinda fix
all the jumps in it,��
�����
'cause the vocal
will straighten it,��/�����5 and Flav was in the next room,��5C�u@��+������ 'cause we was moving
furniture together.��/�ġ��/ I said, "Look, man,
I need you to just
intro this thing,��
�����G and close it out,���C�u@��@������ just like make a beginning,
make an end,"��
������
� and it was only meant
to be a WBAU promo.��������^ "Listen to our radio show."�� qC�u@��]������ So, Chuck,
what's the moves, man?��ܠ͡ǁ� I was on my way up there
to the studio,
you know what I'm sayin'?��C�u@��uv����� And this brother
stopped me, man.��_�ǡ��_ I heard it as
the radio show promo.
That's when I heard it.��
������ -Exactly.
-And just like,��6C�u��������� this guy needs to be
making albums.�� ����� It's like, whoever made this
needs to make more.���C�u@�����š�� You had to be demented
to like that, because
it's like...��_�����_ It was crazy.��⠿���A It would chase your mother
and your girlfriend away.���C�u���㠻��� It's like, what the fuck
are you doing up there?��_�����_ Like, it's just...��ZC�u@��E����� This is a really great one,��������� a really important
record for us.��}�����
Uh, this is from 1968,
the legendary Sun Ra,���C�u@��* ����� his album Soul Vision,��������� and a lot of people
didn't believe me,�� ��ˡŁ) but we were able
to prove it after months
of archival research.���C�u��GB�š�� This is the first time
that hip-hop actually
ever appears��
�����
on a piece of recorded music.��#C�u@��^_����� A lot of people talk only
about the role of jazz,��5�����5 and the kind of afro-futurist
imagination of Sun Ra,��
�C�u@��u{����� and the importance
of outer space������� being the place
for African-Americans.������ But hip-hop was also
part of his early imagination.���C�u���>�̡Ɓ This very idea of hip-hop
was already
starting in Sun Ra's head.��N�����N ♪enigmatic music playing♪���C�u���Š���� The kinda shows
that we would attend,��
�����
it was so surreal,��
YC�u@���#�Ρȁ and with an audience
standing on the same level
as the performers.��
/�ɡÁ
/ As we went in, I just made sure,
don't step on anybody's toes,���C�u���3����� just stay to the corner,
be cool but chill.��
0C�u@������� Two minutes later
he's not around.��;�����; I'm like,
where the hell did he go?��������� And I look up on the DJ stand.��C�u@��5
�ġ�� He's up there with the DJ,
and they're looking at records��
/�����
/ and just laughing
and like talking music.���C�u��_������ What I heard at the club��
蠳���
� was very different
than those one or two���C�u��sc����� rap records that were
coming out a week.��$������ It's like the club
was drum machines,��qC�u��������� break beats, and rappers.������ � Live hip-hop.��
@C�u@���̠���� But none of the records
sounded like that,��������� the records
were all like produced.��M������ Whereas the club was grimy.���C�u���ˠ���� And almost like
documentary-style,��
�����
I wanted to make records
that sounded like the club.��
�C�u@���|����� I felt like I was in
a community of all people��
0�ǡ��
0 kind of pushing in
different directions
to make great shit.��/�����_ No one was gonna be
Michael Jackson doing hip-hop.�� C�u@��������� It was all just honest.������� Yeah, just people
making cool shit.��X�����^ Still hip-hop was really
just on the weekend,��*������ master-mix shows,���C�u@��V�¡�� and we would listen
to the master-mix
shows every week�� ������ � because you would get
ideas, you'd like...����ѡˁ� I wanna say you'd get ideas
but you wouldn't get
ideas of what to do,��}C�u@��5g����� you'd get ideas
of what was possible,��X�����X and it wasn't like,
"Oh, I wanna do that,"��֠����
. but it was just like,��ݠ���� "Oh, that's a whole new way
to look at beats.��)C�u��O������ If he could do that,
we could do this."���C�u��i������ There's really
extraordinary magical��ʠ����� and then there's really
little mundane magic moments.���C�u@�����ҡ́ When they happen,
there's just this spark of like
anything's possible.����ǡ��� That feeling of like,
we might be able
to create this space��5C�u���U����� where we suspend��������� the disbelief...��v����� of what's possible��RC�u��ϲ����� and allow
a different consciousness
to enter.��_�����^ ♪Commentating, illustrating♪���C�u@���젵��� ♪Description giving,
adjective expert♪��ˠ����� ♪Analyzing, surmising, musical♪��������w ♪Myth-seeking people
of the universe♪���C�u������� ♪This is yours!♪��S�����S Being open to those
magical moments���C�u@�� D�ˡŁ that you don't know
why they work,
you don't know how it works.��֠š��� This is the hip-hop version
of the Edison home phonograph.��
C�u��<����� Um, this is the original 808,��ʠ����� the original Roland
808 from 1982,��C�u��P��� and this is the machine
that Rick used��ʠ����� on some of his most well-known
and iconic recordings,��#C�u��h۠���� particularly iconic
hip-hop recordings.�� ������� When you were
first bringing���C�u@���K����� bringing hip-hop
and rap to the world,�� ����� almost everyone didn't like it.������� -Yes.
-And if you had needed���C�u@�������� everyone to like it,
you would have burned out.��M�СʁM And I even think if
everyone likes it,
you're doing something wrong.�� ���; -Exactly.
-Because it's like
that's the issue.���C�u@���7�ơ�� It's, if everyone likes it,
it's probably kind of mediocre.��
ՠ����
� Yeah.��������� It has to-- The best art
divides the audience.���C�u@���S����� Because you're making
change happen.��5�ġ��5 Yeah, you want your music
to be someone's favorite music,��
/�ġ��d and to be the example for
someone else of what they hate.��AC�u@��������� ♪The floor vibrates,
the walls cave in...♪�������� � It's late, we're raging,�� q�����4 turn the music up
louder and louder.���C�u���ġ�� Unfortunately,
living upstairs from us
was Nancy Heller.�� C�u��%Ҡ���� Nancy Heller was
a pre-law student,��R�����R and she probably
had early morning classes,�� qC�u��=������ and that did not cut it.���ˡŁ She was calling us,
we couldn't hear the phone,
it was ringing.��
C�u��V������ ♪And still gettin' paid
while you look at me mean♪��������� She was banging on the floor.��*C�u��kϠš�� You didn't even hear it
because you had
the system going.��#�����
� I even remember,
we got a phone call��6C�u@��������� and Rick
turned it up even more.�������v So all of a sudden, boom!��ˠ����A Who the fuck do you
think you are?
The fuck are you?!�� �C�u@�����ϡɁ This goes on day... aaaah!
after day after day,
I can't believe it!��|�Сʁ� It could absolutely
be said we were fighting
for our right to party.��C�u@���}����� Nobody answers,
is anybody listening?��;�����; ♪Kick it!♪��$�����_ The Beastie Boys burst
in very much���C�u@���d����� in the same manner
as Nancy Heller,��֠����� and the music was too loud.�������� q I swear to God!����d I mean it seems like it now��_C�u���'����� that that was
a subconscious ode������� to the Nancy Heller incident
of noise complaint.��@C�u@��s�š�� ♪You wake up late for school,
man, you don't wanna go♪����ǡ��� Rubin could have
been kicked out
of the dorm at this point.���C�u���ġ�� Because of the repeated nature
of the noise complaints...���C�u��2������ So, you get what they
called a dorm trial.��
������
� Nancy Heller,
since she was pre-law,��C�u@��F������ she acted as
her own attorney.������� We are here today�������) because of
Rick's relentless behavior.�� ������ And she basically talked about���C�u@��[������ how there's always noise.��������� I'd like to present
that as Exhibit A.�� q�����
/ Rubin had to make a defense.��C�u��sΠ���� ♪You gotta fight
for your right♪�� �����^ ♪To party♪��#C�u@���O����� This is very creative,
what Rubin's defense was.�� q����� q He said, "This is my art form."��������k His art form is
punk music and hip-hop,���C�u@��N����� which innately,
by its very nature,
involves volume.������� ♪That hypocrite smokes
two packs a day♪�� �C�u@�������� So, since volume
is a part of it,��Р¡��� it is a part of his art form,
therefore it's protected.��e��5 The dorm committee
then goes away
and makes a decision.���C�u@����� He never left the dorm,
he beat it,
he beat the charge.��M�����M ♪You gotta fight♪�� Š���� ♪For your right♪���C�u��������� ♪To party♪��}�����} It was like
this joke of like,
OK, we're gonna��
�C�u��𠹡�� like joke around about
being these party bros.�� p����� p But then it went into
fast-forward so fast,��
�C�u��,6����� that then that was
the party bro anthem.��
蠽���
� What I saw happen really
shocked and surprised me.���C�u��Kʠ���� It went much further
in that direction������� where I was kind of shocked.��MC�u@��e-����� Like not offended,
but it's like, wow.�� q����� q I don't know if I should be
flattered or upset��ʠ����; 'cause you're saying that.���C�u@��������� They're really going there.������� It's like it's unbelievable,��������
� like the inflatable
phallus and that.�������� It's like, wow.��YC�u@��������� Well, we called it
the "Becoming What You Hate."��;�Сʁ; Russell and Lee were like,
"Here, you're going
to meet with this guy��5C�u@���e�Ρȁ and just tell him whatever
you wanna have on stage
for your tour."��
֠����
� We were probably such assholes.���C�u@�������� I'm sure we walked into
the meeting like,��/�����/ "Yo, what's up, homes?��ܠ���� Yo." And he's like,
you know...��
C�u@���(����� "You can have anything--"
And the guy's probably...��
砮���
� The poor guy,
the poor guy is like,��S�����: "You can have anything
you want on stage.��C�u@���h����� Tell me what you want,
I do all these huge tours.�� �� � Like whatever you guys--
Did it for Run-D.M.C., Whodini.��������� I'll do it for you guys.��C�u@��
O����� Just tell me
whatever you want, you know.�� G����� G We'll put it on stage.
I'll make it happen."������ And we're just like,
"Aw, yo, let me tell you, homes,��;C�u��)������ we want a fucking giant
dick, a'ight?"��
AC�u@��=|����� It's not like we thought about--
Think about...��������� You didn't think
of the ramifications
of any of it.�� àǡ��j Let alone the fact that we had
to pay for the fucking thing.���C�u@��Z��� Like, someone had to write
a check for the dick: we did.��
������
� There's this good, like,
whatever percentage��
�C�u��p����� where we're making fun
of this thing.��������� Yes, for sure.��;�����
� We just all
took it for granted���C�u���̠���� that that part
would translate,��
�����
but that was the first thing
that got lost�� �C�u���Ҡ���� once it all kinda started
going really fast��������� and became bigger than
any of us or all of us.���C�u@����ơ�� This is actually
one of my favorite pieces
to show people.��
B�����
B Uh, the legendary cantor
Yossele Rosenblatt.���C�u����� Um, this is an album��0�����0 of traditional cantorial
synagogue songs.���C�u��6�͡ǁ And, you know,
Yossele Rosenblatt
actually is Rick's great-uncle.��eC�u@��rh����� I like to rib Rick
once in a while��S�����S that he might not have
inherited the last name��ʠ���� but he certainly has
kept the look alive.���C�u@���d����� The difference between
the two of us is you're��M�����M always dealing with
the newest generation.����ɡÁL And part of the newest
generation's narrative
has always been��
�C�u���3����� to not care about
what came before.�� Ġ���� � They do care,
but they act as if they don't.��
kC�u@���b�Сʁ And somehow, you've
been able to sort of bridge
that gap for people.��ʠΡȁ� There's a new breed
of hip-hop artists who,
young hip-hop artists,��FC�u��r����� who, for the first time, maybe��
�����
are not so interested
in the past of hip-hop.��vC�u@��$w����� And the hip-hop hierarchy��_�����_ is very upset about it.��������^ And I think it's great,
like I think it's fantastic.���C�u��@������ It's like if the way
to have a new voice��������� in a medium is to,��
C�u@��Y3����� in one way,
it's to study the old��������� and then find
the new way,����ʡā� and the other way
is to just ignore the old
and find your way.��
�C�u���
����� I wanna learn how
to play this shit so bad.��
������
� Ron, I need a piano
lesson class.��
AC�u��������� ♪Oh♪������� ♪So rich at a young age♪��C�u������ ♪So, so rich♪��������� ♪I'm so rich at a young age♪���C�u�������� ♪I dropped outta school♪��)������ ♪And now I act like
a damn fool♪��
.C�u@�������� ♪'Cause I'm so, so rich♪��֠����
k I'll make that a song,
that sounds boss.��M������ That sound got good, don't it?���C�u@�������� There's some rappers,
young rappers,��S�����S that's just so "hip-hop savvy"��)�����| and they know "the history"���C�u@�� ����� and know "everything"
about the '80s and the '90s.������� And... I ain't gonna lie, bro,��X�����j I don't know nothing about
the '80s and '90s, bro.���C�u@��6����� I was born in '97,
you know what I'm sayin'?�� �ȡ Why do I gotta know
what someone else did,
that's what's up?���C�u@��N��ġ�� But if I was to copy,
I'm saying if I copy
someone else,��_�����_ I'd be a copier,
I'd be like a culture vulture.�� �C�u@��e����� You know what I'm sayin'?��<�����<